I am colluding with the enemy. It would be my life if I were ever caught. But this is all that I can do to save Emily, and I would do anything to keep her alive. Anything. Even stay here when everything I am screams at me to follow my daughter’s doll into the wild. The toys would kill me. Worse, they would kill Maya for coming to me, and without the drugs that keep my daughter frozen in her prepubescent body, they would kill Emily as well. My stillness buys her life. My stillness buys her time. And here, now, in this nightmare we have built for ourselves, time is all we have.
Maya climbs out the window and is gone, her precious burden of hormone patches filling her bag to bursting. I watch her until she is out of sight, and then I turn away, going back to my paperwork.
The war is over.
The war will never end.
The next night, a different group fills the community center, a different moderator from FEMA sits at the front of the room. I am here to make up for last night’s failure to share. Even my work is not a sufficient excuse. This time, when the moderator scans the room, his eyes fix on me. He has a file, of course—they all have files—and he knows I was here last night, and he knows I kept my tongue.
“Dr. Williams?” he says. “Would you like to share?”
No. “My name is Morgan,” I say, and the room choruses my name back at me dutifully, all of us prisoners of war, conditioned in the art of the proper response. “My daughter’s name is Emily. She’ll be eleven years old this summer …” And I talk, and I talk, and all I can think of is a picture of a house, drawn in crayon, and a doll intended for pretend fashion shows trudging into the wilderness with her bag full and her glass eyes eternally bright, and a little girl somewhere out there, somewhere far away from me, running forever in the green places of the world.
NNEDI OKORAFOR
SPIDER THE ARTIST
Nnedi Okorafor is a novelist of African-based science fiction, fantasy, and magical realism. In a profile of her work entitled “Weapons of Mass Creation,” the New York Times called Okorafor’s imagination “stunning.” Her novels include Who Fears Death (winner of a World Fantasy Award for Best Novel), Akata Witch (an Amazon.com Best Book of the Year), Zahrah the Windseeker (winner of the Wole Soyinka Prize for Literature in Africa), and The Shadow Speaker (winner of a Carl Brandon Parallax Award). Her short story collection, Kabu Kabu, was published in October 2013 and the science fiction novel Lagoon is scheduled for release in April 2014. Her young adult novel Akata Witch 2: Breaking Kola is scheduled for release in 2015. Okorafor holds a PhD in literature and is a professor of creative writing at Chicago State University. Find her on Facebook and Twitter, and at www.nnedi.com.
Zombie no go go, unless you tell am to go
Zombie!
Zombie!
Zombie no go stop, unless you tell am to stop
Zombie no go turn, unless you tell am to turn
Zombie!
Zombie no go think, unless you tell am to think
—from “Zombie” by Fela Kuti, Nigerian musician and self-proclaimed voice of the voiceless
My husband used to beat me. That was how I ended up out there that evening behind our house, just past the bushes, through the tall grass, in front of the pipeline. Our small house was the last in the village, practically in the forest itself. So nobody ever saw or heard him beating me.
Going out there was the best way to put space between me and him without sending him into further rage. When I went behind the house, he knew where I was and he knew I was alone. But he was too full of himself to realize I was thinking about killing myself.
My husband was a drunk, like too many of the members of the Niger Delta People’s Movement. It was how they all controlled their anger and feelings of helplessness. The fish, shrimps, and crayfish in the creeks were dying. Drinking the water shriveled women’s wombs and eventually made men urinate blood.
There was a stream where I had been fetching water. A flow station was built nearby and now the stream was rank and filthy, with an oily film that reflected rainbows. Cassava and yam farms yielded less and less each year. The air left your skin dirty and smelled like something preparing to die. In some places, it was always daytime because of the noisy gas flares.
My village was shit.
On top of all this, People’s Movement members were getting picked off like flies. The “kill-and-go” had grown bold. They shot People’s Movement members in the streets, they ran them over, dragged them into the swamps. You never saw them again.
I tried to give my husband some happiness. But after three years, my body continued to refuse him children. It was easy to see the root of his frustration and sadness … but pain is pain. And he dealt it to me regularly.
My greatest, my only true possession was my father’s guitar. It was made of fine polished Abura timber and it had a lovely tortoiseshell pick guard. Excellent handwork. My father said that the timber used to create the guitar came from one of the last timber trees in the delta. If you held it to your nose, you could believe this. The guitar was decades old and still smelled like fresh-cut wood, like it wanted to tell you its story because only it could.
I wouldn’t exist without my father’s guitar. When he was a young man, he used to sit in front of the compound in the evening and play for everyone. People danced, clapped, shut their eyes, and listened. Cell phones would ring and people would ignore them. One day, it was my mother who stopped to listen.
I used to stare at my father’s fast long-fingered hands when he played. Oh, the harmonies. He could weave anything with his music—rainbows, sunrises, spider webs sparkling with morning dew. My older brothers weren’t interested in learning how to play. But I was, so my father taught me everything he knew. And now it was my long fingers that graced the strings. I’d always been able to hear music, and my fingers moved even faster than my father’s. I was good. Really good.
But I married that stupid man. Andrew. So I only played behind the house. Away from him. My guitar was my escape.
That fateful evening, I was sitting on the ground in front of the fuel pipeline. It ran right through everyone’s backyard. My village was an oil village, as was the village where I grew up. My mother lived in a similar village before she was married, as did her mother. We are Pipeline People.
My mother’s grandmother was known for lying on the pipeline running through her village. She’d stay like that for hours, listening and wondering what magical fluids were running through the large never-ending steel tubes. This was before the Zombies, of course. I laughed. If she tried to lie on a pipeline now she’d be brutally killed.
Anyway, when I was feeling especially blue, I’d take my guitar and come out here and sit right in front of the pipeline. I knew I was flirting with death by being so close, but when I was like this, I didn’t really care. I actually welcomed the possibility of being done with life. It was a wonder that my husband didn’t smash my guitar during one of his drunken rages. I’d surely have quickly thrown myself on the pipeline if he did. Maybe that was why he’d rather smash my nose than my guitar.
This day, he’d only slapped me hard across the face. I had no idea why. He’d simply come in, seen me in the kitchen, and smack! Maybe he’d had a bad day at work—he worked very hard at a local restaurant. Maybe one of his women had scorned him. Maybe I did something wrong. I didn’t know. I didn’t care. My nose was just starting to stop bleeding and I was not seeing so many stars.
My feet were only inches from the pipeline. I was especially daring this night. It was warmer and more humid than normal. Or maybe it was my stinging burning face. The mosquitoes didn’t even bother me much. In the distance, I could see Nneka, a woman who rarely spoke to me, giving her small sons a bath in a large tub. Some men were playing cards at a table several houses down. It was dark, there were small, small trees and bushes here, and even our closest neighbor was not very close, so I was hidden.
I sighed and placed my hands on the guitar strings. I plucked out a tune my father used to play.
I sighed and closed my eyes. I would always miss my father. The feel of the strings vibrating under my fingers was exquisite.
I fell deep into the zone of my music, weaving it, then floating on a glorious sunset that lit the palm tree tops and …
Click!
I froze. My hands still on the strings, the vibration dying. I didn’t dare move. I kept my eyes closed. The side of my face throbbed.
Click! This time the sound was closer. Click! Closer. Click! Closer.
My heart pounded and I felt nauseous with fear. Despite my risk-taking, I knew this was not the way I wanted to die. Who would want to be torn limb from limb by Zombies? As everyone in my village did multiple times a day, I quietly cursed the Nigerian government.
Twing!
The vibration of the guitar string was stifled by my middle finger still pressing it down. My hands started to shake, but still I kept my eyes shut. Something sharp and cool lifted my finger. I wanted to scream. The string was plucked again.
Twang!
The sound was deeper and fuller, my finger no longer muffling the vibration. Very slowly, I opened my eyes. My heart skipped. The thing stood about three feet tall, which meant I was eye to eye with it. I’d never seen one up close. Few people have. These things are always running up and down the pipeline like a herd of super-fast steer, always with things to do.
I chanced a better look. It really did have eight legs. Even in the darkness, those legs shined, catching even the dimmest light. A bit more light and I’d have been able to see my face perfectly reflected back at me. I’d heard that they polished and maintained themselves. This made even more sense now, for who would have time to keep them looking so immaculate?
The government came up with the idea to create the Zombies, and Shell, Chevron, and a few other oil companies (who were just as desperate) supplied the money to pay for it all. The Zombies were made to combat pipeline bunkering and terrorism. It makes me laugh. The government and the oil people destroyed our land and dug up our oil, then they created robots to keep us from taking it back.
They were originally called Anansi Droids 419 but we call them “oyibo contraptions” and, most often, Zombies, the same name we call those “kill-and-go” soldiers who come in here harassing us every time something bites their brains.
It’s said that Zombies can think. Artificial intelligence, this is called. I have had some schooling, a year or two of university, but my area was not in the sciences. No matter my education, as soon as I got married and was brought to this damn place I became like every other woman here, a simple village woman living in the delta region where Zombies kill anyone who touches the pipelines and whose husband knocks her around every so often. What did I know about Zombie intellect?
It looked like a giant shiny metal spider. It moved like one too. All smooth-shifting joints and legs. It crept closer and leaned in to inspect my guitar strings some more. As it did so, two of its back legs tapped on the metal of the pipeline. Click! Click! Click!
It pushed my thumb back down on the strings and plucked the string twice, making a muted pluck! It looked at me with its many blue shining round eyes. Up close I could see that they weren’t lights. They were balls of a glowing metallic blue undulating liquid, like charged mercury. I stared into them, fascinated. No one else in my village could possibly know this fact. No one had gotten close enough. Eyes of glowing bright blue liquid metal, I thought. Na wa.
It pressed my hand harder and I gasped, blinking and looking away from its hypnotic eyes. Then I understood.
“You … you want me to play?”
It sat there waiting, placing a leg on the body of my guitar with a soft tap. It had been a long time since anyone had wanted me to play. I played my favorite highlife song. “Love Dey See Road” by Oliver de Coque. I played like my life depended on it.
The Zombie didn’t move, its leg remaining pressed to my guitar. Was it listening? I was sure it was. Twenty minutes later, when I finally stopped playing, sweat running down my face, it touched the tips of my aching hands. Gently.
Some of these pipelines carry diesel fuel, others carry crude oil. Millions of liters of it a day. Nigeria supplies 25 percent of U.S. oil. And we get virtually nothing in return. Nothing but death by Zombie attack. We can all tell you stories.
When the Zombies were first released, no one knew about them. All people would hear were rumors about people getting torn apart near pipelines or sightings of giant white spiders in the night. Or you’d hear about huge pipeline explosions, charred bodies everywhere. But the pipeline where the bodies lay would be perfectly intact.
People still bunkered. My husband was one of them. I suspected that he sold the fuel and oil on the black market; he would bring some of the oil home, too. You let it sit in a bucket for two days and it would become something like kerosene. I used it for cooking. So I couldn’t really complain. But bunkering was a very, very dangerous practice.
There were ways of breaking a pipeline open without immediately bringing the wrath of Zombies. My husband and his comrades used some sort of powerful laser cutter. They stole them from the hospitals. But they had to be very, very quiet when cutting through the metal. All it took was one bang, one vibration, and the Zombies would come running within a minute. Many of my husband’s comrades had been killed because of the tap of someone’s wedding ring or the tip of the laser cutter on steel.
Two years ago a group of boys had been playing too close to the pipeline. Two of them were wrestling and they fell on it. Within seconds the Zombies came. One boy managed to scramble away. But the other was grabbed by the arm and flung into some bushes. His arm and both of his legs were broken. Government officials said that Zombies were programmed to do as little harm as possible, but … I didn’t believe this, na lie.
They were terrible creatures. To get close to a pipeline was to risk a terrible death. Yet the goddamn things ran right through our backyards.
But I didn’t care. My husband was beating the hell out of me during these months. I don’t know why. He had not lost his job. I knew he was seeing other women. We were poor, but we were not starving. Maybe it was because I couldn’t bear him children. It was my fault, I know, but what could I do?
I found myself out in the backyard more and more. And this particular Zombie visited me every time. I loved playing for it. It would listen. Its lovely eyes would glow with joy. Could a robot feel joy? I believed intelligent ones like this could. Many times a day, I would see a crowd of Zombies running up and down the pipeline, off to do repairs or policing, whatever they did. If my Zombie was amongst them, I couldn’t tell.
It was about the tenth time it visited me that it did something very, very strange. My husband had come home smelling practically flammable, stinking of several kinds of alcohol—beer, palm wine, perfume. I had been thinking hard all day. About my life. I was stuck. I wanted a baby. I wanted to get out of the house. I wanted a job. I wanted friends. I needed courage. I knew I had courage. I had faced a Zombie, many times.
I was going to ask my husband about teaching at the elementary school. I’d heard that they were looking for teachers. When he walked in, he greeted me with a sloppy hug and kiss and then plopped himself on the couch. He turned on the television. It was late, but I brought him his dinner, pepper soup heavy with goat meat, chicken, and large shrimp. He was in a good drunken mood. But as I stood there watching him eat, all my courage fled. All my need for change skittered and cowered to the back of my brain.
“Do you want anything else?” I asked.
He looked up at me and actually smiled. “The soup is good today.”
I smiled, but something inside me ducked its head lower. “I’m glad,” I said. I picked up my guitar. “I’m going to the back. It’s nice outside.”
“Don’t go too close to the pipeline,” he said. But he was looking at the TV and gnawing on a large piece of goat meat.
I crept into the darkness, through the bushes and grasses, to the pipeline. I sat in my usual spot
. A foot from it. I strummed softly, a series of chords. A forlorn tune that spoke my heart. Where else was there to go from here? Was this my life? I sighed. I hadn’t been to church in a month.
When it came clicking down the pipe, my heart lifted. Its blue liquid eyes glowed strong tonight. There was a woman from whom I once bought a bolt of blue cloth. The cloth was a rich blue that reminded me of the open water on sunny days. The woman said the cloth was “azure.” My Zombie’s eyes were a deep azure this night.
It stopped, standing before me. Waiting. I knew it was my Zombie because a month ago, it had allowed me to put a blue butterfly sticker on one of its front legs.
“Good evening,” I said.
It did not move.
“I’m sad today,” I said.
It stepped off the pipeline, its metal legs clicking on the metal and then whispering on the dirt and grass. It sat its body on the ground as it always did. Then it waited.
I strummed a few chords and then played its favorite song, Bob Marley’s “No Woman No Cry.” As I played, its body slowly began to rotate, something I’d come to understand was its way of expressing pleasure. I smiled. When I stopped playing, it turned its eyes back to me. I sighed, strummed an A minor chord, and sat back. “My life is shit,” I said.
Suddenly, it rose up on its eight legs with a soft whir. It stretched and straightened its legs until it was standing a foot taller than normal. From under its body, in the center, something whitish and metallic began to descend. I gasped, grabbing my guitar. My mind told me to move away. Move away fast. I’d befriended this artificial creature. I knew it. Or I thought I knew it. But what did I really know about why it did what it did? Or why it came to me?
Robot Uprisings Page 33