Worlds Seen in Passing

by Irene Gallo

  The day of the Conversation, Judy wakes from a nightmare, shivering with the covers cast aside, and Doug’s already out of bed. “It’s today,” he says, and then he leaves without saying anything else to Judy, or anything at all to Marva, who’s still pissed at him. Judy keeps almost going back to bed, but somehow she winds up dressed, with a toaster pop in her hand, marching towards the door. Marva starts to say something, then shrugs.

  Doug and Judy meet up for dinner at Punjabi Dhaba in Inman Square, scooping red-hot eggplant and bright chutney off of metal prison trays while Bollywood movies blare overhead and just outside of their line of vision.

  The Conversation starts with them talking past each other. Judy says, “Lately I can’t remember anything past the next month.” Doug says, “I keep trying to see what happens after I die.” Judy says, “Normally I can remember years in advance, even decades. But I’m blocked.” She shudders. Doug says, “If I could just have an impression, an afterimage, of what happens when I’m gone. It would help a lot.”

  Judy finally hears what Doug’s been saying. “Oh, Jesus, not this. Nobody can see past death. It’s impossible.”

  “So’s seeing the future.” Doug cracks his somosa in half with a fork, and offers the chunky side to Judy.

  “You can’t remember anything past when your brain ceases to exist. Because there are no physical memories to access. Your brain is a storage medium.”

  “But who knows what we’re accessing? It could be something outside our own brains.”

  Judy tries to clear her head and think of something nice twenty years from now, but she can’t. She looks at Doug’s chunky sideburns, which he didn’t have when they’d started dating. Whenever she’s imagined those sideburns, she always associated them with the horror of these days. It’s sweltering inside the restaurant. “Why are you scared of me?” she says.

  “I’m not,” Doug says. “I only want you to be happy. When I see you ten years from now, I—”

  Judy covers her ears and jumps out of her seat, to turn the Bollywood music all the way up. Standing, she can see the screen, where a triangle of dancing women shake their fingers in unison at an unshaven man. The man smiles.

  Eventually, someone comes and turns the music back down. “I think part of you is scared that I really am more powerful than you are,” Judy says. “And you’ve done everything you can to take away my power.”

  “I don’t think you’re any more or less powerful than me. Our powers are just different,” Doug says. “But I think you’re a selfish person. I think you’re used to the idea that you can cheat on everything, and it’s made your soul a little bit rotten. I think you’re going to hate me for the next few weeks until you figure out how to cast me out. I think I love you more than my own arms and legs and I would shorten my already short life by a decade to have you stick around one more year. I think you’re brave as hell for keeping your head up on our journey together into the mouth of hell. I think you’re the most beautiful human being I’ve ever met, and you have a good heart despite how much you’re going to tear me to shreds.”

  “I don’t want to see you any more,” Judy says. Her hair is all in her face, wet and ragged from the restaurant’s blast-furnace heat.

  A few days later, Judy and Doug are playing foozball at a swanky bar in what used to be the Combat Zone. Judy makes a mean remark about something sexually humiliating that will happen to Doug five years from now, which he told her about in a moment of weakness. A couple days later, she needles him about an incident at work that almost got him fired a while back. She’s never been a sadist before now—although it’s also masochism, because when she torments him, she already knows how terrible she’ll feel in a few minutes.

  Another time, Doug and Judy are drunk on the second floor of a Thayer Street frat bar, and Doug keeps getting Judy one more weird cocktail, even though she’s had more than enough. The retro pinball machine gossips at them. Judy staggers to the bathroom, leaving her purse with Doug—and when she gets back, the purse is gone. They both knew Doug was going to lose Judy’s purse, which only makes her madder. She bitches him out in front of a table of beer-pong champions. And then it’s too late to get back to Judy’s place, so they have to share Doug’s cramped, sagging hospital cot. Judy throws up on Doug’s favorite outfit: anise and stomach acid, it’ll never come out.

  Judy loses track of which unbearable things have already happened, and which lay ahead. Has Doug insulted her parents yet, on their second meeting? Yes, that was yesterday. Has he made Marva cry? No, that’s tomorrow. Has she screamed at him that he’s a weak mean bastard yet? It’s all one moment to her. Judy has finally achieved timelessness.

  Doug has already arranged—a year ago—to take two weeks off work, because he knows he won’t be able to answer people’s dumb tech problems and lose a piece of himself at the same time. He could do his job in his sleep, even if he didn’t know what all the callers were going to say before they said it, but his ability to sleepwalk through unpleasantness will shortly be maxed out. He tells his coworker Geoffrey, the closest he has to a friend, that he’ll be doing some spring cleaning, even though it’s October.

  A few days before the breakup, Judy stands in the middle of Central Square, and a homeless guy comes up to her and asks for money. She stares at his face, which is unevenly sunburned in the shape of a wheel. She concentrates on this man, who stands there, his hand out. For a moment, she just forgets to worry about Doug for once—and just like that, she’s seeing futures again.

  The threads are there: if she buys this homeless man some scones from 1369, they’ll talk, and become friends, and maybe she’ll run into him once every few weeks and buy him dinner, for the next several years. And in five years, she’ll help the man, Franklin, find a place to live, and she’ll chip in for the deposit. But a couple years later, it’ll all have fallen apart, and he’ll be back here. And she flashes on something Franklin tells her eight years from now, if this whole chain of events comes to pass, about a lost opportunity. And then she knows what to do.

  “Franklin,” she says to wheel-faced guy, who blinks at the sound of his name. “Listen. Angie’s pregnant, with your kid. She’s at the yellow house with the broken wheelbarrow, in Sturbridge. If you go to her right now, I think she’ll take you back. Here’s a hundred bucks.” She reaches in her new purse, for the entire wad of cash she took out of the bank to hold her until she gets her new ATM card. “Go find Angie.” Franklin just looks at her, takes the cash, and disappears.

  Judy never knows if Franklin took her advice. But she does know for sure she’ll never see him again.

  And then she wanders into the bakery where she would have bought Franklin scones, and she sees this guy working there. And she concentrates on him, too, even though it gives her a headache, and she “remembers” a future in which they become friendly and he tells her about the time he wrecked his best friend’s car, which hasn’t happened yet. She buys a scone and tells the guy, Scott, that he shouldn’t borrow Reggie’s T-Bird for that regatta thing, or he’ll regret it forever. She doesn’t even care that Scott is staring as she walks out.

  “I’m going to be a vigilante soothsayer,” she tells Marva. She’s never used her power so recklessly before, but the more she does it, the easier it gets. She goes ahead and mails that Jollibee statue to Sukey.

  The day of the big breakup, Marva’s like, “Why can’t you just dump him via text message? That’s what all the kids are doing, it’s the new sexting.” Judy’s best answer is, “Because then my bike would still be in one piece.” Which isn’t a very good argument. Judy dresses warm, because she knows she’ll be frozen later.

  Doug takes deep breaths, tries to feel acceptance, but he’s all wrung out inside. He wants this to be over, but he dreads it being over. If there was any other way … Doug takes the train from Providence a couple hours early, so he can get lost for a while. But he doesn’t get lost enough, and he’s still early for their meeting. They’re supposed to get dinner a
t the fancy place, but Doug forgot to make the reservation, so they wind up at John Harvard’s Brew Pub, in the mall, and they each put away three pints of the microbrews that made John Harvard famous. They make small talk.

  Afterwards, they’re wandering aimlessly, towards Mass Ave., and getting closer to the place where it happens. Judy blurts out, “It didn’t have to be this way. None of it. You made everything fall into place, but it didn’t have to.”

  “I know you don’t believe that any more,” Doug says. “There’s a lot of stuff you have the right to blame me for, but you can’t believe I chose any of this. We’re both cursed to see stuff that nobody should be allowed to see, but we’re still responsible for our own mistakes. I still don’t regret anything. Even if I didn’t know today was the last day for you and me, I would want it to be.”

  They are both going to say some vicious things to each other in the next hour or so. They’ve already heard it all, in their heads.

  On Mass Ave., Judy sees the ice-cream place opposite the locked side gates of Harvard, and she stops her bike. During their final blow-out fight, she’s not eating ice cream, any of the hundred times she’s seen it. “Watch my bike,” she tells Doug. She goes in and gets a triple scoop for herself and one for Doug, random flavors—Cambridge is one of the few places you can ask for random flavors and people will just nod—and then she and Doug resume their exit interview.

  “It’s that you have this myth that you’re totally innocent and harmless, even though you also believe you control everything in the universe,” Doug is saying.

  Judy doesn’t taste her ice cream, but she is aware of its texture, the voluptuousness of it, and the way it chills the roof of her mouth. There are lumps of something chewy in one of her random flavors. Her cone smells like candy, with a hint of wet dog.

  They wind up down by the banks of the river, near the bridge surrounded by a million geese and their innumerable droppings, and Judy is crying and shouting that Doug is a passive-aggressive asshole.

  Doug’s weeping into the remains of his cone, and then he goes nuclear. He starts babbling about when he sees Judy ten years hence, and the future he describes is one of the ones that Judy’s always considered somewhat unlikely.

  Judy tries to flee, but Doug has her wrist and he’s babbling at her, describing a scene where a broken-down Doug meets Judy with her two kids—Raina and Jeremy, one of dozens of combinations of kids Judy might have—and Raina, the toddler, has a black eye and a giant stuffed tiger. The future Judy looks tired, makes an effort to be nice to the future Doug, who’s a wreck, gripping her cashmere lapel.

  Both the future Judy and the present Judy are trying to get away from Doug as fast as possible. Neither Doug will let go.

  “And then fifteen years from now, you only have one child,” Doug says.

  “Let me go!” Judy screams.

  But when Judy finally breaks free of Doug’s hand, and turns to flee, she’s hit with a blinding headrush, like a one-minute migraine. Three scoops of ice cream on top of three beers, or maybe just stress, but it paralyzes her, even as she’s trying to run. Doug tries to throw himself in her path, but he overbalances and falls down the riverbank, landing almost in the water.

  “Gah!” Doug wails. “Help me up. I’m hurt.” He lifts one arm, and Judy puts down her bike, helps him climb back up. Doug’s a mess, covered with mud, and he’s clutching one arm, heaving with pain.

  “Are you okay?” Judy can’t help asking.

  “Breaking my arm hurt a lot more…” Doug winces. “… than I thought it would.”

  “Your arm.” Judy can’t believe what she’s seeing. “You broke … your arm.”

  “You can see for yourself. At least this means it’s over.”

  “But you were supposed to break your leg.”

  Doug almost tosses both hands in the air, until he remembers he can’t. “This is exactly why I can’t deal with you any more. We both agreed, on our very first date, I break my arm. You’re just remembering it wrong, or being difficult on purpose.”

  Doug wants to go to the hospital by himself, but Judy insists on going with. He curses at the pain, stumbling over every knot and root.

  “You broke your arm.” Judy’s half-sobbing, half-laughing. It’s almost too much to take in. “You broke your arm, and maybe that means that all of this … that maybe we could try again. Not right away, I’m feeling pretty raw right now, but in a while. I’d be willing to try.”

  But she already knows what Doug’s going to say: “You don’t get to hurt me any more.”

  She doesn’t leave Doug until he’s safely staring at the hospital linoleum, waiting to go into X-ray. Then she pedals home, feeling the cold air smash into her face. She’s forgotten her helmet, but it’ll be okay. When she gets home, she’s going to grab Marva and they’re going straight to Logan, where a bored check-in counter person will give them dirt-cheap tickets on the last flight to Miami. They’ll have the wildest three days of their lives, with no lasting ill effects. It’ll be epic, she’s already living every instant of it in her head. She’s crying buckets, but it’s okay, her bike’s headwind wipes the slate clean.

  CHARLIE JANE ANDERS is the author of All the Birds in the Sky, which won the Nebula, Locus, and Crawford Awards and was on Time’s list of the 10 best novels of 2016. Her Tor.com story “Six Months, Three Days” won a Hugo Award and appears in a new short-story collection called Six Months, Three Days, Five Others. Her short fiction has appeared in Tor.com, Wired, Slate, Tin House, Conjunctions, Boston Review, Asimov’s, The Magazine of Fantasy & Science Fiction, McSweeney’s Internet Tendency, ZYZZYVA, and several anthologies. She was a founding editor of io9.com, a site about science fiction, science, and futurism, and she organizes the monthly Writers with Drinks reading series. Her first novel, Choir Boy, won a Lambda Literary Award.

  Damage

  David D. Levine

  In the extremities of war, we may know what we’ve been, but not what we will become. “Damage” is a tale of desperate times, desperate measures, and the inner life of a fighter spacecraft. Nebula Award nominee. Edited by Patrick Nielsen Hayden.

  I never had a name.

  My designation was JB6847½, and Specialist Toman called me “Scraps.” But Commander Ziegler—dear Commander Ziegler, primary of my orbit and engine of my trajectory—never addressed me by any name, only delivering orders in that crisp, magnificent tenor of his, and so I did not consider myself to have one.

  That designation, with the anomalous one-half symbol, was a bit of black humor on Specialist Toman’s part. It was the arithmetic average of NA6621 and FC7074, the two wrecked craft which had been salvaged and cobbled together to create me. “There wasn’t enough left of either spaceframe for any kind of paperwork continuity,” she had told me not long after I came to consciousness, three weeks earlier, “so I figured I’d give you a new number. Not that anyone cares much about paperwork these days.”

  I remembered their deaths. I remembered dying. Twice.

  NA6621, “Early Girl,” was a Pelican-class fighter-bomber who had suffered catastrophic drive failure on a supply run to Ceres. As she’d been making a tight turn, evading fire from the Earth Force blockade fleet on the return leg, her central fuel line had ruptured, spewing flaming hydrazine down the length of her spaceframe, killing her pilot and damaging her computing core. She’d drifted, semiconscious and in pain, for weeks before coming in range of Vanguard Station’s salvage craft. That had been long before the current standoff, of course, when we’d still been sending salvage craft out. When we’d had salvage craft to send out. Early Girl’s dead wreckage had lain at the back of the hangar for months until it was needed.

  The death of FC7074, “Valkyrie,” an Osprey-class fighter, had been quicker but more brutal—she’d been blown out of space by a Woomera missile in a dogfight with two Earth Force fighters. The last memory I had from her was a horrific bang, a burning tearing sensation ripping from her aft weapons bay to her cockpit, and the very diff
erent pain of her pilot ejecting. A pain both physical and emotional, because she knew that even if he survived she could no longer protect him.

  He hadn’t made it.

  But his loss, though a tragedy, was no sadder to me than any of the thousands of other deaths Earth had inflicted on the Free Belt—Valkyrie’s love for her pilot was not one of the things that had survived her death to be incorporated into my programming. Only Commander Ziegler mattered. My love, my light, my reason to live.

  He came to me then, striding from the ready room with brisk confidence, accepting as his due a hand up into my cockpit from the tech. But as his suit connected with my systems I tasted fatigue and stimulants in his exhalations.

  This would be our fifth sortie today. My pilot had slept only three hours in the past twenty-four.

  How long could this go on? Not even the finest combat pilot in the entire solar system—and when he said that, as he often did, it was no mere boast—could run at this pace indefinitely.

  I knew how it felt to die—the pain, the despair, the loss. I did not want to suffer that agony again. And with the war going so badly for the Free Belt, if I were to be destroyed in this battle I would surely never be rebuilt.

  But Commander Ziegler didn’t like it if I expressed reluctance, or commented upon his performance or condition in any way that could be considered negative, so I said only “Refueling and resupply complete, sir. All systems nominal.”

  In reply I received only a grunt as the safety straps tightened across his shoulders, followed by the firm grip of his hands upon my yoke. “Clear hangar for launch.”

  Techs and mechs scattered away from my skids. In moments the hangar was clear and the great pumps began to beat, drawing away the precious air—a howling rush of wind into gratings, quickly fading to silence. And then the sortie doors pivoted open beneath me, the umbilicals detached, and the clamps released.