Anthology of Speculative Fiction, Volume Two

by Short Story Anthology

  Obsidian had drawn her closer to him, and she had put her head on his shoulder when suddenly he braked hard, almost throwing her off the seat. Out of the corner of her eye, she saw that someone had run across the street in front of the car. One car on the street and someone had to run in front of it.

  Straightening up, Rye saw that the runner was a woman, fleeing from an old frame house to a boarded-up storefront. She ran silently, but the man who followed her a moment later shouted what sounded like garbled words as he ran. He had something in his hand. Not a gun. A knife, perhaps.

  The woman tried a door, found it locked, looked around desperately, finally snatched up a fragment of glass broken from the storefront window. With this she turned to face her pursuer. Rye thought she would be more likely to cut her own hand than to hurt anyone else with the glass.

  Obsidian jumped from the car, shouting. It was the first time Rye had heard his voice—deep and hoarse from disuse. He made the same sound over and over the way some speechless people did, “Da, da, da!”

  Rye got out of the car as Obsidian ran toward the couple. He had drawn his gun. Fearful, she drew her own and released the safety. She looked around to see who else might be attracted to the scene. She saw the man glance at Obsidian, then suddenly lunge at the woman. The woman jabbed his face with her glass, but he caught her arm and managed to stab her twice before Obsidian shot him.

  The man doubled, then toppled, clutching his abdomen. Obsidian shouted, then gestured Rye over to help the woman.

  Rye moved to the woman’s side, remembering that she had little more than bandages and antiseptic in her pack. But the woman was beyond help. She had been stabbed with a long, slender boning knife.

  She touched Obsidian to let him know the woman was dead. He had bent to check the wounded man who lay still and also seemed dead. But as Obsidian looked around to see what Rye wanted, the man opened his eyes. Face contorted, he seized Obsidian’s just-holstered revolver and fired. The bullet caught Obsidian in the temple and he collapsed.

  It happened just that simply, just that fast. An instant later, Rye shot the wounded man as he was turning the gun on her.

  And Rye was alone—with three corpses.

  She knelt beside Obsidian, dry-eyed, frowning, trying to understand why everything had suddenly changed. Obsidian was gone. He had died and left her—like everyone else.

  Two very small children came out of the house from which the man and woman had run—a boy and girl perhaps three years old. Holding hands, they crossed the street toward Rye. They stared at her, then edged past her and went to the dead woman. The girl shook the woman’s arm as though trying to wake her.

  This was too much. Rye got up, feeling sick to her stomach with grief and anger. If the children began to cry, she thought she would vomit.

  They were on their own, those two kids. They were old enough to scavenge. She did not need any more grief. She did not need a stranger’s children who would grow up to be hairless chimps.

  She went back to the car. She could drive home, at least. She remembered how to drive.

  The thought that Obsidian should be buried occurred to her before she reached the car, and she did vomit.

  She had found and lost the man so quickly. It was as though she had been snatched from comfort and security and given a sudden, inexplicable beating. Her head would not clear. She could not think.

  Somehow, she made herself go back to him, look at him. She found herself on her knees beside him with no memory of having knelt. She stroked his face, his beard. One of the children made a noise and she looked at them, at the woman who was probably their mother. The children looked back at her, obviously frightened. Perhaps it was their fear that reached her finally.

  She had been about to drive away and leave them. She had almost done it, almost left two toddlers to die. Surely there had been enough dying. She would have to take the children home with her. She would not be able to live with any other decision. She looked around for a place to bury three bodies. Or two. She wondered if the murderer were the children’s father. Before the silence, the police had always said some of the most dangerous calls they went out on were domestic disturbance calls. Obsidian should have known that—not that the knowledge would have kept him in the car. It would not have held her back either. She could not have watched the woman murdered and done nothing.

  She dragged Obsidian toward the car. She had nothing to dig with her, and no one to guard for her while she dug. Better to take the bodies with her and bury them next to her husband and her children. Obsidian would come home with her after all.

  When she had gotten him onto the floor in the back, she returned for the woman. The little girl, thin, dirty, solemn, stood up and unknowingly gave Rye a gift. As Rye began to drag the woman by her arms, the little girl screamed, “No!”

  Rye dropped the woman and stared at the girl.

  “No!” the girl repeated. She came to stand beside the woman. “Go away!” she told Rye.

  “Don’t talk,” the little boy said to her. There was no blurring or confusing of sounds. Both children had spoken and Rye had understood. The boy looked at the dead murderer and moved further from him. He took the girl’s hand. “Be quiet,” he whispered.

  Fluent speech! Had the woman died because she could talk and had taught her children to talk? Had she been killed by a husband’s festering anger or by a stranger’s jealous rage? And the children . . . they must have been born after the silence. Had the disease run its course, then? Or were these children simply immune? Certainly they had had time to fall sick and silent. Rye’s mind leaped ahead. What if children of three or fewer years were safe and able to learn language? What if all they needed were teachers? Teachers and protectors.

  Rye glanced at the dead murderer. To her shame, she thought she could understand some of the passions that must have driven him, whomever he was. Anger, frustration, hopelessness, insane jealousy . . . how many more of him were there—people willing to destroy what they could not have?

  Obsidian had been the protector, had chosen that role for who knew what reason. Perhaps putting on an obsolete uniform and patrolling the empty streets had been what he did instead of putting a gun into his mouth. And now that there was something worth protecting, he was gone.

  She had been a teacher. A good one. She had been a protector, too, though only of herself. She had kept herself alive when she had no reason to live. If the illness let these children alone, she could keep them alive.

  Somehow she lifted the dead woman into her arms and placed her on the backseat of the car. The children began to cry, but she knelt on the broken pavement and whispered to them, fearful of frightening them with the harshness of her long unused voice.

  “It’s all right,” she told them. “You’re going with us, too. Come on.” She lifted them both, one in each arm. They were so light. Had they been getting enough to eat?

  The boy covered her mouth with his hand, but she moved her face away. “It’s all right for me to talk,” she told him. “As long as no one’s around, it’s all right.” She put the boy down on the front seat of the car and he moved over without being told to, to make room for the girl. When they were both in the car, Rye leaned against the window, looking at them, seeing that they were less afraid now, that they watched her with at least as much curiosity as fear.

  “I’m Valerie Rye,” she said, savoring the words. “It’s all right for you to talk to me.”

  Afterword

  “Speech Sounds” was conceived in weariness, depression, and sorrow. I began the story feeling little hope or liking for the human species, but by the time I reached the end of it, my hope had come back. It always seems to do that. Here’s the story behind “Speech Sounds.”

  In the early 1980s, a good friend of mine discovered that she was dying of multiple myeloma, an especially dangerous, painful form of cancer. I had lost elderly relatives and family friends to death before this, but I had never lost a personal friend. I had never watche
d a relatively young person die slowly and painfully of disease. It took my friend a year to die, and I got into the habit of visiting her every Saturday and taking along the latest chapter of the novel I was working on. This happened to be Clay’s Ark. With its story of disease and death, it was thoroughly inappropriate for the situation. But my friend had always read my novels. She insisted that she wanted to read this one as well. I suspect that neither of us believed she would live to read it in its completed form—although, of course, we didn’t talk about this.

  I hated going to see her. She was a good person, I loved her, and I hated watching her die. Nevertheless, every Saturday I got on a bus—I don’t drive— and went to her hospital room or her apartment. She got thinner and frailer and querulous with pain. I got more depressed.

  One Saturday, as I sat on a crowded, smelly bus, trying to keep people from stepping on my ingrown toenail and trying not to think of terrible things, I noticed trouble brewing just across from me. One man had decided he didn’t like the way another man was looking at him. Didn’t like it at all! It’s hard to know where to look when you’re wedged in place on a crowded bus.

  The wedged-in man argued that he hadn’t done anything wrong—which he hadn’t. He inched toward the exit as though he meant to get himself out of a potentially bad situation. Then he turned and edged back into the argument. Maybe his own pride was involved. Why the hell should he be the one to run away?

  This time the other guy decided that it was his girlfriend—sitting next to him— who was being looked at inappropriately. He attacked.

  The fight was short and bloody. The rest of us—the other passengers—ducked and yelled and tried to avoid being hit. In the end, the attacker and his girlfriend pushed their way off the bus, fearful that the driver would call the police. And the guy with the pride sagged, dazed and bloody, looking around as though he wasn’t sure what had happened.

  I sat where I was, more depressed than ever, hating the whole hopeless, stupid business and wondering whether the human species would ever grow up enough to learn to communicate without using fists of one kind or another.

  And the first line of a possible story came to me: “There was trouble aboard the Washington Boulevard bus.”

  The Book of Martha, by Octavia E. Butler

  "It's difficult, isn't it?" God said with a weary smile. "You're truly free for the first time. What could be more difficult than that?"

  Martha Bes looked around at the endless grayness that was, along with God, all that she could see. In fear and confusion, she covered her broad black face with her hands. "If only I could wake up," she whispered.

  God kept silent but was so palpably, disturbingly present that even in the silence Martha felt rebuked. "Where is this?" she asked, not really wanting to know, not wanting to be dead when she was only forty-three. "Where am I?"

  "Here with me," God said.

  "Really here?" she asked. "Not at home in bed dreaming? Not locked up in a mental institution? Not … not lying dead in a morgue?"

  "Here," God said softly. "With me."

  After a moment, Martha was able to take her hands from her face and look again at the grayness around her and at God. "This can't be heaven," she said. "There's nothing here, no one here but you."

  "Is that all you see?" God asked.

  This confused her even more. "Don't you know what I see?" she demanded and then quickly softened her voice. "Don't you know everything?"

  God smiled. "No, I outgrew that trick long ago. You can't imagine how boring it was."

  This struck Martha as such a human thing to say that her fear diminished a little—although she was still impossibly confused. She had, she remembered, been sitting at her computer, wrapping up one more day's work on her fifth novel. The writing had been going well for a change, and she'd been enjoying it. For hours, she'd been spilling her new story onto paper in that sweet frenzy of creation that she lived for. Finally, she had stopped, turned the computer off, and realized that she felt stiff. Her back hurt. She was hungry and thirsty, and it was almost fiveA.M. She had worked through the night. Amused in spite of her various aches and pains, she got up and went to the kitchen to find something to eat.

  And then she was here, confused and scared. The comfort of her small, disorderly house was gone, and she was standing before this amazing figure who had convinced her at once that he was God—or someone so powerful that he might as well be God. He had work for her to do, he said—work that would mean a great deal to her and to the rest of humankind.

  If she had been a little less frightened, she might have laughed. Beyond comic books and bad movies, who said things like that?

  "Why," she dared to ask, "do you look like a twice-live-sized, bearded white man?" In fact, seated as he was on his huge thronelike chair, he looked, she thought, like a living version of Michelangelo's Moses, a sculpture that she remembered seeing pictured in her college art-history textbook about twenty years before. Except that God was more fully dressed than Michelangelo's Moses, wearing, from neck to ankles, the kind of long, white robe that she had so often seen in paintings of Christ.

  "You see what your life has prepared you to see," God said.

  "I want to see what's really here!"

  "Do you? What you see is up to you, Martha. Everything is up to you."

  She sighed. "Do you mind if I sit down?"

  And she was sitting. She did not sit down, but simply found herself sitting in a comfortable armchair that had surely not been there a moment before. Another trick, she thought resentfully—like the grayness, like the giant on his throne, like her own sudden appearance here. Everything was just one more effort to amaze and frighten her. And, of course, it was working. She was amazed and badly frightened. Worse, she disliked the giant for manipulating her, and this frightened her even more. Surely he could read her mind. Surely he would punish …

  She made herself speak through her fear. "You said you had work for me." She paused, licked her lips, tried to steady her voice. "What do you want me to do?"

  He didn't answer at once. He looked at her with what she read as amusement—looked at her long enough to make her even more uncomfortable.

  "What do you want me to do?" she repeated, her voice stronger this time.

  "I have a great deal of work for you," he said at last. "As I tell you about it, I want you to keep three people in mind: Jonah, Job, and Noah. Remember them. Be guided by their stories."

  "All right," she said because he had stopped speaking, and it seemed that she should say something. "All right."

  When she was a girl, she had gone to church and to Sunday School, to Bible class and to vacation Bible school. Her mother, only a girl herself, hadn't known much about being a mother, but she had wanted her child to be "good," and to her, "good" meant "religious." As a result, Martha knew very well what the Bible said about Jonah, Job, and Noah. She had come to regard their stories as parables rather than literal truths, but she remembered them. God had ordered Jonah to go to the city of Nineveh and to tell the people there to mend their ways. Frightened, Jonah had tried to run away from the work and from God, but God had caused him to be shipwrecked, swallowed by a great fish, and given to know that he could not escape.

  Job had been the tormented pawn who lost his property, his children, and his health, in a bet between God and Satan. And when Job proved faithful in spite of all that God had permitted Satan to do to him, God rewarded Job with even greater wealth, new children, and restored health.

  As for Noah, of course, God ordered him to build an ark and save his family and a lot of animals because God had decided to flood the world and kill everyone and everything else.

  Why was she to remember these three Biblical figures in particular? What had they do with her—especially Job and all his agony?

  "This is what you're to do," God said. "You will help humankind to survive its greedy, murderous, wasteful adolescence. Help it to find less destructive, more peaceful, sustainable ways to live."
/>   Martha stared at him. After a while, she said feebly, "… what?"

  "If you don't help them, they will be destroyed."

  "You're going to destroy them … again?" she whispered.

  "Of course not," God said, sounding annoyed. "They're well on the way to destroying billions of themselves by greatly changing the ability of the earth to sustain them. That's why they need help. That's why you will help them."

  "How?" she asked. She shook her head. "What can I do?"

  "Don't worry," God said. "I won't be sending you back home with another message that people can ignore or twist to suit themselves. It's too late for that kind of thing anyway." God shifted on his throne and looked at her with his head cocked to one side. "You'll borrow some of my power," he said. "You'll arrange it so that people treat one another better and treat their environment more sensibly. You'll give them a better chance to survive than they've given themselves. I'll lend you the power, and you'll do this." He paused, but this time she could think of nothing to say. After a while, he went on.

  "When you've finished your work, you'll go back and live among them again as one of their lowliest. You're the one who will decide what that will mean, but whatever you decide is to be the bottom level of society, the lowest class or caste or race, that's what you'll be."

  This time when he stopped talking, Martha laughed. She felt overwhelmed with questions, fears, and bitter laughter, but it was the laughter that broke free. She needed to laugh. It gave her strength somehow.

  "I was born on the bottom level of society," she said. "You must have known that."

  God did not answer.