Table of Contents
Cover
Title Page
The Little Goddess • Ian McDonald
The Calorie Man • Paolo Bacigalupi
Beyond the Aquila Rift • Alastair Reynolds
Second Person, Present Tense • Daryl Gregory
The Canadian Who Came Almost All the Way Back from the Stars • Jay Lake and Ruth Nestvold
Triceratops Summer • Michael Swanwick
Camouflage • Robert Reed
A Case of Consilience • Ken MacLeod
The Blemmye’s Strategem • Bruce Sterling
Amba • William Sanders
Search Engine • Mary Rosenblaum
Piccadilly Circus • Chris Beckett
In the Quake Zone • David Gerrold
La Malcontenta • Liz Williams
The Children of Time • Stephen Baxter
Little Faces • Vonda N. McIntyre
Comber • Gene Wolfe
Audubon in Atlantis • Harry Turtledove
Deus Ex Homine • Hannu Rajaniemi
The Great Caruso • Steven Popkes
Softly Spoke the Gabbleduck • Neal Asher
Zima Blue • Alastair Reynolds
Planet of the Amazon Women • David Moles
The Clockwork Atom Bomb • Dominic Green
Gold Mountain • Chris Roberson
The Fulcrum • Gwyneth Jones
Mayfly • Peter Watts and Derryl Murphy
Two Dreams on Trains • Elizabeth Bear
Angel of Light • Joe Haldeman
Burn • James Patrick Kelly
Also By Gardner Dozois
The Little Goddess
Ian McDonald
Ian McDonald, who has lived in Northern Ireland for most of his life, works in program development for an independent television production company. His most recent book is River of Gods, from Simon and Schuster (UK). The novel is set in a kaleidoscopic India one hundred years after independence. He tells us, “It was while researching River, on a side-trip up into Nepal, that I first encountered, and was fascinated by, the Kumari Devi.”
* * *
I remember the night I became a goddess.
The men collected me from the hotel at sunset. I was light-headed with hunger, for the child-assessors said I must not eat on the day of the test. I had been up since dawn; the washing and dressing and making up were a long and tiring business. My parents bathed my feet in the bidet. We had never seen such a thing before and that seemed the natural use for it. None of us had ever stayed in a hotel. We thought it most grand, though I see now that it was a budget tourist chain. I remember the smell of onions cooking in ghee as I came down in the elevator. It smelled like the best food in the world.
I know the men must have been priests but I cannot remember if they wore formal dress. My mother cried in the lobby; my father’s mouth was pulled in and he held his eyes wide, in that way that grown-ups do when they want to cry but cannot let tears be seen. There were two other girls for the test staying in the same hotel. I did not know them; they were from other villages where the devi could live. Their parents wept unashamedly. I could not understand it; their daughters might be goddesses.
On the street, rickshaw drivers and pedestrians hooted and waved at us with our red robes and third eyes on our foreheads. The devi, the devi look! Best of all fortune! The other girls held on tight to the men’s hands. I lifted my skirts and stepped into the car with the darkened windows.
They took us to the Hanumandhoka. Police and machines kept the people out of the Durbar Square. I remember staring long at the machines, with their legs like steel chickens’ and naked blades in their hands. The King’s Own fighting machines. Then I saw the temple and its great roofs sweeping up and up and up into the red sunset and I thought for one instant the upturned eaves were bleeding.
The room was long and dim and stuffily warm. Low evening light shone in dusty rays through cracks and slits in the carved wood; so bright it almost burned. Outside you could hear the traffic and the bustle of tourists. The walls seemed thin but at the same time kilometers thick. Durbar Square was a world away. The room smelled of brassy metal. I did not recognize it then but I know it now as the smell of blood. Beneath the blood was another smell, of time piled thick as dust. One of the two women who would be my guardians if I passed the test told me the temple was five hundred years old. She was a short, round woman with a face that always seemed to be smiling, but when you looked closely you saw it was not. She made us sit on the floor on red cushions while the men brought the rest of the girls. Some of them were crying already. When there were ten of us the two women left and the door was closed. We sat for a long time in the heat of the long room. Some of the girls fidgeted and chattered but I gave all my attention to the wall carvings and soon I was lost. It has always been easy for me to lose myself; in Shakya I could disappear for hours in the movement of clouds across the mountain, in the ripple of the grey river far below, and the flap of the prayer banner in the wind. My parents saw it as a sign of my inborn divinity, one of the thirty-two that mark those girls in whom the goddess may dwell.
In the failing light I read the story of Jayaprakash Malla playing dice with the devi Taleju Bhawani who came to him in the shape of a red snake and left with the vow that she would only return to the Kings of Kathmandu as a virgin girl of low caste, to spite their haughtiness. I could not read its end in the darkness, but I did not need to. I was its end, or one of the other nine low-caste girls in the god-house of the devi.
Then the doors burst open wide and firecrackers exploded and through the rattle and smoke red demons leaped into the hall. Behind them men in crimson beat pans and clappers and bells. At once two of the girls began to cry and the two women came and took them away. But I knew the monsters were just silly men. In masks. These were not even close to demons. I have seen demons, after the rain clouds when the light comes low down the valley and all the mountains leap up as one. Stone demons, kilometers high. I have heard their voices, and their breath does not smell like onions. The silly men danced close to me, shaking their red manes and red tongues, but I could see their eyes behind the painted holes and they were afraid of me.
Then the door banged open again with another crash of fireworks and more men came through the smoke. They carried baskets draped with red sheets. They set them in front of us and whipped away the coverings. Buffalo heads, so freshly struck off the blood was bright and glossy. Eyes rolled up, lolling tongues still warm, noses still wet. And the flies, swarming around the severed neck. A man pushed a basket towards me on my cushion as if it were a dish of holy food. The crashing and beating outside rose to a roar, so loud and metallic it hurt. The girl from my own Shakya village started to wail; the cry spread to another and then another, then a fourth. The other woman, the tall pinched one with a skin like an old purse, came in to take them out, carefully lifting her gown so as not to trail it in the blood. The dancers whirled around like flame and the kneeling man lifted the buffalo head from the basket. He held it up in my face, eye to eye, but all I thought was that it must weigh a lot; his muscles stood out like vines, his arm shook. The flies looked like black jewels. Then there was a clap from outside and the men set down the heads and covered them up with their cloths and they left with the silly demon men whirling and leaping around them.
There was one other girl left on her cushion now. I did not know her. She was of a Vajryana family from Niwar down the valley. We sat a long time, wanting to talk but not knowing if silence was part of the trial. Then the door opened a third time and two men
led a white goat into the devi hall. They brought it right between me and the Niwari girl. I saw its wicked, slotted eye roll. One held the goat’s tether, the other took a big ceremonial kukri from a leather sheath. He blessed it and with one fast strong stroke sent the goat’s head leaping from its body.
I almost laughed, for the goat looked so funny, its body not knowing where its head was, the head looking around for the body and then the body realizing that it had no head and going down with a kick, and why was the Niwari girl screaming, couldn’t she see how funny it was, or was she screaming because I saw the joke and she was jealous of that? Whatever her reason, smiling woman and weathered woman came and took her very gently away and the two men went down on their knees in the spreading blood and kissed the wooden floor. They lifted away the two parts of the goat. I wished they hadn’t done that. I would have liked someone with me in the big wooden hall. But I was on my own in the heat and the dark and then, over the traffic, I heard the deep-voiced bells of Kathmandu start to swing and ring. For the last time the doors opened and there were the women, in the light.
“Why have you left me all alone?” I cried. “What have I done wrong?”
“How could you do anything wrong, goddess?” said the old, wrinkled woman who, with her colleague, would become my mother and father and teacher and sister. “Now come along with us and hurry. The King is waiting.”
Smiling Kumarima and Tall Kumarima (as I would now have to think of them) took a hand each and led me, skipping, from the great looming Hanuman temple. A road of white silk had been laid from the foot of the temple steps to a wooden palace close by. The people had been let into the square and they pressed on either side of the processional way, held back by the police and the King’s robots. The machines held burning torches in their grasping hands. Fire glinted from their killing blades. There was great silence in the dark square.
“Your home, goddess,” said Smiling Kumarima, bending low to whisper in my ear. “Walk the silk, devi. Do not stray off it. I have your hand, you will be safe with me.”
I walked between my Kumarimas, humming a pop tune I had heard on the radio at the hotel. When I looked back I saw that I had left two lines of bloody footprints.
You have no caste, no village, no home. This palace is your home, and who would wish for any other? We have made it lovely for you, for you will only leave it six times a year. Everything you need is here within these walls.
You have no mother or father. How can a goddess have parents? Nor have you brothers and sisters. The King is your brother, the kingdom your sister. The priests who attend on you, they are nothing. We your Kumarimas are less than nothing. Dust, dirt, a tool. You may say anything and we must obey it.
As we have said, you will leave the palace only six times a year. You will be carried in a palanquin. Oh, it is a beautiful thing, carved wood and silk. Outside this palace you shall not touch the ground. The moment you touch the ground, you cease to be divine.
You will wear red, with your hair in a topknot and your toe- and fingernails painted. You will carry the red tilak of Siva on your forehead. We will help you with your preparations until they become second nature.
You will speak only within the confines of your palace, and little even then. Silence becomes the Kumari. You will not smile or show any emotion.
You will not bleed. Not a scrape, not a scratch. The power is in the blood and when the blood leaves, the devi leaves. On the day of your first blood, even one single drop, we will tell the priest and he will inform the King that the goddess has left. You will no longer be divine and you will leave this palace and return to your family. You will not bleed.
You have no name. You are Taleju, you are Kumari. You are the goddess.
These instructions my two Kumarimas whispered to me as we walked between kneeling priests to the King in his plumed crown of diamonds and emeralds and pearls. The King namasted and we sat side by side on lion thrones and the long hall throbbed to the bells and drums of Durbar Square. I remember thinking that a King must bow to me but there are rules even for goddesses.
Smiling Kumarima and Tall Kumarima. I draw Tall Kumarima in my memory first, for it is right to give pre-eminence to age. She was almost as tall as a Westerner and thin as a stick in a drought. At first I was scared of her. Then I heard her voice and could never be scared again; her voice was kind as a singing bird. When she spoke you felt you now knew everything. Tall Kumarima lived in a small apartment above a tourist shop on the edge of Durbar Square. From her window she could see my Kumari Ghar, among the stepped towers of the dhokas. Her husband had died of lung cancer from pollution and cheap Indian cigarettes. Her two tall sons were grown and married with children of their own, older than me. In that time she had mothered five Kumari Devis before me.
Next I remember Smiling Kumarima. She was short and round and had breathing problems for which she used inhalers, blue and brown. I would hear the snake hiss of them on days when Durbar Square was golden with smog. She lived out in the new suburbs up on the western hills, a long journey even by the royal car at her service. Her children were twelve, ten, nine, and seven. She was jolly and treated me like her fifth baby, the young favorite, but I felt even then that, like the demon-dancing-men, she was scared of me. Oh, it was the highest honor any woman could hope for, to be the mother of the goddess—so to speak—though you wouldn’t think it to hear her neighbors in the unit, shutting yourself away in that dreadful wooden box, and all the blood, medieval, medieval, but they couldn’t understand. Somebody had to keep the king safe against those who would turn us into another India, or worse, China; someone had to preserve the old ways of the divine kingdom. I understood early that difference between them. Smiling Kumarima was my mother out of duty. Tall Kumarima from love.
I never learned their true names. Their rhythms and cycles of shifts waxed and waned through the days and nights like the faces of the moon. Smiling Kumarima once found me looking up through the lattice of a jali screen at the fat moon on a rare night when the sky was clear and healthy and shouted me away, don’t be looking at that thing, it will call the blood out of you, little devi, and you will be the devi no more.
Within the wooden walls and iron rules of my Kumari Ghar, years become indistinguishable, indistinct. I think now I was five when I became Taleju Devi. The year, I believe, was 2034. But some memories break the surface, like flowers through snow.
Monsoon rain on the steep-sloped roofs, water rushing and gurgling through the gutters, and the shutter that every year blew loose and rattled in the wind. We had monsoons, then. Thunder demons in the mountains around the city, my room flash lit with lightning. Tall Kumarima came to see if I needed singing to sleep but I was not afraid. A goddess cannot fear a storm.
The day I went walking in the little garden, when Smiling Kumarima let out a cry and fell at my feet on the grass and the words to tell her to get up, not to worship me were on my lips when she held, between thumb and forefinger, twisting and writhing and trying to find a place for its mouth to seize: a green leech.
The morning Tall Kumarima came to tell me people had asked me to show myself. At first I had thought it wonderful that people would want to come and look at me on my little jharoka balcony in my clothes and paint and jewels. Now I found it tiresome; all those round eyes and gaping mouths. It was a week after my tenth birthday. I remember Tall Kumarima smiled but tried not to let me see. She took me to the jharoka to wave to the people in the court and I saw a hundred Chinese faces upturned to me, then the high, excited voices. I waited and waited but two tourists would not go away. They were an ordinary couple, dark local faces, country clothes.
“Why are they keeping us waiting?” I asked.
“Wave to them,” Tall Kumarima urged. “That is all they want.” The woman saw my lifted hand first. She went weak and grabbed her husband by the arm. The man bent to her, then looked up at me. I read many emotions on that face; shock, confusion, recognition, revulsion, wonder, hope. Fear. I waved and the man tu
gged at his wife, look, look up. I remember that against all the laws, I smiled. The woman burst into tears. The man made to call out but Tall Kumarima hastened me away.
“Who were those funny people?” I asked. “They were both wearing very white shoes.”
“Your mother and father,” Tall Kumarima said. As she led me down the Durga corridor with the usual order not to brush my free hand along the wooden walls for fear of splinters, I felt her grip tremble.
That night I dreamed the dream of my life, that is not a dream but one of my earliest experiences, knocking and knocking and knocking at the door of my remembering. This was a memory I would not admit in daylight, so it must come by night, to the secret door.
I am in the cage over a ravine. A river runs far below, milky with mud and silt, foaming cream over the boulders and slabs sheared from the mountainsides. The cable spans the river from my home to the summer grazing and I sit in the wire cage used to carry the goats across the river. At my back is the main road, always loud with trucks, the prayer banners and Kinley bottled water sign of my family’s roadside teahouse. My cage still sways from my uncle’s last kick. I see him, arms and legs wrapped around the wire, grinning his gap-toothed grin. His face is summer-burned brown, his hands cracked and stained from the trucks he services. Oil engrained in the creases. He wrinkles up his nose at me and unhooks a leg to kick my cage forward on its pulley-wheel. Pulley sways cable sways mountains, sky and river sway but I am safe in my little goat-cage. I have been kicked across this ravine many times. My uncle inches forward. Thus we cross the river, by kicks and inches.
I never see what strikes him—some thing of the brain perhaps, like the sickness Lowlanders get when they go up to the high country. But the next I look my uncle is clinging to the wire by his right arm and leg. His left arm and leg hang down, shaking like a cow with its throat cut, shaking the wire and my little cage. I am three years old and I think this is funny, a trick my uncle is doing just for me, so I shake back, bouncing my cage, bouncing my uncle up and down, up and down. Half his body will not obey him and he tries to move forward by sliding his leg along, like this, jerk his hand forward quick so he never loses grip of the wire, and all the while bouncing up and down, up and down. Now my uncle tries to shout but his words are noise and slobber because half his face is paralyzed. Now I see his fingers lose their grip on the wire. Now I see him spin round and his hooked leg come free. Now he falls away, half his body reaching, half his mouth screaming. I see him fall, I see him bounce from the rocks and cartwheel, a thing I have always wished I could do. I see him go into the river and the brown water swallow him.
The Year's Best Science Fiction: Twenty-Third Annual Collection Page 1