by Rich Horton
Your eyes narrowed; the smile changed. “This is not the time to discuss things. We have to go! This is illegal. We have to get in and go now.”
We don’t fight, ever, do we, Graça? Doesn’t that strike you as bizarre? Two people who have been trapped together on the twenty-fourth floor all of their lives and yet they never fight. Do you not know how that happens, Graçfushka? It happens because I always go along with you.
I just couldn’t see spending four years in a cramped little pod with you. Then spending a lifetime on some barren waste watching you organizing volleyball tournaments or charity lunches in outer space. I’m sorry.
I knew if I stayed you’d somehow wheedle me onto that ship through those doors; and I’d spend the next two hours, even as I went up the gantry, even as I was sandwiched in cloth, promising myself that at the next opportunity I’d run.
I pushed my bag at you. When you wouldn’t take it, I dropped it at your feet. I bet you took it with you, if only for the cupaçu.
You clutched at my wrists, and you tried to pull me back. You’d kept your turquoise bracelet and it looked like all the things about you I’d never see again. You were getting angry now. “You spent a half trillion reais on all the surgeries and and and and Rhodopsin . . . and and and the germ cells, Cris! Think of what that means for your children here on Earth, they’ll be freaks!” You started to cry. “You’re just afraid. You’re always so afraid.”
I pulled away and ran.
“I won’t go either,” you wailed after me. “I’m not going if you don’t.”
“Do what you have to,” I shouted over my shoulder. I found a door and pushed it and jumped down steps into the April heat of Nigeria. I sat on a low stucco border under the palm trees in the shade, my heart still pumping; and the most curious thing happened. I started to chuckle.
I remember at seventeen, I finally left the apartment on my own without you, and walked along the street into a restaurant. I had no idea how to get food. Could I just take a seat? How would I know what they were cooking?
Then like the tide, an AI flowed in and out of me and I felt zie/me pluck someone nearby, and a waitress came smiling, and ushered me to a seat. She would carry the tray. I turned the AI off because, dear Lord, I have to be able to order food by myself. So I asked the waitress what was on offer. She rolled her eyes back for just a moment, and she started to recite. The AI had to tell her. I couldn’t remember what she’d said, and so I asked her to repeat. I thought: this is no good.
The base of the rocket sprouted what looked like giant cauliflowers and it inched its way skyward. For a moment I thought it would have to fall. But it kept on going.
Somewhere three months out, it will start the engines, which drive the ship by making new universes, something so complicated human beings cannot do it. The AI will make holograms so you won’t feel enclosed. You’ll sit in Pamukkale, Turkiye. Light won’t get through the Fabric so you’ll never look out on Jupiter. The main AI will have some cute, international name. You can finish your dissertation on Libro del cortegiano—you’ll be able to read every translation—zey carry all the world’s knowledge. You’ll walk through Urbino. The AI will viva your PhD. Zey’ll be there in your head watching when you stand on the alien rock. It will be zir flag you’ll be planting. Instead of Brasil’s.
I watched you dwindle into a spark of light that flared and turned into a star of ice-dust in the sky. I latched Emilda and asked her if I could stay with her, and after a stumble of shock, she said of course. I got the same taxi back. The rooftops were crowded with people looking up at the sky.
But here’s the real joke. I latched our bank for more money. Remember, we left a trillion behind in case the launch was once again canceled?
All our money had been taken. Every last screaming centavo. Remember what I said about fraud?
So.
Are you sure that spaceship you’re on is real?
The Long Goodnight of Violet Wild
Catherynne M. Valente
1: Violet
I don’t know what stories are anymore so I don’t know how to tell you about the adventures of Woe-Be-Gone Nowgirl Violet Wild. In the Red Country, a story is a lot of words, one after the other, with conflict and resolution and a beginning, middle, and, most of the time, an end. But in the Blue Country, a story is a kind of dinosaur. You see how it gets confusing. I don’t know whether to begin by saying: Once upon a time a girl named Violet Wild rode a purple mammoth bareback through all the seven countries of world just to find a red dress that fit or by shooting you right in that sweet spot between your reptilian skull-plates. It’s a big decision. One false move and I’m breakfast.
I expect Red Rules are safer. They usually are. Here we go then! Rifle to the shoulder, adjust the crosshairs, stare down the barrel, don’t dare breathe, don’t move a muscle and—
Violet Wild is me. Just a kid with hair the color of raisins and eyes the color of grape jelly, living the life glasstastic in a four-bedroom wine bottle on the east end of Plum Pudding, the only electrified city in the Country of Purple. Bottle architecture was hotter than fried gold back then—and when the sunset slung itself against all those bright glass doors the bluffs just turned into a glitterbomb firework and everyone went staggering home with lavender light stuck to their coats. I got myself born like everybody else in P-Town: Mummery wrote a perfect sentence, so perfect and beautiful and fabulously punctuated that when she finished it, there was a baby floating in the ink pot and that was that. You have to be careful what you write in Plum Pudding. An accidentally glorious grocery list could net you twins. For this reason, the most famous novel in the Country of Purple begins: It is a truth universally acknowledged, umbrella grouchy eggs. I guess the author had too much to worry about already.
That was about the last perfect thing anybody did concerning myself. Oh, it was a fabulously punctuated life I had—Mums was a Clarinaut, Papo was a Nowboy, and you never saw a house more like a toybox than the bottle at 15 Portwine Place, chock full of gadgets and nonsense from parts unknown, art that came down off the walls for breakfast, visits from the Ordinary Emperor, and on some precious nights, gorgeous people in lavender suits and sweet potato ice cream gowns giggling through mouthfuls of mulberry schnapps over how much tastier were Orange Country cocktails and how much more belligerent were Green Country cockatiels. We had piles of carousel horse steaks and mugs of foamy creme de violette on our wide glass table every night. Trouble was, Mums was a Clarinaut and Papa was a Nowboy, so I mostly ate and drank it on my lonesome, or with the Sacred Sparrowbone Mask of the Incarnadine Fisherwomen and the watercolor unicorns from Still Life with Banana Tree, Unicorns, and Murdered Tuba, who came down off the living room wall some mornings in hopes of coffee and cereal with marshmallows. Mummery brought them back from her expeditions, landing her crystal clarinet, the good ship Eggplant, in the garden in a shower of prismy bubbles, her long arms full of poison darts, portraiture, explosives that look exactly like tea kettles and lollipops that look exactly like explosives. And then she’d take off again, with a sort of confused-confounded glance down at me, as though every time she came home, it was a shock to remember that I’d ever been born.
“You could ask to go with her, you know,” said the Sacred Sparrowbone Mask of the Incarnadine Fisherwomen once, tipping the spiral-swirl of her carved mouth toward a bowl of bruise-black coffee, careful to keep its scruff of bloodgull feathers combed back and out of the way.
“We agree,” piped up the watercolor unicorns, nosing at a pillowcase I’d filled with marshmallow cereal for them. “You could be her First Mate, see the crass and colorful world by clarinet. It’s romantic.”
“You think everything’s romantic,” I sighed. Watercolor unicorns have hearts like soap operas that never end, and when they gallop it looks like crying. “But it wouldn’t be. It would be like traveling with a snowman who keeps looking at you like you’re a lit torch.”
So I guess it’s no surprise I went out to the herds with Papo as soon a
s I could. I could ride a pony by the time I got a handle on finger painting—great jeweled beasts escaped from some primeval carousel beyond the walls of time. There’s a horn stuck all the way through them, bone or antler or both, and they leap across the Past Perfect Plains on it like a sharp white foot, leaving holes in the earth like ellipses. They’re vicious and wily and they bite like it’s their one passion in life, but they’re the only horses strong and fast enough to ride down the present just as it’s becoming the future and lasso it down. And in the Country of Purple, the minutes and hours of present-future-happening look an awful lot like overgrown pregnant six-legged mauve squirrels. They’re pregnant all the time, but they never give birth, on account of how they’re pregnant with tomorrow and a year from now and alternate universes where everyone is half-bat. When a squirrel comes to term, she just winks out like a squashed cigarette. That’s the Nowboy life. Saddle up with the sun and bring in tomorrow’s herd—or next week’s or next decade’s. If we didn’t, those nasty little rodents would run wild all over the place. Plays would close three years before they open, Wednesdays would go on strike, and a century of Halloweens would happen all at once during one poor bedraggled lunch break. It’s hard, dusty work, but Papo always says if you don’t ride the present like the devil it’ll get right away from you because it’s a feral little creature with a terrible personality and no natural predators.
So that’s who I was before the six-legged squirrels of the present turned around and spat in my face. I was called Violet and I lived in a purple world and I had ardors for my Papo, my magenta pony Stopwatch even though he bit me several times and once semi-fatally, a bone mask, and a watercolor painting. But I only loved a boy named Orchid Harm, who I haven’t mentioned yet because when everything ever is about one thing, sometimes it’s hard to name it. But let’s be plain: I don’t know what love is anymore, either. In the Red Country, when you say you love someone, it means you need them. You desire them. You look after them and yearn achingly for them when they’re away down at the shops. But in the Country of Purple, when you say you love someone, it means you killed them. For a long time, that’s what I thought it meant everywhere.
I only ever had one friend who was a person. His name was Orchid Harm. He could read faster than anyone I ever met and he kissed as fast as reading. He had hair the color of beetroot and eyes the color of mangosteen and he was a Sunslinger like his Papo before him. They caught sunshine in buckets all over Plum Pudding, mixed it with sugar and lorikeet eggs and fermented it into something not even a little bit legal. Orchid had nothing to do all day while the sun dripped down into his stills. He used to strap on a wash-basket full of books and shimmy up onto the roof of the opera house, which is actually a giantess’s skull with moss and tourmalines living all over it, scoot down into the curve of the left eye socket, and read seven books before twilight. No more, no less. He liked anything that came in sevens. I only came in ones, but he liked me anyway.
We met when his parents came to our bottle all covered in glitter and the smell of excitingly dodgy money to drink Mummery’s schnapps and listen to Papo’s Nowboy songs played on a real zanfona box with a squirrel-leg handle. It was a marquee night in Mummery’s career—the Ordinary Emperor had promised to come, he who tells all our lives which way to run. Everyone kept peering at brandy snifters, tea kettles, fire pokers, bracelets, books on our high glass shelves. When—and where—would the Little Man make his entrance? Oh, Mauve, do you remember, when he came to our to-do, he was my wife’s left-hand glove, the one she’d lost in the chaise cushions months ago!
And then a jar of dried pasta grew a face and said: “What a pleasure it is to see so many of my most illustrious subject gathered all together in this fine home,” but I didn’t care because I was seven.
You see, the Ordinary Emperor can be anything he likes, as long as it’s nothing you’d expect an Emperor to ever want to be. At any moment, anything you own could turn into the Emperor and he’d know everything you’d ever done with it—every mirror you’d ever hung and then cried in because you hated your own face, or candle you ever lit because you were up late doing something dastard, or worse, or better. It’s unsettling and that’s a fact.
Orchid was only little and so was I. While Mums cooed over the Emperor of Dried Pasta, I sat with my knees up by the hearth, feeding escargot to one of the watercolor unicorns. They can’t get enough of escargot, even though it gives them horrible runny creamsicle-shits. This is the first thing Orchid ever said to me:
“I like your unicorn. Pink and green feel good on my eyes. I think I know who painted it but I don’t want you to think I’m a know-it-all so I won’t say even though I really want to say because I read a whole book about her and knowing things is nicer when somebody else knows you know them.”
“I call her Jellyfish even though that’s not her name. You can pet her but you have to let her smell your hand first. You can say who painted it if you want. Mums told me when she brought it home from Yellow Country, but I forgot.” I didn’t forget. I never got the hang of forgetting things the way other people do.
Orchid let Jellyfish snuffle his palm with her runny rosy nose.
“Do you have snails?” the watercolor unicorn asked. “They’re very romantic.”
Orchid didn’t, but he had a glass of blackberry champagne because his parents let him drink what they drank and eat what they ate and read what they read and do what they did, which I thought was the best thing I had ever heard. Jellyfish slurped it up.
“A lady named Ochreous Wince painted me and the tuba and the banana tree and all my brothers and sisters about a hundred years ago, if you want to know. She was a drunk and she had a lot of dogs,” Jellyfish sniffed when she was done, and jumped back up into her frame in a puff of rosewater smoke.
“Show me someplace that your parents don’t know about,” said Orchid. I took him to my room and made him crawl under my bed. It was stuffy and close down there, and I’m not very tidy. Orchid waited. He was good at waiting. I rolled over and pointed to the underside of my bed. On one of the slats I’d painted a single stripe of gold paint.
“Where?” he breathed. He put his hand on it. I put my hand on his.
“I stole it from Mummery’s ship when she was busy being given the key to the city.”
“She already lives here.”
“I know.”
After that, Orchid started going out with Papo and me sometimes, out beyond the city walls and onto the dry, flat Past Perfect Plains where the thousand squirrels that are every future and present and past scrabbled and screamed and thrashed their fluffy tails in the air. I shouldn’t have let him, but knowing things is nicer when somebody else knows you know them. By the time the worst thing in the world happened, Orchid Harm could play Bury Me on the Prairie with a Squirrel in my Fist on the zanfona box as well as Papo or me. He helped a blackberry-colored mare named Early-to-Tea get born and she followed him around like a lovesick tiger, biting his shoulders and hopping in circles until he gave up and learned to ride her.
I don’t want to say this part. I wish this were the kind of story that’s a blue dinosaur munching up blueberries with a brain in its head and a brain in its tail so it never forgets how big it is. But I have to or the rest of it won’t make sense. Okay, calm down, I’m doing it. Rifle up.
The day of the worst thing in the world was long and hot and bright, packed so full of summer autumn seeped out through the stitches. We’d ridden out further than usual—the ponies ran like they had thorns in their bellies and the stupid squirrels kept going at each other like mad, whacking their purple heads together and tail-wrestling and spitting paradoxes through clenched teeth. I wanted to give them some real space, something fresh to graze on. Maybe if they ate enough they’d just lay down in the heat and hold their little bellies in their paws and concentrate on breathing like any sane animal. Papo stayed behind to see to a doe mewling and foaming at the mouth, trying to pass a chronology stone. She kept coughing up chun
ks of the Ordinary Emperor’s profligate youth, his wartime speeches and night terrors echoing out of her rodent-mouth across the prairie.
We rode so far, Orchid and me, bouncing across the cracked purple desert on Stopwatch and Early-to-Tea, that we couldn’t even see the lights of Plum Pudding anymore, couldn’t see anything but the plains spreading out like an inkstain. That far into the wilds, the world wasn’t really purple anymore. It turned to indigo, the dark, windy borderlands where the desert looks like an ocean and the twisted-up trees are the color of lightning. And then, just when I was about to tell Orchid how much I liked the shadow of his cheekbones by indigo light, the Blue Country happened, right in front of us. That’s the only way I can say it where it seems right to me. I’d never seen a border before. Somehow I always thought there would be a wall, or guards with spears and pom-poms on their shoes, or at least a sign. But it was just a line in the land, and on this side everything was purple and on that side everything was blue. The earth was still thirsty and spidered up with fine cracks like a soft boiled egg just before you stick your spoon in, but instead of the deep indigo night-steppe or the bright purple pampas, long aquamarine salt flats stretched out before us, speckled with blueberry brambles and sapphire tumbleweeds and skittering blue crabs. The Blue Country smelled like hot corn and cold snow. All the mauve time-squirrels skidded up short, sniffing the blue-indigo line suspiciously.
We let Stopwatch and Early-to-Tea bounce off after the crabs. The carousel ponies roared joyfully and hopped to it, skewering the cerulean crustacean shells with their bone poles, each gnawing the meat and claws off the other’s spike. The sun caromed off the gems on their rump. Orchid and I just watched the blue.
“Didn’t you ever want to see this, Violet? Go to all other places that exist in the universe, like your Mummery?” he said at last. “Didn’t you ever watch her clarinet take off and feel like you’d die if you didn’t see what she saw? I feel like I’ll die if I don’t see something new. Something better than sunshine in a bucket.”