She read and reread the clipping with the deepest satisfaction. It reminded her of her childhood, and in particular of the day she first learned the nature of grace.
She folded the clipping in half and in half and in half again until it was furled like Aunt Pittypat’s fan and sheathed it in an envelope that she addressed to Father Leggett, care of the Cathedral of St. John the Baptist in Savannah. Teaching a
headless
chicken to walk backward: that would be
real
evangelism. On a fresh sheet of the stationery her grandmother had given her two Christmases ago, she crossed out the ornate engraved “M” at the top and wrote in an even more ornate “F,” as if she were flunking herself with elegance. Beneath it she wrote:
Dear Father Leggett,
I saw this and thought of you.
Happy Easter,
Flannery (nee Mary) O’Connor
When Miss Ingrid’s successor brought him the letter, Father Leggett was sitting in his office, eating a spinach salad and reading the
Vegetarian News
. He was considered a good priest though an eccentric one, and no longer was invited to so many parishioners’ homes at mealtime. He glanced at the note, then at the clipping. The photo alone made him upset his glass of carrot juice. He threw clipping, note and envelope into the trash can, mopped up the spill with a napkin, fisted the damp cloth and took deep chest-expanding breaths until he felt calmer. He allowed himself a glance around the room, half-expecting the flutter of wings, the brush of the thing with feathers.
ANDY DUNCAN
For years I had known that one of my favorite fiction writers had a brief celebrity as a child when she taught a pet chicken to walk backward, a feat that was captured by newsreel cameras. After she achieved more lasting fame as an adult, she liked to joke that everything since the chicken had been downhill. (I
think
she was joking.) I knew I’d use this in a story one day, but the premise didn’t occur to me until Michael Bishop was putting together
A Cross of Centuries
, a fiction anthology about alternate Jesuses. Mike asked whether I had a Jesus story, and immediately into my head popped this author’s childhood chicken, which I hadn’t thought about in years, and with it came the realization that the chicken was, of course, Jesus Christ—in some sense. I therefore owe thanks to Mike for the existence of this story, though I didn’t finish it in time to make his book (which was published in 2007 by Thunder’s Mouth Press, and is excellent).
I also owe thanks to Penny Crall, a seminarian who mentioned Matthew 23:37 in passing one day during our book-discussion group at the Osborne Newman Center in Frostburg, Maryland, not realizing how badly I needed a poultry-related scripture at that point; to Gwenda Bond, Gavin Grant, Kelly Link, and Christopher Rowe, whose group reaction to my title on a Glasgow bridge gave me the courage to go on; to Jonathan Strahan, for selecting this as the first story in the first volume of his
Eclipse
series; to my wonderful audience at Capclave 2007, who first heard the finished version; to John Kessel, who taught me that the really serious stories are the funniest, and vice versa; and to my wife, Sydney, as always my first and best reader.
And now, too much information: What happens to the priest at the climax, in the chicken yard, happened to me as a child, on my last venture into my grandmother’s chicken yard in Batesburg, South Carolina. Writing that scene enabled me to relive the experience from the safe remove of thirty-five years, and as a result, I’m over it now, I think.
NEBULA AWARD, BEST NOVELLA
FOUNTAIN OF AGE
NANCY KRESS
N
ancy Kress is the author of twenty-six books: three fantasy novels, twelve SF novels, three thrillers, four collections of short stories, one YA novel, and three books on writing fiction. She is perhaps best known for the Sleepless trilogy that began with
Beggars in Spain.
The novel was based on a Nebula- and Hugo-winning novella of the same name; the series then continued with
Beggars and Choosers
and
Beggars Ride.
The trilogy explores questions of genetic engineering, social structure, and what society’s “haves” owe its “have-nots.” In 2008 three new Kress books appeared: a collection of short stories,
Nano Comes to Clifford Falls and Other Stories
(Golden Gryphon Press), and two novels,
Steal Across the Sky
(Tor) and
Dogs
(Tachyon).
Kress’s short fiction has won four Nebulas and a Hugo, and her novel
Probability Space
won the 2003 John W. Campbell Memorial Award. Her work has been translated into twenty languages. She lives in Rochester, New York, with the world’s most spoiled toy poodle.
I
had her in a ring. In those days, you carried around pieces of a person. Not like today.
A strand of hair, a drop of blood, a lipsticked kiss on paper—those things were
real
. You could put them in a locket or pocket case or ring, you could carry them around, you could 062-39333_ch01_4P.indd 347 ½3/09 1:19:44 AM fondle them. None of this hologram stuff. Who can treasure laser shadows? Or the nanotech “re-creations”—even worse. Fah. Did the Master of the Universe “re-create” the world after it got banged up a little? Never. He made do with the original, like a sensible person.
So I had her in a ring. And I had the ring for forty-two years before it was eaten by the modern world. Literally eaten, so tell me where is the justice in that?
And oh, she was so beautiful! Not genemod misshapen like these modern girls, with their waists so skinny and their behinds huge and those repulsive breasts. No, she was natural, a real woman, a goddess. Black hair wild as stormy water, olive skin, green eyes. I remember the exact shade of green. Not grass, not emerald, not moss. Her own shade. I remember. I—
“Grampops?”
—met her while I was on shore leave on Cyprus. The Mid-East war had just ended, one of the wars, who can keep them all straight? I met Daria in a
taverna
and we had a week together. Nobody will ever know what glory that week was. She was a nice girl, too, even if she was a . . . People do what they must to survive. Nobody knows that better than me. Daria—
“Grampops!”
—gave me a lock of hair and a kiss pressed on paper. Back then I kept them in a cheap plastolux bubble, all I could afford, but later I had the hair and tiny folded paper set into a ring. Much later, when I had money and Miriam had died and—
“Dad!”
And that’s how it started up again. With my son, my grand-children. Life just never knows when enough is enough.
“Dad, the kids spoke to you. Twice.”
“So this creates an obligation for me to answer?”
My son Geoffrey sighs. The boys—six and eight, what business does a fifty-five-year-old man have with such young kids, but Gloria is his second wife—have vanished into the hall. They come, they go. We sit on a Sunday afternoon in my room—a nice room, it should be for what I pay—in the Silver Star Retirement Home. Every Sunday Geoff comes, we sit, we stare at each other. Sometimes Gloria comes, sometimes the boys, sometimes not. The whole thing is a strain.
Then the kids burst back through the doorway, and this time something follows them in.
“Reuven, what the shit is
that
?”
Geoffrey says, irritated, “Don’t curse in front of the children, and—”
“ ‘Shit’ is cursing? Since when?”
“—and it’s ‘Bobby,’ not ‘Reuven.’ ”
“It’s ‘zaydeh,’ not ‘Grampops,’ and I could show you what cursing is. Get that thing away from me!”
“Isn’t it
astronomical
?” Reuven says. “I just got it!”
The thing is trying to climb onto my lap. It’s not like their last pet, the pink cat that could jump to the ceiling. Kangaroo genes in it, such foolishness. This one isn’t even real, it’s a ’bot of some kind, like those retro metal dogs the Japanese were so fascinated with seventy years ago. Only this one just sort of
suggests
a dog, with sleek silver lines that sometimes seem to disappear.
“It’s got stealth coating!” Eric shouts. “You can’t see it!”
I can see it, but only in flashes when the light hits the right way. The thing leaps onto my lap and I flap my arms at it and try to push it off, except that by then it’s not there. Maybe.
Reuven yells, like this is an explanation, “It’s got microprocessors!”
Geoff says in his stiff way, “The ’bot takes digital images of whatever is behind it and continuously transmits them in holo to the front, so that at any distance greater than—”
“
This
is what you spend my money on?”
He says stiffly, “
My
money now. Some of it, anyway.”
“Not because you earned it, boychik.”
Geoffrey’s thin lips go thinner. He hates it when I remind him who made the money. I hate it when he forgets.
“Dad, why do you have to talk like that? All that affected folksy stuff—you never talked it when I was growing up, and it’s hardly your actual background, is it? So why?”
For Geoffrey, this is a daring attack. I could tell him the reason, but he wouldn’t like it, wouldn’t understand. Not how this “folksy” speech started, or why, or what use it was to me. Not even how a habit can settle in after it’s no use, and you cling to it because otherwise you might lose who you were, even if who you were wasn’t so great. How could Geoff understand a thing like that? He’s only fifty-five.
Suddenly Eric shouts, “Rex is gone!” Both boys barrel out the door of my room. I see Mrs. Petrillo inching down the hall beside her robo-walker. She shrieks as they run past her, but at least they don’t knock her over.
“Go after them, Geoff, before somebody gets hurt!”
“They won’t hurt anybody, and neither will Rex.”
“And you know this
how
? A building full of old people, tottering around like cranes on extra stilts, and you think—”
“Calm down, Dad, Rex has built-in object avoidance and—”
“You’re telling me about software?
Me
, boychik?”
Now he’s really mad. I know because he goes quiet and stiff. Stiffer, if that’s possible. The man is a carbon-fiber rod.
“It’s not like you actually developed any software, Dad. You only stole it. It was I who took the company legitimate and furthermore—”
But that’s when I notice that my ring is gone.
Daria was Persian, not Greek or Turkish or Arab. If you think that made it any easier for me to look for her, you’re crazy. I went back after my last tour of duty ended and I searched, how I searched. Nobody in Cyprus knew her, had ever seen her, would admit she existed. No records: “destroyed in the war.”
Our last morning we’d gone down to a rocky little beach. We’d left Nicosia the day after we met to go to this tiny coastal town that the war hadn’t ruined too much. On the beach we made love with the smooth pebbles pocking our tushes, first hers and then mine. Daria cut a lock of her wild hair and pressed a kiss onto paper. Little pink wildflowers grew in the scrub grass. We both cried. I swore I’d come back.
And I did, but I couldn’t find her. One more prostitute on Cyprus—who tracked such people? Eventually I had to give up. I went back to Brooklyn, put the hair and kiss—such red lipstick, today they all wear gold, they look like flaking lamps—in the plastolux. Later, I hid the bubble with my Army uniform, where Miriam couldn’t find it. Poor Miriam—by her own lights, she was a good wife, a good mother. It’s not her fault she wasn’t Daria. Nobody was Daria.
Until now, of course, when hundreds of people are, or at least partly her. Hundreds? Probably thousands. Anybody who can afford it.
“My ring! My ring is gone!”
“Your ring?”
“My ring!” Surely even Geoffrey has noticed that I’ve worn a ring day and night for the last forty-two years?
He noticed. “It must have fallen off when you were flapping your arms at Rex.”
This makes sense. I’m skinnier now, arms like coat hangers, and the ring is—was—loose. I feel around on my chair: nothing. Slowly I lower myself to the floor to search.
“Careful, Dad!” Geoffrey says and there’s something bad in his voice. I peer up at him, and I know. I just
know
.
“It’s that . . . that
dybbuk
! That ’bot!”
He says, “It vacuums up small objects. But don’t worry, it keeps them in an internal depository. . . . Dad, what is that ring? Why is it so important?”
Now his voice is suspicious. Forty-two years it takes for him to become suspicious, a good show of why he could never have succeeded in my business. But I knew that when he was seven. And why should I care now? I’m a very old man, I can do what I want.
I say, “Help me up . . . no, not like that, you want me to tear something? The ring is mine, is all. I want it back.
Now
, Geoffrey.”