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AMUSE-BOUCHE: A pungent sourness builds at the back of your throat, slowly at first and then with a crescendo of intensity as you flip through the authorized news streams. A string of smiling state-approved anchors informs you that everything is fine, that things are finally looking up, that there is nothing to worry about for those who have done nothing wrong.
Now that you are dead, we will write you a love letter. It was Achmat’s idea. He worries that in our loneliness, the two of us will become like parallel mirrors, reflecting upon each other an eternity of grief. You were the strong one, he says. Our centroid, he calls you. I disagree. You made us strong. That is why we will write you a letter. Perhaps it will make us strong enough to bear your passing.
“Father? You’re staring at the stars again.”
“It is what I have instead of television.”
“What’s television?”
“Something from the old days. A magic box that told stories.”
Death takes much and in return it offers Susan P—- only clarity. She finds herself in a great gray desert and knows her life has ended. Clad in a royal dress, she carries a bow and quiver, and a finely-carved ivory horn dangles from her throat. A tremor of fear shakes her. She’s not possessed such things in many years. Has she returned to His world? But Susan doesn’t recognize this bleak land, this starless black sky.
Have you ever had an imaginary friend? Would you like to? Stowaways is a groundbreaking work of memetic art that, when originally premiered, raised an ethical controversy about the consensuality of artistic experience. In the 2060s researchers developed information-dense images that could deliver code to the biocomputational apparatus of the human mind, raising memetics out of the low-brow world of social media to the plane of high culture.
Marisol stared into the cave, breathing in the stomach-turning scent of decay that meant a dragon’s den was inside. I held my handkerchief over my nose and mouth so that I wouldn’t gag. “You’re sure this is the one?” “Definitely.” She scratched the stub of her left arm where it tucked into the metal hinge, just above where her elbow had once been.
The wide yawning sky. We stare at unfamiliar stars, seeking familiar patterns in their strange configurations. Here is a cup and there a bear. A queen reclined and all the fish in the endless seas. The universe is more boundless than we know. Maybe than we can know. We left everything behind for this, everything. We won’t return home—can’t return home.
When it begins to snow, it never stops. Perhaps not for you, but another iteration of you—a manifestation of your wild possibilities. I hope it’s not you, for my sake. When it begins to snow, the sky comes down in sharp, precise fragments, and you press your forehead against the window and think: don’t ever stop. And it doesn’t. I don’t want it to be you, because when it begins to snow, the world ends.
She sank to the ground on a world without name. We were far from home, farther than we had ever gone, maybe farther than anyone had ever gone. It was so far away, or at least so strange for some undefinable local cause, that we could have filled volumes with all the alterations in the way things worked; in the ways that light worked, in the way that time worked, in the way that mass worked. We spoke of bringing back word to the learned of my world and hers. We talked of making our names.
My baby sister didn’t used to be a scorpion, but she is one now. I don’t know if that sounds weird to you, but it doesn’t to me, because right after my sister was born, Abuelita turned into a white crane and flew away. She was so sad after we buried Abuelito, you know. One winter day, she stepped outside of the faded stucco church into bright sunshine, her Bible tucked under one arm. Maybe the touch of the sun was not enough to warm her after the shadows of the church.
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