The Best Science Fiction and Fantasy of the Year-Volume Three (78 page)

Each execution is done individually. She walks across the entire field in a hood. The walk takes a long time 'cause of the shackles. I can think of no reasonable explanation for the hood, beyond suspense. It is very effective. The beginning of the walk is a good time to take a bathroom break or get a snack, that's how long it takes. No one wants to be away from his seat when the criminal gets close to the red circle at the center of the field. The closer she gets to the circle (led by one of the Junior Agents, or, as is the case tonight, by one of the children from the town's various civic programs) the more quiet it gets until eventually the only noise is the sound of chains. I've heard this on screen a million times but then there is neighborhood noise going on, cars, maybe someone talking on a cell, dogs barking, that sort of thing, but when the event is live there's no sound other than maybe a cough or a baby crying. I have to tell you all those people in the same space being quiet, the only sound the chains rattling around the criminal's ankles and wrists, well it's way more powerful than how it seems on screen. She always stands for a few seconds in the center of the circle but she rarely stands still. Once placed in position, hands and feet shackled, she displays her fear by wavering, or the shoulders go up, sometimes she is shaking so bad you can see it even if you're not looking on screen.

The child escort walks away to polite applause and the Executioner comes to position. He unties the hood, pauses for dramatic effect (and it is dramatic!) then plucks the hood off, which almost always causes some of her hair to stand out from her head, as though she's been electrocuted, or taken off a knit cap on a snowy day, and at that moment we turn to the screen to get a closer look. I never get bored of it. The horror on their faces, the dripping nostrils, the spit bubbling from lips, the eyes wet with tears, wide with terror. Occasionally there is a stoic one, but there aren't many of these, and when there is, it's easy enough to look away from the screen and focus on the big picture. What had she been thinking? How could she murder someone so tiny, so innocent and not know she'd have to pay? When I think of what the time from before was like I shudder and thank God for being born in the Holy times. In spite of my mother, I am blessed. I know this, even though I sometimes forget. Right there, in the football field bleachers I fold my hands and bow my head. When I am finished my father is giving me a strange look. "If this is too upsetting we can leave," he says. He constantly makes mistakes like this. Sometimes I just ignore him, but this time I try to explain. "I just realized how lucky I am." I can't think of what else to say, how to make him understand so I simply smile. Right then the stoic woman is shot. When I look I see the gaping maul that was her head, right where that evil thought was first conceived to destroy the innocent life that grew inside her. Now she is neither stoic nor alive. She lies in a heap, twitching for a while, but those are just nerves.

It's getting late. Some people use this time to usher their young children home. When we came, all those years ago, my mom letting me play with her gold chain while I sat in her lap, we were one of the first to leave, though I was not the youngest child in attendance. My mother was always strict that way. "Time for bed," she said cheerfully, first to me, and then by way of explanation, pressing my head tight against her shoulder, trying to make me look tired, pressing so hard that I started crying, which, I now realize, served her purpose.

My father says he has to use the bathroom. There is a pocket of space around me when he leaves. My father is gone a long time. This is unusual for the men's bathroom and I must admit I get a little worried about him, especially as the woman approaches the target circle but right when I am starting to think he's going to be too late, he comes, his head bent low so as not to obstruct the view. He sits beside me at what is the last possible second. He shrugs and looks like he's about to say something. Horrified, I turn away. It would be just like him to talk at a time like this.

The girl (from the Young and Beautiful club) dressed all in white with a flower wreathe on her head (and a locks of hair locket glimmering on her chest) walks away from the woman. The tenor of applause grows louder as the Executioner approaches. We are trying to show how much we've appreciated his work tonight. The Executioners are never named. They travel in some kind of secret rotation so no one can ever figure it out, but over time they get reputations. They wear masks, of course, or they would always be hounded for autographs, but are recognized, when they are working, by the insignia on their uniforms. This one is known as Red Dragon for the elaborate dragon on his chest. The applause can be registered on the criminal who shakes like jello. She shakes so much that it is not unreasonable to wonder if she will be one of the fainters. I hate the fainters. They mess with the dramatic arc, all that build up of the long walk, the rattling chains, the Executioner's arrival, only to have the woman fall in a large heap on the ground. Sometimes it takes forever to revive her, and some effort to get her to stand, at which point the execution is anticlimactic.

The Executioner, perhaps sensing this very scenario, says something to jello woman that none of us can hear but she suddenly goes still. There is scattered applause for Red Dragon's skill. He turns towards the audience, and, though he wears his mask, there is something in his demeanor which hushes the crowd. We are watching a master at work. Next, he steps in front of the woman, reaches with both hands around her neck, creating the effect of a man about to give a kiss. We are all as still as if we are waiting for that kiss. With one gesture, he unties the string, and in the same breath reaches up and pulls off the hood. We gasp.

Mrs. Offeren's face fills the screen. Someone screams. I think it is Jenna. I am torn between looking for her in the crowd, and keeping my attention on her mother, whose head turns at the sound so there is only a view of her giant ear but the Executioner says something sharp and she snaps her head back to attention. The screen betrays that her eyes peer past the Executioner, first narrow then wide, and her lips part at the moment she realizes she is home. Her eyes just keep moving after that, searching the crowd, looking for Jenna, I figure, until suddenly, how can it be suddenly when it happens like this every time, but it is suddenly, her head jerks back with the firecracker sound of the shot, she falls from the screen. She lies on the ground, twitching, the red puddle blossoming around her head. Jenna screams and screams. It is my impression that no one does anything to stop her. Nor does anyone use this break to go to the snack shop, or the bathroom, or home. I don't know when my father's hand has reached across the space between us but at some point I realize it rests, gently, on my thigh, when I look at him, he squeezes, lightly, almost like a woman would, as though there is no strength left inside him. They quickly cut some of Mrs. Offeren's hair before it gets too bloody, and bag it, lift her up, clumsily, so that at first her arm and then her head falls towards the ground (the assistants are tired by this time of night), load her into the cart. We listen to the sound of the wheels that need to be oiled and the faint rattle of chains as the cart lumbers across the field. Jenna weeps audibly. The center of the red circle is coated in blood. I pretend it is a Rorschach and decide it looks exactly like a pterodactyl. The cleaning crew comes and hoses it down. That's when people start moving about, talk, rush to the bathroom, take sleeping children home, but it goes mostly silent again when the Offeren family stands up. The seven of them sidle down the bleacher and walk along the side of the field.

I watch the back of Jenna's head, her blonde curls under the lights, almost golden like a halo, though no one, not even the most forgiving person is ever going to mistake Jenna for someone holy. Her mother was a murderer, after all. Yet I realize she'll soon replace that stupid fake locket with a real one while I have nothing. She might even get to marry a police or a trash collector, even a teacher, while the best I can hope for is a position at one of the orphanages. My dad's idea that I might be a breeder someday seems highly optimistic.

"Let's go," I say.

"Are you sure? Maybe the next one . . . " but he doesn't even finish the thought. He must see something in my face that tells him I am done with childish fantasies.

She's never coming back. Whatever selfish streak caused her, all those years ago, to kill one child is the same selfish streak that allows her to abandon me now.

We walk down the bleachers. Everyone turns away from us, holding their little kids close. My father walks in front of me, with his head down, his hands in his pockets. By the time we get to the car in the parking lot we can hear the polite applause from the football field as another woman enters the circle. He opens his door. I open mine. We drive home in silence. I crane my neck to try to look up at the sky as if I expect to find something there, God maybe, or the living incarnation of the blood pterodactyl but of course I see neither. There is nothing. I close my eyes and think of my mother. Oh, how I miss her.

Michael Swanwick's first two short stories were published in 1980, and both featured on the Nebula ballot that year. One of the major writers working in the field today, he has been nominated for at least one of the field's major awards in almost every successive year, and has won the Hugo, Nebula, World Fantasy, Theodore Sturgeon Memorial, and Locus awards. He has published six collections of short fiction, seven novels—
In the Drift
,
Vacuum Flowers
,
Stations of the Tide
,
The Iron Dragon's Daughter
,
Jack Faust
,
Bones of the Earth
, and
The Dragons of Babel—
and a Hugo Award-nominated book-length interview with editor Gardner Dozois. In recent years Swanwick has also established himself as the modern master of the short-short story, publishing several hundred short-shorts, most notably the "Periodic Table of Science Fiction" and "The Sleep of Reason." His most recent book is major career retrospective collection,
The Best of Michael Swanwick
.

Imagine a cross between Byzantium and a termite mound. Imagine a jeweled mountain, slender as an icicle, rising out of the steam jungles and disappearing into the dazzling pearl-grey skies of Gehenna. Imagine that Gaudi—he of the Segrada Familia and other biomorphic architectural whimsies—had been commissioned by a nightmare race of giant black millipedes to re-create Barcelona at the height of its glory, along with touches of the Forbidden City in the eighteenth century and Tokyo in the twenty-second, all within a single miles-high structure. Hold every bit of that in your mind at once, multiply by a thousand, and you've got only the faintest ghost of a notion of the splendor that was Babel.

Now imagine being inside Babel when it fell.

Hello. I'm Rosamund. I'm dead. I was present in human form when it happened and as a simulation chaotically embedded within a liquid crystal data-matrix then and thereafter up to the present moment. I was killed instantly when the meteors hit. I saw it all.

Rosamund means "rose of the world." It's the third most popular female name on Europa, after Gaea and Virginia Dare. For all our elaborate sophistication, we wear our hearts on our sleeves, we Europans.

Here's what it was like:

"Wake up! Wake up! Wake up!"

"Wha—?" Carlos Quivera sat up, shedding rubble. He coughed, choked, shook his head. He couldn't seem to think clearly. An instant ago he'd been standing in the chilled and pressurized embassy suite, conferring with Arsenio. Now . . . "How long have I been asleep?"

"Unconscious. Ten hours," his suit (that's me—Rosamund!) said. It had taken that long to heal his burns. Now it was shooting wake-up drugs into him: amphetamines, endorphins, attention enhancers, a witch's brew of chemicals. Physically dangerous, but in this situation, whatever it might be, Quivera would survive by intelligence or not at all. "I was able to form myself around you before the walls ruptured. You were lucky."

"The others? Did the others survive?"

"Their suits couldn't reach them in time."

"Did Rosamund . . . ?"

"All the others are dead."

Quivera stood.

Even in the aftermath of disaster, Babel was an imposing structure. Ripped open and exposed to the outside air, a thousand rooms spilled over one another toward the ground. Bridges and buttresses jutted into gaping smoke-filled canyons created by the slow collapse of hexagonal support beams (this was new data; I filed it under
Architecture
, subheading:
Support Systems
with links to
Esthetics
and
Xenopsychology
) in a jumbled geometry that would have terrified Piranesi himself. Everywhere, gleaming black millies scurried over the rubble.

Quivera stood.

In the canted space about him, bits and pieces of the embassy rooms were identifiable: a segment of wood molding, some velvet drapery now littered with chunks of marble, shreds of wallpaper (after a design by William Morris) now curling and browning in the heat. Human interior design was like nothing native to Gehenna and it had taken a great deal of labor and resources to make the embassy so pleasant for human habitation. The queen-mothers had been generous with everything but their trust.

Quivera stood.

There were several corpses remaining as well, still recognizably human though they were blistered and swollen by the savage heat. These had been his colleagues (all of them), his friends (most of them), his enemies (two, perhaps three), and even his lover (one). Now they were gone, and it was as if they had been compressed into one indistinguishable mass, and his feelings toward them all as well: shock and sorrow and anger and survivor guilt all slagged together to become one savage emotion.

Quivera threw back his head and howled.

I had a reference point now. Swiftly, I mixed serotonin-precursors and injected them through a hundred microtubules into the appropriate areas of his brain. Deftly, they took hold. Quivera stopped crying. I had my metaphorical hands on the control knobs of his emotions. I turned him cold, cold, cold.