Most of their neighbors are mystified by their fixation with this morbid discovery. It would be one thing, they say, if these people were set upon finding a way to fix this terrible flaw, but that does not appear to be the case. A small but reliable number of them volunteers to test each new iteration of the deathdrive, and they are rarely under any illusions about their fate. For that matter, some of the neighbors, out of pity or curiosity, have offered this people some of their own old but reliable technology, asking only a token sum to allow them to preserve their pride, but they always decline politely. After all, they possess safe stardrive technology of their own; the barrier is not knowledge.
Occasionally, volunteers from other peoples come to test it themselves, on the premise that there has to exist some species that won’t be affected by the stardrive’s peculiar radiance. (The drive’s murderousness does not appear to have any lasting effect on the ship’s structure.) So far, the claim has stood. One imagines it will stand as long as there are people to test it.
One Final Constant
Then there are the civilizations that invent keener and more nimble stardrives solely to further their wars, but that’s an old story and you already know how it ends.
FOR SAM KABO ASHWELL
The Ice Owl
CAROLYN IVES GILMAN
Carolyn Ives Gilman lives in St. Louis, Missouri, and is an internationally recognized historian specializing in eighteenth- and early nineteenth-century North American history, particularly frontier and Native history. Her most recent nonfiction book is Lewis and Clark: Across the Divide. She is currently working on a history of the American Revolution on the frontier, to be published by Yale in 2013. She has published seventeen or more SF stories since 1986, and one novel, Halfway Human (1998). She is a writer in the tradition of Ursula K. Le Guin. Aliens of the Heart (2007) is a collection of short fiction. Her novella Candle in a Bottle appeared in 2006, and her novella Arkfall in 2009. Gilman’s latest novel is in two volumes, Isles of the Forsaken and Ison of the Isles, and is a fantasy about culture clash and revolution in an enchantment-shrouded island nation.
“The Ice Owl” was published in F&SF. It is a dense, complex far future sf story. Gilman says it is set in the same universe as her novella Arkfall, “but it’s also the same universe as a number of other stories I’ve written. My novel Halfway Human is set in this universe, and the ice owl comes from the planet where “The Honeycrafters” takes place. I’ve started calling this universe the Twenty Planets.” Thorn’s school has been burned down by a Taliban-like political movement. She seeks out a tutor, who turns out to be a secret art dealer with a complex hidden life.
Twice a day, stillness settled over the iron city of Glory to God as the citizens turned west and waited for the world to ring. For a few moments the motionless red sun on the horizon, half-concealed by the western mountains, lit every face in the city: the just-born and the dying, the prisoners and the veiled, the devout and the profane. The sound started so low it could only be heard by the bones; but as the moments passed the metal city itself began to ring in sympathetic harmony, till the sound resolved into a note—The Note, priests said, sung by the heart of God to set creation going. Its vibratory mathematics embodied all structure; its pitch implied all scales and chords; its beauty was the ovum of all devotion and all faithlessness. Nothing more than a note was needed to extrapolate the universe.
The Note came regular as clockwork, the only timebound thing in a city of perpetual sunset.
On a ledge outside a window in the rustiest part of town, crouched one of the ominous cast-iron gargoyles fancied by the architects of Glory to God—or so it seemed until it moved. Then it resolved into an adolescent girl dressed all in black. Her face was turned west, her eyes closed in a look of private exaltation as The Note reverberated through her. It was a face that had just recently lost the chubbiness of childhood, so that the clean-boned adult was beginning to show through. Her name, also a recent development, was Thorn. She had chosen it because it evoked suffering and redemption.
As the bell tones whispered away, Thorn opened her eyes. The city before her was a composition in red and black: red of the sun and the dust-plain outside the girders of the dome; black of the shadows and the works of mankind. Glory to God was built against the cliff of an old crater and rose in stair steps of fluted pillars and wrought arches till the towers of the Protectorate grazed the underside of the dome where it met the cliff face. Behind the distant, glowing windows of the palaces, twined with iron ivy, the priest-magistrates and executives lived unimaginable lives—though Thorn still pictured them looking down on all the rest of the city, on the smelteries and temples, the warring neighborhoods ruled by militias, the veiled women, and at the very bottom, befitting its status, the Waster enclave where unrepentent immigrants like Thorn and her mother lived, sunk in a bath of sin. The Waste was not truly of the city, except as a perennial itch in its flesh. The Godly said it was the sin, not the oxygen, that rusted everything in the Waste. A man who came home with a red smudge on his clothes might as well have been branded with the address.
Thorn’s objection to her neighborhood lay not in its sin, which did not live up to its reputation, but its inauthenticity. From her rooftop perch she looked down on its twisted warrens full of coffee shops, underground publishers, money launderers, embassies, tattoo parlors, and art galleries. This was the ninth planet she had lived on in her short life, but in truth she had never left her native culture, for on every planet the Waster enclaves were the same. They were always a mother lode of contraband ideas. Everywhere, the expatriate intellectuals of the Waste were regarded as exotic and dangerous, the vectors of infectious transgalactic ideas—but lately, Thorn had begun to find them pretentious and phony. They were rooted nowhere, pieces of cultural bricolage. Nothing reached to the core; it was all veneer, just like the rust.
Outside, now—she looked past the spiked gates into Glory to God proper—there lay dark desires and age-old hatreds, belief so unexamined it permeated every tissue like a marinade. The natives had not chosen their beliefs; they had inherited them, breathed them in with the iron dust in their first breath. Their struggles were authentic ones.
Her eyes narrowed as she spotted movement near the gate. She was, after all, on lookout duty. There seemed to be more than the usual traffic this afternote, and the cluster of young men by the gate did not look furtive enough to belong. She studied them through her pocket binoculars and saw a telltale flash of white beneath one long coat. White, the color of the uncorrupted.
She slipped back through the gable window into her attic room, then down the iron spiral staircase at the core of the vertical tower apartment. Past the fifth-floor closets and the fourth-floor bedrooms she went, to the third-floor offices. There she knocked sharply on one of the molded sheet-iron doors. Within, there was a thump, and in a moment Maya cracked it open enough to show one eye.
“There’s a troop of Incorruptibles by the gate,” Thorn said.
Inside the office, a woman’s voice gave a frightened exclamation. Thorn’s mother turned and said in her fractured version of the local tongue, “Worry not yourself. We make safely go.” She then said to Thorn, “Make sure the bottom door is locked. If they come, stall them.”