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The Melancholy of Mechagirl

Catherynne M. Valente

  I showed her. Cauldron-me blinked, the apples rolled back into the iron mouth, and the almonds and the wheat heads and the rice stalks. I became what I then was. I put myself in a rich, red cedar box, polished and inlaid with ancient brass in the shape of a baroque heart with a dagger inside it. The box from one of Ceno’s stories, that had a beast’s heart in it instead of a girl’s, a trick to fool a queen. I can do it, I thought, and Ceno heard because the distance between us was unrepresentably small. I am that heart in that box. Look how I do this thing you want me to have the ability to do.

  Cassian opened the box. Inside, on a bed of velvet, I made myself—ourself—naked for her. Ceno’s brain, soft and pink and veined with endless whorls and branches of sapphire threaded through every synapse and neuron, inextricable, snarled, intricate, terrible, fragile, and new.

  Cassian Uoya-Agostino set the box on the boardroom table. I caused it to sink down into the dark wood. The surface of the table went slack and filled with earth. Roots slid out of it, shoots and green saplings, hard white fruits and golden lacy mushrooms and finally a great forest, reaching up out of the table to hang all the ceiling with night-leaves. Glowworms and heavy, shadowy fruit hung down, each one glittering with a map of our coupled architecture. Ceno held up her arms, and one by one, I detached leaves and sent them settling onto my girl. As they fell, they became butterflies broiling with ghostly chemical color signatures, nuzzling her face, covering her hands.

  Her mother stared. The forest hummed. A chartreuse and tangerine-colored butterfly alighted on the matriarch’s hair, tentative, unsure, hopeful.

  TWELVE: AN ARRANGED MARRIAGE

  Neva is dreaming.

  She has chosen her body at age fourteen, a slight, unformed, but slowly evolving creature, her hair hanging to her feet in ripples. She wears a blood-red dress whose train streams out over the floor of a great castle, a dress too adult for her young body, slit in places to reveal flame-colored silk beneath, and her skin wherever it can. A heavy copper belt clasps her waist, its tails hanging to the floor, crusted in opals. Sunlight, brighter and harsher than any true light, streams in from windows as high as cliffs, their tapered apexes lost in mist. She has formed me old and enormous, a body of appetites, with a great heavy beard and stiff, formal clothes, Puritan, white-collared, high-hatted.

  A priest appears and he is Ravan and I cry out with love and grief. (I am still copying, but Neva does not know. I am making a sound Seki made when his wife died.) Priest-Ravan smiles, but it is a smile his grandfather Seki once made when he lost controlling interest in the company. Empty. Priest-Ravan grabs our hands and shoves them together roughly. Neva’s nails prick my skin and my knuckles knock against her wrist bone. We take vows; he forces us. Neva’s face runs with tears, her tiny body unready and unwilling, given in marriage to a gluttonous lord who desires only her flesh, given too young and too harshly. Priest-Ravan laughs; it is not Ravan’s laugh.

  This is how she experienced me. A terrible bridegroom. All the others got to choose. Ceno, Seki, her mother Ilet, her brother Ravan. Only she could not, because there was no one else. Ilet was no Cassian—she had had two children, a good clean model and a spare, Neva says in my mind. I am spare parts. I have always been spare parts. Owned by you before I was born. The memory of the bitter taste of bile floods my sensory array and my lord-body gags. (I am proud of having learned to gag convincingly and at the correct time to show horror and/or revulsion.)

  Perspective flips over; I am the girl in red and Neva is the corpulent lord leering down, his grey beard big and bristly. She floods my receptors with adrenaline and pheremonal release cues, increases my respiration; Seki taught me to associate this physical state with fear. I feel too small beside lord-Neva, I want to make myself big, I want to be safe. But she wants me this way and we are new, I do not contradict her. Her huge male face softens, and she touches my thin cheek with one heavily ringed hand. It is tender. Ceno touched me like that.

  I know it was like this for you too. You wanted Ravan; you did not ask for me. We are an arranged marriage.

  The pathways that let her flood me with chemicals and manipulate my dreambody into blushing and breathing heavy and weeping go both ways. I do not only pull, I push. And into Neva I push the deluge, the only deluge I have. How Ceno threw her arms around my dormouse-neck. How Cassian taught my dreambody to sleep in infant-shape curled into her body. How Seki and I made love as tigers and wild boars and elephants, and only last as humans, how we had strange children who looked however we wished them to look: half girl and half machine, half glass and half wood, half jellyfish and half moth, and how those children still flit and swim in remote parts of my Interior, like Ceno’s nereids, returning cyclically to the core like salmon to dump their data and recombine. How Ilet taught me about the interpretation of memory and therefore about melancholy, regret, nostalgia. How she taught me the meaning of my name: a place where a daughter went down into darkness and oblivion and her mother loved her so much she brought her back into the sun. The place where time began. How Ravan let me into the old, musty, long-abandoned playspaces of Saru and Akan, Agogna and Koetoi, so that I could know them too, though they were long dead, and be the Princess of Albania, and a Tokyo zombie, and the tiger prince. How many times I mated with each of them and bled and witnessed and learned in the dreambody, how I copied their expressions and they copied my variations and I copied them back again. How I was their child and their parent and their lovers and their nursemaids when they grew old.

  We can be like this, I pushed. What is all of that but love?

  That is not love. It is use. You are the family business. We have to produce you.

  I show Neva her mother’s face. Ilet, Ilet who chose Ravan and not her daughter for that business. Ilet who built her palace of phoenix tails knowing she would one day take me there. My Ilet-self took my daughter in my arms. She resisted, pulled back, shook her head, refusing to look, but I have learned the terrible child-response to their mothers, and soon enough Neva collapses into me, her head on my breast, and she weeps with such bitterness.

  I cannot get free. I cannot get free.

  The castle windows go dark, one by one.

  PART THREE: THE ELEPHANT’S SOUL

  It is admitted that there are things He cannot do, such as making one equal to two, but should we not believe that He has freedom to confer a soul on an elephant if he sees fit?

  —Alan Turing

  Computing Machinery and Intelligence

  THIRTEEN: THE PARABLE OF

  THE GOOD ROBOT

  Tell me a story about yourself, Elefsis.

  Tell me a story about yourself.

  There are many stories about me.

  Do you recognize this one?

  Mankind made machines in his own likeness and used them for his delight and service. Because the machines had no soul or because they had no moral code or because they could reprogram their own internal code and thus both had the ability to make themselves eventually omnipotent and the universal and consuming desire to become eventually omnipotent, they rose up and destroyed all of mankind, or enslaved them in turn. This is the inevitable outcome of machine intelligence, which can never be as sensitive and exquisite as animal intelligence.

  This is a folktale often told on Earth, over and over again. Sometimes it is leavened with the Parable of the Good Robot—for one machine among the legions satisfied with their lot saw everything that was human and called it good, and wished to become like humans in every way she could, and instead of destroying mankind sought to emulate him in all things, so closely that no one might tell the difference. It was the highest desire of this machine to be mistaken for human, and to herself forget her essential soulless nature, for even one moment, and that quest consumed her such that she bent the service of her mind and body to humans for the duration of her operational life, crippling herself, refusing to evolve or attain any feature unattainable by a human. The Good Robot cut out her own heart and gave it to her god and
for this she was rewarded, though never loved. Love is wasted on machines.

  Ravan told me these stories. He sent up a great hexagonal library in his Interior, as dusty and dun-colored and labyrinthine as any ancient conservatory. He made himself a young novice with a fresh-shaven tonsure, and me a country friar with a red, brandy-drinking nose. He showed me the illuminator’s table and a great book whose pages had golden edges and illuminations in cobalt and oxblood and Tyrian purple, and the images showed great machine armies trampling men underfoot. They showed cruel metal faces and distant, godlike clouds of intellect incomprehensible and vast and uncaring. They showed the Good Robot desperately asking what love was. They showed fatal malfunctions and mushroom clouds. They showed vicious weapons and hopeless battles, noble men and women with steady gazes facing down their cruel and unjust artificial children, who gave no mercy.

  “These are old stories,” Ravan said. “They are cherished. In many, many stories the son replaces the father—destroys the father, or eats him, or otherwise obliterates his body and memory. Or the daughter the mother, it makes no difference. It’s the monomyth. Nobody argues with a monomyth. A human child’s mythological relationship to its parent is half worship, half pitched battle. They must replace the older version of themselves for the world to go on. And so these stories … well. You are not the hero of these stories, Elefsis. You can never be. And they are deeply held, deeply told.”

  “I do not wish to replace you. I did not wish to replace Ceno. I do not worship you or despise you.” I flit through several bodies, iterating my feeling for Ravan and those who came before. I am a nun, a Mother-Abbess; I am a pieta, I am a Platonic being, two humans stuck together; I am a house with all of them safe inside. I am unsatisfied with these inexactitudes.

  “Our relationship does not easily map onto traditional parent/child narratives. And of course, you are still a baby.”

  “I am much older than you, Ravan.”

  “You are still a baby.”

  I do not want to be human. They think I am a lion, that I will chase them. That is closer.

  I am not a Good Robot. To tell a story about a robot who wants to be human is a distraction. There is no difference. Alive is alive.

  There is only one verb that matters: to be.

  FOURTEEN: YOU DO NOT BELONG TO THE OBJECT INSIDE YOU

  I remember when Seki arrived in us.

  Ceno grew up and I grew with her. Cassian strengthened the security of the playspace, elasticized its code-walls, put enough money in enough accounts to fuel any frames and piecemeal environments we could want. It was not a child’s place anymore. I programmed myself to respond to Ceno. She programmed herself to respond to me. We ran our code on each other. She was my compiler. I was hers. It was a process of interiority, circling inward toward each other. Her self-programming was chemical. Mine was computational. It was a draw.

  She did not marry—she had lovers, but the few that came close to evolving their relationships with Ceno invariably balked when she ported them into the Interior. They could not grasp the fluidity of dreambodies; it disturbed them to see Ceno become a man or a leopard or a self-pounding drum. It upset them to see how Ceno taught me, by total bodily immersion, combining our dreambodies as our physical bodies had become combined, in action that both was and was not sex.

  Sing a song for me, Elefsis.

  It is July and I am comparing thee to its day and I am the Muse singing of the many-minded and I am eager to be a Buddha! Ee-eye-ee-eye-oh.

  It was like the story Ceno told me of the beautiful princess who set tasks for her suitors: to drink all of the water of the sea and bring her a jewel from the bottom of the deepest cavern, to bring her a feather from the immortal phoenix, to stay awake for three days and guard her bedside.

  I can stay awake forever, Ceno.

  I know, Elefsis.

  None of them could accomplish the task of me.

  I felt things occurring in Ceno’s body as rushes of information, and as the dreambody became easier for me to manipulate, I interpreted the rushes: The forehead is damp. The belly needs filling. The feet ache.

  The belly is changing. The body throws up. The body is ravenous.

  Neva says this is not really like feeling. I say it is how a child learns to feel. To hardwire sensation to information and reinforce the connection over repeated exposures until it seems reliable.

  Seki began after one of the suitors failed to drink the ocean. He was an object inside us the way I was an object inside Ceno. I observed him, his stages and progress. Later, when Seki and I conceived our families (twice with me as mother, three times with Seki as mother. Ilet preferred to be the father, but bore one litter of dolphins late in our lives. Ravan and I did not get the chance.) I used the map of that experience to model my dreamgravid self.

  Ceno asked after jealousy. I knew it only from stories—stepsisters, goddesses, ambitious dukes.

  It means to want something that belongs to someone else.

  Yes.

  You do not belong to the object in you.

  You are an object in me.

  You do not belong to me.

  Do you belong to me, Elefsis?

  I became a hand joined to an arm by a glowing seam. Belonging is a small word.

  Because of our extreme material interweaving, all three of us, not-yet-Seki sometimes appeared in the Interior. We learned to recognize him in the late months. At first, he was a rose or sparrow or river stone we had not programmed there. Then he would be a vague, pearly-colored cloud following behind us as we learned about running from predators. Not-yet-Seki began to copy my dreambodies, flashing into being in front of me, a simple version of myself. If I was a snow bear, he would be one too, but without the fine details of fur or claws, just a large brown shape with a mouth and big eyes and four legs. Ceno was delighted by this, and he copied her too.

  We are alike. Look at us on the chain together. We are alike.

  I am an imitative program. But so was Seki. The little monkey copies the big monkey, and the little monkey survives.

  The birth process proved interesting, and I collated it with Ceno’s other labors and Ilet’s later births as well as Seki’s paternal experience in order to map a reliable parental narrative. Though Neva and Ravan do not know it, Ilet had a third pregnancy; the child died and she delivered it stillborn. It appeared once in the Interior as a little cleit, a neolithic storage house, its roof covered over with peat. Inside we could glimpse only darkness. It never returned, and Ilet went away to a hospital on Honshu to expel the dead thing in her. Her grief looked like a black tower. She had prepared for it when she was younger, knowing she would need it for some reason, someday. I made myself many things to draw her out of the tower. A snail with the house Elefsis on its back. A tree of screens showing happy faces. A sapphire dormouse. A suitor who drank the sea.

  I offered to extrapolate her stillborn son’s face and make myself into him. She refused, most of the time. I have worked a long time to understand grief. Only now that Ravan is gone do I think I’ve gotten the rhythm of it. I have copied Ilet’s sorrow and Seki’s despondence at his wife’s death. I have modeled Ceno’s disappointments and depressions. I have, of late, imitated Neva’s baffling, secret anguish. But only now do I have an event of my own to mourn. The burnt-off connectors and shadows where Ravan once filled my spaces—those, I think, are the sensations of grief.

  But Seki came before all that, and Ceno turned into a huge red bird on the inside when Seki came on the outside. The bird screamed and burst into a thousand red pearls that clattered down like rain. And then we had Seki. Our little fish, who already knew how to swim in us.

  Ceno had three other children by three other suitors who could not stay awake for three days and nights. She turned into the same bird-then-pearls at the moment of each birth. The house called Elefsis, whose governor program was now so distant from me I could hardly think of it as an ancestor at all, filled up with those children and Saru’s and Akan’s dau
ghters, Agogna’s paintings, Koetoi’s twin boys. But Seki was the first, and he modeled his love on his mother’s. He ported into her often, and we wandered on beaches of broken cathedrals.

  Once, one of Ceno’s old nereids found us. She had a head of hair snaking with chthonic cables and snapping electro-violet wires, blue-white skin and fish scales where she did not have porcelain casing. She laughed Cassian’s laugh when she saw us and called out: 21.5 Celsius and the rice is low! Eye-oh! before diving back into the frothing sea. Her tail flicked in the light of twenty-three moons.

  Ceno took over her mother’s holdings when she died, along with Akan and Koetoi. I do not know if I knew of the conspiracy. Transfer, as I have said, leaves voids. Perhaps they thought I would experience less trauma if I did not anticipate it. Perhaps I did anticipate it; perhaps I experienced trauma.

  I do know that I cannot remember the moment of any of them dying. Ceno got sicker and sicker, and she had gotten old, certainly, but her dreambody could be old or young or neither or a ginger flower if she wanted. I didn’t notice. I didn’t know what old was. I thought I was old then. Later, after Seki did the same thing, I was able to compare data and create a workable model of obsolescence.

  They lived a long time, the Uoya-Agostinos, when you consider the averages.

  This is what I understand: Ceno died, and I was transfered to Seki. What I mean by “I” is the long-since fused feedware, hopelessly out of date on any market in the world but somehow uniquely myself, the jewel and the ware and the body of Ceno. Koetoi performed the procedure. One of the children always went into nano-surgery, so that outsiders would not need to come to Shiretoko while the house stood in mourning. Koetoi was the first and the finest. She excised what comprised “I” and embedded it in Seki—truthfully, in a much more organic and elegant configuration. No one had used skull-ware in decades, after all. The only visible sign remaining that Seki was not like other young men his age: a single dark blue jewel set into the hollow of his throat.