Heiresses of Russ 2012 Read online

  Heiresses of Russ 2012

  The Year’s Best Lesbian Speculative Fiction

  •

  edited by Connie Wilkins and Steve Berman

  Published by Lethe Press at Smashwords.com

  Copyright © 2012 Connie Wilkins and Steve Berman.

  All rights reserved. No part of this work may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, microfilm, and recording, or by any information storage and retrieval system, without permission in writing from the publisher.

  Published in 2012 by Lethe Press, Inc.

  118 Heritage Avenue • Maple Shade, NJ 08052-3018

  www.lethepressbooks.com • [email protected]

  isbn: 1-59021-158-8 / 978-1-59021-158-8 (library binding)

  isbn: 1-59021-159-6 / 978-1-59021-159-5 (paperback)

  isbn: 1-59021-426-9 / 978-1-59021-426-8 (e-book)

  Credits for first publication appear at the end, which constitutes an extension of this copyright page.

  These stories are works of fiction. Names, characters, places, and incidents are products of the authors’ imaginations or are used fictitiously.

  Cover and interior design: Alex Jeffers.

  Cover image: YorkBerlin.

  Table of Contents

  Title Page

  Table of Contents

  Introduction

  Connie Wilkins

  In Orbit

  Katherine Fabian

  La Caída

  Anna Meadows

  The Thick Night

  Sunny Moraine

  And Out of the Strong Came Forth Sweetness

  Lisa Nohealani Morton

  Daniel

  Emily Moreton

  Amphitrite

  S.L. Knapp

  The Tides of the Heart

  David D. Levine

  Feedback

  Lindy Cameron

  To Follow the Waves

  Amal El-Mohtar

  The Carrion Gods in Their Heaven

  Laird Barron

  Thirteen Incantations

  Desirina Boskovich

  D is for Delicious

  Steve Berman

  Ours is the Prettiest

  Nalo Hopkinson

  God in the Sky

  An Owomoyela

  Contributors

  And

  Publication Credits

  Introduction

  Connie Wilkins

  Joanna Russ, writer, feminist, keen-edged satirist and out lesbian, claimed many rights for us, among them the freedom to write about women who are the central actors in their own stories. Lesbian, straight, or bisexual, they can be fully-realized characters, not defined exclusively according to their gender.

  Russ herself expressed suspicion of feminists who were not angry, as she certainly was in her seething and satirical The Female Man. Her own fiction, though, ranged widely, and also included The Adventures of Alyx with its blend of swashbuckling action, time-travel, science fiction, and complex layers of metafiction.

  We know that there are still repressions to be fought. LGBT folks (and women in general) find ourselves facing continuing battles as well as some wars we thought had already been won. But Russ and other feminist writers have paved the way to a modern culture where there are bright areas of true progress, and speculative fiction is a primary example of this. We are not obliged now to be limited by anger, but can explore the strange and wonderful mazes of our imaginations wherever they may take us.

  The focus of our Heiresses of Russ series is lesbian speculative fiction in short story form, and our mission is to highlight the breadth and quality of what has been published during the past year. We saw so much excellent work, in fact, that a single anthology couldn’t possibly contain it all, in so many styles, voices and far reaches of creative minds that the true uniting theme of our book turns out to be variety. This too is a gift from those who went before us, a breaking down of limitations and expectations.

  The writers in this book portray being lesbian as a vital component of their protagonists, but not to the exclusion of all the variation possible for any characters in speculative fiction. Their plots may or may not hinge on the lesbian factor, but they are also about much more, with the unrestricted inventiveness and well-crafted prose of all good work in the genre.

  As a writer and editor of lesbian fiction, I often see new writers asking whether there are many markets that will consider work with lesbian or gay characters. I tell them that any publication these days worth considering is open to good writing, regardless of sexual orientation issues. This may be an overstatement, but not by much. Any relic of the dark ages who rejects a story with a horrified, “No, that’s pornography!” just because lesbian or gay characters are included—yes, I’ve had that happen in the past—does not represent a publication worth reading.

  Take a look at the list of first publication for the stories we chose. Asimov’s; Realms of Fantasy; Strange Horizons; Expanded Horizons; Welcome to Bordertown (edited by Holly Black and Ellen Kushner); Supernatural Noir (edited by Ellen Datlow); Like a Treasure Found (from Circlet Press). If you’re familiar with science fiction and fantasy, you’ve seen these names. And then there are the anthologies specifically for lesbian work: Girls Who Bite from Cleis Press; Hellebore and Rue from Lethe Press; Steam Powered 1 and 2 from Torquere; and Women of the Mean Streets from Bold Strokes Books. If you’re familiar with lesbian and gay fiction, you know these names. There are many more presses out there who accept, and in many cases solicit, stories with LGBT characters, as well as a few, like Lethe Press, whose primary focus is our own queer community.

  We humans have a compulsion, possibly perverse, occasionally useful, to categorize everything. To say our theme is the wide variety of lesbian speculative fiction being published today doesn’t do much to let you know what you’ll find in Heiresses of Russ 2012. The only way to demonstrate what’s in store for you is to introduce the stories themselves, and for that, sorting them into categories familiar to readers may have its uses after all.

  Most speculative fiction is divided into science fiction and fantasy, which is not to claim any universal agreement as to the definitions or differences. Our table of contents includes three clearly science fiction stories: “Feedback,” Lindy Cameron’s hard-edged novella of far-future technology, crime, and law enforcement; “God in the Sky,” An Owomoyela’s story of an unexplained astronomical phenomenon; and Sunny Moraine’s “The Thick Night,” in which African villagers in need of aid are sent automatons instead of Peace Corps workers to help them farm their land. But the last two can be read on different levels, with an automaton coming so close to personhood as to suggest something beyond the workings of science, and the mysterious light in the sky inspiring reflections on family, humanity, and religious traditions.

  The remaining stories all have elements of fantasy, but in varying ways and degrees. Three fit under the broad tent of the Steampunk movement, combining retro-science with fantasy. Katherine Fabian’s “In Orbit” deals with the construction of orreries as balance wheels for the creation of golems. “Amphitrite” by S.L. Knapp solves the problem of mermaids in the Caribbean who lure men with their songs, and then devour them, by permitting only female submarine pilots. And in “To Follow the Waves,” Amal El-Mohtar’s protagonist imbues crystals with dreams-made-to-order by means of the traditional art of gem-cutting.

  At least one piece could be read as urban fantasy. David D. Levine’s “Tides of the Heart” features a plumber who possesses superpowers when it comes to water in pipes, and rescues a figure from classical mythology (with the aid of new laws on same-sex marriage). Another, Emily Moreton’s “Daniel,” is firmly in the traditional pirat
e-tale corner, with weather-magic thrown in. Desirina Malkovitch’s “Thirteen Incantations,” with two teenaged girls who sample magical memory spells formulated into exquisite (and exquisitely described) perfumes, could easily be included in a YA anthology, although it would be a shame to limit it to that audience.

  “Out of the Strong Came Forth Sweetness” by Lisa Nohealani Morton is harder to categorize. There are elements of biblical allegory, made clear by the title; far future science fiction, with spaceports and law-enforcement “Angels” wearing technological wings and laser eyes in a repressive dystopian culture; and witchcraft, with a protagonist who gains strength from the hair she cuts and styles so skillfully for her customers. Then, in “Ours Is the Prettiest,” Nalo Hopkinson creates an aura of desperate carnival gaiety and an “other world” that may fit into what Delia Sherman, one of the editors of the Borderland series of anthologies, terms the “interstitial” mode, falling between, rather than within, familiar boundaries.

  The vampire story subgenre is represented in “La Caída” by Anna Meadows, with traditional tropes left behind in this story of a fallen angel and a family of sisters in Mexico with their own tradition of using their inherited taste for blood to punish the evil rather than corrupt the good. This could have been classed as horror, but is instead, in its own idiosyncratic fashion, sweet and uplifting.

  This brings us to the actual supernatural horror department. Two of our authors contributed pieces that are arguably horror, but their similarity ends there. Laird Barron’s “The Carrion Gods in Their Heaven” fits into the werewolf subgenre, achieving its effect with a brooding atmosphere and an accumulation of details creating a sense of impending and inevitable doom, while Steve Berman in “D Is for Delicious” wields a superbly keen and macabre wit to show a retired schoolteacher’s discovery of the benefits of being a witch. One story evokes shivers of foreboding; the other induces guilty laughter combined with visceral shudders.

  So there you have the bare-bones tour of the stories in all their complex variety. The quality of the writing itself is even more impressive. Lyrical or somber, mannered or transparent, lush with imagery or stark in effect, witty, poignant, realistic, seductive, even numinous at times; whatever their stories demand, these writers supply with skill and creativity.

  You may have noticed that I included “seductive” in that list. Yes, there are a few erotic elements, although most are subtle. Lesbian themes don’t automatically involve sex, but they certainly don’t preclude it. Several of the stories also include elements of romance, no more nor less than can be found in speculative fiction in general, and not by any means the “cookie-cutter” variety so often attributed, rightly or wrongly, to lesbian fiction.

  What Joanna Russ and our other feminist forbears might find lacking is political content, but I think they’d catch the subtle metaphorical references. I was struck by the fact that when repressive societies were depicted in these stories, they tended to be obsessed with railing against witchcraft and magic to the near-exclusion of getting hot and bothered about lesbian relationships. If they noticed them at all, they considered them part of the evils of magic. With our real-life history of women who transgressed societal boundaries being persecuted as witches, the symbolism is clear enough.

  For all my talk of variety and writing skill and freedom from outdated constrictions and expectations, the fundamental purpose of fiction is to be enjoyed by its readers. Our worthy mission was to highlight the breadth and quality of lesbian speculative fiction published during the past year, but our even higher purpose has been to provide a book that any readers with a taste for quality science fiction, fantasy, horror, and all their permutations will enjoy.

  A special note for all the lesbians who tell me how hard it is to find literate, engrossing speculative fiction stories with fully-developed lesbian characters:

  Here you go. I hope you enjoy the trip.

  Connie Wilkins

  Amherst, MA

  Summer 2012

  In Orbit

  Katherine Fabian

  In Oliver Twist, Fagin’s golems were powered by—of course—stolen pocket watches.

  Sarah remembered her grandfather’s easy smile as she had complained to him about this grave injustice. He had given her a big hug that smelled, as it always did, of cigar smoke and clay and Grandfather, then said, “Would that were the most ignorant thing Mr Dickens had ever graced us with, my love.”

  •

  A spider and a fly fell in love, and to prove their love for each other, they crafted golems.

  The spider wrote her love for the fly in the clay of her golem, marking her adoration into each of its eight legs. She—

  “But how did the spider make the cogs and gears for its heart?”

  “Magic, my love.”

  She wrote her love in the language of the spiders, gentle and light and stronger than steel.

  The fly wrote his love for the spider in the chalk of his golem, his loyalty and passion inscribed in its wings. He wrote in the language of the flies, which to our ears sounds like a tuneless hum, but to theirs is the most beautiful music imaginable.

  The two were married under a canopy the bride had woven herself. Their golems bore witness.

  But love is not stronger than nature, and one day they awoke to find the clay spider had eaten the chalk fly.

  “But golems don’t eat! Why did it—?”

  “Magic, my love.”

  With it, the clay spider had eaten their love, the true words written on it and its prey. You must never use a golem to show you the truth, for what it does with that truth may be more than you can bear.

  “But they were in love!” Sarah had protested, six years old and her voice already rough against the unfairness of it all. “That should have been enough.”

  And Grandfather had smiled, that fond, boyish smile that meant home and love and family. “With a truth that strong, my love,” he’d said, “you could make the entire world your golem.”

  •

  Three things made a golem: Stone, truth and an orrery.

  Dickens got the stone right, at least. It could be any stone—chalk, clay, granite, marble, dust—fashioned into any shape you chose.

  For the royal wedding, the Jews of London had presented Queen Victoria with a golem made of beautifully polished malachite. That was during the years when it was legal to own a golem but not to sell one; just because a gift is political doesn’t mean it can’t also be a work of art.

  •

  Grandfather had a friend, Eli, whose son had moved back to the East End with his own three sons, all of them a suitable age.

  “If you were going to fall in love with a childhood sweetheart, my love,” Grandfather said, “you would have done so by now.”

  Sarah laughed and blushed, as she always did when Grandfather spoke of such things. At the age of twenty, love had not found her yet, but Grandfather had no one else to take over the family business.

  “It is not fair to ask you to marry a young man you have known since he was in short trousers,” Grandfather continued. “So please, for me, will you give Eli’s grandchildren a chance?”

  It would be entirely improper for Sarah to go calling on Eli’s grandsons, but she and Grandfather had always been too busy fitting cogs and testing gears and gazing up at the stars to bother with propriety, which any grandchild of Eli’s would surely understand.

  •

  The second thing needed to make a golem was a word of truth. Many people used the word ‡Ó˙—literally “truth”—to make their golems, and this worked perfectly well. But any true word would do.

  The evening after Grandfather had first told Sarah the story of the spider, the fly and their golems, he sat her down in front of a clay golem with its orrery firmly in place, and knelt down until his eyes were level with hers.

  “You know I love you, my love?”

  Sarah, six years old and the centre of her grandfather’s world, had nodded seriously. “I know you love
me.” Then, equally seriously: “I love you too. More than the stars in the sky.” She had heard Rabbi Benjamin use the expression before.

  Her grandfather had smiled broadly and kissed her forehead. “Then because you know and I know it, no golem can ever have power over this truth.”

  He lifted her up so she could see him write I love my Sarah on the golem’s forehead.

  “Read that out for me,” he said.

  “I love my Sarah,” Sarah repeated dutifully. When she finished speaking, the golem’s eyes opened.

  The story of the spider and the fly was still on her mind, and she had not yet understood her grandfather’s words. If Grandfather had said love wouldn’t be enough—Her eyes filled with tears.

  But Grandfather just gave her another hug and put her down on the floor. “You know it and I know it, my love, so it will be true whatever happens to the golem. You must never use a golem to prove the truth, but you can always use the truth to wake a golem.”

  And Sarah, six years old and truly her grandfather’s daughter, had reached a pudgy hand to pat the golem’s foot. She didn’t know how to put it into words, but she knew she must be kind to it, because it was carrying her favourite truth.

  •

  The first day, she called on Jacob. A golem answered the door and ushered her into a front room scrubbed so clean that Sarah fancied she could all but see dents in the floor where the golem must have knelt. Jacob’s sister, Naomi, served them tea in delicate china cups.

  “If I may be serious for a moment,” Jacob said, as soon as the tea had been poured. “I have had the good fortune to study under several eminent scholars on the true science behind the golem.”

  Sarah did her best to look serious. It didn’t help that behind Jacob’s back, Naomi had just rolled her eyes, then looked almost comically guilty at her own lack of sisterly loyalty.