Gravity Wells (Short Stories Collection) Read online

  Gravity Wells (Short Stories Collection)

  James Alan Gardner

  Award-winning author James Alan Gardner evokes a sense of wonder that is synonymous with great speculative fiction. Now, in his first short-story collection, he brings together the numerous tales that have made his reputation, ranging from the everyday experience to the cosmic, from peanut butter sandwiches to space drives. There are stories of wonder, imagination, humanity, and the unknown and tales that remind us of the importance of possibility.

  Some of the stories in this collection have won the Aurora Award and the grand prize in the prestigious Writers of the Future contest and been nominated for both the Hugo and Nebula Awards, while others are completely new and undiscovered.

  Gravity Wells

  James Alan Gardner

  To Algis Budrys and Kim Mohan, who both discovered me

  Preface

  In his preface to Three Plays for Puritans, George Bernard Shaw extols the virtues of prefaces and berates Shakespeare for never writing one. "I would give half a dozen of Shakespear's (Shaw had his own unique way of spelling things. Shaw had his own unique way of doing practically everything.) plays for one of the prefaces he ought to have written."

  Far be it from me to take sides in the famous (one-sided) fight between Shaw and Shakespeare; but I confess, I like prefaces and enjoy reading what writers have to say about their writing. One of the great formative influences in my youth was the Dangerous Visions anthology edited by Harlan Ellison. Every story in the book started with an introduction by Ellison and ended with an afterword by the author—some of them chatty, some of them evasive, some of them talking about what goes through a writer's head as he or she tries to make a story work. It was the first time I really got a sense that people sat down and wrote this stuff: real people with real lives, not godlike beings who exuded words effortlessly. In Dangerous Visions, Ellison talked about getting together with these people, shooting the breeze, or maybe just walking with them down the streets of Greenwich Village…and the authors themselves talked about rewrites, struggling with characters, inventing details, and putting them down on the page.

  This was a revelation to me when I was twelve or thirteen. It made writing real; it made the writers real. I won't say it made me think I could be a writer—I'd been writing stories since kindergarten, so writing was already in my blood—but it made me think of writing in a different way. Instead of tossing off imitations of stuff you saw on television, writing could be something you thought about: something you put your heart into rather than scribbling words as fast as possible so you could show off to all your friends.

  Therefore, when I started to write the introduction to this book, I wanted to offer the same kind of inspiration to anyone reading this preface. I wanted to tell potential writers there's no magic involved: just work and discipline, gradually developing your insight and technical skills. There is, no doubt, some indefinable quality called talent, but neither you nor anyone else will ever be able to tell if you have it. All you can do is write and write and write—and of course, read and read and read—in the same way that Olympic marathoners simply run and run and run. (Yes, I know marathoners do more to train than just running…and there are useful training exercises for writers, too. But the heart of running is running, and the heart of writing is writing. Everything else is auxiliary.)

  Unfortunately, when I tried to write that kind of inspirational material for this book, the results truly sucked. They reeked. They blew dead bears (as teenage boys were fond of saying around the time I read Dangerous Visions). The whole write-up was godawful claptrap, so utterly pompous and idiotic my computer started to make gagging sounds. It only went to prove another thing Shaw said in his introduction to Three Plays for Puritans: the reason many writers don't publish prefaces is that they can't write them.

  So what can I say? If you want a good preface, go read Shaw or Dangerous Visions… or another of my favorites, Samuel R. Delany's preface to Distant Stars. All I'm going to do is talk about the stories in this book: how they came to be, why I wrote them, and perhaps what I think of them now.

  One more note about talking about one's work. There's a story (probably false, but I still like it) that the first time Beethoven played his Moonlight sonata, someone came up to him afterward and said, "The music was very beautiful, sir, but what did it mean?"

  Beethoven answered, "An excellent question. Here's what it meant." Whereupon he sat down at the piano and played the whole piece again.

  I agree with Beethoven on this one—some things ought to speak for themselves. That's why I decided not to clutter up the stories themselves with forewords or afterwords. Instead, I'm putting all the chat right here in the preface, and it's up to you to decide if or when you want to read my commentaries.

  A Note on the Text: It turns out short-story collections aren't magically assembled by pixies. This particular collection was put together by yours truly, starting with the story manuscripts as I originally wrote them, not as they finally appeared when published. In my experience, editors sometimes make tiny cosmetic tweaks before stories go to print…which only makes sense, considering these people are called editors. Anyway, I didn't want to go through the slogging dog-work of comparing my original text to the final printed version in order to make faithful copies of what was actually published. Instead I went through the slogging dog-work of perusing all the original texts and making my own cosmetic tweaks. In other words, I've lightly edited every story in this book to tighten up the language, make a few points more clearly, and so on.

  That's the nice thing about being a writer—you can keep working on stories until you get them right.

  And now for the commentaries…

  "Muffin Explains Teleology to the World at Large": This is my most reprinted story, based on an idea I'd had for years before I finally found the right way to put it together. Believe it or not, the first time I tried to write a story on this premise, it was a sordid tale about a shipwrecked sailor and a dockside whore. I won't even try to explain how the one story changed into the other—I like Muffin too much to sully her reputation.

  Incidentally, this was the first story in which I decided to have fun with the title. Science fiction stories typically have terse no-nonsense titles…and for a long time, I thought titles like that were absolutely necessary if you wanted to be taken seriously as a writer. Finally, of course, I realized what a ridiculous notion that was—not only did many great stories have out-and-out florid titles, but one doesn't always want to be "serious" anyway. Therefore, I chucked out my preconceptions on what titles "must" be and have felt better ever since.

  "The Children of Crèche": Once upon a time, there was a thing called gonzo journalism. It's not entirely dead—I still stumble across delightfully over-the-top pieces of supposed reportage that are really just an excuse for mouthing off in extravagantly purple prose—but I fear the glory days of gonzo are gone, gone, gonzo. Readers of "Crèche" have told me they're sure I'm imitating someone, but they can't tell who. Sigh.

  (The answer is I'm not imitating anyone specifically; I'm simply having flashbacks to Hunter S. Thompson, Tom Wolfe, Harlan Ellison in Tick-Tock mode, and a whole bunch of other writers who fed my gonzo cravings in the late sixties/early seventies. Hee-whack indeed.)

  By the way, this is my earliest story featuring a scalpel. Don't ask me why, but scalpels keep popping up all over my writing…scalpels and mutilating corpses. It's a good thing I despise Freudian psychology, or I'd be really, really worried.

  "Kent State Descending the Gravity Well: An Analysis of the Observer": This is the one story I've written as me, Jim Gardner, rather
than from some fictional point of view. It's not quite a true story—I never actually sat down and wrote out the "scribbles" as they appear—but the ideas did cross my mind as I saw how the press tried to deal with the twentieth anniversary of the killings at Kent State University. Our beloved media (as they so often do) wrote around the facts without ever truly connecting to the reality of what happened.

  The shootings seem like ancient history now; but for the sake of our souls, we have to remember that history is about real people with real lives and real deaths. There's something disturbing about the air of unreality with which we often view the past—as if anything that happened more than a few days ago took place in some alien dimension that doesn't have much to do with who we are now. I'm certainly guilty of feeling that way, too…which is one reason I wrote a story about fading memories and trivializing other people's tragedies.

  "Withered Gold, the Night, the Day": I'm normally a pretty cheerful guy…but when I saw the movie Se7en in 1995, this story just came blurting out over the next three days. A story in which the world is withered, thinned out, shriveled. Where Everyman is a despairingly unbalanced vampire who seeks moral guidance from the Devil in a bus shelter.

  I should know better than to see certain types of movies. If I'd seen a movie about the Care Bears, heaven knows what I might have written.

  "The Last Day of the War, with Parrots": A story from a woman's point of view. People ask why I use female narrators so much. My answer is (a) I don't use them any more often than I use male narrators, and (b) why shouldn't I use female narrators, provided I'm not a jerk about it? To be sure, men often do lousy jobs of portraying women—but I have to believe that's just sloppiness and inattention, not an inevitable fact of gender. I don't accept that the only type of character I can legitimately write about is someone very much like myself…because frankly, I'm bored with middle-aged middle-class white men, and there are far too many of those guys in science fiction already.

  Therefore, I resolved long ago that whenever I wrote about the future, I would show it containing just as many women as men, not to mention people of diverse cultural backgrounds, old, young, straight, gay, rich, poor, and every other variation I could make fit within the story's logic. That's the sort of future world I wouldn't mind living to see.

  One more thing about this story. It takes place in the League of Peoples universe, and readers who know about the League might be wondering how two groups of aliens could descend upon a planet and start waging war against each other. Isn't that against the fundamental law of the League? Yes, it is; and someday, at the proper time, I may tell the story of what really happened on Caproche.

  "A Changeable Market in Slaves": Sometimes it takes a number of rewrites before I find a good tone of voice for a story. And sometimes the rewrites get out of hand…

  "Reaper": In 1989, I attended the Clarion West Science Fiction workshop. Each student was required to write a story a week. This was my first story of the workshop, written longhand in the depths of Seattle.

  I'd had the idea of Reapers for some time before, but had never made a serious attempt to write a story about them. At first I thought the central character was going to be a brash teenager like the Hooch character; but after a page or two, I realized it wasn't working. That's when I switched to the current despicable narrator…and the story practically wrote itself.

  "Lesser Figures of the Greater Trumps": This is what one calls a prose poem…or at least what I call a prose poem, for lack of a better name. At the time I wrote it, I could be pretty confident most readers would be familiar with the Rider-Waite tarot deck. I don't know if that's true anymore. The world seems to have acquired a disdain for such things; and not for healthy reasons like sincere rationalism, but simply because disdain comes so easily. Pity.

  "Shadow Album": In the 1980s, I did a lot of theater: writing, acting, directing, and improvising (which is writing, acting, and directing combined). Somehow in the middle of that, I got involved in a mask workshop—possibly because said workshop was taught by my wife, Linda Carson.

  Masks are powerful things, which is why they feature prominently in shamanistic religious traditions. Donning a mask is often the first step to donning an alternate personality. Masks are therefore used in some types of theater training to help students learn to set aside their mundane selves and become something Other.

  If this sounds hokey when you read it on the page, let me assure you it's very effective in practice. Masks can have a powerful psychological effect…if you let them. In some sense, you can "become" the mask: someone you'd never let yourself be otherwise. There are obvious risks in this process, which is why mask workshops should always be led by people who know what they're doing; but taking risks is one of the great exhilarations of acting, and when it works, you can be transformed.

  In this particular workshop, we constructed our own masks. The mask I built, and the personality I discovered within that mask, are exactly like the character ToPu (pronounced "toa-poo") as described in "Shadow Album." The mask of poor sad ToPu still sits in my study as I type these words—the closest thing to a magical object I've ever made.

  "Hardware Scenario G-49": Another Clarion West story. ("Shadow Album" was, too.) All I can say is that my grandfather ran a hardware store and I worked there for several summers. The rest followed naturally.

  "The Reckoning of Gifts": Back when I was doing theater, I wrote a one-act play called "Gifts" that was performed by my old high school. Years later, when Lorna Toolis and Michael Skeet asked me to submit a story for Tesseracts 4, I resurrected the idea from the play and this is what I got.

  I should point out the story is substantially different from the play. For example, the play had none of the Vasudheva/Bhismu subplot. There are subjects that high schools prefer to avoid…

  One last thing about "The Reckoning of Gifts"—the story is science fiction. Science fiction. Just because the tale is dressed in fantasy clothing, just because the characters talk about gods and demons and dreams, don't automatically believe them. Science-fiction readers should know better.

  "The Young Person's Guide to the Organism": The title comes from Benjamin Britten's The Young Person's Guide to the Orchestra or Variations and Fugue on a Theme by Purcell. This is a musical work written in 1945, designed to introduce children to the various instruments in a symphony orchestra.

  Structurally, the piece starts with the entire orchestra playing a simple tune composed by Henry Purcell in the 1600s. Then each different instrument plays a variation on the tune, demonstrating the sound of the instrument, the range, something about playing technique, and so on. When Britten has finished taking apart the entire orchestra, he puts it back together again in a fugue that has all the instruments taking the melody line in the order they were first presented. Finally, while the fugue continues in the background, the brass section soars in with the original Purcell tune playing over top of the rest of the orchestra (which is still belting out the fugue).

  If that sounds complicated when described in words, it's quite straightforward when you hear the music. You can probably find a recording of the piece at your local library—check it out and listen for yourself. Most recordings have narrators who explain what's going on throughout the music, so you won't have any trouble following the structure.

  I followed the same structure in writing "The Young Person's Guide to the Organism." In my case, the initial "theme" was one of science fiction's classics: First Contact. The story consists of a number of individual "voices" describing their moment of contact with an enigmatic alien organism that drifts slowly through the solar system. Each of these individuals imposes his or her own interpretation on what the organism is—the organism serves as a blank slate on which personal concerns are projected. At the end of the story, in the fugue section, the individuals are brought together again for a climax, and then the original theme of First Contact comes back for the grand finale.

  It's worth noting that "Organism" tells the story
of First Contact between humans and the League of Peoples. That makes it the foundation for all of the novels I've published so far.

  "Three Hearings on the Existence of Snakes in the Human Bloodstream": It's seldom that I can actually trace the genesis of a story, but "Three Hearings…" is an exception. The night of January 1, 1996, I couldn't sleep; and when I got out of bed to find something to do with myself, I happened to pick up a how-to-write-poetry book I'd been meaning to read. (There's this nagging voice in the back of my head that keeps saying, "Jeez, I really should know something about poetry. And microbiology. And Chinese folklore." That voice is why I keep writing science fiction instead of something respectable, like murder mysteries.)

  Anyway, I opened the poetry book at random and found a short poem called "The Oxen" by Thomas Hardy. The poem is based on a folk tradition that oxen supposedly kneel on Christmas Eve, just as they knelt before the baby Jesus on the first Christmas. Hardy wistfully thinks about the legend and says he would like someone to say to him, "Let's go into the fields to see the oxen kneeling." Even better, he'd like to see that they are kneeling. To me, the poem was about becoming tired of modern sophistication: nostalgically wishing for simplicity and simple proofs of faith.

  This led me to think of a point in history where a simple article of faith was suddenly exposed as a lie. My notes say, "Someone has invented a telescope or a microscope which shows the belief is not true; that person is pulled in front of the High Priest to judge his heresy. The High Priest is a sophisticated man and feels the symbolic truth is more important than the literal; but he knows that for some people, this tiny thing will undermine their faith."

  It's a stock situation in science fiction: the moment when science confronts religion. But then I decided things would be more interesting if, for some people, the microscope/telescope did confirm their simple faith. Some metaphoric claim of something in a person's blood…and with the poor quality of early microscopes, some people saw what their religion claimed would be there. Over the generations, those who did see something would intermarry with one another, tending to reinforce the trait within that population…