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Instant Demotion in Respectability

Disabled People Destroy Science Fiction will focus on making our work as disabled creators public. But what is it like to be disabled in public? In my experience it can be quite different from country to country, and also relate to how you present yourself, both online and offline.

I am autistic and also have mobility issues—some related to motor dyspraxia, others to a rare chronic illness. My mobility can vary quite a bit.

Last week I was trying to board a train home from a conference. This round trip was my first experience with trains in the US. The trains usually do not go where I need to go, but this time I got lucky.

There was a priority boarding lane for disabled people and seniors! I was really enthused, because I was in a lot of pain, my legs were stiff, and I was walking with a cane. I got in line… and promptly got shooed out by another passenger, an elderly white man in a cowboy hat, for not being a senior. I was trying to ask the person in charge of boarding if disabled people could in fact stand in this line. I am short and many tall Americans were standing in front of me. The person yelled “Seniors boarding!” She did not hear me.

Did she?

I stood back and waited in the regular boarding line. And waited. And waited, leaning on my cane. When the line started moving, I lost my balance and fell. Another white man helped me up and then told me he absolutely must go in front of me because his kids are boarding.

I have a lot of experience falling due to dyspraxia, so I only scraped my elbow. I was still upset. To top it all off, the train company apologized to my spouse complaining on Twitter, but not to me. (My spouse is also disabled, but this was not apparent from context.) As a disabled person, I could readily be ignored—and this is what I experience when I talk online about being disabled as well.

When I say something about disability with sufficient confidence, I often get treated as an authority; especially since I’m in academia. Whenever I add that I myself am disabled, the conversation frequently veers off track. I get ignored, shunted aside, even when I’m not explicitly dismissed. In my experience, this happens especially frequently related to autism, but it can definitely apply to other kinds of disabilities or chronic illnesses as well.

This kind of ignoring feels as if a sound-blocking (tweet-blocking? social-media-post-blocking?) cone of invisibility has suddenly descended on my head. I can say what I want, but the other side will not listen. I can wave my arms, but they will not see me. I am no longer that pristine authority; I am unfavorably biased by virtue of my existence. Instant demotion in respectability.

It’s not just about a train ride. I get this muffling experience in SF/F spaces too, which are where I primarily hang out online and occasionally offline. I get it when it comes to my writing, which is varied and sometimes about disability, sometimes not—sometimes about my other minority groups, sometimes not. Often, the only people who respond to disability-related tweets, blog posts, and stories are themselves also disabled. Disability inspires aversion from the non-disabled population. It elicits a turning away. When I want to promote something disability-relevant in SF/F spaces, it feels quite similar to standing at the back of the boarding line and waving and yelling to get attention. Sometimes I give up, at least until the next “I’ve never heard a disabled person mention this!” How could we be easier to notice?

It’s not just about positive versus negative experiences—at first, I guessed that maybe because, for example, when I talk about queerness as a queer person, the topic is something fluffy and cheerful, whereas disability is usually annoying or painful? But even when I talk about the negative aspects of queerness, like institutional discrimination, I feel that outsiders and majority people listen more than when I talk about disability. Even the positive aspects of disability. I have multiple marginalizations, and people can react to me quite differently based on which of them are foregrounded at any given moment. In my experience, disability ranks quite low on the respectability scale.

Now that a whole bunch of disabled people are going to vehemently destroy science fiction, maybe there is going to be some kind of interruption. Maybe the muffling cone will lift for a bit. At the very least, we will be able to have more discussions about disability where disabled people are going to set the tone, the topics, and the context.

I don’t think the muffling will end. It is on every single person to stop it. Communication is a choice that is recreated in every moment, every interaction. The best I can hope for is a slow, slow improvement—both inside SF/F and outside it. And then maybe one day I will get through a train ride without having to choose between yelling or falling on my face.

The Stories We Find Ourselves In

Let’s be honest here, science fiction and fantasy have always been the genres that misfits want to find themselves in. Growing up, I was a terrible student, but I was an avid reader. I loved randomly picking books off the shelf and discovering a good story, no matter the genre. Except I’d be lying if I pretended speculative fiction wasn’t my favorite section of the library.

Reading was always more than pure escapism to me. Books were my constant companions at school. I wasn’t supposed to carry heavy textbooks, but that didn’t stop me from hauling around hardback versions of tomes like The Lord of the Rings and the Foundation Trilogy in my book bag so I could sneak a few pages in between classes. Or during classes.

Back then, it gave me a lot of hope that given enough time even the most unlikely members of the fellowship could have their turn at being the heroes. Because in science fiction and fantasy, anything is possible.

And as a misfit kid, I needed to believe in improbable possibilities.

You see, I have cerebral palsy. It mostly affects my walking and balance, but my speech and dexterity also suffer. My disability is visible in the way that no one ever questions why I have a handicap tag. And yet, I’m incredibly lucky; it’s a mild case, I have the most supportive family anyone can ask for, and I’ve worked with some great physical therapists and teachers over the years.

The thing is, cerebral palsy is not a static condition. There’s room for improvement, especially as a kid, and over the years, I’ve had plenty of personal victories. Like mastering enough control and flexibility to tap my feet (the right one as a kid, the left one in my twenties.) And practicing and practicing and practicing until my fingers finally let me play piano. It was like a slow and unglamorous version of a training montage. But my victories are mine and I’m proud of them.

Trouble is, my progress supports a certain social mentality. People used to tell me regularly that if I just keep trying I could get better. And the stories I read supported this narrative too. I mean how many stories do we have where at the end the blind person’s sight is returned or the “wheelchair-bound” character gets up and walks at some point? Or a science fiction story where there’s a major medical breakthrough that magically fixes everything with no side effects?

But the hard truth about cerebral palsy is that there’s only so much control and flexibility your body will let you have.

These days, I’m not really “improving” anymore. On one hand, that bothers me. But on the other, more experienced hand, I know that’s okay. As of writing this, I’m turning thirty in a few weeks and I can still walk farther than most of my friends. I also know that I’d need to dedicate hundreds of hours of effort into getting an extra ten degrees of motion in my left foot. And honestly, I have better things to do. My biggest goal now is to retain my mobility and flexibility. And on the whole, I’m pretty happy with my body. I’m healthy and active and busy doing the things I want to do.

Lately, though, I’ve come to realize that it’s not just me who needs to re-orient my goals. The disability narrative in our stories needs to change too.

So, I’ll let you in on a secret, the thing I’ve learned about having a life-long disability, the thing that lots of stories never quite grasp: The real trick, the true solution to a disability, is to find a balance between your abilities and your goals.

The idea that you can “fix” cerebral palsy and disabilities like it with hard work and a good attitude is bullshit. But it’s what we are taught to expect. So, we writers need to start changing that narrative. We need tell stories that show a wider variety of abilities in characters. Stories that don’t pity the people who fall outside of the norms, or keep them in the house, or make them long for a “magic bullet” cure. We need to see more disabled characters in fiction, especially older ones, who’ve figured out what works for them and what doesn’t, and who are okay with that. Characters who embark on adventures, who make things and solve problems, just like their able-bodied companions. Because these are the types of stories that will change the way we view abilities and possibilities.

As a teenager, I needed to read more stories with disabled characters living healthy, productive existences.

Actually, I still do.

core/debris/core

My skin peels in oozing scales: tar, cinnamon, H2O, ferrum, CO2, reverberation
of how dare you show yourself in public, hide it under wraps! it must smell
when whole galaxies fall scraped off, blood into void, covering all in volcanic ash
unseemly to talk about skin flare spreading to my fingers, growing spaceships out of the debris that sticks between cushions, corrodes elbow creases, exploding spaceships fall on my lover’s face until it’s cratered
with the acidity of moons, but everything is justified
if it’s a birth, so I grow new skin, repair stiff fingers with meteors, grow, grow, grow until my fingers spin again, pulling/peeling
gory protuberances from a thousand suns—oh, you want science fiction?—is there anything else you want
that will make my existence confirm to your sleek aesthetic, airbrushed noir
smooth out everything of me that erupts
with pain/ecstasy, releasing energy at each separation of debris from core, giving birth/unbirth, endless process of renewal and alienation, noir me out of existence into shadows where even my shadow isn’t seen, but
listen, I have/have not hid behind long sleeves,
listen, I had loved ones who took it personally,
slapped my hands away from my own flesh to “help” me—do you
slap protonic radiation away from a nascent star, do you fight comets with Comet, do you want your universe scrubbed clean of birth/rebirth/fall/freefall/death/gravity
become a monoculture
airbrushed
painless
in which even you cannot remain? Tough luck.

Disabled Enough

The other day, someone asked me if I felt like I “count” as disabled. A lot of people don’t. A lot of people feel like they aren’t disabled “enough” to claim crip, to claim disability, to claim party to this community, to this issue, to this world.

I said yes.

Not everyone would agree with me, but I’m going to let you in on a little secret.

We are enough. You, me, all of us.

We are disabled enough.

People have been asking us if they qualify to write for Disabled People Destroy, if their perspective has value, if their disability counts for qualification.

We talked a lot about this before the Kickstarter, and I’m sure we’ll continue to reassure people after it ends in a few days.

But you are enough.

Disability is not a one stop shop for definitions. Partially blind or fully blind. Visibly disabled or invisibly disabled. Any form of disability at all.

The only restrictions we have are these:

Are you currently disabled? If you are, then you can submit.

Do you consider yourself disabled? Great. You can submit.

That’s it.

There’s no test to pass, though you’re welcome to tell us about who you are and what your disability is in your cover letter. There’s no kind of disability that we’re limiting it to. We want your stories, your perspectives, your opinions. Dominik and I are not waiting here with a list of who can and cannot submit, of what does or doesn’t count.

Because the only person, at the end of the day, who can make the decision of if you should or shouldn’t submit is YOU.

Ableism likes to tell us that there’s only one thing that disability looks like, that there’s only one way to be disabled. It has lots of definitions, lots of arguments for who “gets” to be disabled. It’s one of the ways in which ableism functions, to keep us apart, to keep us squabbling over who gets a pass into the disabled community.

I’m not going to look at the submissions and ask questions. I don’t have a checklist. I don’t have an agenda. What I have is a goal to share as many stories as possible.

So, when we open for submissions in 2018, don’t let ableism tell you whether or not you can submit. Tell YOURSELF that you can.

And the Dragon Was in the Skin

(Content Note: This essay depicts the visceral experience of a panic attack, dissociative experiences, and discusses incidents of suicide and self-harm in the movie Inception, which may be disturbing for some readers.)

It is 2 a.m. and the dragon says my marriage is ending.

It’s right. I know it with a certainty. Like the shuddering heartbeat rabbiting behind my ribs when I wake up. It all makes perfect, logical sense, and I line things up as he snores lightly beside me. We will disagree, we will have a fight, and page by page, the book of my life will turn to ash. I can taste it in my mouth.

My breath hitches. The sheets stick to my clammy chest. It takes that to notice the feeling of ball of ants behind my eyes, twitching, biting thoughts. Perhaps not ants. Something with bigger claws and fire. Dragons. Everything feels certain, so absolute.

That’s another sign.

I want to act, need to act. I want to wake him up. Cry, fight, fuck, do something. But instead I close my eyes and bargain with the certainty of the dragon-thoughts in my head. So, my marriage is ending. Okay. If it’s true, if it’s so absolutely true, it’ll be true in the morning. Truth does not expire, and a real fire can burn me any time. The dragon-thoughts are not happy, but they satisfy themselves by gnawing on my bones.

Morning comes. My marriage is not ending, of course. I can’t see any fire, but I still taste ash.

Anxiety lies.

I need an anchor.

Cobb, the reality-plagued idea-thief in Inception, had an anchor. He had what he called, in a bit of Hollywood appropriation, a totem. Cobb’s totem was a small metal top that he could spin to confirm whether the world he perceived was real or a constructed dream. Only he knew the weight of it, the feel of it. Spin the totem, watch it go around. If it wobbles and falls, you’re experiencing the truth. If it spins forever, round and round, you have forgotten what the truth is. You’re in a dream.

Sometimes I wish I had such a thing, a way to find certainty. The dragon-thoughts of Generalized Anxiety Disorder mean the reality I perceive, the conclusions my observations come to, are not necessarily true. Conversations do not go as I remember them. I am among friends, not threats. I’m standing on steady ground, not open air. I am my own sci-fi hero, trapped in a malicious virtual reality, a dream run amok inside my head.

If this were a story, I would be able to realize that, and realizing that would be all it took. I could break free in a dramatic act of heroic will, never to be ensnared again. I would have my Neo moment. There is no spoon. Bullet time. Awareness of the matrix means it can’t hold you.

Bullshit.

Inception, at least, understands that much. If Cobb spins his totem and it never falls, he knows he’s in a constructed dream world. But knowing it isn’t real doesn’t collapse the world. Cobb is still there, forced to deal with the world as he experiences it. In fact, if he tries to act against the false world, it turns malicious. Like a bad AI, dragon-thoughts protect themselves. Knowing something isn’t power, not here outside the story. Knowing it’s not true does not free you from the construct.

(Cobb escapes his false realities by killing himself. That logic also sits there, a shadow behind the dragon. We know it’s there. Focus on your totem.)

It’s a different 2 a.m. and a different dragon. We are on vacation, on a cruise ship that creaks and groans in every disaster-movie-iceberg kind of way. The sound is inescapable. I’m dying. I know I’m not dying. I’m dying anyway.

The totem spins and I bargain with the faulty dragon-AI in my head.

Sometimes the dragon is quiet. The totem wobbles like it should. I grow comfortable with the world. Errant thoughts are easily put down. I stop checking my totem in the first place. It stays in my pocket. It isn’t easy to continuously question your own mind. The dragon counts on that, sneaking up when my spinning top has gathered dust. When the bargain comes hard.

I have my dragon. Cobb had Mal. The projection of his self-sabotage, his doubts. The dragon-thoughts he could not control. As much as I cringe at another mentally ill woman in cinema trope, Mal makes sense to me, both as a person and a projection. Mal the person struggled with an idea she couldn’t control. Mal the projection is Cobb’s way of coping with that.

It’s not a bad way to cope. Othering distances yourself from the thoughts. We’re making our own Mal here, you and me. We say anxiety is dragon-thoughts. A malfunctioning AI. A gibbering line of code muttering doom in your head. Because those things can be observed instead of felt, bargained with instead of succumbed to. If not defeated, at least not absorbed. Difficult problems, not internal failures.

We are fond of writing mental illness as a failure. You know how the story goes, don’t you?

You have a picture in your head of me by now, the woman who clutches her pearls over her marriage, the wisp of a thing that is reduced to tears by the creak of a boat. I’ve seen those movies too. Worried, hesitant Neville in Harry Potter. Fretful, fluttering Threepio in Star Wars, the classic anxious android. The uptight, nervous Hermann Gottlieb in Pacific Rim, or the legion of anxious scientist characters like him, that exist in a story only to naysay and hold the protagonist back.

Anxiety, in these stories, is simply a personal flaw. Nervousness. Cowardice. The sidekick, the minion, the weasley traitor. We are never the hero. Or if we are, our nerves are abolished with a good ol’ dose of protagonist bravery.

Anxious characters, in these stories, are never the quiet, competent ones. That ones working through the night, holding their own massive doubts and private doom dragons between their gritted teeth. They are never the friends who avoid parties but will take on a revolution for a friend. The mothers who smother their own screaming breath for their children. The guides who will ferry you across the dark space between the stars because they’ve learned to look their own shadows in the eyes. The characters, haunted just behind the eyes, not by dead wives or compelling backstories, but by the fight they pretend not to fight every day. Not the nervousness but the control issues, the hyper self-awareness, the exhaustion.

No one ever warned me about the exhaustion. The days when everything is bad and everything is so certain that you wake up like a walking wound. The floating anxiety that has no thoughts but the steel-barbed understanding that something is wrong. You can’t stop for it, can’t soothe it, can’t put it down, but it goes with you. Tucked in your pocket along with your totem.

I want to see more interesting stories. Where the hero doesn’t punch their way out of the faulty holodeck, the VR run amok. I want to see the stories that complicate that, the way my own story is complicated. When the fault in your code is you, intractable but not invalidated. When the dragon isn’t to be slain but bargained with. The corrupted AI that is lived with, encountered again and again, even collaborated with, talked softly to.

What do those stories look like, when the construct isn’t something to escape? When the totem keeps spinning but, hell, you gotta get on with the story anyway? When the mentally ill person isn’t a pitiful foible, or a weak-willed sidekick, but the hero?

Keisha, the main character of the narrative podcast Alice Isn’t Dead, deals with anxiety disorder. It’s represented fairly well throughout the podcast, but the crowning moment comes at the end of the first season. Keisha is confronted with the inhuman Thistle Man, the monster who’s taunted and destroyed her hopes at every turn. It is the culmination of all her anxieties experienced in the show. She is trapped, she is overpowered, she is afraid.

It’s in that moment Keisha has a clarity about her anxiety. That when you stop denying it, it’s possible to turn it into something useful. An energy to be used. She uses it, the panic and the certain dread and the false doom to shudder through her like lightning and fight. “I’m not afraid of being afraid,” she screams, and tears, shaking, at the Thistle Man’s skin.

I’m still afraid of being afraid. I’m not certain how to make my anxiety a weapon against anything but myself. But I appreciate what comes after. Keisha isn’t cured of her anxiety after that. There’s no miracle revelation. She rises, bloody and victorious but still so afraid. But for a moment, just for one ragged breath, the fault in her code was a weapon. I like to think the next time the dragon-thoughts came, the bargain came a little easier.

It’s the only totem I’ve found, my dragon and I. That there’s no separating where the anxiety begins and I end. At the end of Inception, Cobb doesn’t kill Mal. Not even as the world is crashing down on his head. Instead, he is… kind. Kind to the part of his mind that lies.   

Cobb and Mal. The dragon and me. What stories can we tell when the dragon, the faulty AI, the broken holodeck, is us? Stories that look complicated, afraid, furious, teeth snarled and bleeding lightning.

It’s 2 a.m., and the dragon is stirring. Weigh your totem and let it spin. Don’t look at it. The story doesn’t go away. You don’t either.

The Uncanny Valley

WHY IS IT LIKE BREATHING SOUP OUTSIDE?!?! HAVE WE FALLEN THROUGH A PORTAL TO THE JURASSIC ERA?!?!? WILL WE BE EATEN BY A DINOSAUR?!?!

Oh wait, it is just summer in Central Illinois. We’d forgotten about the soup months while we lived away from Champaign-Urbana, but at least it’s otherwise gorgeous here—trees shading the sidewalks, fireworks of prairie flowers in the yards, and the wonderful quiet of a university town with the majority of students gone. And though this issue is full of dinosaur stories, we’ve yet to see a dinosaur here. (Unless they are dino grad students and are really busy in a lab or something.)

As we write this, social media is filled with sad news. Again. Many days feel difficult, as good news seems wiped away with the tragic. Whether it’s death or scandals or a malicious, incompetent regime destroying democracy, the parade of despair continues. But as always, Space Unicorns, there is hope. Kindness and beauty remain in our world. We have a phenomenal community that supports each other and builds things—creating a better world even when difficulties and impediments mount. That’s what the Space Unicorn Ranger Corps is about. This is why we continue to create Uncanny Magazine.

First, we want to thank everybody who purchased Weightless Books subscriptions during our subscription drive and sale. So many new members of the Space Unicorn Ranger Corps! We only exist because of you and your support. That’s how we pay our staff and contributors. Thank you for also spreading the word on social media. We couldn’t do any of this without you.

Are you looking for another way to support Uncanny Magazine? Fear not, Space Unicorns! We will be running an Uncanny Magazine Year 5 Kickstarter around the usual time of mid-summer! Keep watching our Twitter and Facebook feeds for more information, as there is going to be something VERY SPECIAL coming in Year 5!

OR, if you don’t want to keep looking at social media, you can receive our Uncanny Magazine newsletter in your inbox once or twice a month. Thanks to our amazing Editorial Intern Chimedum Ohaegbu and Managing Editor Michi Trota, you can now sign up for updates about new Uncanny issues, general magazine news, and even get some cool, unique surprises. Sign up right here!

Excellent news, Space Unicorns! Two Uncanny stories are finalists for the Eugie Foster Memorial Award for Short Fiction! Congratulations to Fran Wilde and Sarah Pinsker! Fran’s “Clearly Lettered in a Mostly Steady Hand” and Sarah’s “And Then There Were (N-One)” are both finalists for the Eugie Foster Memorial Award for Short Fiction!

From their website:

The Eugie Foster Memorial Award for Short Fiction  (or Eugie Award) celebrates the best in innovative fiction. This annual award is presented at Dragon Con, the nation’s largest fan-run convention.

The Eugie Award honors stories that are irreplaceable, that inspire, enlighten, and entertain. We will be looking for stories that are beautiful, thoughtful, and passionate, and change us and the field. The recipient is a story that is unique and will become essential to speculative fiction readers.

As always, the Thomases greatly enjoyed The SFWA Nebula Conference. Along with the usual meetings and socializing, we had magical times with the ICFA alligator and an excellent dinner at the combined Uncanny and Asimov’s Magazine table at the Nebula Award banquet.

The Uncanny Nebula Award Finalists K.M. Szpara, Sarah Pinsker, and Fran Wilde with Editors-in-Chief Michael Damian Thomas and Lynne M. Thomas. Photo credit: Zu Tudhope/Sarah Pinsker
A picture at the Uncanny/Asimov’s table with Sheila Williams, Connie Willis, a visiting Kelly Robson, Lynne M. Thomas, Caroline M. Yoachim, and Sarah Pinsker.
A picture at the Uncanny/Asimov’s table with Sheila Williams, Connie Willis, a visiting Kelly Robson, Lynne M. Thomas, Caroline M. Yoachim, and Sarah Pinsker. Photo credit: James Patrick Kelly/Sarah Pinsker

Meanwhile, Michi threw a fabulous Space Unicorn Party at Wiscon, featuring the famous Space Unicorn ube cakes from Jennivee’s Bakery in Chicago! Thank you to Don Alsafi, Tanya DePass, Renee Ismail, Courtney Jacobson, R.K. Kalaw, Kate Lansky, Layne Lebahn, Maia Mrkvicka, Nicasio Andres Reed, Lauren Vega, and Suzanne Walker for helping throw the party, and to everyone who stopped by!

Uncanny Managing Editor with one of the famous Space Unicorn ube cakes from Jennivee’s Bakery.
Uncanny Managing Editor with one of the famous Space Unicorn ube cakes from Jennivee’s Bakery.

The Thomases are taking it a little easier this summer, but all of us are planning to attend Worldcon 76 in San Jose from August 16-20. And that is not all! Theoretically, almost all of the Uncanny staff will be there with us! We hope to see you there!

The waiting is over, Space Unicorns! After a Twitter discussion a year ago prompted another ridiculous challenge idea, we have finally arrived at the Uncanny Magazine DINOSAUR Special Shared World Issue! Thank you to all of our Kickstarter Backers who made this possible, and to the dinosaur developmental crew of Brooke Bolander, Sam J. Miller, Mari Ness, Nicasio Andres Reed, A. Merc Rustad & Elsa Sjunneson-Henry, K.M. Szpara, and JY Yang. It has been a wonderful year of discussions, planning, writing, and GIFs of Jeff Goldblum. And another thanks to all of the writers who submitted to the issue. It has been a tremendously fun process. Rawr!

So now, behold the Uncanny Magazine Issue 23 Table of Contents! The sensational cover is Galen Dara’s The Uncanny T-rex. We start the themed issue with “The Uncanny Dinosaurs—Introduction” by Brooke Bolander, Sam J. Miller, Mari Ness, Nicasio Andres Reed, A. Merc Rustad & Elsa Sjunneson-Henry, K.M. Szpara, JY Yang, and Lynne M. Thomas & Michael Damian Thomas. This is the basic concept of the shared universe centering on the mysterious Owen Corporation. The stories include Sam J. Miller’s tale of love, sacrifice, and Soviet dinosaur experimentation “Red Lizard Brigade,” K.M. Szpara’s exploration of family, gender identity, and dinosaur science “You Can Make a Dinosaur, but You Can’t Help Me,” R.K. Kalaw’s story of reincarnation and forever dinosaur love “Bones in the Rock,” Elsa Sjunneson-Henry & A. Merc Rustad’s story of friendship and communication “By Claw, By Hand, By Silent Speech,” Brooke Bolander’s fractured and delicious fairy tale “The Tale of the Three Beautiful Raptor Sisters, and the Prince Who Was Made of Meat,” Brit E. B. Hvide’s discovered journal of a tragic journey “The Emigrants’ Guide to Oregon, California, and the Unknown,” Mari Ness’s delightful poem of dino chaos in the social media age “Expecting a Dinosaur,” Alex Bledsoe’s noir take on heists and dinosaurs “Give the People What They Want,” Mary Robinette Kowal’s sad lament of a dinosaur puppet “Nails in My Feet,” and finally Anya Ow’s story of family, duty, and cooking “Everything Under Heaven.” 

Our essays this month include Tobias S. Buckell exploring his childhood science fiction reading in the Caribbean, Alasdair Stuart examining his media joy and problematic favorites, Marissa Lingen journeying through how we think of human progress, and Tansy Rayner Roberts looking backwards and forwards about the question of “Can the Doctor be a woman?” on Doctor Who. Our gorgeous and impactful poetry features Cassandra Khaw’s “Octavia’s Letter to Marcus Anthony on the Discovery of His Faithlessness,” Brandon O’Brien’s “The One,” Ali Trotta’s “The Year We Got Rid of Our Ghosts,” and Cynthia So’s “FIND A HOT ASIAN GIRLFRIEND NEAR YOU.” Finally, Caroline M. Yoachim interviews K.M. Szpara and Anya Ow about their stories.

The Uncanny Magazine Podcast 23A features Sam J. Miller’s “Red Lizard Brigade,” as read by Heath Miller, Cassandra Khaw’s “Octavia’s Letter to Marcus Anthony on the Discovery of His Faithlessness,” as read by Stephanie Malia Morris, and Mary Robinette Kowal interviewed by Lynne M. Thomas. The Uncanny Magazine Podcast 23B features Brooke Bolander’s “The Tale of the Three Beautiful Raptor Sisters, and the Prince Who Was Made of Meat,” as read by Stephanie Malia Morris, Ali Trotta’s “The Year We Got Rid of Our Ghosts,” as read by Erika Ensign, and Brooke Bolander interviewed by Lynne M. Thomas.

As always, we are deeply grateful of your support of Uncanny Magazine. Shine on, Space Unicorns! RAWR!

Octavia’s Letter to Marcus Anthony on the Discovery of His Faithlessness

Let me write you love poetry,
Let me love you
in phases, with my false praises.
first quietly:
so no one can hear, no, not the neighbours,
not her, though she cups
your heart, snugly
ensconced, smug, certain she’s not interchangeable,
not just a part comprised of vulvic lips,
child-bearing hips, not nearly
as dispensable as the rest of your lovers.

Let me love you loud,
worship you in meter, in prosody,
in rhythm
Let me feed my crowd your sins, let me
give worth to the worthless blighted heresy
of your life,
redeem it in verse, retell it
as something better, the beauty
of this, of course, is no one would know, no one
would recognize you in my glamour, no one
but you, so let me
love you

(Editors’ Note: “Octavia’s Letter to Marcus Anthony on the Discovery of His Faithlessness” is read by Stephanie Malia Morris on the Uncanny Magazine Podcast Episode 23A.)

Interview: K.M. Szpara

K.M. Szpara lives in Baltimore, MD, where he works as a paralegal. His short fiction and essays have appeared in Uncanny, Lightspeed, Strange Horizons, and more. He is a graduate of the Viable Paradise workshop, and the editor of Transcendent: The Year’s Best Transgender Speculative Fiction (Lethe Press). His first appearance in Uncanny, “Small Changes Over Long Periods of Time,” is a finalist for the Hugo and Nebula awards. “You Can Make a Dinosaur, but You Can’t Help Me” is a powerful story of sex, love, difficult family relationships, and—of course—dinosaurs…

Uncanny Magazine: One thing I love about this story is the variety of perspectives it provides. There is a huge range in the characters’ understanding of gender, with Emerick and Leo on one end, Emerick’s dad on the other end, and Noelle falling somewhere in the middle. All too often complex things like gender or race are portrayed in fictional settings with characters that either “completely get it” or “don’t get it all,” but reality is messier. Did creating this range of characters come easily to you, or were some perspectives more challenging to write?

K.M. Szpara: It wasn’t challenging to write any of the various perspectives in that I have experienced them, personally, or with my own friends and family. But it was challenging to inhabit them. Writing trans characters is both easy and hard. Easy, because I am trans and have the personal insight needed. Hard, because sometimes it hurts or clashes with my personal views. Leo is femme and gay and trans—all of which I am—but he also has, in Emerick’s view, learned to love his body. Emerick, conversely, is binary and masculine and does not want to be a gender revolutionary. He’s not someone who’s “queer as in fuck you.” He wants to be invisible and is happy to blend into the cis population. I have friends like this and understand why they want this—I used to—but since my identity has evolved, I’ve become more visible and louder, by necessity. Emerick was a challenge. So, Emerick and Leo are really on their own scale of trans understandings of gender, and don’t necessarily feel the same way.

Cis people, on the other hand, are not challenging for me to write. I know what various levels of acceptance and support—and hate and ignorance and apathy—look like. The family member who isn’t actively mean but manages to avoid the topic, to ignore who you are. Whom you’re supposed to feel lucky hasn’t kicked you out of the house, but hurts, nonetheless. The acquaintance who’s understanding but can’t “see” gender the way a trans person does. Who is generally an ally, but still makes you cringe, sometimes.

Uncanny Magazine: You’ve written multiple stories that feature trans characters—”Nothing is Pixels Here,” “Small Changes Over Long Periods of Time,” and most recently this story. Do you find there are topics or issues that come up repeatedly for your protagonists? Things that change over time? To what degree are your depictions of trans characters tied to your own experiences?

K.M. Szpara: I have joked, before, that I write HRP: Hormone Replacement Punk. Even though that’s not really accurate, it’s catchy! For the record, I talk about the trans experiences of myself and my characters a lot and there are unlimited ways to be trans and/or non-binary. It’s complicated because I’m often balancing my dysphoria with that of my various characters. There are certain genders and bodies I can’t write (at least not yet) as protagonists because it’s honestly too uncomfortable, so I am limited in that aspect. But, also, there are a million unturned rocks in trans-themed speculative fiction, because both gender and speculative fiction are unendingly creative. I, of course, write trans characters because representation matters to other trans folks who’ve never seen anyone like themselves in fiction, but I do also write to help cis people develop empathy. Most cannot conceive of what gender dysphoria feels like, even if they know what it means on a factual basis. Most do not have the trans X-ray vision that Emerick allows them to glimpse.

As my identity evolves, as I learn more about gender and my experience of it changes, I can write different characters and conflicts. I used to exclusively write cis gay men. Then, in “Pixels” I wrote a trans character who didn’t know he was trans and so was, in his day-to-day experiences, cisgender. He never transitioned, never thought about his gender—until his physical body was revealed. In “Small Changes” I wrote a trans character who was unapologetically trans and gay, who worked hard to be who he was, and was rightfully skeptical of cis people, especially cis gay men. In “You Can Make a Dinosaur” I wrote two trans characters with different gender expressions—femme and masc trans guys—navigating what it means to support one another when your family won’t. The evolution, I think, is evident in the progression of my protagonists. My stories are the expanding brain meme.

Uncanny Magazine: The stories for this issue of Uncanny are set in a shared world that features dinosaurs and portals. Have you done any other writing in worlds that were not entirely your own (shared world, collaborations, fanfic, etc)? What were the advantages and/or challenges of creating a story with this specific theme?

K.M. Szpara: Fanfic, fanfic! I wrote a ton of fanfic when I was a kid and teenager, though did not post most of it on the Internet. It’s in old journals packed away in boxes or on my bookshelf, excepting a few stories online. Fanfic is fun because it’s a transformative work. It’s a “what if…” which speculative fiction also is! This specific theme was challenging because I’d never had to edit based on other people’s work, before. My story only had to stand up on its own and incorporate editor feedback. But this was a puzzle. I like puzzles. I like the challenge of making it all fit, of working with other people to create something bigger when all the pieces are put together. But I’d still never done it before. I like having control over my characters, my themes, my content. So, while I liked working with others, the experience came with a learning curve. I had to re-configure a major aspect of my story based on the theme and the others’ work; it was hard! But I’m glad I pushed myself. Trying new things teaches you new skills, and helps you evolve as a writer. Plus, dinosaurs are pretty badass.

Uncanny Magazine: What is your favorite dinosaur, and why?

K.M. Szpara: First of all, I’m always rooting for T-rex. Rex is a famed carnivore—a classic. That said, I was recently asked which dinosaur I would be and, in search for the answer, I realized Ankylosaurus is a favorite. “One of those tough, hardened herbivores that predators can’t get their jaws around,” was the species I was searching for, when I answered. You’ve got to give Ankylosaur some credit for being crusted over so immensely—so armored—that they just keep on moseying while Rex is struggling to get her jaws around them like, “How do you crack this meal open?” Ankylosaurus just wants to live his life and who doesn’t identify with that?

Uncanny Magazine: There is an unfortunate tendency in US culture to glorify violence but make sex taboo. I can think of a huge number of science fiction and fantasy stories with graphic violence, but relatively few with graphic sex. This story features beautifully written, detailed sex scenes. What were you hoping to show in these scenes? What do you hope the reader takes away from them?

K.M. Szpara: I’ll never understand why SFF with graphic violence is lifted up and SFF with graphic sex is written off as porn. Sex is an extremely effective way to show who your characters are—when they’re physically close with another person (or people), when the armor of their clothes is gone, having vulnerable conversations about what they want or need.

In this story, specifically, I wanted to show the difference in two trans characters’ navigation of their own bodies. Queer people have to communicate—society isn’t scripted for us—so we learn how. Leo and Emerick are both trans guys who like guys—and yet their dysphoria is different. That’s not always touched on—in fiction, nonfiction, or public discourse. Dysphoria is an ever-evolving beast. It’s different for everyone, even those who share multiple identities. And one of my motivations for setting this story in the second person present, was to give the reader an experience of gender dysphoria, much of which is bodily for Emerick. I don’t only write explicit sex to illustrate how trans bodies are hard, but also how they’re sexy. It took me, personally, a long time to consider bodies like mine “sexy.” One of my shameless motivations is changing people’s views of what can be sexy. Because, frankly, writing trans people and bodies as attractive, worthy of love, and sexy, is a political—if not controversial—act. Cis people who minimize this are wrong. It’s frustrating that allocishet folks are often unable to grasp the nuances of queer sex. That everything matters. Those scenes are as important as the sciencey scenes, and way more fun to write! Writing sex is fun. Write sex if you want to.

Uncanny Magazine: What are you working on next?

K.M. Szpara: My novel! I’m so excited to have recently sold my debut novel—and a second novel to-be-written—to Carl Engle-Laird at Tor.com. Provisionally titled Docile, it’s an alt-/near-future science fiction novel in which debt is passed down generations, snowballing until the only options, for many, are debtors prison or selling your debt to a private citizen. Like much of my work, it’s super gay, full of complicated sex, and focused on social issues. But, of course, the work is only just beginning. So, what I’m working on next is editing Docile—and then writing another book!

Uncanny Magazine: Thank you for sharing your thoughts with us!

Red Lizard Brigade

October.

Our animals, they know. Way before we do.

Ever since we entered the Zone of Exclusion, she’s been uneasy. For me, it’s paradise. No people. Stores full of stuff. Apartment doors standing open, radios still on. One morning months ago a caravan of trucks showed up, ordering everybody out of a two-hundred-kilometer circle of Irkutskaya Oblast—centered on our test site, to provide total security in case one of our animals escaped. People took what they could carry and left what they could not. I’m stuffing my saddlebags full of books, and jewelry for my mother, and my megalosaurus is pawing at the dirt. She still smells the suffering.

Humans are dumb like that. We let so much come between us and what we know in our gut.

Right away, she knew. Last month—a morning like any other as far as I could tell—but as soon as we entered the long empty aircraft hangar, my megalosaurus could sniff it in the air. Something wrong. Something missing.

Not even now, in Nukutsky, this empty city smelling of rot and red rust, do I know what I’ll do. If I find him.

“Come on, girl,” I tell her, climbing back on board. “He’s close.”

September.

“It wasn’t an attack,” Mayakovskaya told me. We were alone in her office. She was so much smaller, behind a desk. Moments before, in the hangar, giving us the briefing on the previous night’s security breach—almost certainly American spies—she’d seemed superhuman.

It hadn’t occurred to me to wonder whether she was telling the truth. It never did. One more thing Osip always made fun of me for. You’re so cute the way you unthinkingly believe everything you read in Pravda.

My skin shivered, remembering.

“It was treason,” she continued, and instead of anger I heard sadness.

“Who, General?”

She stood up. Her face gave nothing away. She’d been at Stalingrad.

“Someone stole a gate. And the plans for how to make more. And they’re heading for Okinawa to meet with an American scientist—a representative of the Owen Corporation.”

Her eyes were aiming out the window, to the long muster space where our monsters were trained. Armor-plated stegosauruses marched in a circle. Sauropods plodded. Raptors ran in packs; split off into pairs; brought down motorcars.

“Who, General?”

I knew by now. Why else would I be there?

“Sergeant Kalatozov,” she said, avoiding eye contact. Like she knew. What we were.

“How do you know he—”

“He took his ceratosaur. She would not have gone willingly with anyone else—and to get her to go unwillingly they’d have needed equipment and resources too big to have been missed last night.”

She was right, of course. How could she be otherwise? Silence seemed like the smartest course of action. It usually did. Or at least the least stupid one.

“We have several squads of highly trained soldiers tracking him down, of course. This project eclipses even the atom bomb in terms of its potential to determine the future of our war with the West. But no one knows him better than you. We want you in the field as well. You have two hours to develop a plan, and another hour to prepare for departure.”

I had never been so grateful for basic training. For those long brutal days and weeks drilling basic obedience into me, so that the response was out of my mouth before my brain could intervene:

“Yes, General.”

August.

“What?” I’d asked, when I put one sweat-wet hand on his bare hip and tugged, and he didn’t come.

“I’m tired,” he said, and sat up on the tarp we’d spread between two motorcycles.

True, we’d just finished, but Osip was usually good for three rounds. Sometimes four. Five, once, on leave in Odessa, when we’d had the whole wild city at our disposal but spent most of it in one tiny stinking gaslit room. Bellies gurgling the whole time, but we couldn’t bear to put clothes on and leave the bedroom to find food.

“What?” I said again, because words were not what I was good at.

He put on his Red Army cap. Naked, it made him look like a little boy playing soldier. Pterodactyls screeched in the black night sky above our tin roof. Scissor-wings snipped.

“You went somewhere,” I said. “Yesterday. On patrol. I couldn’t reach you for two hours.”

“Radio silence is part of the protocol.”

I poked him where he was still slick. “You aren’t always so fond of protocol with me.”

Osip stood up. He was magnificent. From the seat of his motorcycle, he took my pack of cigarettes. Lit one, tossed one to me.

Usually he lit them first.

“Do you ever think of leaving?”

“The Army? Eventually. What should we—”

“No,” he said. “Not the Army.”

When I look back now I can see what I should have seen. But when it was happening all I could see was how my heart hurt.

July.

Osip said: “When they opened the first gate, it led to outer space. Sucked sixty scientists in, along with half of a Leningrad University research center. Would have kept going forever, probably, if it hadn’t swallowed up its own power source and shut down.”

“When was that?” I asked, not because I ever fully understood or remembered what he said, but because it made him happy to talk, to sound smart. Making him happy made me happy.

“1944. That’s when they shifted research outside of the cities, set up the Zones of Exclusion. Gate science has come a long way since then.”

Our dinosaurs blinked slow in the unaccustomed sunlight. My megalosaurus was slightly bigger than his ceratosaurus. Nowhere near as smart. And it lacked the awesome horn halfway between her eyes and nose. But either one of them could have killed an elephant in an instant, or gobbled down a human in two snaps of those knife-tooth-filled jaws.

Command said tyrannosaurs were still too difficult to find. Osip said he bet they were easy to find, but too difficult to capture.

“We’re close to opening a gate right onto where the Americans keep their atomic secrets—but General Mayakovskaya thinks the A-bomb is not the future of warfare. These are.”

We walked them through the familiar drills. Stop; go; squat; attack. Mount; dismount. Dismember.

He leaned forward, and kissed the top of his monster’s head. “What do you think they do with these little ladies, once we train them?”

“Homeland defense,” I said, exactly like the General always said it.

And all at once, like the sun swallowed up by a cloud, Osip’s smile was gone. He laughed, but made me ask:

“What’s funny?”

“They get assigned to labor camps. Patrolling perimeters. Hunting down escapees.”

“How do you—”

“I’ve heard stories. Guards terrorizing prisoners. Siccing our girls on the weak ones, or the troublemakers, in front of everyone. Or throwing three men into their pen, and putting bets on what order they get eaten in.”

I shrugged. Sad for those poor souls, but good people did not end up in prison camps. Everybody knew that. Pravda said so.

Three more hours on our training shift, and Osip did not say another word the whole time.

June.

“Don’t be scared.”

“I’m not.”

I was.

“She sees your hand shaking,” Osip said. He wasn’t Osip, then. He was Sergeant Kalatozov. My superior; my trainer. The man with the electric eyes, whose voice set fire to my insides, who moments before had guided me through a door into a repurposed stable, where an animal that was supposed to have died a hundred million years ago was waiting for me.

“How did we—where did she—”

“We went to where she lives, and brought her back.”

“How?”

“Gate technology. In the West they call them wormholes, but they’re still purely theoretical. The mighty Soviet state has made them real.”

“Don’t be scared,” he said, standing between me and the monster—and his eyes were locked on mine, like he knew, like he was her, like he could smell it on me—how afraid I was, of him, of how he made me feel, of what the smell of him set off inside me.

“Poor thing,” he said, “you can’t be, what? Six weeks away from the Moscow slums?”

“Four weeks,” I whispered.

He grinned, and grabbed hold of my shoulders. We were both of us war orphans, but so was everyone else.

“It’s okay to be scared,” he whispered in my ear, and felt how I shivered when he did so.

“Okay,” I said.

“It’s okay to be homesick.”

“Okay,” I said.

“This is okay, too,” he said, and kissed me on the mouth. On the neck.

“Okay,” I said.

So many people had told me it was not okay, what I wanted. I thought to myself, what else will he show me? What other lies have I spent my whole life believing?

July.

It would not stop screaming. Three stab wounds in its sides—one leg broken—and the allosaurus still fought and snapped and bit and thrashed.

We have to know, General Mayakovskaya had told us, that morning, when we got the assignment. Not just how they fight—how they suffer, too. How long it takes them to bleed to death. How pain changes their behavior. These are weapons—not friends. We can always go back through the gate to get more.

“Come inside,” I said.

“No,” Osip said, sitting on the metal railing watching our prize pupil die.

“Let the scientists do their job. They’re documenting everything. We don’t need to watch th—”

“You can go if you want to,” he said, and what I heard in his voice was hate. Not for me, but the knowing that didn’t make his hate hurt any less.

August.

Across the glass, our animals stood patiently and let the mechanics strap their armor on. Gun turrets; saddlebags packed with munitions. Helmets to shield their eyes from the blinding flash of a nuclear blast.

Osip lay on his back on the dirty stable floor, smoking. Holding up a document with both hands.

“What’s that?” I asked. Innocently. Paper was just paper. How could a pamphlet change anything, let alone everything?

He handed it to me. THE OWEN CORPORATION

“Where did you get this?”

“Found it in one of the empty Zone cities. Nukutsky.”

I opened it. All the other words were way too small. I handed it back. “What does it say?”

He shook his head, disappointed in me for not trying harder. They didn’t spend a ton of time teaching slum kids how to read back in Moscow, I’d said to him not long after we met, to which he’d said You’re not in the Moscow slums anymore.

“They want to bring technology to the people. Use it for everyone.”

My mouth came open. Would not shut. What he was saying could not be said.

“Educate people. Entertain them. Imagine if our monsters could be used for something other than killing.”

Now I know. American companies don’t translate anything into Russian unless they’re trying to talk somebody into treason.

“Osip, stop,” I whispered, or anyway tried to.

“All finished, Sergeant,” the shorter mechanic said, entering.

Osip squirreled away the pamphlet. Got up off the floor. Made his grin go away. With the other soldiers around we were aloof. He was as gruff with me as with anyone else. A testament to her leadership, that Mayakovskaya could tell we were more to each other.

He saluted. She saluted, and left. Osip shrank, when he exhaled.

“You’re happy?” he asked.

I didn’t answer right away. Because the question had to be a trick. Because how could I not be?

“You’re happy here?” he said.

“Of course,” I said. “What even—what alternative would there even be?”

“It’s a big world,” he said, and my stomach sank. My bladder swelled. The animal in me was afraid, terrified for the strange creature my beloved had become.

“You’re happy having to hide this?”

“It’s no better in America,” I said. The name felt like thorns on my tongue—a provocation, a plea for him to refute that’s what he’d been contemplating.

“How would you know that?”

So. America it was.

Heart breaking, on brute animal instinct, like the kind basic training had drilled into me, I asked: “How would you know otherwise?”

And here, for once, it was Osip whose open mouth had nothing to offer.

September.

How had he done it? Contacted that corporation, communicated to them what we’d done—what we had—set up an encounter? But Osip was smart like that. He could do things. All September long, that must have been what he’d been doing. And I’d been so oblivious. The kind of oblivious that can only be intentional. Only be me trying my hardest not to know something.

That’s the human in us. The thing that acts against every instinct.

Supper, and we sat on long benches, ate over-salted slop. Osip’s hand on my thigh, sometimes. The briefest of caresses, of squeezes. Summer was over. The wind from the steppes was already sharpening.

“Red Lizard Boys,” someone said. “That’s what they should call our brigade.”

Six separate women groaned as one. “Red Lizard Soldiers,” someone clarified, and there were cheers, general consensus achieved, and we spent the whole meal discussing it, writing the songs they would sing about us, when our monsters had won us the war with the West.

Only Osip’s laughs were empty, his smiles silent. None of us could see what he’d accepted long ago. How no one would ever know our names, tell the stories of what we’d done.

I could see, then. In the way he hid the pain from his face. What courage it took to contemplate escaping. To even imagine something so blasphemous. So dangerous. I tried, and I couldn’t.

What a weird thing about humans. How the imagining something is so much harder than the doing it.

But then—late that night—alone in my narrow barracks bed—Osip asleep three bunks over—an image came into my head. Something from a movie we’d seen in Odessa: a clandestine, tattered print playing in someone’s improvised basement cinema. Sixty sailors and whores and railroad men and street vendors crammed together, watching something we weren’t supposed to watch. An American movie, set in Los Angeles. Untranslated; incomprehensible. Osip says that’s the point. Not the story, not the words. The people. Their superhuman faces; their perfect teeth and smooth hair sculpted from black or white marble. Walking smiling holding hands beneath palm trees seven stories high.

I could see us, Osip and I. Under the palm trees.

Now you’ve done it, I told myself, knowing I’d not be able to sleep that night. Now you’ve imagined yourself there. Now you’re really screwed.

October.

The pearl necklace clenched in my fist must have come from Paris. Nothing this nice has existed in our country since the time of the tsars, and the Whites took it all with them when they left. What they left, the Reds sold to buy tractors. Weapons. The ones that won them the Civil War, kept the Soviet state from being strangled in its crib.

Who was she, I wonder, the woman whose abandoned dresser I’d snatched them off of? How had she gotten them? Not through a gate—opening one onto a hostile country was still strictly forbidden until First Strike, with all gate traffic strictly logged and scrutinized. No, these were older. Passed down, kept safe. And how much money would they get for me? Enough to buy a building, I think. A house. A life for two. But I don’t know how much anything costs, not really. All I know is that dreams are not enough. From the hurt in my very human heart I know that this will be true no matter where we run to.

Run to. Like I’ve decided already. But I haven’t. Because every option in front of me makes me sick to my stomach.

Nukutsky feels like the future. Like full winter is already upon us, when back at base autumn had still been beginning. We’re close enough now, that my megalosaurus can take us the rest of the way to Osip. She has his scent; stomps past the streets that stand between us.

He is sitting in the middle of the street, in the middle of the city. He’s dragged a comfortable armchair out of one of the houses. Books are stacked beside him. He’s been waiting.

“You came,” he says. His ceratosaur is nowhere to be seen.

“Of course I came. Where is she?”

“On the boat,” he says. “Waiting for us.”

“Boat?” I say, but I already knew, and do not want to know.

“The one from the Owen Corporation.”

“Osip,” I say. “What have you done?”

He doesn’t say, because here too his vocabulary fails him. Whatever the word is, for whatever’s beyond treason—that’s what he’s done.

“You gave her to the Americans.”

“Not the Americans. An American corporation.”

I blink. I do not know the difference.

“I’m going to join her,” he says. “We both are.”

I climb down from the saddle. Already the tears are coming. Because I am weak. Because I am still that broken slum kid. Because I had hoped that he would change me, but he hasn’t. He can’t. We are what we are. I’d believed him to be perfect, but that was bullshit. None of us are. Not if we’re human.

“Please tell me you’ll come too.”

“Come back to the base with me,” I say, aware already of how absurd this sounds. “We can say you were attacked—your animal was captured—you—”

“I stole her from the base,” he says. “You know what they’ll do to me.”

I do. I gasp, from how much it hurts. How badly I want to die.

“Then go,” I whisper. “

“I won’t,” Osip says. “Not without you.”

“Osip, no.”

He smiles. He waits. He thinks he knows me.

“Please go,” I whisper. The steppes swallow up the sound.

“My fate is in your hands.”

He picks up three rocks. Throws one at my megalosaurus. She barks. Looks at me. For permission. I put my hand on her haunch and she lowers her head obediently.

“We can be free,” he says. “We can be together. You know that’ll never happen here.”

“You don’t know that it’ll happen anywhere.”

He throws a second rock. My monster is extremely confused. She will obey me, but not for very long.

“Run,” I say. “Run now.”

He says my name. But I know by now that he knows.

“I’m sorry,” I whisper, possibly out loud. “I can’t.”

The third rock strikes her chest. She roars.

I take my hand off. Step back. My monster steps forward.

Sure, she knows him. But she is still an animal.

Osip screams, but not for more than second.

My human brain believed that doing it this way would feel like it was out of my hands. Like it wasn’t me, deciding. So it would hurt less. So eventually it might stop hurting. But it’s still a choice, choosing to let our animals decide.

(Editors’ Note: “Red Lizard Brigade” is read by Heath Miller on the Uncanny Magazine Podcast Episode 23A.)

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