Hugo award-winning and New York Times best-selling author N. K. Jemisin sharply examines modern society in her first short story collection.
N. K. Jemisin is one of the most powerful and acclaimed speculative fiction authors of our time. In the first collection of her evocative short fiction, Jemisin equally challenges and delights listeners with thought-provoking narratives of destruction, rebirth, and redemption.
In these stories, Jemisin sharply examines modern society, infusing magic into the mundane and drawing deft parallels in the fantasy realms of her imagination. Dragons and hateful spirits haunt the flooded streets of New Orleans in the aftermath of Hurricane Katrina. In a parallel universe, a utopian society watches our world, trying to learn from our mistakes. A black mother in the Jim Crow South must save her daughter from a fey offering impossible promises. And in the Hugo award-nominated short story 'The City Born Great', a young street kid fights to give birth to an old metropolis' soul.
Release date: November 27, 2018
Print pages: 416
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How Long 'til Black Future Month?
The time was 2002. I’d just turned thirty and had my first “midlife” crisis. (Yeah, I know.) I was living in Boston, where it was cold and hard to make friends and nobody put seasoning on anything. I’d just ended a lackluster relationship, and I was in student loan debt up to my eyeballs, like pretty much everybody else in my generation. In an attempt to resolve frustration with the state of my life, I finally decided to see whether my lifelong writing hobby could be turned into a side hustle worth maybe a few hundred dollars. If I could make that much (or even just one hundred a year!), I might be able to cover some of my utility bills or something. Then I could get out of debt in twelve or thirteen years, instead of fifteen.
I wasn’t expecting more than that, for reasons beyond pessimism. At the time, it was clear that the speculative genres had stagnated to a dangerous degree. Science fiction claimed to be the fiction of the future, but it still mostly celebrated the faces and voices and stories of the past. In a few more years there would come the Slushbomb, an attempt by women writers to improve one of the most sexist bastions among the Big Three; the Great Cultural Appropriation Debates of DOOM; and Racefail, a thousand-blog storm of fannish protest against institutional and individual racism within the genre. These things collectively would open a bit more room within the genre for people who weren’t cishet white guys—just in time for the release of my first published novel, The Hundred Thousand Kingdoms. But back in 2002 there was none of that. In 2002, I knew that as a black woman drawn to science fiction and fantasy, I had almost no chance of getting my work published, noticed by reviewers, or accepted by a readership that seemed to want nothing more than endless variations on medieval Europe and American colonization. And while I could’ve sharted out my own variation on medieval Europe or American colonization—and probably should have, if I wanted to pay off my loans faster—that just didn’t interest me. I wanted to do something new.
Established writers advised me to attend one of the Clarions or Odyssey, but I couldn’t; the day job only allowed me two weeks of vacation time. Instead, I borrowed six hundred dollars from my father and attended Viable Paradise, a one-week workshop out on Martha’s Vineyard. Since a week isn’t really enough time to substantively improve attendees’ writing, VP focused on other stuff—like how to make it in the business of fiction. I learned tons about getting an agent, the publication process, and how to survive as a writer; it was exactly what I needed at that stage of my career. And there I was given one more really good piece of advice: learn to write short stories.
This was the only VP advice that I balked at, because it sounded completely nonsensical to me. I’d read some short stories over the years, and enjoyed a few, but never felt the urge to write any. I knew enough to argue that short stories were a completely different art form from novels, so shouldn’t I spend my limited free time refining the thing I wanted to do, rather than learning this other thing that honestly seemed kind of boring? Also, I knew that the pay rate for short stories was abysmal; this was in the days when the SFWA-acceptable rate for pro-level markets was only three cents per word. Remember, one of my goals was utility-bill money. Short stories, assuming I sold any, wouldn’t even cover the cooking gas.
But the instructors at VP* made a compelling case. The argument that finally convinced me was simply this: learning to write short fiction would improve my longer fiction. I didn’t know whether to believe this or not, but I decided to spend a year finding out. For that year, I subscribed to F&SF and the now-defunct Realms of Fantasy, read online markets like Strange Horizons, and joined a writing group. The project didn’t go well at first. My first “short” story was a whopping 17,000 words and had no ending. But I got better. When I started submitting those stories to magazines, I got lots of rejections. My writing group helped me see that rejections are part of writing; we collected them, in fact, and tried to celebrate them along with the acceptances. Then I started getting acceptances—semipro markets at first, and then finally pro sales.
And along the way, I learned that short stories were good for my longer-form fiction. Writing short stories taught me about the quick hook and the deep character. Shorts gave me space to experiment with unusual plots and story forms—future tense, epistolic format, black characters—which otherwise I would’ve considered too risky for the lengthy investment of a novel. I started to enjoy writing short fiction, for itself and not just as novel practice. And of course, after all those rejections, my emotional skin grew thick as an elephant’s.
But wait. Back up. Yeah, I said black characters. I had done those before in novels I wrote as a teenager, which will never see daylight, but I’d never submitted anything with black characters. Remember how I described the industry circa 2002. Editors and publishers and agents talked a good game back then about being “open to all perspectives,” as they vaguely termed it, but the proof wasn’t in the pudding. To see the truth, all I had to do was open a magazine’s table of contents, or a publisher’s web page, to see how few female or “foreign” names were in the author list. When I sampled a particular publisher’s novels or stories for research, I paid attention to how many—or how few—characters were described as something other than white. I still wrote black characters into my work because I couldn’t stand excluding myself from my own damn fiction. But if the goal was to make money … well, like I said. I didn’t expect much.
So I lack the words to tell you how powerful a moment it was for my first pro sale—“Cloud Dragon Skies,” published in Strange Horizons in 2005—to be about a nappy-haired black woman trying to save humanity from its own folly.
How Long ’til Black Future Month takes its name from an essay that I wrote in 2013. (It’s not in this collection since I haven’t included any essays; you can find it on my website, nkjemisin.com.) It’s a shameless paean to an Afrofuturist icon, the artist Janelle Monáe, but it’s also a meditation on how hard it’s been for me to love science fiction and fantasy as a black woman. How much I’ve had to fight my own internalized racism in addition to that radiating from the fiction and the business. How terrifying it’s been to realize no one thinks my people have a future. And how gratifying to finally accept myself and begin spinning the futures I want to see.
The stories contained in this volume are more than just tales in themselves; they are also a chronicle of my development as a writer and as an activist. On rereading my fiction to select pieces for this collection, I’ve been struck by how hesitant I once was to mention characters’ races. I notice that many of my stories are about accepting differences and change … and very few are about fighting threats from elsewhere. I’m surprised to realize how often I write stories that are talking back at classics of the genre. “Walking Awake” is a response to Heinlein’s The Puppet Masters, for example. “The Ones Who Stay and Fight” is a pastiche of and reaction to Le Guin’s “The Ones Who Walk Away From Omelas.”
If you’re coming to these tales as someone who primarily knows me through my novels, you’re going to see the early forms of plot elements or characters that later got refined in novels. Sometimes that’s deliberate, since I write “proof of concept” stories in order to test-drive potential novel worlds. (“The Narcomancer” and “Stone Hunger” are examples of this; so is “The Trojan Girl,” but I decided not to write a novel in that world, instead finishing it up with “Valedictorian.”) Sometimes the “re-versioning” is completely unconscious, and I don’t realize I’ve trodden familiar ground until long after. The world of the Broken Earth trilogy wasn’t my first time playing with genii locorum, for example—places with minds of their own. The concept appears in several of my stories, sometimes flavored with a dash of animism.
Anyway, things are better these days. I paid off my student loans with my first novel advance. As of this writing I live as a full-time writer in New York, where I have lots of friends and my fiction brings in considerably more than utility bill money. (Even at Con Ed rates.) Right now in 2018, the genre seems at least willing to have conversations about its flaws, though there’s still a long way to go before any of those flaws are actually repaired. At least I see more “foreign” and femme names on book spines and in tables of contents these days. I see readers demanding fiction featuring different voices, spoken by native tongues, and I see publishers scrambling to answer. And while the voices of dissent have grown as well—bigots trying to rewrite history and claim the future for themselves alone—they are in the severe minority. The rest of the world has administered some truly beautiful clapbacks to remind them of this.
Now I mentor up-and-coming writers of color wherever I find them … and there are so many to find. Now I am bolder, and angrier, and more joyful; none of these things contradict each other. Now I am the writer that short stories made me.
So come on. There’s the future over there. Let’s all go.
It’s the Day of Good Birds in the city of Um-Helat! The Day is a local custom, silly and random as so many local customs can be, and yet beautiful by the same token. It has little to do with birds—a fact about which locals cheerfully laugh, because that, too, is how local customs work. It is a day of fluttering and flight regardless, where pennants of brightly dyed silk plume forth from every window, and delicate drones of copperwire and featherglass—made for this day, and flown on no other!—waft and buzz on the wind. Even the monorail cars trail stylized flamingo feathers from their rooftops, although these are made of featherglass, too, since real flamingos do not fly at the speed of sound.
Um-Helat sits at the confluence of three rivers and an ocean. This places it within the migratory path of several species of butterfly and hummingbird as they travel north to south and back again. At the Day’s dawning, the children of the city come forth, most wearing wings made for them by parents and kind old aunties. (Not all aunties are actually aunties, but in Um-Helat, anyone can earn auntie-hood. This is a city where numberless aspirations can be fulfilled.) Some wings are organza stitched onto school backpacks; some are quilted cotton stuffed with dried flowers and clipped to jacket shoulders. Some few have been carefully glued together from dozens of butterflies’ discarded wings—but only those butterflies that died naturally, of course. Thus adorned, children who can run through the streets do so, leaping off curbs and making whooshing sounds as they pretend to fly. Those who cannot run instead ride special drones, belted and barred and double-checked for safety, which gently bounce them into the air. It’s only a few feet, though it feels like the height of the sky.
But this is no awkward dystopia, where all are forced to conform. Adults who refuse to give up their childhood joys wear wings, too, though theirs tend to be more abstractly constructed. (Some are invisible.) And those who follow faiths which forbid the emulation of beasts, or those who simply do not want wings, need not wear them. They are all honored for this choice, as much as the soarers and flutterers themselves—for without contrasts, how does one appreciate the different forms that joy can take?
Oh, and there is such joy here, friend. Street vendors sell tiny custard-filled cakes shaped like jewel beetles, and people who’ve waited all year wolf them down while sucking air to cool their tongues. Artisans offer cleverly mechanized paper hummingbirds for passersby to throw; the best ones blur as they glide. As the afternoon of the Day grows long, Um-Helat’s farmers arrive, invited as always to be honored alongside the city’s merchants and technologers. By all three groups’ efforts does the city prosper—but when aquifers and rivers dip too low, the farmers move to other lands and farm there, or change from corn-husking to rice-paddying and fishery-feeding. The management of soil and water and chemistry are intricate arts, as you know, but here they have been perfected. Here in Um-Helat there is no hunger: not among the people, and not for the migrating birds and butterflies when they dip down for a taste of savory nectar. And so farmers are particularly celebrated on the Day of Good Birds.
The parade wends through the city, farmers ducking their gazes or laughing as their fellow citizens offer salute. Here is a portly woman, waving a hat of chicken feathers that someone has gifted her. There is a reedy man in a coverall, nervously plucking at the brooch he bears, carved and lacquered to look like a ladybug. He has made it himself, and hopes others will think it fine. They do!
And here! This woman, tall and strong and bare of arm, her sleek brown scalp dotted with implanted silver studs, wearing a fine uniform of stormcloud damask. See how she moves through the crowd, grinning with them, helping up a child who has fallen. She encourages their cheers and their delight, speaking to this person in one language and that person in another. (Um-Helat is a city of polyglots.) She reaches the front of the crowd and immediately spies the reedy man’s ladybug, whereupon with delighted eyes and smile, she makes much of it. She points, and others see it, too, which makes the reedy man blush terribly. But there is only kindness and genuine pleasure in the smiles, and gradually the reedy man stands a little taller, walks with a wider stride. He has made his fellow citizens happier, and there is no finer virtue by the customs of this gentle, rich land.
The slanting afternoon sun stretches golden over the city, reflected light sparkling along its mica-flecked walls and laser-faceted embossings. A breeze blows up from the sea, tasting of brine and minerals, so fresh that a spontaneous cheer wafts along the crowded parade route. Young men by the waterfront, busily stirring great vats of spiced mussels and pans of rice and peas and shrimp, cook faster, for it is said in Um-Helat that the smell of the sea wakes up the belly. Young women on streetcorners bring out sitars and synthesizers and big wooden drums, the better to get the crowd dancing the young men’s way. When people stop, too hot or thirsty to continue, there are glasses of fresh tamarind-lime juice. Elders staff the shops that sell this, though they also give away the juice if a person is much in need. There are always souls needing drumbeats and tamarind, in Um-Helat.
Joyous! It is a steady joy that fills this city, easy to speak of—but ah, though I have tried, it is most difficult to describe accurately. I see the incredulity in your face! The difficulty lies partly in my lack of words, and partly in your lack of understanding, because you have never seen a place like Um-Helat, and because I am myself only an observer, not yet privileged to visit. Thus I must try harder to describe it so that you might embrace it, too.
How can I illuminate the people of Um-Helat? You have seen how they love their children, and how they honor honest, clever labor. You have perhaps noted their many elders, for I have mentioned them in passing. In Um-Helat, people live long and richly, with good health for as long as fate and choice and medicine permits. Every child knows opportunity; every parent has a life. There are some who go without housing, but they can have an apartment if they wish. Here where the spaces under bridges are swept daily and benches have light padding for comfort, they do not live badly. If these itinerant folk dwell also in delusions, they are kept from weapons or places that might do them harm; where they risk disease or injury, they are prevented—or cared for, if matters get out of hand. (We shall speak more of the caretakers soon.)
And so this is Um-Helat: a city whose inhabitants, simply, care for one another. That is a city’s purpose, they believe—not merely to generate revenue or energy or products, but to shelter and nurture the people who do these things.
What have I forgotten to mention? Oh, it is the thing that will seem most fantastic to you, friend: the variety! The citizens of Um-Helat are so many and so wildly different in appearance and origin and development. People in this land come from many others, and it shows in sheen of skin and kink of hair and plumpness of lip and hip. If one wanders the streets where the workers and artisans do their work, there are slightly more people with dark skin; if one strolls the corridors of the executive tower, there are a few extra done in pale. There is history rather than malice in this, and it is still being actively, intentionally corrected—because the people of Um-Helat are not naive believers in good intentions as the solution to all ills. No, there are no worshippers of mere tolerance here, nor desperate grovelers for that grudging pittance of respect which is diversity. Um-Helatians are learned enough to understand what must be done to make the world better, and pragmatic enough to actually enact it.
Does that seem wrong to you? It should not. The trouble is that we have a bad habit, encouraged by those concealing ill intent, of insisting that people already suffering should be afflicted with further, unnecessary pain. This is the paradox of tolerance, the treason of free speech: we hesitate to admit that some people are just fucking evil and need to be stopped.
This is Um-Helat, after all, and not that barbaric America. This is not Omelas, a tick of a city, fat and happy with its head buried in a tortured child. My accounting of Um-Helat is an homage, true, but there’s nothing for you to fear, friend.
And so how does Um-Helat exist? How can such a city possibly survive, let alone thrive? Wealthy with no poor, advanced with no war, a beautiful place where all souls know themselves beautiful … It cannot be, you say. Utopia? How banal. It’s a fairy tale, a thought exercise. Crabs in a barrel, dog-eat-dog, oppression Olympics—it would not last, you insist. It could never be in the first place. Racism is natural, so natural that we will call it “tribalism” to insinuate that everyone does it. Sexism is natural and homophobia is natural and religious intolerance is natural and greed is natural and cruelty is natural and savagery and fear and and and … and. “Impossible!” you hiss, your fists slowly clenching at your sides. “How dare you. What have these people done to make you believe such lies? What are you doing to me, to suggest that it is possible? How dare you. How dare you.”
Oh, friend! I fear I have offended. My apologies.
Yet … how else can I convey Um-Helat to you, when even the thought of a happy, just society raises your ire so? Though I confess I am puzzled as to why you are so angry. It’s almost as if you feel threatened by the very idea of equality. Almost as if some part of you needs to be angry. Needs unhappiness and injustice. But … do you?
Do you believe, friend? Do you accept the Day of Good Birds, the city, the joy? No? Then let me tell you one more thing.
Remember the woman? So tall and brown, so handsome and bald, so loving in her honest pleasure, so fine in her stormcloud gray. She is one of many wearing the same garb, committed to the same purpose. Follow her, now, as she leaves behind the crowd and walks along the biofiber-paved side streets into the shadows. Beneath a skyscraper that floats a few meters off the ground—oh, it is perfectly safe, Um-Helat has controlled gravity for generations now—she stops. There two others await: one gethen, one male, both clad in gray damask, too. They are also bald, their studded heads a-gleam. They greet each other warmly, with hugs where those are welcomed.
They are no one special. Just some of the many people who work to ensure the happiness and prosperity of their fellow citizens. Think of them as social workers if you like; their role is no different from that of social workers anywhere. Word has come of a troubling case, and this is why they gather: to discuss it, and make a difficult decision.
There are wonders far greater than a few floating skyscrapers in Um-Helat, you see, and one of these is the ability to bridge the distances between possibilities—what we would call universes. Anyone can do it, but almost no one tries. That is because, due to a quirk of spacetime, the only world that people in Um-Helat can reach is our own. And why would anyone from this glorious place want to come anywhere near our benighted hellscape?
Again you seem offended. Ah, friend! You have no right to be.
In any case, there’s little danger of travel. Even Um-Helat has not successfully found a way to reduce the tremendous energy demands of macro-scale planar transversal. Only wave particles can move from our world to theirs, and back again. Only information. Who would bother? Ah, but you forget: This is a land where no one hungers, no one is left ill, no one lives in fear, and even war is almost forgotten. In such a place, buoyed by the luxury of safety and comfort, people may seek knowledge solely for knowledge’s sake.
But some knowledge is dangerous.
Um-Helat has been a worse place, after all, in its past. Not all of its peoples, so disparate in origin and custom and language, came together entirely by choice. The city had a different civilization once—one which might not have upset you so! (Poor thing. There, there.) Remnants of that time dot the land all around the city, ruined and enormous and half-broken. Here a bridge. There a great truck, on its back a rusting, curve-sided thing that ancient peoples referred to by the exotic term missile. In the distance: the skeletal remains of another city, once just as vast as Um-Helat, but never so lovely. Works such as these encumber all the land, no more and no less venerable to the Um-Helatians than the rest of the landscape. Indeed, every young citizen must be reminded of these things upon coming of age, and told carefully curated stories of their nature and purpose. When the young citizens learn this, it is a shock almost incomprehensible, in that they literally lack the words to comprehend such things. The languages spoken in Um-Helat were once our languages, yes—for this world was once our world; it was not so much parallel as the same, back then. You might still recognize the languages, but what would puzzle you is how they speak … and how they don’t. Oh, some of this will be familiar to you in concept at least, like terms for gender that mean neither he nor she, and the condemnation of words meant to slur and denigrate. And yet you will puzzle over the Um-Helatians’ choice to retain descriptive terms for themselves like kinky-haired or fat or deaf. But these are just words, friend, don’t you see? Without the attached contempt, such terms have no more meaning than if horses could proudly introduce themselves as palomino or miniature or hairy-footed. Difference was never the problem in and of itself—and Um-Helatians still have differences with each other, of opinion and otherwise. Of course they do! They’re people. But what shocks the young citizens of Um-Helat is the realization that, once, those differences of opinion involved differences in respect. That once, value was ascribed to some people, and not others. That once, humanity was acknowledged for some, and not others.
It’s the Day of Good Birds in Um-Helat, where every soul matters, and even the idea that some might not is anathema.
This, then, is why the social workers of Um-Helat have come together: because someone has breached the barrier between worlds. A citizen of Um-Helat has listened, on equipment you would not recognize but which records minute quantum perturbations excited by signal wavelengths, to our radio. He has watched our television. He has followed our social media, played our videos, liked our selfies. We are remarkably primitive, compared to Um-Helat. Time flows the same in both worlds, but people there have not wasted themselves on crushing one another into submission, and this makes a remarkable difference. So anyone can do it—build a thing to traverse the worlds. Like building your own ham radio. Easy. Which is why there is an entire underground industry in Um-Helat—ah! crime! now you believe a little more—built around information gleaned from the strange alien world that is our own. Pamphlets are written and distributed. Art and whispers are traded. The forbidden is so seductive, is it not? Even here, where only things that cause harm to others are called evil. The information-gleaners know that what they do is wrong. They know this is what destroyed the old cities. And indeed, they are horrified at what they hear through the speakers, see on the screens. They begin to perceive that ours is a world where the notion that some people are less important than others has been allowed to take root, and grow until it buckles and cracks the foundations of our humanity. “How could they?” the gleaners exclaim, of us. “Why would they do such things? How can they just leave those people to starve? Why do they not listen when that one complains of disrespect? What does it mean that these ones have been assaulted and no one, no one, cares? Who treats other people like that?” And yet, even amid their shock, they share the idea. The evil … spreads.
So the social workers of Um-Helat stand, talking now, over the body of a man. He is dead—early, unwilling, with a beautifully crafted pike jammed through his spine and heart. (The spine to make it painless. The heart to make it quick.) This is only one of the weapons carried by the social workers, and they prefer it because the pike is silent. Because there was no shot or ricochet, no crackle or sizzle, no scream, no one else will come to investigate. The disease has taken one poor victim, but it need not claim more. In this manner is the contagion contained … in a moment. In a moment.
Beside the man’s body crouches a little girl. She’s curly-haired, plump, blind, brown, tall for her age. Normally a boisterous child, she weeps now over her father’s death, and her tears run hot with the injustice of it all. She heard him say, “I’m sorry.” She heard the social workers show the only mercy possible. But she isn’t old enough to have been warned of the consequences of breaking the law, or to understand that her father knew those consequences and accepted them—so to her, what has happened has no purpose or reason. It is a senseless, monstrous, and impossible thing, called murder.
“I’ll get back at you,” she says between sobs. “I’ll make you die the way you made him die.” This is an unthinkable thing to say. Something is very wrong here. She snarls, “How dare you. How dare you.”
The social workers exchange looks of concern. They are contaminated themselves, of course; it’s permitted, and frankly unavoidable in their line of work. Impossible to dam a flood without getting wet. (There are measures in place. The studs on their scalps—well. In our own world, those who volunteered to work in leper colonies were once venerated, and imprisoned with them.) The social workers know, therefore, that for incomprehensible reasons, this girl’s father has shared the poison knowledge of our world with her. An uncontaminated citizen of Um-Helat would have asked “Why?” after the initial shock and horror, because they would expect a reason. There would be a reason. But this girl has already decided that the social workers are less important than her father, and therefore the reason doesn’t matter. She believes that the entire city is less important than one man’s selfishness. Poor child. She is nearly septic with the taint of our world.
Nearly. But then our social worker, the tall brown one who got a hundred strangers to smile at a handmade ladybug, crouches and takes the child’s hand.
What? What surprises you? Did you think this would end with the cold-eyed slaughter of a child? There are other options—and this is Um-Helat, friend, where even a pitiful, diseased child matters. They will keep her in quarantine, and reach out to her for many days. If the girl accepts the hand, listens to them, they will try to explain why her father had to die. She’s early for the knowledge, but something must be done, do you see? Then together they will bury him, with their own hands if they must, in the beautiful garden that they tend between caseloads. This garden holds all the Um-Helatians who broke the law. Just because they have to die as deterrence doesn’t mean they can’t be honored for the sacrifice.
But there is only one treatment for this toxin once it gets into the blood: fighting it. Tooth and nail, spear and claw, up close and brutal; no quarter can be given, no parole, no debate. The child must grow, and learn, and become another social worker fighting an endless war against an idea … but she will live, and help others, and find meaning in that. If she takes the woman’s hand.
Does this work for you, at last, friend? Does the possibility of harsh enforcement add enou
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