How Long 'Til Black Future Month? Read online

  Copyright

  This book is a work of fiction. Names, characters, places, and incidents are the product of the author’s imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is coincidental.

  Copyright © 2018 by N. K. Jemisin

  “Too Many Yesterdays, Not Enough Tomorrows” Copyright © 2004 by N. K. Jemisin; “L’Alchimista” Copyright © 2005 by N. K. Jemisin; “Cloud Dragon Skies” Copyright © 2005 by N. K. Jemisin; “The Brides Of Heaven” Copyright © 2007 by N. K. Jemisin; “The You Train” Copyright © 2007 by N. K. Jemisin; “The Narcomancer” Copyright © 2008 by N. K. Jemisin; “Non-Zero Probabilities” Copyright © 2009 by N. K. Jemisin; “On the Banks of the River Lex” Copyright © 2010 by N. K. Jemisin; “The Effluent Engine” Copyright © 2011 by N. K. Jemisin; “The Trojan Girl” Copyright © 2011 by N. K. Jemisin; “Valedictorian” Copyright © 2014 by N. K. Jemisin; “Walking Awake” Copyright © 2014 by N. K. Jemisin; “Stone Hunger” Copyright © 2014 by N. K. Jemisin; “Sinners, Saints, Dragons, and Haints, in the City Beneath the Still Waters” Copyright © 2015 by N. K. Jemisin; “The City, Born Great” Copyright © 2016 by N. K. Jemisin; “Red Dirt Witch” Copyright © 2016 by N. K. Jemisin; “The Evaluators” Copyright © 2016 by N. K. Jemisin; “Henosis” Copyright © 2017 by N. K. Jemisin

  Cover design by Lauren Panepinto

  Cover photograph by CreativeSoul Photography

  Cover copyright © 2018 by Hachette Book Group, Inc.

  Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce the creative works that enrich our culture.

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  Simultaneously published in Great Britain and in the U.S. by Orbit in 2018

  First Edition: November 2018

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  Library of Congress Cataloging-in-Publication Data

  Names: Jemisin, N. K., author.

  Title: How long ’til black future month? / N. K. Jemisin.

  Other titles: How long until black future month?

  Description: First edition. | New York, NY : Orbit, 2018.

  Identifiers: LCCN 2018034027| ISBN 9780316491341 (hardcover) | ISBN 9780316491372 (trade pbk.) | ISBN 9781549147289 (audiobook downloadable) | ISBN 9780316491358 (ebook (open))

  Classification: LCC PS3610.E46 A6 2018 | DDC 813/.6—dc23

  LC record available at https://lccn.loc.gov/2018034027

  ISBNs: 978-0-316-49134-1 (hardcover), 978-0-316-49135-8 (ebook)

  E3-20181006-JV-PC

  Contents

  Cover

  Title Page

  Copyright

  Introduction

  The Ones Who Stay and Fight

  The City Born Great

  Red Dirt Witch

  L’Alchimista

  The Effluent Engine

  Cloud Dragon Skies

  The Trojan Girl

  Valedictorian

  The Storyteller’s Replacement

  The Brides of Heaven

  The Evaluators

  Walking Awake

  The Elevator Dancer

  Cuisine des Mémoires

  Stone Hunger

  On the Banks of the River Lex

  The Narcomancer

  Henosis

  Too Many Yesterdays, Not Enough Tomorrows

  The You Train

  Non-Zero Probabilities

  Sinners, Saints, Dragons, and Haints, in the City Beneath the Still Waters

  Acknowledgments

  By N. K. Jemisin

  Orbit Newsletter

  Introduction

  Once upon a time, I didn’t think I could write short stories.

  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 an
y, 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.

  The Ones Who Stay and Fight

  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 t
o 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.