Грегори Бенфорд - Not One of Us - Stories of Aliens on Earth

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Mankind comes face to face with extraterrestrial life in this short fiction reprint anthology from Clarkesworld publisher Neil Clarke.
They Are Strangers from Far Lands…
Science fiction writers have been using aliens as a metaphor for the other for over one hundred years. Superman has otherworldly origins, and his struggles to blend in on our planet are a clear metaphor for immigration. Earth’s adopted son is just one example of this “Alien Among Us” narrative.
There are stories of assimilation, or the failure to do so. Stories of resistance to the forces of naturalization. Stories told from the alien viewpoint. Stories that use aliens as a manifestation of the fears and worries of specific places and eras. Stories that transcend location and time, speaking to universal issues of group identity and its relationship to the Other.
Nearly thirty authors in this reprint anthology grapple both the best and worst aspects of human nature, and they do so in utterly compelling and entertaining ways. Not One of Us is a collection of stories that aren’t afraid to tackle thorny and often controversial issues of race, nationalism, religion, political ideology, and other ways in which humanity divides itself.

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I reach into my coat and take out an envelope. I open it and hand a stack of photographs to the man standing by one of the oil drums. He flips through them and takes a few out and hands the rest back to me.

“You can keep these and go line up for surgery,” he says.

I look through the photographs in my hand: Mom carrying me as a baby. Dad lifting me over his shoulders at a fair. Mom and me asleep, holding the same pose. Mom and Dad and me playing a board game. Me in a cowboy costume, Mom behind me trying to make sure the scarf fit right.

He tosses the other photographs into the oil drum, and as I turn away, I try to catch a glimpse of what’s on them before they’re consumed by the flames.

“You all right?”

“Yes,” I say, disoriented. “Still a bit of the aftereffects of the explosion.”

I can trust Claire.

“Listen,” I say, “Do you ever think about what you did before you were Reborn?”

Claire focuses her sharp eyes on me. She doesn’t blink. “Do not go down that path, Josh. Think of Kai. Think of your life, the real one you have now.”

“You’re right,” I say. “Woods just rattled me a bit.”

“You might want to take a few days off. You’re not doing anyone favors if you can’t concentrate.”

“I’ll be fine.”

Claire seems skeptical, but she doesn’t push the issue. She understands how I feel. Kai would be able to see the guilt and regret in my mind. In that ultimate intimacy, there is nowhere to hide. I can’t bear to be home and doing nothing while Kai tries to comfort me.

“As I was saying,” she continues, “this area was resurfaced by the W. G. Turner Construction Company a month ago. That was likely when the bomb was placed, and Woods was on the crew. You should start there.”

The woman leaves the box of files on the table in front of me.

“These are all the employees and contractors who worked on the Courthouse Way resurfacing project.”

She scurries away as though I’m contagious, afraid to exchange more than the absolute minimum number of words with a TPB agent.

In a way, I suppose I am contagious. When I was Reborn, those who were close to me, who had known what I had done, whose knowledge of me formed part of the identity that was Joshua Rennon, would have had to be ported and those memories excised as part of my Rebirth. My crimes, whatever they were, had infected them.

I don’t even know who they might be.

I shouldn’t be thinking like this. It’s not healthy to dwell on my former life, a dead man’s life.

I scan through the files one by one, punch the names into my phone so that Claire’s algorithms back at the office can make a network out of them, link them to entries in millions of databases, trawl through the radical anti-Tawnin forums and Xenophobic sites, and find connections.

But I still read through the files meticulously, line by line. Sometimes the brain makes connections that Claire’s computers cannot.

W. G. Turner had been careful. All the applicants had been subjected to extensive background searches, and none appears suspicious to the algorithms.

After a while, the names merge into an undistinguishable mess: Kelly Eickhoff, Hugh Raker, Sofia Leday, Walker Lincoln, Julio Costas…

Walker Lincoln.

I go back and look at the file again. The photograph shows a white male in his thirties. Narrow eyes, receding hairline, no smile for the camera. Nothing seems particularly notable. He doesn’t look familiar at all.

But something about the name makes me hesitate.

The photographs curl up in the flames.

The one at the top shows my father standing in front of our house. He’s holding a rifle, his face grim. As the flame swallows him, I catch a pair of crossed street signs in the last remaining corner of the photograph.

Walker and Lincoln.

I find myself shivering, even though the heat is turned up high in the office.

I take out my phone and pull up the computer report on Walker Lincoln: credit card records, phone logs, search histories, web presence, employment, and school summaries. The algorithms flagged nothing as unusual. Walker Lincoln seems the model Average Citizen.

I have never seen a profile where not a single thing was flagged by Claire’s paranoid algorithms. Walker Lincoln is too perfect.

I look through the purchase history on his credit cards: fire logs, starter fluid, fireplace simulators, outdoor grills.

Then, starting about two months ago, nothing.

As thir fingers are about to push in, I speak.

“Please, not tonight.”

The tips of Kai’s secondary arms stop, hesitate, and gently caress my back. After a moment, thie backs up. Thir eyes look at me, like two pale moons in the dim light of the apartment.

“I’m sorry,” I say. “There’s a lot on my mind, unpleasant thoughts. I don’t want to burden you.”

Kai nods, a human gesture that seems incongruous. I appreciate the effort thie is making to make me feel better. Thie has always been very understanding.

Thie backs off, leaving me naked in the middle of the room.

The landlady proclaims complete ignorance of the life of Walker Lincoln. Rent (which in this part of Charlestown is dirt cheap) is direct deposited on the first of every month, and she hasn’t set eyes on him since he moved in four months ago. I wave my badge, and she hands me the key to his apartment and watches wordlessly as I climb the stairs.

I open the door and turn on the light; I’m greeted with a sight out of a furniture store display: white couch, leather loveseat, glass coffee table with a few magazines in a neat stack, abstract paintings on walls. There’s no clutter, nothing out of its assigned place. I take a deep breath. No smell of cooking, detergent, the mix of aromas that accompany places lived in by real people.

The place seems familiar and strange at the same time, like walking through déjà vu.

I walk through the apartment, opening doors. The closets and bedroom are as artfully arranged as the living room. Perfectly ordinary, perfectly unreal.

Sunlight coming in from the windows along the western wall makes clean parallelograms against the gray carpet. The golden light is Kai’s favorite shade.

There is, however, a thin layer of dust over everything. Maybe a month or two’s worth.

Walker Lincoln is a ghost.

Finally, I turn around and see something hanging on the back of the front door, a mask.

I pick it up, put it on, and step into the bathroom.

I’m quite familiar with this type of mask. Made of soft, pliant, programmable fibers, it’s based on Tawnin technology, the same material that makes up the strands that release the Reborn back into the world. Activated with body heat, it molds itself into a pre-programmed shape. No matter the contours of the face beneath it, it rearranges itself into the appearance of a face it has memorized. Approved only for law enforcement, we sometimes use such masks to infiltrate Xenophobic cells.

In the mirror, the cool fibers of the mask gradually come alive like Kai’s body when I touch thim, pushing and pulling against the skin and muscles of my face. For a moment my face is a shapeless lump, like a monster’s out of some nightmare.

And then the roiling motions stop, and I’m looking into the face of Walker Lincoln.

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