Jonathan Strahan - The Best Science Fiction and Fantasy of the Year. Volume 10

Like Oscar and Anat, the vampires are scavengers, able to breathe the thin soup of Home’s atmosphere. But the vampires’ lustrous and glistening eyes, their jellied skin, are so sensitive to light they go about the surface cloaked and hooded, complaining in their hoarse voices. The vampires sustain themselves on various things, organic, inert, hostile, long hidden, that they discover in Home’s storehouses, but have a peculiar interest in the siblings. No doubt they would eat Oscar and Anat if the opportunity were to present itself, but in the meantime they are content to trail after, sing, play small pranks, make small grimaces of – pleasure? appeasement? threat displays?

– that show off arrays of jaws, armies of teeth. It disconcerts. No one could ever love a vampire, except, perhaps, when Anat, who long ago lost all fear, watches them go swooping, sail-winged, away and over the horizon beneath Home’s scatter of mismatched moons.

ON THE OCCASION of her birthday, Oscar presents Anat with a gift from their parents. These gifts come from Oscar, of course. They are the gifts that the one who loves you, and knows you, gives to you not only out of love but out of knowing. Anat knows in her heart that their parents love her too, and that one day they will come home and there will be a reunion much better than any birthday. One day their parents will not only love Anat, but know her too. And she will know them. Anat dreads this reunion as much as she craves it. What will her life be like when everything changes? She has studied recordings of them. She does not look like them, although Oscar does. She doesn’t remember her parents, although Oscar does. She does not miss them. Does Oscar? Of course he does. What Oscar is to Anat, their parents must be to Oscar. Except: Oscar will never leave. Anat has made him promise.

THE LIVING QUARTERS of the Bucket are cramped. The Handmaids take up a certain percentage of available space no matter how they contort themselves. On the other hand, the Handmaids are excellent housekeepers. They tend the algae wall, gather honey and the honeycomb and partition off new hives when the bees swarm. They patch up networks, teach old systems new tricks when there is nothing better to do. The shitter is now quite charming! The Get Clean rains down water on your head, bubbles out of the walls, and then the floor drinks it up, cycles it faster than you can blink, and there it all goes down and out and so on for as long as you like, and never gets cold. There is, in fact, very little that Oscar and Anat are needed for on board the Bucket. There is so much that is needful to do on Home.

For Anat’s birthday, the Handmaids have decorated all of the walls of The Bucket with hairy, waving clumps of luminous algae. They have made a cake. Inedible, of course, but quite beautiful. Almost the size of Anat herself, and in fact it somewhat resembles Anat, if Anat were a Handmaid and not Anat. Sleek and armored and very fast. They have to chase the cake around the room and then hold it until Oscar finds the panel in its side. There are a series of brightly colored wires, and because it’s Anat’s birthday, she gets to decide which one to cut. Cut the wrong one, and what will happen? The Handmaids seem very excited. But then, Anat knows how Handmaids think. She locates the second, smaller panel, the one equipped with a simple switch. The cake makes an angry fizzing noise when Anat turns it off. Perhaps Anat and Oscar can take it down to Home and let the vampires have it.

THE WAREHOUSES OF Home are at this time only eighty percent inventoried. (This does not include the warehouses of the Stay Out Territory.)

IS OSCAR EVER angry at their parents for leaving for so long? It’s because of Anat that their parents left in the first place, and it is also because of Anat that Oscar was left behind. Someone had to look after her. Is he ever angry at Anat? There are long days in the Bucket when Oscar hardly speaks at all. He sits and Anat cannot draw him into conversation. She recites poems, tells jokes (Knock knock. Who’s there? Anat. Anat who? Anat is not a gnat that’s who), sends the Handmaids Homeward, off on expeditionary feints that almost though not quite land the Handmaids in the Stay Out Anat Absolutely No Trespassing Or So Help Me You Will Be Sorry Territory. On these days Oscar will listen without really listening, look at Anat without appearing to see her, summon the Handmaids back and never even scold Anat.

Some part of Oscar is sometimes very far away. The way that he smells changes almost imperceptibly. As Anat matures, she has learned how to integrate and interpret the things that Oscar is not aware he is telling her; the peculiar advantages given to her by traits such as hyperosmia. But: no matter. Oscar always returns. He will suddenly be there behind his eyes again, reach up and pull her down for a hug. Then Oscar and Anat will play more of the games of strategy he’s taught her, the ones that Anat mostly wins now. Her second favorite game is Go. She loves the feel of the stones. Each time she picks one up, she lets her fingers tell her how much has worn away under Oscar’s fingers, under her own. They are making the smooth stones smoother. There is one black stone with a fracture point, a weakness invisible to the eye, nearly across the middle. She loses track of it sometimes, then finds it again by touch. Put enough pressure on it, and it would break in two.

It will break one day: no matter.

They play Go. They cook Anat’s favorite meals, the ones that Oscar says are his favorites, too. They fall asleep together, curled up in nests the Handmaids weave for them out of the Handmaids’ own softer and more flexible limbs, listening to the songs the Handmaids have borrowed from the vampires of Home.

THE BEST OF all the games Oscar has taught Anat is Smash/Recovery. They play this on the surface of Home all long-cycle round. Each player gets a True Smash marker and False Smash marker. A True Recovery marker and a False Recovery marker. Each player in turn gets to move their False – or True – Smash marker – or Recovery marker – a distance no greater than the span of a randomly generated number. Or else the player may send out a scout. The scout may be a Handmaid, an unmanned skimmer, or a vampire (a gamble, to be sure, and so you get two attempts). A player may gamble and drop an incendiary device and blow up a target. Or claim a zone square where they believe a marker to be.

Should you miscalculate and blow up a Recovery marker, or Retrieve a Smash marker, your opponent has won. The current Smash/Recovery game is the eighteenth that Oscar and Anat have played. Oscar won the first four games; Anat has won all the rest. Each game Oscar increases Anat’s starting handicap. He praises her each time she wins.

Hypothetically, this current game will end when either Anat or Oscar has Retrieved the Recovery marker and Smashed the Smash marker of their opponent. Or the game will end when their parents return. The day is not here yet, but the day will come. The day will draw nearer and nearer until one day it is here. There is nothing that Anat can do about this. She cannot make it come sooner. She cannot postpone it. Sometimes she thinks – incorrect to think this, she knows, but still she thinks it – that on the day that she wins the game – and she is correct to think that she will win, she knows this too – her parents will arrive.

OSCAR WILL NOT win the game, even though he has done something very cunning. Oscar has put his True markers, both the Smash and the Recovery, in the Stay Out Territory. He did this two long-cycles ago. He put Anat’s True markers there as well, and replaced them in the locations where she had hidden them with False markers recoded so they read as True. Did he suspect that Anat had already located and identified his markers? Was that why he moved them unlawfully? Is this some new part of the game?