Tag: Bereavement

Still You Linger, Like Soot in the Air by Matthew Kressel

Still You Linger, Like Soot in the Air by Matthew Kressel (Lightspeed, August 2020) opens with a holy man called Gil finishing his meditation to find that Muu (an incorporeal alien “God”, I think) has “already removed the body of Demi”, a pupil of Gil’s who was also his lover. Apparently, Demi “isn’t dead exactly”, but Gil will never see him again.
Shortly after Gil’s loss another pupil turns up on Gilder Nefan (I am not sure why the planet has a similar name). Tim is female—she had previously changed gender several times but “but ultimately chose female because she felt it suited her temperament”—and she subsequently spends most of her time running errands for Gil when not annoying him with a thousand questions. When Gil gets some time to himself, he thinks about Demi and feels sad.
Eventually (spoiler) Tim convinces Gil to let her join him in taking “jithmus” (some sort of alien weed). He warns her of the dangers, but she insists.
During Gil’s trippy experience, he sees Demi and talks to Muu:

Demi—oh, lovely Demi—stood on a precipice in an endless white desert, while the horizon behind him stretched to infinity. Beyond the cliff’s edge spread an infinite blue sky. Demi, bright-eyed and eager. Demi, smiling and reaching out his hand. Gil floated down, down toward the hand, ready to grasp it and never let go. But he was just a photon. And as he raced toward Demi’s palm, the molecules of Demi’s hand spread into their constituent atoms, and the atoms spread into quarks, and each of these minuscule bundles of smeared energy drifted as far apart from each other as stars in a galaxy.
We are all empty, Muu said to him, in thought pictures. Demi was never anything at all, nor will he ever be anything again. The thoughts you have of him are like waves that ripple in a turbulent sea. Sometimes they form shapes and sense impressions. You ascertain meaning in them, but in reality they are just waves in a stormy sea. You mourn his loss, but why mourn when Demi was never anything at all? He has more life in death than you do in life, because now he is infinite.
But, but, but . . . Gil struggled to say. His photon energy leaped from orbital to orbital like stones across a pond. I felt something real, he said, and that was enough . . .
You are a bird, trapped in a room with a single half-open window, Muu said. The escape is just an inch below you, where the window lies open, yet you keep flying headfirst into the glass.
Can I see him? Gil said. Can I speak to Demi, as he was?
But you are him, now, Muu said. You are the photon which reflected off his eye and wound its way into space, where it has been speeding away from Gilder Nefan for eighty million years. All of your senses of him were nothing more than reflected photons and electrostatic pressure.
And what of my feelings? Gil said.
Just waves on a stormy sea, said Muu.
Why do you hurt me? Gil said. Why do you make me suffer so?
It is you who make yourself suffer.

Deep.
Gil wakes to find that the drug has had no effect on Tim and, because of this, she decides to leave the planet. She tries to convince Gil to go with her but he remains and, after she has gone, he eats all his remaining jithmus stash in one go (about a millions times the usual amount).
A tedious and sometimes pretentious piece that offers moping and cod-transcendence instead of a story. The only time this comes alive is during the back and forth between Gil and Tim.
* (Mediocre). 5,650 words. Story link.

Rain of Days by Ray Nayler

Rain of Days by Ray Nayler (Clarkesworld #186, March 2022) is about a woman called Sandra whose partner has died (and is referred to as “Deadwife” for most of the story). Sandra, the narrator, now lives in a near-future coastal retirement facility with three other individuals and a variety of support robots.
The story alternates between Sandra’s dream therapy sessions—she is suppressing memories about Deadwife—and her time in the facility. Although the story generally has a brooding atmosphere (Sandra is troubled, and it has been raining for days), some of the snarky interactions between the residents and the robots are quite droll:

Annabel shakes her head. One of the service bots is clearing the table. She reaches over and thumbs the sticker from her banana peel onto its head, where it joins the hundreds of other stickers Annabel has been plastering it with since she got here.
“Is that my tip?” the bot asks.
“No, this is your tip: Electricity and water don’t mix. Whatever you do, stay dry on the inside.”
“Useful information. I’ll keep it in mind for the robot uprising. Gotta work on our weak points.” It totters off with our trays.
“I like that one,” Annabel says. “Of all the things in here that talk, I think it has the best sense of humor.”
“I’m taking that personally.”
“You should.”

The story ends (spoiler) with the alarms going off in the middle of the night and Sandra awakening to find the Lifter robot picking her up. She is taken through the pouring rain to the refuge of a nearby lighthouse. There she reunites with the other residents, and they watch a tsunami hit the facility. During this cataclysm, Sandra remembers walking through tropical rain to the hospital and discovering her partner, finally named as Josephine, dead.
I liked this, but it is essentially a mainstream story about a woman triggered into remembering a traumatic memory—albeit one pepped up with snarky robots and a disaster movie ending.
*** (Good). 5,050 words. Story link.

Mediation by Cadwell Turnbull

Mediation by Cadwell Turnbull (Entanglements: Tomorrow’s Lovers, Families, and Friends, 2020) starts with a widow recounting her family’s custom of having birthday dinners (her and her son’s in June, the daughter’s in August, and her dead husband’s in October). We also learn that she has been dodging these (or merging the October one with Thanksgiving) for a couple of years now, and this year has plans to go to a conference. This latter leads to an argument with her children, who want the tradition to survive. During their disagreement, their house AI suggests they should perhaps make the October meal a memorial one. The mother tells the AI (more annoying since its mediation code was loaded) to switch off.
Most of the rest of the story deals with the mother’s attempts to avoid dealing with her grief, although there is also an account of her husband’s diagnosis, and his decision that they should go to therapy before he died. During this period, he told her that he wasn’t happy with his reclusiveness, and he didn’t think she was either.
The conflict with her kids comes to a head when she returns home to find them having the memorial dinner without her; she stomps off to her room, where she talks to an AI copy of her husband. The story ends with reconciliation and cake.
This is well enough done but it is essentially a slight mainstream story (a woman comes to terms with her grief and reconciles with her children) with some SF furniture.
 **+ (Average to Good). 4,300 words.