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Rose Lemberg

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Latest 4 Feb 2023 | Updated Daily

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Episode #68: "These Are the Attributes By Which You Shall Know God" by Rose Lemberg

GlitterShip

These Are the Attributes By Which You Shall Know God by Rose Lemberg Father is trying to help me get into NASH. He thinks that seeing a real architect at work will help me with entrance exams. So father paid money, to design a house he does not want, just to get me close to Zepechiar. He is a professor at NASH and a human-Ruvan contact. Reason and matter­—these are the cornerstones of Spinoza’s philosophy that the Ruvans admire so much. Reason and matter: an architect’s mind and building materials. These are the attributes through which we can know God. And then, of course, there’s particle technology. Full story after the cut: Hello! Welcome to GlitterShip episode 68 for March 18, 2019. This is your host, Keffy, and I'm super excited to share this story with you. Today we have a GlitterShip original, "These Are the Attributes By Which You Shall Know God" by Rose Lemberg, and "Female Figure of the Early Spedos Type, 1884-" by Sonya Taaffe. This episode is part of the newest GlitterShip issue, which was just released and is available for purchase at glittership.com/buy and on Kindle, Nook, Kobo, and now Gumroad! If you’re one of our Patreon supporters, you should have access to the new issue waiting for you when you log in. For everyone else, it’s $2.99. GlitterShip is also a part of the Audible Trial Program. This means that just by listening to GlitterShip, you are eligible for a free 30 day membership on Audible and a free audiobook to keep. Today's book recommendation is The Book of the Unnamed Midwife by Meg Elison. In a world ripped apart by a plague that prevents babies from being carried to term and kills the mothers, an unnamed woman keeps a record of her survival. To download The Book of the Unnamed Midwife for free today, go to www.audibletrial.com/glittership — or choose another book if you’re in the mood for something else. Sonya Taaffe reads dead languages and tells living stories. Her short fiction and poetry have been collected most recently in Forget the Sleepless Shores (Lethe Press) and previously in Singing Innocence and Experience, Postcards from the Province of Hyphens, A Mayse-Bikhl, and Ghost Signs. She lives with her husband and two cats in Somerville, Massachusetts, where she writes about film for Patreon and remains proud of naming a Kuiper belt object. Female Figure of the Early Spedos Type, 1884- by Sonya Taaffe When I said she had a Modigliani face, I meantshe was white as a cracked cliffand bare as the brush of a thumbthe day we met on the thyme-hot hills above Naxosand by the time we parted in Paris, she was drawinghalf-divorced Russian poets from memory,drinking absinthe like black coffeewith the ghosts of the painted Aegean still ringing her eyes.Sometimes she posts self-portraitsscratched red as ritual,a badge of black crayon in the plane of her groin.In another five thousand years,she may tell someone—not me—another one of her names. Our story today is "These Are the Attributes By Which You Shall Know God" by Rose Lemberg, read by Bogi Takács. Bogi Takács (prezzey.net) is a Hungarian Jewish agender trans person currently living in the US as a resident alien. Eir speculative fiction, poetry and nonfiction have been published in a variety of venues like Clarkesworld, Apex, Strange Horizons and podcast on Glittership, among others. You can follow Bogi on Twitter, Instagram and Patreon, or visit eir website at www.prezzey.net. Bogi also recently edited the Lambda Award-winning Transcendent 2: The Year’s Best Transgender Speculative Fiction 2016, for Lethe Press. Rose Lemberg is a queer, bigender immigrant from Eastern Europe and Israel. Their fiction and poetry have appeared in Strange Horizons, Lightspeed‘s Queer Destroy Science Fiction, Beneath Ceaseless Skies, Uncanny Magazine, and many other venues. Rose’s work has been a finalist for the Nebula, Crawford, and other awards. Their Birdverse novella The Four Profound Weaves is forthcoming from Tachyon Press. You can find more of their work on their Patreon: patreon.com/roselemberg These Are the Attributes By Which You Shall Know God by Rose Lemberg Father is trying to help me get into NASH. He thinks that seeing a real architect at work will help me with entrance exams. So father paid money, to design a house he does not want, just to get me close to Zepechiar. He is a professor at NASH and a human-Ruvan contact. Reason and matter­—these are the cornerstones of Spinoza’s philosophy that the Ruvans admire so much. Reason and matter: an architect’s mind and building materials. These are the attributes through which we can know God. And then, of course, there’s particle technology. The house-model Zepechiar has made for my family is all sleek glass. It is a space house with transparent outer walls; the endlessness of stars will be just an invisible layer away. “I do not want to live in space,” dad hisses. Father hushes them. Zepechiar’s model for our new house is cubical, angular, with a retro-modern flair. The kitchen is the only part of it that does not rotate, a small nod to dad’s desire for domesticity. Outside of the kitchen capsule, the living spaces are all zero-g with floating furniture that assembles itself out of thin air and adapts to the body’s curves. There is no privacy in the house, but nobody will be looking—out there, in space, between the expanses of the void. “Bringing the vacuum in is all the rage these days,” the architect says. I pretend indifference. Doodling in my notebook. It looks like nothing much. Swirls, like the swirls our ancients made to mark the landing sites for Ruva vessels. For thousands of years nobody had remembered the Ruva, and when they returned, they did not want to land anymore on the curls and swirls of patterns made in the fields. They had evolved. Using reason. They razed our cities to pour perfectly level landing sites. They sucked excess water out of the atmosphere and emptied the oceans, then refilled them again. But then they read Spinoza and decided to spare and/or save us. Because we, too, can know God. If we continued studying Spinoza, Ruvans said, we’d be enlightened and would not need sparing or saving. I want to build something that curls and twists between hills, but hills have been razed after the Ruva arrived. Hills are frivolous, an affront of imagination against reason, and it is reason that brought us terraforming particle technology that allowed us to suck all usable minerals from the imperfections of the earth: the hills, the mountains, the ravines, the trees, leaving only a flatness of the landing sites between the flatness covered by angular geodomes. I learned about hills from the rebel file. Every kid at school downloads the rebel file. All around the world too, I guess. I don’t know anybody else who actually read it. I do not notice anything until my father and dad wave a cheerful goodbye and leave me, alone with Zepechiar. He’ll help me with entrance exams. Or something. He pulls up a chair from the air, shapes it into a Ruvan geometry that is perhaps just a shade more frivolous than reason dictates. He says, “Your father lied about the purpose of your visit. What is the reason behind it?” I mumble, “I want to get into NASH.” “Show me your architectural drawings,” Zepechiar orders. His voice is level. Reason is the architect’s best tool. I hesitate. Can I show him— No. I need something safer, so I swipe the notebook, show him a thing I made while he was fussing over dad’s kitchen: a cubical model of black metal and spaceglass, not unlike Zepechiar’s house model for my family. The distinction is in the color contrast, a white stripe of a pipe running like a festive tie over the steel bundle. Zepechiar nods. “Show me what you do not want to show me.” There is something in his voice. I raise my hand to make the swiping motion, then stop mid-gesture. “You could have convinced dad to say yes to that kitchen,” I say. “They would have cooked breakfasts for eternity, looking out into an infinite space until their heart gave out.” “I’m selling my architecture, not my voice,” he says, but something in his voice is bitter. Bitterness. Emotion, not reason. He is being unprofessional on purpose, perhaps to lull me into trusting him. “Why did you decide to become an architect?” I ask, to distract. A tame enough question. My father’s money bought me an informational interview. “Architecture is an ultimate act of reason,” Zepechiar says. It’s such a Ruvan thing to say. I must have read it a hundred times, in hundreds of preparatory articles. “I teach this in the intro course. Architecture is key to that which contains us: houses. Ships. The universe. The universe is the ultimate container. The universe is God. God is a container of all things. We learn from Spinoza that we can only know God through reason; and that is why we approach God through architecture.” “If God contains all things, would God contain—” swirls? Hills? Leviathans? “The thing you do not want to show me?” says Zepechiar. His voice lilts just a bit, and I am taken in. I swipe my hand over the notebook, to show Zepechiar what will certainly disqualify me from NASH. It is a boat that curves and undulates. Its sides are decorated in pinwheel and spiral designs. There is not a straight angle anywhere, not a flat surface. I have populated my Ark with old-style numbers—the ones with curves. There are two fives, two sixes, a pair of 23s. Zepechiar rubs his forehead. “What are the numbers meant to indicate?” “Um… pairs of animals.” I read that in the rebel file, but I do not know what they are supposed to look like. “This… is hardly reasonable,” says Zepechiar. “You know what Spinoza said. The Bible is nothing but fantasy, and imagination is anathema to reason.” I am stubborn, and yes, I’ve read my Spinoza. Scripture is no better than anything else. But God’s existence is not denied. I say, “You could use reason to replicate the Ark in matter.” “Yes,” Zepechiar says. Yes. We can use particle technology to manipulate almost any matter. Even sentient matter. His voice hides a threat. “I want to know where you learned this. And why did you draw this.” God told Noah to build the Ark and save the animals. Ruvans just sucked all the water out of the seas, froze some, boiled the rest, and put it back empty of life. The rebel file does not always make sense, but this is clear. “I wanted to recreate the miracle of the Ark, to imagine the glory of God.” Zepechiar says, “No. It is only through reason that you can reach God. God is infinite, but reason and the material world are the only attributes of God that we can reach. I want to know where you learned this.” His voice. His voice bends me. The rebel file. Everybody knows about the rebel file. Nobody cares about the rebel file. I can speak of it. Nothing to it. Just say it. Do what he says. Use reason. Straighten every curve. I mumble, “Ugh… here and there, kids at school, you know.” “I don’t.” He squints at me, halfway between respect and scorn. “Erase the Ark.” I breathe in. I have always been stubborn. “I do not want to erase the Ark. It is a miracle.” He breathes in. His hand is on my arm. “Miracles are simply things you cannot yet understand. Like particle tech and sentient matter.” He folds me. I’ve heard of the advanced geometry one can only learn at NASH, but this is more than that, this is something more. It is nauseating, like I am being doubled and twisted and extended. Dimensionally, stretched along multiple axes until my human hills—my curves, my limbs—are flattened into a singular geometric shape, a white pipe that runs around along the lines of the design studio, wrapping around the cubic shape of it like a festive ribbon. I am… not human anymore. I am sentient matter altered, like the rest of Earth, by Ruvan/human particle technology. I see Zepechiar from above, from below, in multiple angles. I have no eyes, but some abstract form of seeing, a sentience, remains to me. “I want to know,” Zepechiar says, “who altered you.” He falls apart into a thousand shiny cubes, then reassembles himself again, a towering creature of glimmering metal, a Ruvan of flesh behind the capsule of dark steel. I, too, am altered by him now, a thousand smaller cubes scattered by his voice, reassembled into the dimensional model of the house in the void. I see dad and father standing above my form. Perhaps they never left. They do not seem to care if Zepechiar is human or Ruvan. Zepechiar speaks to dad. “The perfect kitchen just for you—look at these retro-granite countertops, self-cleaning—” He pokes me. “Where did you learn this?” I think back at him, quoting the Scripture the best I can. “Two by two, they ascended the Ark: Male and female in their pairs, and some female in their pairs and some male in their pairs, and some had no gender and some did not care. Some came in triangles and some came in squares. And some of them came alone.” Like the Leviathan. The Leviathan holds all the knowledge the Ruvans discarded for reason’s sake, all the swirly landing sites, their own hills, their poetry. The Leviathan is the Ruvans’ rebel file. I no longer know my initial shape. I am made of hundreds of shining squares. My parents are here, in the room, but they do not know me. They are human—all curves and lilts of flesh. Forever suspect. I am Ruvan/human now. I am an architectural model, sentient matter transformed by an architect’s reason—and architects are the closest thing to God. “Think about all the damage scripture did,” says Zepechiar. “Holy wars, destruction, revision, rewritten over and over by those who came after but made no more sense. Think about what imagination did to this planet and to ours. It is dangerous. It makes you dangerous. But I will make matter out of you.” I am a house. Floating in space, rotating along all my axes. Inside me, the kitchen is the only thing that is still. I have been human or Ruvan, I do not remember, but I carry two humans inside me. They no longer remember me, but they came in a pair. I am their Ark. Zepechiar made me. A Ruvan/human architect. An architect is the closest thing to God. But so are the buildings architects create. So am I. Slowly, I begin to shift my consciousness along the cubic geometry of my new shape. Slowly, I move the space house, away. Where, in the darkest of space, there swims a Leviathan. END “Female Figure of the Early Spedos Type, 1884-" is copyright Sonya Taaffe 2019. “These Are the Attributes By Which You Shall Know God” is copyright Rose Lemberg 2019. This recording is a Creative Commons Attribution-NonCommercial-NoDerivatives license which means you can share it with anyone you’d like, but please don’t change or sell it. Our theme is “Aurora Borealis” by Bird Creek, available through the Google Audio Library. You can support GlitterShip by checking out our Patreon at patreon.com/keffy, subscribing to our feed, leaving reviews on iTunes, or buying your own copy of the Summer 2018 issue at www.glittership.com/buy. You can also support us by picking up a free audiobook at  www.audibletrial.com/glittership. Thanks for listening, and we’ll be back soon with a reprint of “Ratcatcher” by Amy Griswold.

19mins

18 Mar 2019

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321. The Immigrant Experience in SFF w/ Sabrina Vourvoulias, Rose Lemberg, and Bogi Takács

The Skiffy and Fanty Show

Immigrating, changing priorities, and translating, oh my! Sabrina Vourvoulias, Rose Lemberg and Bogi Takács join Julia in this two-part discussion episode about their personal experiences as immigrants to the United States and how that experience has affected their writing. They also discuss the challenges that immigrants face in the publishing industry and speculative fiction community. We […]

20 Apr 2017

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Episode #36: "How to Remember to Forget to Remember the Old War" by Rose Lemberg

GlitterShip

Hello! Welcome to GlitterShip episode 36 for April 13, 2017. This is your host, Keffy, and I'm super excited to be sharing this story for you. Today we have a return of Rose Lemberg, whose story "Stalemate" was published in episode 7. This is the last story for the Winter 2017 issue, and Spring 2017 is right around the corner! We also have a guest reader, Rose Fox, for this episode. Rose Lemberg is a queer, bigender immigrant from Eastern Europe and Israel. Rose's work has appeared in Lightspeed's Queers  Destroy Science Fiction, Strange Horizons, Beneath Ceaseless Skies, Unlikely Story, Uncanny, and other venues. Their Birdverse novelette "Grandmother-nai-Leylit's Cloth of Winds" has been nominated for the Nebula Award, and longlisted for the Hugo Award and the Tiptree Award. Rose's debut poetry collection, Marginalia to Stone Bird, is available from Aqueduct Press (2016). Rose can be found on Twitter as @roselemberg, on Patreon at http://patreon.com/roselemberg, and on http://roselemberg.net. Rose Fox is a senior reviews editor at Publishers Weekly and the co-editor (with Daniel José Older) of Long Hidden: Speculative Fiction from the Margins of History. They also write Story Hospital, a compassionate, practical weekly advice column about writing, and run occasional workshops for blocked and struggling writers. In their copious free time, they write fanfic and queer romance novels. They live in Brooklyn with two partners, three cats, the world's most adorable baby, and a great many books. How to Remember to Forget to Remember the Old War by Rose Lemberg At the budget committee meeting this morning, the pen in my hand turns into the remote control of a subsonic detonator. It is familiar—heavy, smooth, the metal warm to the touch. The pain of recognition cruises through my fingers and up my arm, engorges my veins with unbearable sweetness. The detonator is gunmetal gray. My finger twitches, poised on the button. I shake my head, and it is gone. Only it is still here, the taste of blood in my mouth, and underneath it, unnamed acidic bitterness. Around the conference table, the faces of faculty and staff darken in my vision. I see them—aging hippies polished by their long academic careers into a reluctant kind of respectability; accountants neat in bargain-bin clothes for office professionals; the dean, overdressed but defiant in his suit and dark blue tie with a class pin. They’ve traveled, I am sure, and some had protested on the streets back in the day and thought themselves radicals, but there’s none here who would not recoil in horror if I confessed my visions. I do not twitch. I want to run away from the uncomplicated, slightly puffy expressions of those people who'd never faced the battlefield, never felt the ground shake, never screamed tumbling facedown into the dirt. But I have more self-control than to flee. When it comes my time to report, I am steady. I concentrate on the numbers. The numbers have never betrayed me. At five PM sharp I am out of the office. The airy old space is supposed to delight, with its tall cased windows and the afternoon sun streaming through the redwoods, but there’s nothing here I want to see. I walk briskly to the Downtown Berkeley BART station, and catch a train to the city. The train rattles underground, all stale air and musty seats. The people studiously look aside, giving each other the safety of not-noticing, bubbles of imaginary emptiness in the crowd. The mild heat of bodies and the artificially illuminated darkness of the tunnel take the edge off. When I disembark at Montgomery, the sky is already beginning to darken, the edges of pink and orange drawn in by the night. I could have gotten off at Embarcadero, but every time I decide against it—the walk down Market Street towards the ocean gives me a formality of approach which I crave without understanding why.  My good gray jacket protects against the chill coming up from the water. The people on the street—the executives and the baristas, the shoppers and the bankers—all stare past me with unseeing eyes. They shipped us here, I remember. Damaged goods, just like other states shipped their mentally ill to Berkeley on Greyhound buses: a one-way ticket to nowhere, to a place that is said to be restful and warm in the shadow of the buildings, under the bridges, camouflaged from this life by smells of pot and piss. I am luckier than most. Numbers come easy to me, and I look grave and presentable in my heavy jackets that are not armor. Their long sleeves hide the self-inflicted scars. I remember little. Slivers. But I still bind my chest and use the pronoun they, and I wear a tight metal bracelet on my left arm. It makes me feel secure, if not safe. It’s only a ploy, this bracelet I have found, a fool’s game at hope. The band is base metal, but without any markings, lights, or familiar pinpricks of the signal. Nothing flows. No way for Tedtemár to call, if ever Tedtemár could come here. Northern California is where they ship the damaged ones, yes, even interstellars. Nights are hard. I go out to the back yard, barren from my attempts at do-it-yourself landscaping. Only the redwood tree remains, and at the very edge, a stray rose bush that blooms each spring in spite of my efforts. I smoke because I need it, to invoke and hold at bay the only full memory left to me: the battlefield, earth ravished by heaving and metal, the screech and whoosh of detonations overhead. In front of me I see the short, broad figure of my commanding officer. Tedtemár turns around. In dreams their visor is lifted, and I see their face laughing with the sounds of explosions around us. Tedtemár's arms are weapons, white and broad and spewing fire. I cannot hear anything for the wailing, but in dreams, Tedtemár's lips form my name as the ground heaves. I have broken every wall in my house, put my fist through the thinness of them as if they're nothing. I could have lived closer to work, but in this El Cerrito neighborhood nobody asks any questions, and the backyard is mine to ravage. I break the walls, then half-heartedly repair them over weekends only to break them again. At work I am composed and civil and do not break anything, though it is a struggle. The beautiful old plaster of the office walls goes gritty gray like barracks, and the overhead lights turn into alarms. Under the table I interlace my fingers into bird's wings, my unit's recognition sign, as my eyes focus resolutely on spreadsheets. At home I repair the useless walls and apply popcorn texture, then paint the whole thing bog gray in a shade I mix myself. It is too ugly even for my mood, even though I’ve been told that gray is all the rage with interior designers these days. I put my fist through the first wall before the paint dries. Today, there is music on Embarcadero. People in black and colorful clothing whirl around, some skillfully, some with a good-natured clumsiness. Others are there simply to watch. It’s some kind of a celebration, but I have nothing to celebrate and nothing to hope for, except for the music to shriek like a siren. I buy a plate of deep-fried cheese balls and swallow them, taste buds disbelieving the input, eyes disbelieving the revelry even though I know the names of the emotions expressed here. Joy. Pleasure. Anticipation. At the edge of the piers, men cast small nets for crabs to sell to sushi bars, and in the nearby restaurants diners sip wine and shiver surreptitiously with the chill. I went out to dates with women and men and with genderfluid folks, but they have all avoided me after a single meeting. They are afraid to say it to my face, but I can see. Too gloomy. Too intense. Too quiet. Won't smile or laugh. There is a person I notice among the revelers. I see them from the back—stooped, aloof. Like me. I don’t know what makes me single them out of the crowd, the shape of the shoulders perhaps. The stranger does not dance, does not move; just stands there. I begin to approach, then veer abruptly away. No sense in bothering a stranger with—with what exactly? Memories? I cannot remember anything useful. I wish they'd done a clean job, taken all my memories away so I could start fresh. I wish they'd taken nothing, left my head to rot. I wish they'd shot me. Wish I'd shoot myself, and have no idea why I don't, what compels me to continue in the conference rooms and in the overly pleasant office and in my now fashionably gray house. Joy or pleasure are words I cannot visualize. But I do want—something. Something. Wanting itself at least was not taken from me, and numbers still keep me safe. Lucky bastard. I see the stranger again at night, standing in the corner of my backyard where the redwood used to be. The person has no face, just an empty black oval filled with explosives. Their white artificial arms form an alphabet of deafening fire around my head. The next day I see them in the shape of the trees outside my office window, feel their movement in the bubbling of Strawberry Creek when I take an unusual lunch walk. I want, I want, I want, I want. The wanting is a gray bog beast that swallows me awake into the world devoid of noise. The suffocating safe coziness of my present environment rattles me, the planes and angles of the day too soft for comfort. I press the metal of my bracelet, but it is not enough. I cut my arms with a knife and hide the scars old and new under sleeves. I break the walls again and repaint them with leftover bog gray, which I dilute with an even uglier army green. Over and over again I take the BART to Embarcadero, but the person I seek is not there, not there when it’s nearly empty and when it’s full of stalls for the arts and crafts fair. The person I seek might never have existed, an interplay of shadows over plastered walls. A co-worker calls to introduce me to someone; I cut her off, sick of myself and my well-wishers, always taunting me in my mind. In an hour I repent and reconsider, and later spend an evening of coffee and music with someone kind who speaks fast and does not seem to mind my gloom. Under the table, my fingers lace into bird’s wings. I remember next to nothing, but I know this: I do not want to go back to the old war. I just want—want— I see the person again at Montgomery, in a long corridor leading from the train to the surface. I recognize the stooped shoulders and run forward, but the cry falls dead on my lips. It is not Tedtemár. Their face, downturned and worn, betrays no shiver of laughter. They smell unwashed and stale and their arms do not end in metal. The person does not move or react, like the others perhaps-of-ours I’ve seen here over the years, and their lips move, saying nothing. I remember the date from the other day, cheery in the face of my silence. But I know I have nothing to lose. So I cough and I ask. They say nothing. I turn away to leave, when out of the corner of my eyes I see their fingers interlock to form the wings of a bird. Imprudent and invasive for this world, I lay my hand on their shoulder and lead them back underground. I buy them a BART ticket, watch over them as even the resolutely anonymous riders edge away from the smell. I take them to my home in El Cerrito, where broken walls need repair, and where a chipped cup of tea is made to the soundtrack of sirens heard only in my head. The person holds the cup between clenched fists and sips, eyes closed.  I cannot dissuade them when they stand in the corner to sleep, silent and unmoving like an empty battle suit. At night I dream of Tedtemár crying. Rockets fall out of their eyes to splash against my hands and burst there into seeds. I do not understand. I wake to the stranger huddled to sleep in a corner. Stray moonrays whiten their arms to metal. In the morning I beg my guest to take sustenance, or a bath, but they do not react. I leave them there for work, where the light again makes mockery of everything. Around my wrist the fake bracelet comes to life, blinking, blinking, blinking in a code I cannot decipher, calling to me in a voice that could not quite be Tedtemár’s. It is only a trick of the light. At home I am again improper. The stranger does not protest or recoil when I peel their dirty clothes away, lead them into the bath. They are listless, moving their limbs along with my motions.  The sudsy water covers everything—that which I could safely look at and that which I shouldn’t have seen. I will not switch the pronouns. When names and memories go, these bits of language, translated inadequately into the local vernacular, remain to us. They are slivers, always jagged slivers of us, where lives we lived used to be. I remember Tedtemár’s hands, dragging me away. The wail of a falling rocket. Their arms around my torso, pressing me back into myself. I wash my guest’s back. They have a mark above their left shoulder, as if from a once-embedded device. I do not recognize it as my unit’s custom, or as anything. I wanted so much—I wanted—but all that wanting will not bring the memories back, will not return my life. I do not want it to return, that life that always stings and smarts and smolders at the edge of my consciousness, not enough to hold on to, more than enough to hurt—but there’s an emptiness in me where people have been once, even the ones I don’t remember. Was this stranger a friend? Their arms feel stiff to my touch. For all their fingers interlaced into wings at Montgomery station, since then I had only seen them hold their hands in fists. Perhaps I’d only imagined the wings. I wail on my way to work, silent with mouth pressed closed so nobody will notice. In the office I wail, open-mouthed and silent, against the moving shades of redwoods in the window. For once I don’t want takeaway or minute-meals. I brew strong black tea, and cook stewed red lentils over rice in a newly purchased pot. I repair the broken walls and watch Tedtemár-who-is-not-quite-Tedtemár as they lean against the doorway, eyes vacant. I take them to sleep in my bed, then perch on the very edge of it, wary and waiting. At night they cry out once, their voice undulating with the sirens in my mind. Hope awakens in me with that sound, but then my guest falls silent again. An older neighbor comes by in the morning and chats at my guest, not caring that they do not answer—like the date whose name I have forgotten. I don’t know if I’d recognize Tedtemár if I met them here. My guest could be anyone, from my unit or another, or a veteran of an entirely different war shipped to Northern California by people I can’t know, because they always ship us here, from everywhere, and do not tell us why. Work’s lost all taste and color, what of it there ever was. Even numbers feel numb and bland under my tongue. I make mistakes in my spreadsheets and am reprimanded. At night I perch again in bed beside my guest. I hope for a scream, for anything; fall asleep in the silent darkness, crouched uncomfortably with one leg dangling off to the floor. I wake up with their fist against my arm. Rigid fingers press and withdraw to the frequency of an old alarm code that hovers on the edge of my remembrance. In darkness I can feel their eyes on me, but am afraid to speak, afraid to move. In less than a minute, when the pressing motion ceases and I no longer feel their gaze, I cannot tell if this has been a dream. I have taken two vacation days at work. I need the rest, but dread returning home, dread it in all the different ways from before. I have not broken a wall since I brought my guest home. Once back, I do not find them in any of their usual spots. I think to look out of the kitchen window at last. I see my stranger, Tedtemár, or the person who could be Tedtemár—someone unknown to me, from a different unit, a different culture, a different war. My commanding officer. They are in the back yard, on their knees. There’s a basket by their side, brought perhaps by the neighbor. For many long minutes I watch them plant crocuses into the ravaged earth of my yard. They are digging with their fists. Their arms, tight and rigid as always, seem to caress this ground into which we’ve been discarded, cast aside when we became too damaged to be needed in the old war. Explosives streak past my eyelids and sink, swallowed by the clumps of the soil around their fists. I do not know this person. I do not know myself. This moment is all I can have. I open the kitchen door, my fingers unwieldy, and step out to join Tedtemár. END “How to Remember to Forget to Remember the Old War" was originally published in Lightspeed's Queers Destroy Science Fiction issue in June 2015. This recording is a Creative Commons Attribution-NonCommercial-NoDerivatives license which means you can share it with anyone you’d like, but please don’t change or sell it. Our theme is “Aurora Borealis” by Bird Creek, available through the Google Audio Library. You can support GlitterShip by checking out our Patreon at patreon.com/keffy, subscribing to our feed, or by leaving reviews on iTunes. Thanks for listening, and I’ll be back on April 18th with a GlitterShip original and our Spring 2017 issue!

23mins

13 Apr 2017

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Episode #7: "Stalemate" by Rose Lemberg

GlitterShip

Stalemate by Rose Lemberg He wakes to warmth. The floor beneath his head. He stares at the spider-patterns etched into the ceiling, tiny and dense, gray against darker gray. No power runs through them. Inert now. Unneeded. He wants to make the patterns work again. —how could anyone survive a descent through Calamity storms?  Above him, someone’s shiny dark shirt smells of static, a faraway storm passing. How are they still alive? Alive, forever, trapped inside this loneliness. A full transcript appears under the cut: ----more---- Hello! Welcome to GlitterShip episode seven for May 21st, 2015. I'm your host, Keffy, and I'm super excited to be sharing this story with you. Our story this week is "Stalemate" by Rose Lemberg. Rose Lemberg is a queer bigender immigrant from Eastern Europe. Her work has appeared in Strange Horizons, Beneath Ceaseless Skies, Interfictions, Uncanny, Sisters of the Revolution: A Feminist Speculative Fiction anthology, and other venues. Rose co-edits Stone Telling, a magazine of boundary-crossing poetry, with Shweta Narayan. She has edited Here, We Cross, an anthology of queer and genderfluid speculative poetry from Stone Telling (Stone Bird Press), and The Moment of Change, an anthology of feminist speculative poetry (Aqueduct Press). She is currently editing a new fiction anthology, An Alphabet of Embers. You can find Rose at http://roselemberg.net and @roselemberg, and support her on Patreon at patreon.com/roselemberg. Stalemate by Rose Lemberg He wakes to warmth. The floor beneath his head. He stares at the spider-patterns etched into the ceiling, tiny and dense, gray against darker gray. No power runs through them. Inert now. Unneeded. He wants to make the patterns work again. —how could anyone survive a descent through Calamity storms?  Above him, someone’s shiny dark shirt smells of static, a faraway storm passing. How are they still alive? Alive, forever, trapped inside this loneliness. —where is their ship then? The Machine detected nothing— Two people. A dark face leans over. Who are you? Can you understand me? Oh, yes. The language is familiar—like the warmth of meals shared between friends unknown, like the glinting of the tall glass domes, their shadows trembling in the heat of double suns. The memories dance and reflect off the polished blank steel of his mind, then scurry away. “I remember,” he says, curling his tongue to make the clicking sounds this language requires. Your name, they ask. He knows one: Kabede, but it is not his. He rolls his tongue around it, shakes his head—a no. They take him away on a gurney. His eyes latch again onto the inert designs on the ceiling, and hold, and hold. A room. The person from before is here. The serial number stitched upon their sleeve reads 050089. This person—Eighty-nine—fiddles with the displaywall. Who are you? they keep asking. What is your number? What is your Q? Are you a miner? Did you fall from some other Habitat? Some other habitat? The displaywall shows only one, this one, Neriu Habitat, the single rotating sphere encapsulated in light—but he knows of a hundred siblings, spheres of metal free-floating in Calamity season. Upon the displaywall the storms come together and break, toss the Habitat upon the face of the ocean. Under the wave the storms are snakes of green that spit and lash their tails; above the wave the storms are dense gray columns that funnel up and consume the sky. Nothing can land on Gebe-2. Who are you? What is your number? What is your Q? Do you know this interface? Does he know this interface? His fingers trace a glyph in the air. The storms on the screen disappear, are replaced by an engineer’s dissection of the sphere along the vertical, showing the habitat’s levels—residential, control, mining, the engines with their clever navigating and locking mechanisms. He makes another glyph, flips the display to perimeter—the habitat’s receiving cavities and the inverted protrusions that are there to join seamlessly with—he counts—five other habitats, which, in turn, will join with others during the brief period of Convergence. Someone enters the room, and Eighty-nine turns away from the display. There’s a sewn badge upon Eighty-nine’s tunic—a grebe, a diving bird. Security commune? He’s not familiar with the sigil. They used the interface. They must be ours. No. The new person is squat and powerful, with wiry hair and piercing eyes. Their skin is dark like Eighty-nine’s. No, they cannot be ours. Their memory has been erased. They had to pass through the atmosphere for that. And that offworld suit— His eyes seek the newcomer’s badge out. Cormorant, for Control commune.  No, they will not let him hook up to the Machine until they know more. He could be dangerous to the Machine. If they are ours, the Machine will recognize… Shut up, Eighty-nine. How will the Machine recognize an off-worlder? But so much of it is familiar. He must have been here before. Will the Machine return his name? But he doesn’t want to know it. He doesn’t know why, but he had wanted this. His name is an empty cavity after a rotten tooth has been drawn. Will the Machine put the pain back? He feels its humming all around him. The Machine maintains the grass-cloth patterns of the display-free walls. It spreads warmth through the brick-patterned floor. It is in the displaywall, and in the silent ceiling grid. It waits for him now, an embrace of empty light. The two argue about his Q now. The Machine must assign it. How will he work if they don’t know what commune he belongs to? “Engineering,” he mutters. “Just put me in Engineering.” They take him back to the room, nothing more than a detention cell, where he spent the last night. Eighty-nine settles him into the hammock. The person’s hand briefly squeezes his. On Gebe-2, being alone is a punishment beyond measure. “I won’t be lonely here,” he says to the closing door, not sure what moved him to say it. On a ship full of people he is a stranger, but the place makes him feel like three hundred years of companionable silences. Not a ship. A habitat. He tries to adjust to the hammock, his body too broad and too pale in the artificial half-light. The coarse brown strands in the hammock’s weave smell like basket reeds, but they too must be artificial. —Dream with me. He dreams of Gebe, a city paved with reinforced cinnabar and etched with mazes, a city of soaring spun glass and masonry coffeeshops—but now its beauty’s been smothered under the red skies marred with streaks of black fume. Dead engines hurtle from the sky like bugs sprayed with insecticide, and he barely dodges to avoid the smoldering, screeching debris. He runs, choking on the smell of burning meat and charra oil, resin and feces. He screams at the sharp cries of wild birds released from their protected wildspaces, the crashing glass spires that only a short while ago danced gracefully into a fearless sky. Kabede. He must find Kabede. The university. How they’d cursed the architect who slapped a utilitarian concrete rectangle in the middle of blown-glass dreams, but the engineering school is the only one left standing. It is whole on the inside as well, and softened by age-old Gebian crafts; thousands of people, students and faculty, crowd here on embroidered lotus carpets, argue loudly under chandeliers of blown glass shaped like ibises. They grab his hands, smile up his face and ask for news, but he doesn’t have time. He smiles back, pushes past them to the stairs. Downward. Each level is plainer than the one above —no hand-loomed carpets or chandeliers here, and even the ebony stairs give way to metallic railings painted in pale green. Kabede must be here. It’ll be all right. His friend is at the bottom level, pacing in front of a huge black surface covered densely with blueprints and reading-screen files. Their eyes lock—Kabede’s pupils dilate, and their gaunt dark face splits into a grin. They embrace fiercely, then push away from each other. Kabede speaks, their words disjointed in a way of dreams and scientists. I must take them away from this war, from all wars, I must hide them away in a world without riches, a world undesirable to conquerors, a world stripped of all decoration with only what’s necessary to survive, like the Engineering building survived… Help me, my friend. Help me. He frowns back at Kabede. “You’d strip them of beautiful things just because other people would strip them of beautiful things?” It is, after all, what they are. The people of Gebe are artists, scientists, poets, craftsmen, yes, artisans, makers—it is because of this beauty that they are now hunted. Kabede’s arms fly, accompanying the frantic flight of their speech. A commune where everyone is together and everyone is needed, without trinkets or petty obsessions, without possessions, nothing to distract from the threefold purpose of efficiency, survival, refuge— “You will unmake them.” But Kabede won’t listen. We’ll measure people’s aptitude, and each will be assigned to a commune according to their Q— “You cannot take anybody off-world, Kabede. It’s a fantasy.” Build me a ship, Kabede pleads. You’ve been working on something— but it isn’t anyone’s business what he’s been doing out on the asteroid belt for the last thirty years. “No. No. I’m sorry.” He offers Kabede a game of chess; they’ve always played before parting. But no, there is no time today, and Kabede’s hands curl into fists. This war must end. He hangs in the hammock, neck bent like a trussed bird’s, while shadows regard him across the threshold. The Control person, and a visitor, a frail and ancient darkness against the door’s bright light. More ancient than he is? Impossible. The Keeper of Neriu Habitat gestures the light on and enters, but darkness steps in with them—a face mashed and old like a dried plum, eyes bright but crackled with a minute spiderweb of red around pupils the color of congealed blood. They speak, they praise the Control person’s caution. He is an unknown entity, possibly dangerous, but they are stretched thin and cannot waste workers, not with the Convergence only a month away. If there is danger, I trust the Machine can take it. Plug them in.  More people come to take him to a room as faceless as the others, painted a different shade of rough tan, with the same spider-maze ceiling and warm floors. He doesn’t even try to memorize the faces, sounds, smells of the people that surround him. They aren’t his friends. And like with people everywhere, he cannot afford to become attached. Like the savannah blooms they will wither and die, and even when these people’s speech reminds him of someone he misses with every breath, it’s not the same. He cannot become attached. They clip the headset to his head. His eyes roll back. He is in a brown cube without smells or sounds, a space defined by grid-like shining walls. The middle of the room flares up with a projection of three transparent pails. The first is filled with some substance, darker than water. A disembodied voice speaks. Two miners are friends, but one got sick. The healthy friend had mined eight liters of gillium. The healthy one has two empty vessels. One vessel holds five liters, and the other three. How can the miner equally divide the fuel, so that both friends meet their quota? That voice—it hovers on the edge of recognition. It speaks of friendship. Does this Machine have a friend, one it would share everything with, equally, if it could, if it knew where to look? Solve the puzzle. He has no voice here, no hands, no body, no eyes. He cannot touch the jars, but when he wills them to move, they do. He solves the problem in seven turns. It cannot be done in less. The room flickers, and the amount of pails increases by one. The large vessel holds twenty four liters of gillium. The empty ones can hold five, eleven, and thirteen liters… Good-naturedly he finds a solution, and the pail puzzle is replaced by an equation exercise, and after it, another. He remembers how to solve such problems by solving them, but there’s disappointment growing inside him. He opens his mouth to speak. “Do you know Kabede?” The room flickers, displaying now basic trigonometry problems. He solves one, two. “Where is Kabede?” The room blurs, reforms around holographic engineering designs—an airflow node first, then some complex console wiring, then a mining chute, all with nontrivial, tricky repairs. Lovely work. At last, his mind pulls reluctantly back. “I want to speak to Kabede.” The room is extinguished. He is expelled back into his long sweaty body sprawled on the floor.  They drag him up, slap a bird-badge upon his left shoulder. An ibis. He’s been assigned to Engineering commune. At night in the Engineering dormitory he tosses and turns in his hammock, stumbling into dreams. He dreams of Gebe, a city once paved with reinforced cinnabar and etched with mazes, a city of soaring spun glass and masonry coffeeshops—but now its beauty’s been erased, drowned in shrapnel, reformed and erased again under the perpetual red skies choked with toxic fumes. There is no sign of spun-glass spires. The museums have been leveled long ago, their contents evacuated, fought over—so many sacrifices to keep the treasures safe, but now they’re lost. Forgotten. He looks up, but the sky is empty of birds; no avian species are left on Gebe. No animals of any kind, not even insects. Only the humans survive. The university is a compound, the concrete rectangles of buildings crouch low to the ground. He remembers the poetry buildings, and history, art practice, music—but the arts and humanities had long ago been razed. Anthropology’s gone, too, once the most beautiful structure of all, with ornamental spires like cottontail reeds. The hot air smells of smoke and tar, fried canned meat and coffee. He doesn’t bother locating the cafeteria. Engineering is crowded, but the students are all silent, all crouching on the concrete floor, working on small electronic tablets. The carpets are gone, and the glass chandeliers had been replaced by military-grade lamps. Not a single student lifts their head as he passes through to the staircase. Kabede paces in the basement, room and person untouched by the two hundred years that elapsed since their last meeting. His friend’s always been here, framed between the concrete and the smoky air. Behind Kabede, on the table, a holographic image of a dome-like structure breaks into a hundred polished metal spheres that hurtle away from each other and join again. And have you built the ship for me, old friend? The ship, yes, a vast entity of metal mined from the asteroid belt by his bots. The ship—his ship—all complex designs and warmth, always incomplete, always growing. His home. “I haven’t promised you anything.” But this coming war will be the fifth, Kabede says, and the world has been drained of solutions. I need to take them off-world now, my friend, or this war may well be their last. “What are you trying to save?” Whatever’s been beautiful and sacred about Gebe has been destroyed by the wars, or by the Gebians themselves. “There’s nothing left here, Kabede. What value do your people have now, how are they better than millions of others dying on thousands of different worlds? Humans kill each other.” Or else they live small insignificant lives, and only the art they create will remain as they pass, only the art will matter long after they go. But of course, Kabede doesn’t believe in art. Art creates commodities desired by others. They come to trade for it first, then they come to steal, then they come to destroy it because we have too much, and then they come because they always came. It is a mistake to think that art survives death. You can’t survive your death, unless you choose not to die. “We may not die, my friend, but we are the children of loneliness.” I am not lonely, Kabede says. My people are with me. You do not see them, but I do. They are my family, my living, breathing people—and they are everything to me. As you are, old friend. And you are my friend. So help me. “Yes,” he says. “I’ll see what I can do.” Kabede nods, produces an ancient ebony-and-ivory chessboard. They sit down together at the table. Engineering brings his memories back, slowly. He’s always been good at making things work. As a child, he fixed the broken toy trains for the dimly-remembered children next door, he flushed toys down the toilet to see how much the drain would take before clogging, and then unclogged it again using a very long stick and an improvised drill. He fixed the grandfather clock silent since his grandfather’s youth. He cannot quite recall his grandparents, but he remembers how the cogs shone inside the clock, silent first, then shrill in hurried, disbelieving reawakening. He knows that even if all the memories return, the faces of his family won’t be among them. ‘We may not die, my friend, but we are the children of loneliness...’ How long ago? He remembers now how a scholarship took him away from his homeworld and brought him to Gebe, Kabede’s home—a world famous for its arts, a world illustrious with science. He’d learned so much there—engineering, of course, but also other things. The beauty of glass and groove and light. The Gebian language, with its seventeen emotions to experience art, that marked no genders in speech or custom. He remembers Kabede at the university, bent over some antique flimsy-display reader. Kabede couldn’t make it work again, being always far better at new designs. He remembers repairing the reader for Kabede, bits of century-old diplastic warped and soft like clipped-off fingernails. They learned about the Boundless from that flimsy—the most talented scientists chosen somehow to discard death forever, chosen perhaps by the older Boundless always secretly on the prowl, always searching. They found more information about the Boundless at the great library of Gebe, and a mention of a hidden meeting-place, a planet of wonders. But they have never met a single Boundless other than themselves, not to recognize. Death-lack seemed splendid at twenty, doubtful at best at four hundred or so. Four hundred years. Long enough to unlearn about love if one didn’t pay any attention to it in the first place. He shakes his head. People do not matter. Work matters. Work and art— those things that can be salvaged after the people leave you. Tangible things. Except, of course, Kabede. There’ll always be Kabede. Neriu Habitat is painfully small. The forty three engineers in his commune do not talk much, but sometimes they nod at him. Work matters—repairing the ailing Habitat, with never enough workers to direct. Always repairing, never expanding. Again he asks about Kabede. You must wait for the Convergence to see him, they say. Just do your work. He does—and it is soothing, like the air that circulates through the habitat, purified but always the same, never changing. They make nothing here that is beautiful. Only bland warmth. How is it better than pain? Eighty-nine comes to visit him in the dorms one evening, to play a game, like everyone does here. Eighty-nine teaches him games from Security commune, first simple and then increasingly elaborate clapping games that require coordination and quick thinking. He loses cheerfully to Eighty-nine, engrossed until his fellow dorm-mates intervene. Engineers don’t play such games, they say. “Chess?” he asks, but they don’t know the word, even though he speaks their language. They do not use any game-pieces, no frivolous objects shaped into arbitrary designs that serve no immediate purpose. Too much like art. Instead, they teach him games that require only the mind—language puzzles in which every letter is assigned a numeric value, and the value of whole words is calculated through complex equations. These he enjoys, but Eighty-nine doesn’t, and he does not want Eighty-nine to feel left out. “Let’s play something else,” he says. There’s an old game they play here that the people of Gebe played also. The questioner asks a quick question, any question, tricking the players into responding with the word yes; if they do, they lose.  Are you from here? Eighty-one asks him, an easy question. Then, is your Q higher than mine? Question after question, round after round in rapid succession to trick the players to respond with a short truthful yes in response to a trivial query. One after one, his Engineering fellows lose, and leave the game. Nine out of twelve remain. Seven out of twelve. Do you like it here? The yes is frozen on his lips. What’s not to like? The warm air, calculated to the perfect pleasantness he remembers from his university days, never changes here to a winter storm’s intensity or the sun’s summer scorching; fascinating detailed work; the Machine everywhere, comforting on the edge of his senses. Even the lack of adornment seems soothing now. What’s not to like? Only himself, his returning identity that’ll spit him out in the end, back into the vacuum of loneliness. He can unlearn it with these people. But they… The old Gebians—the people he came to love are burned, are buried, forgotten under the rubble of dreams. He cannot allow himself to become attached again. “I do not like myself,” he says. And us? Do you like us? “Yes,” he lies. Loses. His dreaming drains him further into memory. Ten thousand people on a ship that could hold thirty thousand more. The ship is huge—in the two hundred years since Kabede’s first question he’d perfected his miner bots and dismantled a few small moons. His modular designs for it are genius. Immodest, but true enough; after all, only geniuses become Boundless, only geniuses are punished for their competence with this unending pain. Forty thousand people could fit here easily, but the fifth war really is the last. Only ten thousand survivors, wounded and bleeding. Adults clutch emaciated children, elders crouch quietly, their toothless mouths open; those who still can walk around, frantically trying to be useful to someone, somehow, anything to escape the staring stillness. And Kabede—Kabede is not among them; his friend lies stretched out under the medi-dome, dying from a head wound that cannot possibly be repaired. A Boundless cannot die, but a Boundless can still be killed. It was a mistake to agree to Kabede’s request. They should have left the war behind, gone away together like he wanted. But instead he’d said yes. He’d found a world, a watery planet plagued by storms—increased by Kabede’s designs to such vehemence than nobody would bother to come here. The storms would hide Kabede’s world from curious eyes, prevent the colonists from leaving. Forever, peace—sheltering the people from all wars, taking them away even from themselves. He remembers wondering if the people would find a way to make art, but the walls of the engineering dorm are bare. The reeds of his hammock are woven into uneven patterns that dig into his skin and signify nothing. The ancient Keeper of Neriu Habitat comes to see him once more, in the Engineering dorm. The Convergence is coming, and Kabede, the keeper says, will see him in three days’ time. His eyes trace the spiderweb patterns of the ceiling. He designed them for his ship, just for beauty. Lit up, they were thin lines that rotated and danced, forming an imaginary starmap of the universe, with confirmed constellations warming up to an orange and the unconfirmed to a shimmery gray. Once he’d thought it Kabede’s mistake to believe that art doesn’t survive death, for if he were somehow to die, this ship of his, these minutely patterned ceilings would survive. He is alive yet, but his art, his ceilings are not in use here. Kabede would never approve of something so frivolous. Three days’ time. He remembers most of it now. Kabede gave him the memory leecher, to be installed in the upper atmosphere. If strangers came to Gebe-2 to wage their war, intent and knowledge would be drained of them before they fell into the storms. Once you have the habitats defined, transfer me, Kabede asked, back when they’d made their plans. I want to be embedded in my world. He begged against it, when Kabede was alive. “You won’t have a body anymore…” But his pleading didn’t matter. Kabede was dead now. There wasn’t enough left to exist when the hundred specified nodes were separate. Kabede would only be whole and aware when the habitats came together, briefly, once every three or four years, to synchronize their memories and share mined fuel. The rest of the time Kabede’s mind would be divided into a hundred pieces and scattered across the ocean, memoryless, friendless. A hundred habitats, Kabede had insisted—even if war were somehow to find this world, the people would be divided, easy to hide, safe. Such a waste. They should have left Gebe together to search for the hidden planet of the Boundless, on his ship. This ship. He remembers now how he broke it down. Unmade his home. Reforged it into a hundred Habitats for his only friend. Neriu Habitat screeches in joining others, like a flock of birds pressed together into a ball. Eighty-nine is there when they come to transfer him from Neriu to Deselin, but there is nothing to say. Deselin Habitat corresponds to the medical wing where Kabede had died. Most of what’s left of them survives here, and now, joined with other bits of their scattered cognition, Kabede is as whole as they will ever be. There is no need to don the headset—a hologram appears to him in the room recreated to be identical to the Gebe basement. It is Kabede as they were in death, tall and gaunt, their dark face glistening with projected sweat, but there is nothing to embrace. Only bits of colored light. “It’s good to see you.” I am glad you visit me, Kabede says. “How many times have I done this?” This is the third time. Every sixty years. Every twenty Convergences. Kabede’s image flickers. I’m sorry about your memory, old friend, but I have to protect my people. I will return it to you when you leave, and erase you again from the system. I wish… “Don’t say it, please.” But there is no need to speak. They know the dialogue by heart. I wish so much you’d stay. ‘But nothing changes here, Kabede. Nothing evolves.’ My people— ‘—are ghosts.’ They survive. It is peaceful, efficient— ‘There is no hope.’ Yes, he remembers now. They played this game before, went through the same moves over and over. And I will come again, and lose my memory, to see you. But no matter how we play this, it’s a stalemate, Kabede. There are no chairs for them to sit. They squat on the floor, with the holographic chessboard between them. END "Stalemate" was originally published in Lackington's issue 4, in 2014. This recording is a Creative Commons Attribution-NonCommercial-NoDerivatives license which means you can share it with anyone you’d like, but please don’t change or sell it. Our theme is “Aurora Borealis” by Bird Creek, available through the Google Audio Library. Thanks for listening, and I’ll have another story for you on May 28th. [Music plays out] This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

35mins

21 May 2015

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