She thought her way through it, and then she assembled her materials the next day—jars, lids, pipettes, scoops, tweezers—and put on her suit. She carried the things carefully to the ruined dome. The wall still glistened faintly, but on the ground there were small staggered movements as globules combined. She took her first plastic cup and ticked her eyes along the ground, evaluating. That finger she had seen the day before was now assembled to the tip of the cuticle. But there was a piece of the top of the head complete with hair, far to the right. Next to that a bone with a scrap of sinew. A piece of beige skin inched towards it. She began to index, in her head, any recognizable thing. An elbow, a rib, a foot nearly complete and flexing hopefully. She bent over, watching. The things moved; they had purpose. “Probably dying to get together again,” she thought, and smiled. She could stop that.

She opened jars and took the larger parts, and the moveable parts—she would have none of them wandering away, gathering behind a rock or in the sea, repairing.

Every other day she went out, gathering with her jars and vats, picking out the hearts, the tongues, the scar on Jenks’ thigh, two tattoos (was that Squirrel or Darcy?).

The hearts and lungs and guts could wait; they were going nowhere. Feet and hands had to come first, but the heads—no, they would be gathered in pieces. It was too disturbing, even for her analytic bent, her Euclidean eye. It was enough that she would reassemble them in her mind, put the puzzle together, intellectually. Let it remain intellectual—let her surmise that the jar on the top shelf belonged with the jar on the bottom shelf, cheek-by-jowl, brow to chin. They were like lovers who were no good for each other and should be kept apart.

Or, at least, no good for her.

She gathered them, plucking them and sorting them. Would they only truly recognize their own or would they pollinate—making a Brute-Darcy, a Squirrel-Jenks, a Squirrel-Darcy? They had ballooned into each other; they might have the desire to form one interconnected being: eight legs, eight arms, four hearts, one mind.

One brain bloomed and she bottled it, not waiting for the brainpan to find its home. Four brains, each on a shelf. They might have achieved telepathy; she would see.

So, at the end, over the course of two weeks, she spooned them up, in segments or in parts, and jarred them. At first she kept them dry, then she thought—mercifully thought, scientifically thought; or heroically thought: they want the water.

She went down to the sea, and carved out a piece in her bucket, and brought it back, weighted with virtue. And she cut off pieces into each jar, tightening the lids—no hokum from them, delighting in the water—and sealed them tight.

In six months, in five months, in four months, in three—soon, soon, there would be a beep on her screen, the first text from home.

“How are you?” it would ask, and she would sit down, a smile on her face, her hands slightly shaking. The eyes behind her, blinking, the hearts beating, the lungs insisting on their own thick-water breathing—all of them watching, and she would type:

We are well.

<p>The War Artist</p><p>TONY BALLANTYNE</p>
Перейти на страницу:

Все книги серии Year's Best SF

Похожие книги