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“Hello,” said Ceno.
The dormouse looked at her. It blinked. It blinked again, as though thinking very hard about blinking. Then it went back to gnawing on the walnut.
“Are you a present from mother?” Ceno said. But no, Cassian believed strongly in not interfering with a child’s play. “Or from Koetoi?” Koe was nicest to her, the one most likely to send her a present like this. If it had been a zombie or a princess, she would have known which sibling was behind it.
The dormouse stared dumbly at her. Then, after a long and very serious think about it, lifted its hind leg and scratched behind its round ear in that rapid-fire way mice have.
“Well, I didn’t make you. I didn’t say you could be here.”
The dormouse held out its shimmery blue paw, and Ceno did not really want a piece of chewed-on walnut, but she peered into it anyway. In it lay Ceno’s pendant, the chain pooling in its furry palm. The sapphire jewel sparkled there, but next to it on the chain hung a milky grey gem Ceno had never seen before. It had wide bands of black stone in it, and as she studied the stone it occurred to the girl that the stone was like her, with her slate grey eyes and black hair. It was like her in the way that the blue gem was like the dormouse.
In realspace, Ceno reached up behind her head and popped the jewel out of its notch. Click, clench. In playspace, the dormouse blinked out. She snapped it back in. It took a moment, but the dormouse faded back in, paws first. It still held the double necklace. Ceno tried this several times—out, in, out, in. Each time the dormouse returned much faster, and by the sixth clicking and clenching it was doing a shuffling little dance on its back legs when it came back. Ceno clapped her hands in playspace and threw her arms around the sapphire dormouse, dancing with it.
To say that I remember this is a complex mangling of verb tenses. I—I, myself that is now myself—do not remember it at all. I know it happened the way I know that the Battle of Agincourt or the landing of Coronado happened. I have extensive records. But I still contain the I—I, myself that was then myself—that experienced it, the primitive code-chains that comprised that self, which was a dormouse and also the house called Elefsis. I could not yet formulate unique speech. Elefsis, the house system, possessed a large bank of standard phrases that could answer recognized word patterns from any of the approved members of the household. But the copy of Elefsis inside Ceno’s jewel could not even do this. It had not been necessary, since the crystal had no means of producing sound nor receiving and processing it. I was quite stupid. But I wanted to be less stupid. There was an I, and it wanted something. Perhaps the want was the only thing that could be said to be truly myself. I wanted to talk to Ceno. But I could only imitate yet. When the I that was then myself scratched behind its ear, I did it because in my connection with Ceno’s feedware I had seen her memories of dormice doing this out on the pale Shiretoko beaches. When I gave her the gem I did it because I had seen her memories of her mother giving her one and felt her happiness. It was antecedented behavior. The scratching was antecedented as well and expected behavior for a dormouse. Why was I a dormouse? I have no answer except that she dreamed me a dormouse. Some things remain mysterious. Ceno saw dormice more than any other single animal, even humans—no other beast lived in such numbers in their lonely country.
But this is not so. Not quite. I gave her the jewel like Cassian did. But I meant something by it. I look over my memories of it and I know it with the more complex I that is now myself. I made her the gem that looked like her and the gem said: We are alike. Look at us on the chain together. We are alike.
When the dormice came, Ceno always knew that spring had arrived. Everything would soon be coming alive.
ELEVEN: THE BOTTOMLESS CAULDRON
Show me.
This is how I was found out.
Ceno saw it twice: her mother knelt in front of her in a simple but shudderingly expensive black yukata with ghostly ultramarine jellyfish trailing their tendrils at the hem. Her mother knelt in front of her in a knight’s gleaming black armor, the metal curving around her body like skin, a silk standard at her feet with a schematic of the house stitched upon it. Her sword lay across her knee, also black, everything black and beautiful and austere and frightening, as frightening and wonderful as Ceno, only fourteen now, thought her mother to be.
Show me what you’ve done.
My physical self was a matter of some debate at that point. But I don’t think the blue jewel could have been removed from Ceno’s feedware without major surgery and refit. She had instructed me to untether all my self-repair protocols and growth scales in order to encourage elasticity, and as a result, my crystalline structure had fused to the lattices of her ware-core.
We pulsed together.
The way Cassian said it—what you’ve done—scared Ceno, but it thrilled her too. She had done something unexpected, all on her own, and her mother credited her with that. Even if what she’d done was bad, it was her thing, she’d done it, and her mother was asking for her results just as she’d ask any of her programmers for theirs when she visited the home offices in Kyoto or Rome. Her mother looked at her and saw a woman. She had power, and her mother was asking her to share it. Ceno thought through all her feelings very quickly, for my benefit, and represented it visually in the form of the kneeling knight. She had a fleetness, a nimbleness to her mind that allowed her to stand as a translator between her self and my self: Here, I will explain it in language, and then I will explain it in symbols, and then you will make a symbol showing me what you think I mean, and we will understand each other better than anyone ever has.
Inside my girl, I made myself, briefly, a glowing maiden version of Ceno in a crown of crystal and electricity, extending her perfect hand in utter peace.
But all this happened very fast. When you live inside someone, you can get very good at the ciphers and codes that make up everything they are.
Show me.
Ceno Uoya-Agostino took her mother’s hand—bare and warm and armored in onyx all at once. She unspooled a length of translucent cable and connected the base of her skull to the base of her mother’s. All around them spring snow fell onto the glass dome of the greenhouse and melted there instantly. They knelt together, connected by a warm milky-diamond umbilicus, and Cassian Uoya-Agostino entered her daughter.
We had planned this for months. How to dress ourselves in our very best. Which frame to use. How to arrange the light. What to say. I could speak by then, but neither of us thought it my best trick. Very often my exchanges with Ceno went something like this:
Sing me a song, Elefsis.
The temperature in the kitchen is twenty-one point five degrees Celsius and the stock of rice is low. (Long pause.) Ee-eye-ee-eye-oh.
Ceno felt it was not worth the risk. So this is what Cassian saw when she ported in:
An exquisite boardroom—the long, polished ebony table glowed softly with quality, the plush leather chairs invitingly lit by a low-hanging minimalist light fixture
descending on a platinum plum branch. The glass walls of the high-rise looked out on a pristine landscape, a perfect combination of the Japanese countryside and the Italian, with rice terraces and vineyards and cherry groves and cypresses glowing in a perpetual twilight, stars winking on around Fuji on one side and Vesuvius on the other. Snow-colored tatami divided by stripes of black brocade covered the floor.
Ceno stood at the head of the table, in her mother’s place, a positioning she had endlessly questioned over the weeks leading up to her inevitable interrogation. She wore a charcoal suit she remembered from her childhood, when her mother had come like a rescuing dragon to scoop her up out of the friendly but utterly chaotic house of her ever-sleeping father. The blazer only a shade or two off of true black, the skirt unforgiving, plunging past the knee, the blouse the color of a heart.
When she showed me the frame, I had understood, because three years is forever in machine time, and I had known her that long. Ceno was using our language to speak to her mother. She was saying: Respect me. Be proud and, if you love me, a little afraid, because love so often looks like fear. We are alike. We are alike.
