“When are we leaving?”
The moment the words leave her mouth Harper feels Efa stiffen around her, the droid freezing so completely she may as well be sculpted stone. Efa’s silence descends upon Harper’s skin like a cool mist.
“We are leaving, right?” she asks. “We can’t stay here.”
Efa spears the shovel into the soft ground, taking in her finished work. Four graves, two smaller than the others, rest beneath an old oak the Farmer’s wife once admired aloud on a golden spring day. The physical labour of digging and burying at least granted her a few good hours of work to distract herself, but now Efa finds herself alone with her own thoughts. Not feelings, she knows, because she can’t be feeling. But the thoughts are there, and they are not kind ones.
Nearby, the sheep drift around the small meadow as they graze, though many of them wandered over earlier to sniff what she thinks may have been goodbyes to Cinna’s small body.
All at once Efa’s body goes limp, slouching forward over the dying sheep. Though she has no breath to silence, there’s a sudden, deathly stillness about the droid that fills Harper’s veins with a cold fire.
“Efa,” she says, hesitantly at first, then again, louder: “Efa. Efa, wake up.”
The sheep have returned by now, crowding around with low bleats that remind Harper of her brother’s somber humming. They seem to look to her for answers, because Efa is quiet and cold in a way so like Harper’s mother, her sister, and—
The morning begins with a scream. Piercing the still morning air, Harper’s voice echoes across the frosted landscape just as the sun’s soft light touches the mountains.
Head snapping around to look at the cabin, Efa rises from her crouched position and grabs her staff from where it rests.
“Harper?” she calls, tingling fingers tightening around the staff. Silence is her only reply.
Efa stands still and silent as Harper wipes away the grime smearing her ceramic skin. She could be powered off, nothing more than a statue, but for the soft whirr within her. Her chest doesn’t rise and fall with the breath of the living; she has no twitching muscles, no fluttering eyelashes to betray her feelings.
Harper had thought cleaning Efa would have been like cleaning machinery, like washing her mother’s car. Instead, she finds herself hesitant to touch Efa’s body, as if she were a real human woman. There’s a strange quiver in her chest, something intimate, delicate and, yes, afraid.
Fair hair splayed around her head like a storm, the human girl—Harper, Efa reminds herself—seems so oddly at peace when she sleeps, so unlike her conscious self. Awake, she is angry, near-feral like the weasels and wildcats that terrorize the chickens. Efa has never met anyone like her, though she can’t say she’s met many people beyond this farm’s borders before now. Perhaps the war the Farmer has mentioned has turned Harper into this wild animal, but Efa can’t picture her any other way.
“War brings out the monsters in people,” he’d said, his eyes focused on a horizon darkening with smoke. “Some days I can’t help but wonder if your kind might be better at humanity than us.”
A chill breeze brushes her skin, icy fingers prying her from a slow, fever-blurred death. Her eyes are sticky, covered in a film that glues her eyelids together like a thick ointment. With the breeze comes scents from a childhood long gone; animal musk, pine and grass and earth. Above all, there’s the clear freshness of land untarnished by city smog.
She is sick, she is delirious, and none of this can be real. In her final, aching moments in this forsaken world, her brain has constructed a story of fresh air and itching grass, of blue skies dotted with fluffy clouds that come into sharper focus as she blinks away the fog. Too real, she thinks dimly, watching the clouds meander across their candy-blue field.
There is the sound of small feet rustling grass, then a creature’s velvet snout is suddenly snuffling at her face, little huffs of air tickling her heated skin. The dark eyes and animal sounds are so new and surprising, the girl has to suppress a scream as she raises her hands to push the sheep away.
Only one hand meets the creature’s face, startling the sheep away with a small, twisting leap. The other hand—her damaged arm, she recalls vaguely—will not move no matter how much she wills it.
Something is wrong.
Mist wraps around the mountains like a thick cloak, stained grey-pink with early morning light. There’s an unnatural stillness in the air, the heavy silence that comes from the sudden absence of human life. In the distance is a massive downed ship, smouldering still in the distance; a dead, metal behemoth so like just another mountain on the horizon.
A bleat breaks through the silence, then another, and another still. Shadows move behind a curtain of fog, until the pale tendrils peel away from a grassy outcropping where the dark shapes manifest into a flock of sheep. In the midst is a faceless guardian, standing against the bitter breeze with a branch-turned-staff clasped in one cold hand while a velvet face, haloed with frosted breath, nuzzles the other.
Starting (northern hemisphere) Friday next week, I’ll be releasing my FIRST serial fiction story: Mountain Sound, with a new chapter every third Friday from then on.
With the cities aflame and massive warships silhouetting the sun, the human race is once more on the verge of destroying itself. The countryside was supposed to be far from the war, but death spreads like a virus—not that Efa would know. An android built for many jobs, Efa was given only one: to protect the sheep placed under her care.
Until a dying girl stumbles upon the flock, shattering Efa’s peaceful existence and forcing the android to think beyond her basic programming. The war is coming—has already come—raising new questions neither of them can answer alone. All Efa knows is that she cannot abandon her sheep.
Mountain Sound is a story about humanity, love, responsibility, and sheep. I don’t know exactly when it will end, but I’m planning around 10 chapters. I have a page dedicated to keeping track of chapters and characters, and it will be updated as the story progresses.
This is an effort to start showing my creative writing more, as all I’ve done publicly for the last year plus is write editorials and book reviews, with my creative stuff hidden behind-the-scenes. No more!
Patrons will get to see chapters early, on Wednesdays!
Science fiction is the broadening of horizons. It’s the extending of what is real for us, now, into what could (perhaps) be real to us in the future. So many of our realities are echoed in these stories set in the far future — or even a long, long time ago — but not so much for folk who fall under the LGBT umbrella. There seems mostly to be a set sexuality in space: heterosexual.
Star Wars, as anyone who has ever talked to me would know, is hugely important to me. However, there’s one (now non-canon!) character I can identify with, sexuality-wise. One! Out of hundreds! My darling Juhani from Knights of the Old Republic, who is often looked over in favour of Carth or Bastila. She is either lesbian or, because of a bug apparently, bisexual. When I first learnt I could romance her with my lady jedi I literally whooped with joy, and she never left my side from the moment she joined my party.