At the Helm: A Sci-Fi Bridge Anthology (Volume 1) Read online

  2017 SCI-FI BRIDGE ANTHOLOGY VOL. 1

  Subscribe to Sci-Fi Bridge for news of upcoming titles in this series as well as tons of free giveaways from the world’s best Science Fiction writers.

  Writers. Readers. Engage. www.scifibridge.com

  Cover Art and Design by Julian Faylona and Steve Beaulieu

  Print and ebook formatting by Steve Beaulieu

  All characters and events in this publication, other than those clearly in the public domain are fictitious and any resemblance to real persons, living or dead, is purely coincidental.

  All rights reserved.

  No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.

  www.scifibridge.com

  At the Helm Vol. 1 copyright © 2017 Sci-Fi Bridge

  Foreword copyright © 2017 Samuel Peralta. Used by permission of the author.

  “Pressure” copyright © 2002 Jeff Carlson. First published in Strange Horizons. Used by permission of the author.

  “This Long Vigil” copyright © 2015 Rhett Bruno. First published in Perihelion Science Fiction Magazine. Used by permission of the author.

  “Gao Yao Engine” copyright © 2016 Rachel Aukes. Used by permission of the author.

  “Brood Company” copyright © 2017 Steve Beaulieu & Aaron Hall. Used by permission of the authors.

  “Life” copyright © 2014 Daniel Arenson. Used by permission of the author.

  “I, Caroline” copyright © 2014 David Bruns. Used by permission of the author.

  “Unconditional:A Tale of the Zombie Apocalypse” copyright © 2015 Chris Pourteau. Used by permission of the author.

  “Time Patrol: Lara’s Recruitment” copyright © 2016 Bob Mayer. Used by permission of the author.

  “Carindi” copyright © 2015 Jennifer Foehner Wells. Used by permission of the author.

  “Into the Dark” copyright © 2012 Robert Kroese. Used by permission of the author.

  “Pete, Popeye and Olive” copyright © 2016 Jamie McFarlane. Used by permission of the author.

  “Codename Delphi” copyright © 2014 Linda Nagata. First appeared in Lightspeed Magazine. Used by permission of the author.

  “Patchworker 2.0” copyright © 2013 M. Pax. Used by permission of the author.

  “Dark Space: A Chance Encounter” copyright © 2014 Jasper T. Scott. Used by permission of the author.

  All other text copyright © 2017 Sci-Fi Bridge

  CONTENTS

  FOREWORD: Samuel Peralta

  PRESSURE: Jeff Carlson

  THIS LONG VIGIL: Rhett C. Bruno

  GAO YAO ENGINE: Rachel Aukes

  BROOD COMPANY: Hall & Beaulieu

  LIFE: Daniel Arenson

  I, CAROLINE: David Bruns

  UNCONDITIONAL: Chris Pourteau

  TIME PATROL: LARA’S RECRUITMENT: Bob Mayer

  CARINDI: Jennifer Foehner Wells

  INTO THE DARK: Robert Kroese

  PETE, POPEYE AND OLIVE: Jamie McFarlane

  CODENAME DELPHI: Linda Nagata

  PATCHWORKER 2.0: M. Pax

  DARK SPACE: A Chance Encounter: Jasper T. Scott

  FOREWORD

  SF Bridge

  BY SAMUEL PERALTA

  “When you build a bridge, you build something for all time.”

  — Joseph Strauss

  In the nineteenth and early twentieth centuries, it took an exhausting journey along California’s coast line to get to or from San Francisco and the communities in Marin Country.

  There was only one other way, and that was to take a ferry, such as the one run by Sausalito Land and Ferry Company, straight across the Bay.

  The trip took a little over a half hour. On a clear day, for sightseers and visitors, that was a perfect time to sit back and take in the views at their leisure.

  But at the time, served mainly by ferries to its neighboring cities, San Francisco’s growth rate remained stagnant, below the average of other large cities in America.

  SF needed a bridge.

  • • •

  My whole life has been about telling stories—getting up on stage at an open mic to recite a poem, composing a narrative lyric for a song, presenting an engineering solution or start-up vision at a technical or shareholder meeting.

  E-books became just another stage.

  When I set foot in this brave new speculative-fiction world, spurred by the likes of Hugh Howey’s modern classic WOOL, I was amazed at the passion and ideas in the works of many so-called indie writers—and dismayed at how little readers knew about them.

  Many readers still loved the classics—Isaac Asimov, Ray Bradbury, Robert Heinlein, Larry Niven—and you could get modern masters like Robert J. Sawyer, Ken Liu, and Julie Czerneda on the shelves of your big bookstore.

  But for every Hugh Howey and Seanan McGuire who broke through the e-book barriers and finally reached hundreds of thousands of readers, there were scores of other excellent indie authors who remained unread by more than a handful of friends and family.

  There must be a way to get all these unknown writers—myself included—into the real or electronic shelves of readers who didn’t know we existed.

  The answer that found me was this: To invite stories from both new and established authors and collect them in an anthology with a theme that would appeal to readers.

  That was how I became an accidental anthologist.

  • • •

  Many in San Francisco shared the same dream—the dream of constructing a bridge across the Bay.

  But the waters were deep at the center crossing, and the Bay was marked by ferocious winds and currents, swirling tides, and a fog that threatened to make dangerous any construction project that dared to span the channel.

  The office of the San Francisco City Engineer had estimated that the cost of building such a bridge would be $100 million—equivalent to $2.25 billion in 2017—and, therefore, not feasible. An article in the San Francisco Bulletin asked the question: Could it be built for less?

  One of those who took up the challenge was an engineer and poet, Joseph Strauss. Already an experienced bridge-builder, Strauss estimated that a massive cantilever bridge connected by a suspension span could be constructed for some $17 million.

  That was enough to light the fire under this project over all other plans that had come before.

  The project was not without difficulties, and opposition came from many sources, including the ferry companies whose business would be challenged by such a bridge.

  But there were many, many supporters for California’s 1923 Act that created the entity that was tasked with making the dream come alive—the Golden Gate Bridge District.

  • • •

  When I started the first of what would become the Future Chronicles anthologies, in a trilogy of works along with the series’ first editor, David Gatewood, I had a goal.

  It was to span the distance between promising new voices in speculative fiction, and readers who loved the classic, more well-known authors.

  The Future Chronicles, in carefully curated and themed volumes—such as The A.I. Chronicles, The Time Travel Chronicles, Alt.History 101, The Shapeshifter Chronicles, and Chronicle Wor
lds: Paradisi—put the spotlight on these voices and found a readership that was phenomenal in its devotion.

  That was only the start.

  The Chronicles were joined by an explosion of other independent anthologies, woven around space opera, clones, shared worlds… new bridges spanning the distance to connect with readers from every genre of speculative fiction.

  • • •

  In San Francisco, Joseph Strauss was joined by other brilliant engineers, including Leon Moisseiff, engineer of New York City’s Manhattan Bridge; Irving Morrow, who would design the overall shape of the towers and brought in the Art Deco elements; and Charles Alton Ellis, who became the principal engineer for the project, responsible for every calculation that would make the bridge last until today.

  Beyond the key engineers, the effort to build the projected enlisted hundreds of workers, each tasked with a small part in the effort to raise the Golden Gate Bridge.

  • • •

  Here, in your hands, you hold At the Helm, a new anthology put together by a score of traditional and independent authors, every story a rivet in the span that is Sci-Fi Bridge, every single one the culmination—and the beginning—of someone’s dream.

  Like the Golden Gate Bridge heralding San Francisco out of the fog, Sci-Fi Bridge hopes to helm a new age of discovery—of new stories, of new authors, of new readers.

  • • •

  I can only imagine what it felt like, being in the first car to cross San Francisco’s new bridge.

  What an amazing feeling, starting at the foot of the bridge, looking out across the Bay, your hand on the ignition, ready to start the engine.

  Spanning forty-two hundred feet, the Golden Gate Bridge stands today at twice the length of one of Star Trek’s Galaxy class starships.

  It stands as a marker for the dream of hundreds of workers, a dream that continues today for the people of San Francisco.

  Like the bridge of the starship Enterprise, it has become more than an edifice. It has become a symbol.

  Sometime this year, in May 2017, we will mark the 80th anniversary of the Golden Gate, the most famous SF Bridge.

  This anthology marks the birth of another.

  Start the engines.

  Warp factor one.

  — Samuel Peralta

  www.samuelperalta.com

  Samuel Peralta is a physicist, storyteller, and an accidental anthologist. His writing has been spotlighted in Best American Poetry, selected for Best American Science Fiction & Fantasy, and has won multiple awards. He is the creator and senior editor of the acclaimed Future Chronicles series of speculative anthologies, now covering a score of bestselling titles. Apart from his publishing projects, he remains heavily involved in the high-technology industry, and is an ardent supporter and producer of independent film.

  PRESSURE

  BY JEFF CARLSON

  They said I wouldn’t feel a thing, but my dreams were awful—pain and tightness, smothering weight, none of which overcame my excitement. I also dreamed of flying, dreamed that I dove right through the ground and smashed into a spectacular new universe, yet I caught only glimpses of brightness before my eyes ruptured and abrasive rock crammed through my mouth and sinus cavities.

  The mind persists in making sense of things, even when drugged and unconscious. It remembers.

  Waking was the real nightmare. I had no face, I weighed too little, and raw swelling in my throat choked my voice.

  The bite of a needle on one leg helped center me, even before the tranquilizer took hold. I stopped thrashing and understood that I was submerged in a tank not much larger than myself. I knew it was a horizontal rectangle, knew I was in its middle—yet I had no eyes. Could my hearing be acute enough to measure distance? There wasn’t time to sort through my senses. The ponderous blood-weight of the tranquilizer could not subdue the breathing reflex and I dug at the water with every limb, moving up, up—

  A hard ceiling punched into the smooth metal protrusions of my face before I reached a surface. There was no air. But I could not drown. I snorted water through the generous filter plate where my nose had been, then expelled a shocking pocket of liquid through the gills beneath my armpits.

  For a moment I did nothing more than breathe, feeling each exhalation against my elbows. I almost touched my face, hesitated, then grew interested in my hands and brought them together. The index fingers and thumbs felt no different but my other digits were thicker, longer, webbed.

  “Garcia?” Stenstrom’s voice was too loud in the VLF transceiver buried high in my cheekbone, distorted by the mumble of other people around him. “How do you feel?”

  I thought I heard the vibrations of his enthusiastic tone directly as well, dulled by the water and walls of my tank. They’d told me the recovery tank would be glass and I imagined his entire research team all around my naked body, bristling with recorders and palmtops, every face intent.

  Andrea had always giggled when we skinny-dipped together, watchful for neighbors but emboldened by each other’s daring, in the early days when we lived at her parents’ house in San Diego. Before she got pregnant. “Shark!” she’d whisper, and grab for me. I can be a pensive son of a bitch and her teasing, her smiles, had always been what I needed most.

  The thought of her now helped me ignore my embarrassment.

  My scrotum had been tucked away, my penis shortened—protective measures that Stenstrom’s people swore were reversible, like all of the surgeries and implants. I had that in writing and an eight figure insurance policy to back it, but there’s not a man in the world who wants to be cut in that area, no matter the compensation.

  “Garcia?” Stenstrom raised his volume painfully.

  Answering, I almost swallowed a mouthful of water. Despite all of my training, subvocalizing into a throat mike was very different after the changes reinforcing my mouth and neck. Eating would be a chore.

  I croaked, “Drop volume!”

  Stenstrom was apologetic. “Is this better?”

  “Down, down. Lots.”

  “You’re more sensitive than we expected, apparently. Any other immediate difficulties?”

  I kicked through a tight somersault. “Feel great!”

  • • •

  My pride was my savior, my source of endurance.

  I spent the longest five weeks of my life in that tank and in a deeper pool, healing, testing, practicing. My feet and toes had been augmented much like my hands, my thighs shortened to maximize the available muscle. I was damned quick. Relearning construction techniques with my new fingers was sometimes frustrating, yet my progress was real and those periods of solitary labor became important to me.

  At the surface, in the shallows, doctors poked and prodded and put me through redundant tortures. I had been warned that the study of my new body would be extensive and I did my best not to fear or hate them, but I’d never imagined such intense scrutiny. During my years as a SEAL, I had been like a bug under a microscope, constantly evaluated and scored. Here I was the microscope, my body the only lens through which they could measure their work.

  Stenstrom tried to be my buddy, as he had always tried, joking and asking what I’d do with the money, yet his possessiveness was obvious. “We’ll be famous,” he said. “We’ll change the world.”

  I wasn’t a slave or a pet, exactly, but I was anxious to get started—to get away from them.

  The project had almost selected someone else, a loudmouth much better at politicking than me, but the job would mostly be done alone and they must have thought he’d break without an audience. I’m sure my Navy files indicated no problems of that nature. I’m the private type, happiest diving or surfing with my laughing Andrea or teaching our boys to swim, feeling my heartbeat, finding the perfect ride, the perfect moment, away from other people and their squabbles and protest marches. I’ve never understood the urge to merge, never wanted to add my opinions to the bubbling stew of e-media or buy five minutes of fame on iBio. For me, a mob holds no power, no point.
Running in circles won’t improve the economy, clean the environment, or affect the East Asian guerrilla wars in any way. Hard work is the answer. Honor. Persistence. A willingness to take risks.

  The project offered all that and more.

  I had to relearn how to chew and swallow, a slow process but strangely more flavorful. Stenstrom said that was only because of the premium foods they’d secured for me, but I had eaten well occasionally in the past and decided my improved palate must be a side effect of the surgeries that had strengthened my jaw and lips. Could taste buds be sensitized?

  Learning to see again was also a challenge. From old research with dolphins and orcas, Stenstrom knew better than to surround me with smooth walls. Many of those captives had gone insane over time. That wasn’t a concern here, but they didn’t want my brain to establish its new neural patterns in wrong or confused ways. Before activating my sonar receptors, which used ultra low frequencies far below my improved range of hearing, they put me in the deeper, irregularly shaped pool.