Show me.
Ceno Susumu 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:
Sing me a song, Elefsis.
The temperature in the kitchen is 21.5 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.
Cassian smiled tightly. She still wore her yukata, for she had no one to impress.
Show me.
Ceno’s hand shook as she pressed a pearly button in the boardroom table. We thought a red curtain too dramatic, but the effect we had chosen turned out to be hardly less so. A gentle, silver light brightened slowly in an alcove hidden by a trick of angles and the sunset, coming on like daybreak.
And I stepped out.
We thought it would be funny. Ceno had made my body in the image of the robots from old films and frames Akan had once loved: steel, with bulbous joints and long, grasping metal fingers. My eyes large and lit from within, expressive, but loud, a whirring of servos sounding every time they moved. My face was full of lights, a mouth that could blink off and on, pupils points of cool blue. My torso curved prettily, etched in swirling damask patterns, my powerful legs perched on tripod-toes. Ceno had laughed and laughed—this was a pantomime, a minstrel show, a joke of what I was slowly becoming,a cartoon from a childish and innocent age.
“Mother, meet Elefsis. Elefsis, this is my mother. Her name is Cassian.”
I ex
tended one polished steel arm and said, as we had practiced. “Hello, Cassian. I hope that I please you.”
Cassian Uoya-Agostino did not become a bouncing fiery ball or a green tuba to answer me. She looked me over carefully as if the robot was my real body.
“Is it a toy? An NPC, like your nanny or Saru’s princess? How do you know it’s different? How do you know it has anything to do with the house or your necklace?”
“It just does,” said Ceno. She had expected her mother to be overjoyed, to understand immediately. “I mean, wasn’t that the point of giving us all copies of the house? To see if you could…wake it up? Teach it to…be?”
“In a simplified sense, yes, Ceno, but you were never meant to hold onto it like you have. It wasn’t designed to be permanently installed into your skull.” Cassian softened a little, the shape of her mouth relaxing, her pupils dilating slightly. “I wouldn’t do that to you. You’re my daughter, not hardware.”
Ceno grinned and started talking quickly. She couldn’t be a grown-up in a suit this long, it took too much energy when she was so excited. “But I am! And it’s ok. I mean, everyone’s hardware. I just have more than one program running. And I run so fast. We both do. You can be mad, if you want, because I sort of stole your experiment, even though I didn’t mean to. But you should be mad the way you would be if I got pregnant by one of the village boys—I’m too young but you’d still love me and help me raise it because that’s how life goes, right? But really, if you think about it, that’s what happened. I got pregnant by the house and we made…I don’t even know what it is. I call it Elefsis because at first it was just the house program. But now it’s bigger. It’s not alive, but it’s not not alive. It’s just…big. It’s so big.”
Cassian glanced sharply at me. “What’s it doing?” she snapped.
Ceno followed her gaze. “Oh…it doesn’t like us talking about it like it isn’t here. It likes to be involved.”
I had realized the robot body was a mistake, though I could not then say why. I made myself small, and human, a little boy with dirt smeared on his knees and a torn shirt, standing in the corner with my hands over my face, as I had seen Akan when he was younger, standing in the corner of the house that was me being punished.
“Turn around, Elefsis.” Cassian said in the tone of voice my house-self knew meant execute command.
And I did a thing I had not yet let Ceno know I knew how to do.
I made my boy-self cry.
I made his face wet, and his eyes big and limpid and red around the rims. I made his nose sniffle and drip a little. I made his lip quiver. I was copying Koetoi’s crying, but I could not tell if her mother recognized the hitching of the breath and the particular pattern of skin-creasing in the frown. I had been practicing, too. Crying involves many auditory, muscular, and visual cues. Since I had kept it as a surprise I could not practice it on Ceno and see if I appeared genuine. Was I genuine? I did not want them talking without me. I think that sometimes when Koetoi cries, she is not really upset, but merely wants her way. That was why I chose Koe to copy. She was good at that inflection that I wanted to be good at.
Ceno clapped her hands with delight. Cassian sat down in one of the deep leather chairs and held out her arms to me. I crawled into them as I had seen the children do and sat on her lap. She ruffled my hair, but her face did not look like it looked when she ruffled Koe’s hair. She was performing an automatic function. I understood that.