AnalogProdigalCoverMy short story “Prodigal” appeared in the December 2016 issue of Analog Science Fiction and Fact.

It was, in fact, honored as being the cover story , with cover art to match: the first time a story of mine was honored in this way.

“Prodigal” is a story with a long history. I originally drafted it at Clarion West during the summer of 2006, essentially on a dare by my classmate Ben Burgis.

Some of the scientific groundwork in this story was actually laid in a novella I wrote even farther back, in 2001, titled “With My Mouth.” (I know, I know, the title is… anyway.) That was a story about an experimental brain-rewiring group—cult, therapy circle? It was ambiguous—that stimulated rapid neural overgrowth in the brain, followed by a tapered dieoff.

That’s basically how I imagine what was done to Benji’s brain, to achieve—in dog terms—relative super-intelligence. Not that a dog would necessarily need a massive brain for that: a patent office worker in France was a functional, (relatively) productive civil servant (ahem) for years with only a “thin layer of brain tissue” in his skull, after all. But a dog would a different kind of brain, and that would have to be grown. Interestingly, apparently this approach recently has become one bright hope in the fight against Alzheimer’s Disease.

When I first drafted the story, it was after living in South Korea for about five years, and thus unable to get copies of any North American SF magazines.1 Therefore, I hadn’t read Bradley Denton’s award-winning “Sergeant Chip,” which was mentioned in everything anyone said about the story; nor had I read Olaf Stapledon’s Sirius (though I was aware of it and had read about it). Nor had I (or many other people, at the time) read Kij Johnson’s “The evolution of trickster stories among the dogs of North Park after the Change” though Ellen Datlow mentioned that story in her comments on my own story.

All that left me wondering whether I’d just tread well-worn ground and the story was saying nothing new, but I think that was a silly thing to worry about: all those stories are quite different from one another, and, I think, different from “Prodigal.” Still, it didn’t stop me rewriting and reworking the story over the years, to no avail. I have all kinds of weird, abandoned drafts—some half-finished and some written to the end—which attack the issues from different angles. In the weirdest, the story starts about five years after the events in this story, and it’s set in a post-apocalyptic world where Benji and his compatriots have released something into the water supply that essentially modifies human brains to exhibit something that’s more like a hybrid of human and canine consciousness. In another, Benji tells the story in his own words, years later.

Ultimately, while they were all interesting ideas, none of them really worked as stories the way the original draft did. What I did was go back and do something Maureen McHugh astutely pointed out I was avoiding in the original draft: I forced my narrator answer the question he really, really didn’t want to answer honestly. Sometime in the summer of 2015, when I found myself stuck on the novel I was working on, I opened up the original story draft and decided to read it over. I was pleased to find it had aged well, so I put my narrator through that one missing moment of embarrassment and pain, and then gave it a general polishing and updated a few minor points. When it seemed ready, I decided to send it out, and the first place I sent it was Analog.

And it found a home. I couldn’t be happier about that.


“Moving, thought-provoking exploration of animal uplift. (…) as a metaphor for losing a loved one to a cause, it’s dynamite.”

—from Greg Hullender’s [email protected]Rocket Stack Rank

“Sad story. Very well done.”


“This is a strong story, one of the best I’ve read this year. I especially liked the fact that it avoids the simple solutions and has something to say about human (and dog) nature.”

—Chuck Rothman @ Tangent

  1. I suppose I could have subscribed, but I’d always bought them on newsstands. Ebook readers are a boon to those of us on foreign shores…

The Incursus, by Asimov-NN#71

“The Incursus, by Asimov-NN#71” appeared in the Summer 2016 issue of Big Echo.

This story was written in Saigon one afternoon when I asked myself what an AI would think about the Turing test, and when I’d just finished reading Stanislaw Lem’s wonderful A Perfect Vacuum, a collection of reviews for nonexistent books. I think Lem’s an underappreciated giant, and one of these days I’m going to sit down and read every one of his books that’s available in English.

As for the subject of the story: personally, I don’t think the Turing test is particularly useful as a metric for anything: sociopaths regularly (if temporarily) fool lots of people into thinking they’re neurotypical human beings, without the benefit of superhuman intelligence, after all. How much more effectively could an AI—especially one with a lot of fundamentally human building blocks in its makeup—do so?

But I started to wonder whether an AIs insights might go beyond that. Long, long ago, a friend of mine remarked that in his view, human beings don’t just anthropomorphize animals, but also do so with fellow human beings. What he meant was that we have a lot of fantasies and illusions about human nature that we take for granted, and which blind us to the less-comforting realities of human nature. History ensures that what we see as horrifying crimes—like those featured in news broadcasts daily, these days—wouldn’t surprise us so much if we didn’t have those illusions in place.

Perhaps the biggest illusions human beings seem to entertain are about themselves. Susan Blackmore, Thomas Metzinger, and Bruce Hood have interestingly argued that even the first-person, interiorized exprience of a unified self is essentially illusory: the GUI for a much more fragmentary collection of neurological processes that switch on and off constantly, and change slowly over time (or, in the case of brain injuries, quite suddenly).

So what if an AI decided to disabuse us of the illusions that are hardwired into our very brains?

“ἱερὸς γάμος” [Hieros Gamos]

Alix Branwyn

“ἱερὸς γάμος” [Hieros Gamos] was published in Cthulhusattva: Tales of the Black Gnosis, which was edited by Scott R. Jones and published in May 2016 by Martian Migraine Press.

It’s basically the origin story for the leader of a cult worshipping an unnamed entity from some forgotten corner of the Cthulhu Mythos, one residing at the site of the temple of the old cult of Eleusis. (Because, yes, the original Eleusis cult actually worshipped it.)

Believe it or not, this story was inspired by my studies of Ezra Pound’s massive poem titled The Cantos, which contains many references to the occult; among them, the fixation Pound had on the erotic-esoteric dimensions of pagan ritual, magic, and religion was most striking, particularly his interest in the Mysteries of Eleusis.

Little is really known about the rituals performed by initiates and hierophants in the Eleusinian mystery cult, though it seems to have been an important one—one of the last great pagan cults, really—and likely involved some kind of component related to the concept of hieros gamos, or “sacred marriage” with an overtly and integral sexual dimension that may have been represented or enacted in the rites themselves. Among the goddesses who may have been invoked at Eleusis are Aphrodite (who was, after all, a goddess of beauty and love, but also linked to the harvest) and Persephone, whose rape by Hades and abduction into the underworld (and her annual return, bringing spring to the world) seem to have been Pound’s favorite contender for the Eleusinian rites.

Bandyopadhyay is well-versed in the annals of English crackpottery—mainly because he was the beneficiary of my studies of Pound’s encounters with crackpots. Péladan, Blavatsky, the Manicheans… all of this was stuff floating around in the circles within which Ezra Pound (and Yeats, and to some degree Eliot) moved in the first couple of decades of the 20th century: such crackpottery was, as scholar Leon Surette demonstrates in his text The Birth of Modernism (which I discussed here), pretty common among literary types.

But imagine for a moment that the crackpots had it right… and that the gods described by their American contemporary, H.P. Lovecraft, were the true personae of the gods we know by Greco-Roman names today. What, then, would the “sacred marriage” of hieros gamos—the sexual union of the divine and the human—look like? And what would it take to survive such an encounter?

This story is an attempt to answer that question.


The Spurned Bride’s Tears, Centuries Old, in the Rain

lontar-5-cvf-sm“The Spurned Bride’s Tears, Centuries Old, in the Rain” appeared in issue 5 of Lontar: The Journal of Southeast Asian Speculative Fiction, a wonderful publication out of Singapore.

During the winter of 2010, I spent approximately two months in Indonesia (with much of that time spent in Depok, an exurb of Jakarta), where my then-girlfriend—now my wife—was studying Bahasa Indonesia, the official national language of the country. Indonesia’s not an easy place to be, at times: Jakarta’s traffic is pure insanity, and I got the worsst food poisoning of my life there. But the place had a powerful effect on me: rereading the story at some remove, I find Depok rushing back into my mind with vivid, overwhelming immediacy.

One interesting thing about Jakarta is that, despite the nation’s official semi-secularity, and the overwhelming popularity of Islam there, the’re a certain amount of Hindu cultural material that still is very visible in Jakarta (let alone over in Bali, where Hinduism is still commonly practiced). Hinduism in Indonesia (as in much of Southeast Asia) predates the arrival of the now-dominant religions of Islam (in Indonesia) and Buddhism (in much of the rest of Southeast Asia) by a significant margin. Angkor Wat depicts scenes from Hindu, not Buddhist, religious narrative. The Ramakian of Thailand is a localized remix of the Ramayana. It got me thinking about Hindu cosmology underlying modern Indonesian religious practices and identities: what if the Indian model of the afterlife—reincarnation for as long as people need to work out their karmic and dharmic balance—were correct, despite the majority of Indonesians adhering to a different model of the afterlife today?

Which brings me to the other major inspiration for this story: when I was a high-schooler, the Peter Brook version of The Mahabharata (adapted to a six-hour film, from its earlier stage incarnation) aired on PBS, and I fell in love with almost all of the major characters in this story featured in it. (I have a lengthy post about the film queued up for sometime soon, but till then, I wholeheartedly recommend the film on its own merits, but also as a profound statement of what preoccupied the whole Western world back in the late 80s and early 90s. Brook’s treatment of the original is controversial—or it was at the time—but for me it was a doorway into this vast, important Indian narrative, and it still matters profoundly to me.)

I have to admit that, despite having picked up the (heavily-abridged) Kamala Subramaniam translation more than a decade ago, I haven’t read through the imposingly massive hardback yet… I like to think I’ve been saving it for a rainy month, but the truth is that it’s just a daunting text! Still, the story of Amba and Bhisma, like so many others, has hung around in my head ever since. I couldn’t find anything about Amba on Youtube, but this scene portrays the death of Bhisma, which also appears—rather differently—in my story:

Here’s a more emotional version of the scene, though I can’t understand what’s being said:

The Hindu influence on Southeast Asia—even in places that are now predominantly Muslim, Buddhist, or otherwise—is unmistakeable: you can see it in old temples, in the surviving fascinating with the Ramayana, in the artwork of the region, and more. In downtown Jakarta, I was surprised to see a massive statue of Arjuna astride his chariot, a famous scene from the Bhagavad Gita section of the Mahabharata.

Arjuna Wijaya chariot statue and fountain in Central Jakarta. Photo by Gunawan Kartapranata used under a Creative Commons license. Click image for more information.

Arjuna Wijaya chariot statue and fountain in Central Jakarta. Photo by Gunawan Kartapranata used under a Creative Commons license. Click image for more information.

Later I read about Indonesia’s past, suffused (like so much of Southeast Asia) with narratives and gods of India, and tumbled around very hard by its vault into postcolonial modernity, I couldn’t help but feel the contrast between ancient Indonesia and the country’s present-day conditions—its crazy traffic, its guitar-playing-buskers on minibuses, its wealthy Chinese subpopulation (and the tensions between that subpopulation and native Indonesians, especially in Java), as well as the everpresent remnants of the traditional culture (such as the wayang kulit puppets available all over the place), and the massive shopping malls—and I started to wonder how a past and a present so alien to one another, and so centered on different philosophical and religious cosmologies, could be contrasted in a single story.

It’s worth noting, for those who are unfamiliar with the Mahabharata, that the gender/sex Srikandi (that’s the Indonesian name for the character called Shikandhi in the Sanksrit original) varies from version to version: sometimes Amba’s reincarnated form is as a male, sometimes as a female, sometimes as a eunuch, and sometimes it’s something even more unusual. In the Indonesian version of the story, Srikandi is a female reincarnation of Amba, though apparently in some versions she becomes male by one or another means, temporarily (and, if I remember right, eventually ends up female and a wife to Arjuna). I suspect that someone out there would be offended by the idea that Bhisma’s relationship with Shikhandi could end up keeping Bhisma stuck in the cycle of death and rebirth, but it seems reasonable to me.

In any case, those are the kinds of questions that underlie “The Bride’s Tears, Centuries Old, in the Rain.”