The Shape of My Name: A Tor.Com Original

by Nino Cipri

Overview

The Shape of My Name by Nino Cipri is a time travel story about what it means to truly claim yourself.

At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Product Details

ISBN-13:	9781466886308
Publisher:	Tor Publishing Group
Publication date:	03/04/2015
Series:	Tor.Com Original Series
Sold by:	Macmillan
Format:	eBook
Pages:	32
File size:	972 KB

About the Author

Nino Cipri is a queer and genderqueer writer living in Chicago. Nino is a graduate of the 2014 Clarion Writers' Workshop, which they attended with the help of an Illinois Arts Council Professional Development grant. Their writing has been published in Tor.com, Fireside Fiction, Betwixt, Daily Science Fiction, In The Fray, Autostraddle, and Gozamos. A multidisciplinary artist, Nino has also written plays, screenplays, and radio features; performed as a dancer, actor, and puppeteer; and worked as a backstage theater tech. Nino has also worked as a farmhand, bike mechanic, barista, mail clerk, dishwasher, bookseller, and gas station attendant.

One time, an angry person called Nino a verbal terrorist, which has since made a great T-shirt slogan.

Nino Cipri is a queer and trans/nonbinary writer, editor, and educator. They are a graduate of the 2014 Clarion Writers’ Workshop, and earned their MFA in fiction from the University of Kansas. A multidisciplinary artist, Nino has also written plays, screenplays, and radio features; performed as a dancer, actor, and puppeteer; and worked as a stagehand, bookseller, bike mechanic, and labor organizer. They are the author of the World Fantasy Award finalist and Dzanc Short Fiction Collection Prize winner, Homesick, and the LAMBDA finalist, Finna. Dead Girls Don't Dream is their young adult debut.
ninocipri.com

Read an Excerpt

The Shape of My Name

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By Nino Cipri, Richie Pope

Tom Doherty Associates

Copyright © 2015 Nino Cipri
All rights reserved.
ISBN: 978-1-4668-8630-8

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CHAPTER 1

The year 2076 smells like antiseptic gauze and the lavender diffuser that Dara set up in my room. It has the bitter aftertaste of pills: probiotics and microphages and PPMOs. It feels like the itch of healing, the ache that's settled on my pubic bone. It has the sound of a new name that's fresh and yet familiar on my lips.

The future feels lighter than the past. I think I know why you chose it over me, Mama.

* * *

My bedroom has changed in the hundred-plus years that have passed since I slept there as a child. The floorboards have been carpeted over, torn up, replaced. The walls are thick with new layers of paint. The windows have been upgraded, the closet expanded. The oak tree that stood outside my window is gone, felled by a storm twenty years ago, I'm told. But the house still stands, and our family still lives here, with all our attendant ghosts. You and I are haunting each other, I think.

I picture you standing in the kitchen downstairs, over a century ago. I imagine that you're staring out through the little window above the sink, your eyes traveling down the path that leads from the back door and splits at the creek; one trail leads to the pond, and the other leads to the shelter and the anachronopede, with its rows of capsules and blinking lights.

Maybe it's the afternoon you left us. June 22, 1963: storm clouds gathering in the west, the wind picking up, the air growing heavy with the threat of rain. And you're staring out the window, gazing across the dewy fields at the forking path, trying to decide which way you'll take.

My bedroom is just above the kitchen, and my window has that same view, a little expanded: I can see clear down to the pond where Dad and I used to sit on his weeks off from the oil fields. It's spring, and the cattails are only hip high. I can just make out the silhouette of a great blue heron walking along among the reeds and rushes.

You and I, we're twenty feet and more than a hundred years apart.

* * *

You went into labor not knowing my name, which I know now is unprecedented among our family: you knew Dad's name before you laid eyes on him, the time and date of my birth, the hospital where he would drive you when you went into labor. But my name? My sex? Conspicuously absent in Uncle Dante's gilt-edged book where all these happy details were recorded in advance.

Dad told me later that you thought I'd be a stillbirth. He didn't know about the record book, about the blank space where a name should go. But he told me that nothing he said while you were pregnant could convince you that I'd come into the world alive. You thought I'd slip out of you strangled and blue, already decaying.

Instead, I started screaming before they pulled me all the way out.

Dad said that even when the nurse placed me in your arms, you thought you were hallucinating. "I had to tell her, over and over: Miriam, you're not dreaming, our daughter is alive."

I bit my lip when he told me that, locked the words "your son" out of sight. I regret that now; maybe I could have explained myself to him. I should have tried, at least.

You didn't name me for nearly a week.

* * *

Nineteen fifty-four tastes like Kellogg's Rice Krispies in fresh milk, delivered earlier that morning. It smells like wood smoke, cedar chips, Dad's Kamel cigarettes mixed with the perpetual smell of diesel in his clothes. It feels like the worn velvet nap of the couch in our living room, which I loved to run my fingers across.

I was four years old. I woke up in the middle of the night after a loud crash of lightning. The branches of the oak tree outside my window were thrashing in the wind and the rain.

I crept out of bed, dragging my blanket with me. I slipped out of the door and into the hallway, heading for your and Dad's bedroom. I stopped when I heard voices coming from the parlor downstairs: I recognized your sharp tones, but there was also a man's voice, not Dad's baritone but something closer to a tenor.

The door creaked when I pushed it open, and the voices fell silent. I paused, and then you yanked open the door.

The curlers in your hair had come undone, descending down toward your shoulders. I watched one tumble out of your hair and onto the floor like a stunned beetle. I only caught a glimpse of the man standing in the corner; he had thin, hunched shoulders and dark hair, wet and plastered to his skull. He was wearing one of Dad's old robes, with the initials monogrammed on the pocket. It was much too big for him.

You snatched me up, not very gently, and carried me up to the bedroom you shared with Dad.

"Tom," you hissed. You dropped me on the bed before Dad was fully awake, and shook his shoulder. He sat up, blinking at me, and looked to you for an explanation.

"There's a visitor," you said, voice strained.

Dad looked at the clock, pulling it closer to him to get a proper look. "Now? Who is it?"

Your jaw was clenched, and so were your hands. "I'm handling it. I just need you to watch—"

You said my name in a way I'd never heard it before, as if each syllable were a hard, steel ball dropping from your lips. It frightened me, and I started to cry. Silently, though, since I didn't want you to notice me. I didn't want you to look at me with eyes like that.

You turned on your heel and left the room, clicking the door shut behind you and locking it.

Dad patted me on the back, his wide hand nearly covering the expanse of my skinny shoulders. "It's all right, kid," he said. "Nothing to be scared of. Why don't you lie down and I'll read you something, huh?"

In the morning, there was no sign a visitor had been there at all. You and Dad assured me that I must have dreamed the whole thing.

I know now that you were lying, of course. I think I knew it even then.

* * *

I had two childhoods.

One happened between Dad's ten-day hitches in the White County oil fields. That childhood smells like his tobacco, wool coats, wet grass. It sounds like the opening theme songs to all our favorite TV shows. It tastes like the peanut- butter sandwiches that you'd pack for us on our walks, which we'd eat down by the pond, the same one I can just barely see from my window here. In the summer, we'd sit at the edge of the water, dipping our toes into the mud. Sometimes, Dad told me stories, or asked me to fill him in on the episodes of Gunsmoke and Science Fiction Theatre he'd missed, and we'd chat while watching for birds. The herons have always been my favorite. They moved so slow, it always felt like a treat to spot one as it stepped cautiously through the shallow water. Sometimes, we'd catch sight of one flying overhead, its wide wings fighting against gravity.

And then there was the childhood with you, and with Dara, the childhood that happened when Dad was away. I remember the first morning I came downstairs and she was eating pancakes off of your fancy china, the plates that were decorated with delicate paintings of evening primrose.

"Hi there. I'm Dara," she said.

When I looked at you, shy and unsure, you told me, "She's a cousin. She'll be dropping in when your father is working. Just to keep us company."

Dara didn't really look much like you, I thought; not the way that Dad's cousins and uncles all resembled one another. But I could see a few similarities between the two of you; hazel eyes, long fingers, and something I didn't have the words to describe for a long time: a certain discomfort, the sense that you held yourselves slightly apart from the rest of us. It had made you a figure of gossip in town, though I didn't know that until high school, when the same was said of me.

"What should I call you?" Dara asked me.

You jumped in and told her to call me by my name, the one you'd chosen for me, after the week of indecision following my birth. How can I ever make you understand how much I disliked that name? It felt like it belonged to a sister whom I was constantly being compared to, whose legacy I could never fulfill or surpass or even forget. Dara must have caught the face that I made, because later, when you were out in the garden, she asked me, "Do you have another name? That you want me to call you instead?"

When I shrugged, she said, "It doesn't have to be a forever name. Just one for the day. You can pick a new one tomorrow, if you like. You can introduce yourself differently every time you see me."

And so every morning when I woke up and saw Dara sitting at the table, I gave her a different name: Doc, Buck, George, Charlie. Names that my heroes had, from television and comics and the matinees in town. They weren't my name, but they were better than the one I had. I liked the way they sounded, the shape of them rolling around my mouth.

You just looked on, lips pursed in a frown, and told Dara you wished she'd quit indulging my silly little games.

The two of you sat around our kitchen table and—if I was quiet and didn't draw any attention to myself—talked in a strange code about jumps and fastenings and capsules, dropping names of people I never knew. More of your cousins, I figured.

You told our neighbors that all of your family was spread out, and disinclined to make the long trip to visit. When Dara took me in, she made up a tale about a long-lost cousin whose parents had kicked him out for being trans. Funny, the way the truth seeps into lies.

* * *

I went to see Uncle Dante in 1927. I wanted to see what he had in that book of his about me, and about you and Dara.

Nineteen twenty-seven tastes like the chicken broth and brown bread he fed me after I showed up at his door. It smells like the musty blanket he hung around my shoulders, like kerosene lamps and wood smoke. It sounds like the scratchy records he played on his phonograph: Duke Ellington and Al Jolson, the Gershwin brothers and Gene Austin.

"Your mother dropped by back in 24," he said, settling down in an armchair in front of the fireplace. It was the same fireplace that had been in our parlor, though Dad had sealed off the chimney in 1958, saying it let in too many drafts. "She was very adamant that your name be written down in the records. She seemed ... upset." He let the last word hang on its own, lonely, obviously understated.

"That's not my name," I told him. "It's the one she gave me, but it was never mine."

I had to explain to him then—he'd been to the future, and so it didn't seem so far-fetched, my transition. I simplified it for him, of course: didn't go into the transdermal hormonal implants and mastectomy, the paperwork Dara and I forged, the phalloplasty I'd scheduled a century and a half in the future. I skipped the introduction to gender theory, Susan Stryker, Stone Butch Blues, all the things that Dara gave me to read when I asked if there were books about people like me.

"My aunt Lucia was of a similar disposition," he told me. "Once her last child was grown, she gave up on dresses entirely. Wore a suit to church for her last twelve years, which gave her a reputation for eccentricity."

I clamped my mouth shut and nodded along, still feeling ill and shaky from the jump. The smell of Uncle Dante's cigar burned in my nostrils. I wished we could have had the conversation outside, on the porch; the parlor seemed too familiar, too laden with the ghost of your presence.

"What should I put instead?" he asked, pulling his book down from the mantle: the ancient gilt-edged journal where he recorded our family's births, marriages, and deaths, as they were reported to him.

"It's blank when I'm born," I told him. He paused in the act of sharpening his pencil-he knew better than to write the future in ink. "Just erase it. Tear the whole page out and rewrite it if you need to."

He sat back in his chair and combed his fingers through his beard. "That's ... unprecedented," he said. Again, that pause, the heaviness of the word choice.

"Not anymore," I said.

* * *

Nineteen sixty-three feels like a menstrual cramp, like the ache in my legs as my bones stretched, like the twinges in my nipples as my breasts developed. It smells like Secret roll-on deodorant and the menthol cigarettes you took up smoking. It tastes like the peach cobbler I burned in Home Ec class, which the teacher forced me to eat. It sounds like Sam Cooke's album Night Beat, which Dara, during one of her visits, told me to buy.

And it looks like you, jumpier than I'd ever seen you, so twitchy that even Dad commented on it before he left for his hitch in the oil fields.

"Will you be all right?" he asked after dinner.

I was listening from the kitchen doorway to the two of you talk. I'd come in to ask Dad if he was going to watch Gunsmoke, which would be starting in a few minutes, with me, and caught the two of you with your heads together by the sink.

You leaned forward, bracing your hands on the edge of the sink, looking for all the world as if you couldn't hold yourself up, as if gravity was working just a little bit harder on you than it was on everyone else. I wondered for a second if you were going to tell him about Dara. I'd grown up keeping her a secret with you, though the omission had begun to weigh heavier on me. I loved Dad, and I loved Dara; being unable to reconcile the two of them seemed trickier each passing week.

Instead you said nothing. You relaxed your shoulders, and you smiled for him, and kissed his cheek. You said the two of us would be fine, not to worry about his girls.

And the very next day, you pulled me out of bed and showed me our family's time machine, in the old tornado shelter with the lock I'd never been able to pick.

* * *

I know more about the machine now, after talking with Uncle Dante, reading the records that he kept. About the mysterious man, Moses Stone, who built it in 1905, when Grandma Emmeline's parents leased out a parcel of land. He called it the anachronopede, which probably sounded marvelous in 1905, but even Uncle Dante was rolling his eyes at the name twenty years later. I know that Stone took Emmeline on trips to the future when she was seventeen, and then abandoned her after a few years, and nobody's been able to find him since then. I know that the machine is keyed to something in Emmeline's matrilineal DNA, some recessive gene.

I wonder if that man, Stone, built the anachronopede as an experiment. An experiment needs parameters, right? So build a machine that only certain people in one family can use. We can't go back before 1905, when the machine was completed, and we can't go past August 3, 2321. What happens that day? The only way to find out is to go as far forward as possible, and then wait. Maroon yourself in time. Exile yourself as far forward as you can, where none of us can reach you.

I know you were lonely, waiting for me to grow up so you could travel again. You were exiled when you married Dad in 1947, in that feverish period just after the war. It must have been so romantic at first: I've seen the letters he wrote during the years he courted you. And you'd grown up seeing his name written next to yours, and the date that you'd marry him. When did you start feeling trapped, I wonder? You were caught in a weird net of fate and love and the future and the past. You loved Dad, but your love kept you hostage. You loved me, but you knew that someday, I'd transform myself into someone you didn't recognize.

* * *

At first, when you took me underground to see the anachronopede, I thought you and Dad had built a fallout shelter. But there were no beds or boxes of canned food. And built into the rocky wall were rows of doors that looked like the one on our icebox. Round lightbulbs lay just above the doors, nearly all of them red, though one or two were slowly blinking between orange and yellow.

Nearly all the doors were shut, except for two, near the end, which hung ajar.

"Those two capsules are for us, you and me," you said. "Nobody else can use them."

I stared at them. "What are they for?"

I'd heard you and Dara speak in code for nearly all of my life, jumps and capsules and fastenings. I'd imagined all sorts of things. Aliens and spaceships and doorways to another dimension, all the sort of things I'd seen Truman Bradley introduce on Science Fiction Theatre.

"Traveling," you said.

"In time or in space?"

You seemed surprised. I'm not sure why. Dad collected pulp magazines, and you'd given me books by H. G. Wells and Jules Verne for Christmas in years past. The Justice League had gone into the future. I'd seen The Fly last year during a half-price matinee. You know how it was back then: such things weren't considered impossible, so much as inevitable. The future was a country we all wanted so badly to visit.

"In time," you said.

I immediately started peppering you with questions: How far into the future had you gone? When were you born? Had you met dinosaurs? Had you met King Arthur? What about jet packs? Was Dara from the future?

You held a hand to your mouth, watching as I danced around the small cavern, firing off questions like bullets being sprayed from a tommy gun.

"Maybe you are too young," you said, staring at the two empty capsules in the wall.

(Continues...)

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Excerpted from The Shape of My Name by Nino Cipri, Richie Pope. Copyright © 2015 Nino Cipri. Excerpted by permission of Tom Doherty Associates.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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