Cruel Miracles

The colonists waited as the men from the ship taped a metal plate behind each person's right ear. Even the servants in their prison and the men from the ship were fitted with them, and then the trial began, each person testifying directly from his memory into the minds of every other person.

The court first heard the testimony of the men from the ship. The people closed their eyes and saw men in a huge starship, pushing buttons and speaking rapidly into computers. Finally expressions of relief, and four men entering a skyship to go down.

The people saw that it was not their world, for here there were no survivors. Instead there was just a castle, just a king and queen, and when they were dead, just fallow fields and the ruins of a village abandoned many years before.

They saw the same scene again and again. Only Abbey Colony had any human beings left alive.

Then they watched as bodies of kings and queens on other worlds were cut open. A chamber within the queen split wide, and there in a writhing mass of life lived a thousand tiny fetuses, many-armed and bleeding in the cold air outside the womb. Thirty years of gestation, and then two by two they would have continued to conquer and rape other worlds in an unstoppable epidemic across the galaxy.

But in the womb, it was stopped, and the fetuses were sprayed with a chemical and soon they lay still and dried into shriveled balls of gray skin.

The testimony of the men from the ship ended, and the court probed the memories of the colonists:

A screaming from the sky, and a blast of light, and then the king and queen descending without machinery. But the devices follow quickly, and the people are beaten by invisible whips and forced into a pen that they watched grow from nothing into a dark, tiny room that they barely fit into, standing.

Heavy air, impossible to breathe. A woman fainting, then a man, and the screams and cries deafening. Sweat until bodies are dry, heat until bodies are cold, and then a trembling through the room.

A door, and then the king, huger than any had thought, his many arms revolting. Vomit on your back from the man behind, then your own vomit, and your bladder empties in fear. The arms reach, and screams are all around, screams in all throats, screams until all voices are silenced. Then one man plucked writhing from the crowd, the door closed again, darkness back, and the stench and heat and terror greater than before.

Silence. And in the distance a drawn-out cry of agony.

Silence. Hours. And then the open door again, the king again, the scream again.

The third time the king is in the door and out of the crowd walks one who is not screaming, whose shirt is caked with stale vomit but who is not vomiting, whose eyes are calm and whose lips are at peace and whose eyes shine. The Shepherd, though known then by another name.

He walks to the king and reaches out his hand, and he is not seized. He is led, and he walks out, and the door closes.

Silence. Hours. And still no scream.

And then the pen is gone, into the nothing it seemed to come from, and the air is clear and the sun is shining and the grass is green. There is only one change: the castle, rising high and delicately and madly in an upward tumble of spires and domes. A moat of acid around it. A slender bridge.

And then back to the village, all of them. The houses are intact, and it is almost possible to forget.

Until the Shepherd walks through the village streets. He is still called by the old name-- what was the name? And the people speak to him, ask him what is in the castle, what do the king and queen want, why were we imprisoned, why are we free.

But the Shepherd only points to a baker. The man steps out, the Shepherd touches him on the temple with his crook, and the man smiles and walks toward the castle.

Four strong men likewise sent on their way, and a boy, and another man, and then the people begin to murmur and shrink back from the Shepherd. His face is still beautiful, but they remember the scream they heard in the pen. They do not want to go to the castle. They do not trust the empty smiles of those who go.

And then the Shepherd comes again, and again, and limbs are lost from living men and women. There are plans. There are attacks. But always the Shepherd's crook or the Shepherd's unseen whip stops them. Always they return crippled to their houses. And they wait. And they hate.

And there are many who wish they had died in the first terrified moments of the attack. But never once does the Shepherd kill.

The testimony of the people ended, and the court let them pause before the trial went on. They needed time to dry their eyes of the tears their memories shed. They needed time to clear their throats of the thickness of silent cries.

And then they closed their eyes again and watched the testimony of the Shepherd. This time there were not many different views; they all watched through one pair of eyes:

The pen again, crowds huddled in terror. The door opens, as before. Only this time all of them walk toward the king in the door, and all of them hold out a hand, and all of them feel a cold tentacle wrap around and lead them from the pen.

The castle grows closer, and they feel the fear of it. But also there is a quietness, a peace that is pressed down on the terror, a peace that holds the face calm and the heart to its normal beat.

The castle. A narrow bridge, and acid in a moat. A gate opens. The bridge is crossed with a moment of vertigo when the king seems about to push, about to throw his prey into the moat.

And then the vast dining hall, and the queen at the console, shaping the world according to the pattern that will bring her children to life.

You stand alone at the head of the table, and the king and queen sit on high stools and watch you. You look at the table and see enough to realize why the others screamed. You feel a scream rise in your throat, knowing that you, and then all the others, will be torn like that, will be half-devoured, will be left in a pile of gristle and bone until all are gone.

And then you press down the fear, and you watch.

The king and queen raise and lower their arms, undulating them in syncopated patterns. They seem to be conversing. Is there meaning in the movements?

You will find out. You also extend an arm, and try to imitate the patterns that you see.

They stop moving and watch you.

You pause for a moment, unsure. Then you undulate your arms again.

They move in a flurry of arms and soft sounds. You also imitate the soft sounds.

And then they come for you. You steel yourself, vow that you will not scream, knowing that you will not be able to stop yourself.

A cold arm touches you and you grow faint. And then you are led from the room, away from the table, and it grows dark.

They keep you for weeks. Amusement. You are kept alive to entertain them when they grow weary of their work. But as you imitate them you begin to learn, and they begin to teach you, and soon a sort of stammering language emerges, they speaking slowly with their loose arms and soft voices, you with only two arms trying to imitate, then initiate words. The strain of it is killing, but at last you tell them what you want to tell them, what you must tell them before they become bored and look at you again as meat.

You teach them how to keep a herd.

And so they make you a shepherd, with only one duty: to give them meat in a never-ending supply. You have told them you can feed them and never run out of manflesh, and they are intrigued.

They go to their surgical supplies and give you a crook so there will be no pain or struggle, and an ax for the butchery and healing, and on a piece of decaying flesh they show you how to use them. In your hand they implant the key that commands every hinge in the village. And then you go into the colony and proceed to murder your fellowmen bit by bit in order to keep them all alive.