And she fans the flames of outrage higher and higher, until public sympathies turn to the poor slumbering creature inside the sac of amniotic fluid, whose life and future have already been so cruelly decided. Is she truly limited enough to be condemned to Birth? Should she be stabilized and given her own chance at life, before she’s expelled, sticky and foul, into the cold, harsh world inhabited only by arvies and machines? Or is Jennifer correct in maintaining the issue subject to a mother’s whim?
Jennifer says, “All I know is that this is the most profound, most spiritually fulfilling, experience of my entire life.” And so she faces the crowds, real or virtual, using Molly June’s smile and Molly June’s innocence, daring the analysts to count all the layers of irony.
GESTATION (II)
Molly June experiences the same few months in a fog of dazed, but happy confusion, aware that she’s become the center of attention, but unable to comprehend exactly why. She knows that her lower back hurts and that her breasts have swelled and that her belly, flat and soft before, has inflated to several times its previous size; she knows that she sometimes feels something moving inside her, that she sometimes feels sick to her stomach, and that her eyes water more easily than they ever have before, but none of this disturbs the vast, becalmed surface of her being. It is all good, all the more reason for placid contentment.
Her only truly bad moments come in her dreams, when she sometimes finds herself standing on a gray, colorless field, facing another version of herself half her own size. The miniature Molly June stares at her from a distance that Molly June herself cannot cross, her eyes unblinking, her expression merciless. Tears glisten on both her cheeks. She points at Molly June and she enunciates a single word, incomprehensible in any language Molly June knows, and irrelevant to any life she’s ever been allowed to live: “Mother.”
The unfamiliar word makes Molly June feel warm and cold, all at once. In her dream she wets herself, trembling from the sudden warmth running down her thighs. She trembles, bowed by an incomprehensible need to apologize. When she wakes, she finds real tears still wet on her cheeks, and real pee soaking the mattress between her legs. It frightens her.
But those moments fade. Within seconds the calming agents are already flooding her bloodstream, overriding any internal storms, removing all possible sources of disquiet, making her once again the obedient arvie she’s supposed to be. She smiles and coos as the servos tend to her bloated form, scrubbing her flesh and applying their emollients. Life is so good, she thinks. And if it’s not, well, it’s not like there’s anything she can do about it, so why worry?
BIRTH (I)
Molly June goes into labor on a day corresponding to what we call Thursday, the insistent weight she has known for so long giving way to a series of contractions violent enough to reach her even through her cocoon of deliberately engineered apathy. She cries and moans and shrieks infuriated, inarticulate things that might have been curses had she ever been exposed to any, and she begs the shiny machines around her to take away the pain with the same efficiency that they’ve taken away everything else. She even begs her passenger—that is, the passenger she knows about, the one she’s sensed seeing through her eyes and hearing through her ears and carrying out conversations with her mouth—she begs her passenger for mercy. She hasn’t ever asked that mysterious godlike presence for anything, because it’s never occurred to her that she might be entitled to anything, but she needs relief now, and she demands it, shrieks for it, can’t understand why she isn’t getting it.
The answer, which would be beyond her understanding even if provided, is that the wet, sordid physicality of the experience is the very point.
BIRTH (II)
Jennifer Axioma-Singh is fully plugged in to every cramp, every twitch, every pooled droplet of sweat. She experiences the beauty and the terror and the exhaustion and the certainty that this will never end. She finds it resonant and evocative and educational on levels lost to a mindless sack of meat like Molly June. And she comes to any number of profound revelations about the nature of life and death and the biological origins of the species and the odd, inexplicable attachment brood mares have always felt for the squalling sacks of flesh and bone their bodies have gone to so much trouble to expel.
CONCLUSIONS
It’s like any other work, she thinks. Nobody ever spent months and months building a house only to burn it down the second they pounded in the last nail. You put that much effort into something and it belongs to you, forever, even if the end result is nothing but a tiny creature that eats and shits and makes demands on your time.
This still fails to explain why anybody would invite this kind of pain again, let alone the three or four or seven additional occasions common before the unborn reached their ascendancy. Oh, it’s interesting enough to start with, but she gets the general idea long before the thirteenth hour rolls around and the market share for her real-time feed dwindles to the single digits. Long before that, the pain has given way to boredom. At the fifteenth hour she gives up entirely, turns off her inputs, and begins to catch up on her personal correspondence, missing the actual moment when Molly June’s daughter, Jennifer’s womb-mate and sister, is expelled head-first into a shiny silver tray, pink and bloody and screaming at the top of her lungs, sharing oxygen for the very first time, but, by every legal definition, Dead.
AFTERMATH (JENNIFER)
As per her expressed wishes, Jennifer Axioma-Singh is removed from Molly June and installed in a new arvie that very day. This one’s a tall, lithe, gloriously beautiful creature with fiery eyes and thick, lush lips: her name’s Bernadette Ann, she’s been bred for endurance in extreme environments, and she’ll soon be taking Jennifer Axioma-Singh on an extended solo hike across the restored continent of Antarctica.
Jennifer is so impatient to begin this journey that she never lays eyes on the child whose birth she has just experienced. There’s no need. After all, she’s never laid eyes on anything, not personally. And the pictures are available online, should she ever feel the need to see them. Not that she ever sees any reason for that to happen. The baby, itself, was never the issue here. Jennifer didn’t want to be a mother. She just wanted to give birth. All that mattered to her, in the long run, was obtaining a few months of unique vicarious experience, precious in a lifetime likely to continue for as long as the servos still manufacture wombs and breed arvies. All that matters now is moving on. Because time marches onward, and there are never enough adventures to fill it.
AFTERMATH (MOLLY JUNE)
She’s been used, and sullied, and rendered an unlikely candidate to attract additional passengers. She is therefore earmarked for compassionate disposal.
AFTERMATH (THE BABY)
The baby is, no pun intended, another issue. Her biological mother Jennifer Axioma-Singh has no interest in her, and her birth-mother Molly June is on her way to the furnace. A number of minor health problems, barely worth mentioning, render her unsuitable for a useful future as somebody’s arvie. Born, and by that precise definition Dead, she could very well follow Molly June down the chute.
But she has a happier future ahead of her. It seems that her unusual gestation and birth have rendered her something of a collector’s item, and there are any number of museums aching for a chance to add her to their permanent collections. Offers are weighed, and terms negotiated, until the ultimate agreement is signed, and she finds herself shipped to a freshly constructed habitat in a wildlife preserve in what used to be Ohio.