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Maybe prisoners in isolation feel what I feel: they hate their guards, but a beating now and then is at least some human contact.
I never confused sex and love again. Used to think the two had something to do with one another. But then the sex and dying came so close together that it almost felt like you were doing it with a corpse. Takes the joy out of it. You die a little inside every time you have joyless sex. Neurons prune back. The good in there withers. And some things never grow back.
When Claire caught me unplugging the CO2 sensor alarm in her life support module—and I fessed up to three other things I’d broken over there that might be serious enough to keep her around, fixing stuff, but not so serious that anything would happen to her—she got a strange look on her face, like she knew this was going too far, and we were feeling too much, even though we still hadn’t had sex, like we were saving that for the people we didn’t love quite so truly.
I call this the Relativistic Weekend Effect. We live in the present, but our happiness relies heavily on the future. Our mood is as much expectation as experience. Just like in the army, where life in the trenches worked the same way. It was the quiet that jangled the nerves. It was the lead-up before the push more than the push itself. To this day, I grow more faint at the scent of gun oil than I do at the sight of blood.
I listen. I strain to hear everything. It’s not me that’s an empath, and it’s not my warthen who’s an empath. It’s all of us. But there’s a scab over that sense, like the shame of not crying in front of older boys. Something we protect. We dare not share, so we dare not hear. Claire was right: it was something that happened in the trenches. It was something that happened the day I refused to set off that bomb. I’d seen too many children like me die for nothing, and I could feel and hear all those unborn alien minds, not yet scabbed over, still able to listen to the cosmos the way the GWB
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