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Nahautu raises her head to see a group of four Sky-People and her father at the edge of the field where she is picking okra. Her father summons her and explains that the Sky-People want to use one of their family’s buildings for research for a few months. Nahautu wonders aloud what they will get in return, but she knows that her father wants to let them use the space because he seeks admiration from the community—an admiration he has not been able to achieve on his own since Nahautu has not given him any grandchildren.
Nahautu gives them a “nod” of assent and the four Sky-People move in (115). The younger male watches her bathe each night and eventually asks her “How do you like the sky?” (116). The sky had changed from blue to “rose” recently, and the clouds now moved with “intention” instead “of floating” aimlessly (115). The Sky-People are on a mission to find out what has caused the shift. Nahautu says she is indifferent to the sky, but the young Sky-Person goes on to explain some of the research they have conducted. When Nahautu asks him about the “dragons” in the sky, he says they are just clouds, but she thinks this is “stupid” (117).
Eventually, the sky turns from pink to red, though other than influencing a bunch of artists, the change in color causes no tangible results. Nahautu continues to hang out with the young Sky-Person; one day, he asks her why she thinks she sees dragons in the sky, as he did not think dragons were something people on earth contended with. She explains that Earthlings dream of dragons even if they don’t physically touch them. This causes the young Sky-Person to ask her what she specifically dreams about; she says she dreams of “traveling the world” (119). The Sky-Person is confused as to why she is not already doing that, and she explains she needs to stay and care for her father and that on Earth she is not appreciated because she is “unwomanly” (119). The Sky-Person says that where he comes from, a place called The Ring, a lot of women are unwomanly. The Ring is a place where people who cared more about convenience than the comfort of Earth went to live when it was decided Earth could no longer sustain technological advances. People like Nahautu and her family chose to stay on Earth and to “live simply,” sacrificing modern technology for a place on their home planet (118). Though their homes are very different, Nahautu can’t help but remember that she and the Sky-Person are of same “species” (118).
Soon after the discussion of dragons, the Sky-People crack the sky’s code and determine that some lingering poison from Earth’s technological days had combined to create the new sky. Excitedly, they report their findings to Nahautu’s father and explain they now plan on fixing it. Nahautu’s father, however, says they like the new sky. The Sky-People insist that they would just be restoring the sky to its natural state. Nahautu’s father explains that Earthlings have agreed not to change the earth for any reason at this point and then he shoos the Sky-People off his property. Once they are gone, he forbids Nahautu from communicating with them. She feels “more alone than ever” (121).
A fair amount of time passes before the young Sky-Person returns. He meets Nahautu in the fields and asks her to follow him to the river. At the river, they watch as the sky slowly turns blue, white, and then violent. Certain death approaches on the horizon so the young man pulls Nahautu towards his ship, shaped much like a coffin, and asks her to escape with him to The Ring. She is hesitant to leave her father and betray the earth, but she does. They live together on the Ring, which she doesn’t entirely hate, but also doesn’t entirely enjoy given the guilt she feels each time she looks up at the sky.
One of the most prevalent themes in this story, and in this collection, is the destructive force found in traditional gender roles. Nahautu’s inability to conform to gender roles negatively affects her life in many ways. She is unable to make her father proud, she is unable to secure romantic love, and she is unable to reproduce. Her lack of femininity results in a life full of loneliness, as well as hard work with little pay. Only when Nahautu moves to a place where gender roles do not exist does she find true love and live out her dreams of being a storyteller. This is like some of the pressures Emmaline’s sons felt in “The Red Dirt Witch.” They were desperate to be accepted as men and as such were willing to be easily duped for the sake of gender validation. Eugenie, in “The Effluent Engine,” also suffered because of strict gender roles, as she was forced to live in her brother’s shadow even though she was the brilliant one.
One significant question this story poses is, “Is natural inherently good?” This belief is important because many defenses of racism are based on the premise that race divisions are natural and therefore good. This story blows that concept out of the water when that which is considered natural turns out to be very destructive. It also forces the definition of natural into question, since in the story what is initially considered natural is the result of human intervention. Ultimately, the story disproves the “nature is inherently good therefore racism is inherently good” theory and demonstrates that even supposedly natural things should be met with skepticism.
One theme connecting this story to others in the collection is that choosing love over other comforts is the most rewarding experience there is. In this story, Nahautu chooses love over loyalty to the earth and her father, and though she does feel guilty she also gains what she never could have in her homeland. Eugenie also gives up her whole comfortable existence for love and as a result, gets to take control of her life instead of having to rely on a racist society to sustain her. Emmaline also chooses to put her love for her children over her love for her home, and as a result gets to see her children grow up prosperous and powerful. It’s clear that in How Long ‘Til Black Future Month choosing love means choosing the best possible outcome.
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By N. K. Jemisin