Each month, Future Tense Fiction—a series of short stories from Future Tense and ASU’s Center for Science and the Imagination about how technology and science will change our lives—publishes a story on a theme. The theme for January–March 2019: Identity.
So you want to know about Hayley.
No, I’m used to it, or at least I should be by now. People only want to hear about my sister.
It was a dreary, rainy Friday in October, the smell of fresh fallen leaves in the air. The black tupelos lining the field hockey pitch had turned bright red, like a trail of bloody footprints left by a giant.
I had a quiz in French II and planned a week’s worth of vegan meals for a family of four in family and consumer science. Around noon, Hayley messaged me from California.
Skipped class. Q and I are driving to the festival right now!!!
I ignored her. She delighted in taunting me with the freedoms of her college life. I was envious, but didn’t want to give her the satisfaction of showing it.
In the afternoon, Mom messaged me.
Have you heard from Hayley?
No. The sisterly code of silence was sacred. Her secret boyfriend was safe with me.
“If you do, call me right away.”
I put the phone away. Mom was the helicopter type.
As soon as I got home from field hockey, I knew something was wrong. Mom’s car was in the driveway, and she never left work this early.
The TV was on in the basement.
Mom’s face was ashen. In a voice that sounded strangled, she said, “Hayley’s RA called. She went to a music festival. There’s been a shooting.”
The rest of the evening was a blur as the death toll climbed, TV anchors read old forum posts from the gunman in dramatic voices, shaky follow-drone footage of panicked people screaming and scattering circulated on the web.
I put on my glasses and drifted through the VR re-creation of the site hastily put up by the news crews. Already, the place was teeming with avatars holding a candlelight vigil. Outlines on the ground glowed where victims were found, and luminous arcs with floating numbers reconstructed ballistic trails. So much data, so little information.
We tried calling and messaging. There was no answer. Probably ran out of battery, we told ourselves. She always forgets to charge her phone. The network must be jammed.
The call came at four in the morning. We were all awake.
“Yes, this is. … Are you sure?” Mom’s voice was unnaturally calm, as though her life, and all our lives, hadn’t just changed forever. “No, we’ll fly out ourselves. Thank you.”
She hung up, looked at us, and delivered the news. Then she collapsed onto the couch and buried her face in her hands.
There was an odd sound. I turned and, for the first time in my life, saw Dad crying.
I missed my last chance to tell her how much I loved her. I should have messaged her back.
I don’t have any pictures of Hayley to show you. It doesn’t matter. You already have all the pictures of my daughter you need.
Unlike Abigail, I’ve never taken many pictures or videos, much less drone-view holograms or omni immersions. I lack the instinct to be prepared for the unexpected, the discipline to document the big moments, the skill to frame a scene perfectly. But those aren’t the most important reasons.
My father was a hobbyist photographer who took pride in developing his own film and making his own prints. If you were to flip through the dust-covered albums in the attic, you’d see many posed shots of my sisters and me, smiling stiffly into the camera. Pay attention to the ones of my sister Sara. Note how her face is often turned slightly away from the lens so that her right cheek is out of view.
When Sara was 5, she climbed onto a chair and toppled a boiling pot. My father was supposed to be watching her, but he’d been distracted, arguing with a colleague on the phone. When all was said and done, Sara had a trail of scars that ran from the right side of her face all the way down her thigh, like a rope of solidified lava.
You won’t find in those albums records of the screaming fights between my parents; the awkward chill that descended around the dining table every time my mother stumbled over the word beautiful; the way my father avoided looking Sara in the eye.
In the few photographs of Sara where her entire face can be seen, the scars are invisible, meticulously painted out of existence in the darkroom, stroke by stroke. My father simply did it, and the rest of us went along in our practiced silence.
As much as I dislike photographs and other memory substitutes, it’s impossible to avoid them. Co-workers and relatives show them to you, and you have no choice but to look and nod. I see the efforts manufacturers of memory-capturing devices put into making their results better than life. Colors are more vivid; details emerge from shadows; filters evoke whatever mood you desire. Without you having to do anything, the phone brackets the shot so that you can pretend to time travel, to pick the perfect instant when everyone is smiling. Skin is smoothed out; pores and small imperfections are erased. What used to take my father a day’s work is now done in the blink of an eye, and far better.
Do the people who take these photos believe them to be reality? Or have the digital paintings taken the place of reality in their memory? When they try to remember the captured moment, do they recall what they saw, or what the camera crafted for them?
On the flight to California, while Gregg napped and Emily stared out the window, I put on my glasses and immersed myself in images of Hayley. I never expected to do this until I was aged and decrepit, unable to make new memories. Rage would come later. Grief left no room for other emotions.
I was always the one in charge of the camera, the phone, the follow-drone. I made the annual albums, the vacation highlight videos, the animated Christmas cards summarizing the family’s yearly accomplishments.
Gregg and the girls indulged me, sometimes reluctantly. I always believed that someday they would come to see my point of view.
“Pictures are important,” I’d tell them. “Our brains are so flawed, leaky sieves of time. Without pictures, so many things we want to remember would be forgotten.”
I sobbed the whole way across the country as I re-lived the life of my firstborn.
Abigail wasn’t wrong, not exactly.
Many have been the times when I wished I had images to help me remember. I can’t picture the exact shape of Hayley’s face at 6 months, or recall her Halloween costume when she was 5. I can’t even remember the exact shade of blue of the dress she wore for high school graduation.
Given what happened later, of course, her pictures are beyond my reach.
I comfort myself with this thought: How can a picture or video capture the intimacy, the irreproducible subjective perspective and mood through my eyes, the emotional tenor of each moment when I felt the impossible beauty of the soul of my child? I don’t want digital representations, ersatz reflections of the gaze of electronic eyes filtered through layers of artificial intelligence, to mar what I remember of our daughter.
When I think of Hayley, what comes to mind is a series of disjointed memories.
The baby wrapping her translucent fingers around my thumb for the first time; the infant scooting around on her bottom on the hardwood floor, plowing through alphabet blocks like an icebreaker through floes; the 4-year-old handing me a box of tissues as I shivered in bed with a cold and laying a small, cool hand against my feverish cheek.
The 8-year-old pulling the rope that released the pumped-up soda bottle launcher. As frothy water drenched the two of us in the wake of the rising rocket, she yelled, laughing, “I’m going to be the first ballerina to dance on Mars!”
The 9-year-old telling me that she no longer wanted me to read to her before going to sleep. As my heart throbbed with the inevitable pain of a child pulling away, she softened the blow with, “Maybe someday I’ll read to you.”
The 10-year-old defiantly standing her ground in the kitchen, supported by her little sister, staring down me and Abigail both. “I won’t hand back your phones until you both sign this pledge to never use them during dinner.”
The 15-year-old slamming on the brakes, creating the loudest tire screech I’d ever heard; me in the passenger seat, knuckles so white they hurt. “You look like me on that rollercoaster, Dad.” The tone carefully modulated, breezy. She had held out an arm in front of me, as though she could keep me safe, the same way I had done to her hundreds of times before.
And on and on, distillations of the 6,874 days we had together, like broken, luminous shells left on a beach after the tide of quotidian life has receded.
In California, Abigail asked to see her body; I didn’t.
I suppose one could argue that there’s no difference between my father trying to erase the scars of his error in the darkroom and my refusal to look upon the body of the child I failed to protect. A thousand “I could have’s” swirled in my mind: I could have insisted that she go to a college near home; I could have signed her up for a course on mass-shooting-survival skills; I could have demanded that she wear her body armor at all times. An entire generation had grown up with active-shooter drills, so why didn’t I do more? I don’t think I ever understood my father, empathized with his flawed and cowardly and guilt-ridden heart, until Hayley’s death.
But in the end, I didn’t want to see because I wanted to protect the only thing I had left of her: those memories.
If I were to see her body, the jagged crater of the exit wound, the frozen lava trails of coagulated blood, the muddy cinders and ashes of shredded clothing, I knew the image would overwhelm all that had come before, would incinerate the memories of my daughter, my baby, in one violent eruption, leaving only hatred and despair in its wake. No, that lifeless body was not Hayley, was not the child I wanted to remember. I would no more allow that one moment to filter her whole existence than I would allow transistors and bits to dictate my memory.
So Abigail went, lifted the sheet, and gazed upon the wreckage of Hayley, of our life. She took pictures, too. “This I also want to remember,” she mumbled. “You don’t turn away from your child in her moment of agony, in the aftermath of your failure.”
They came to me while we were still in California.
I was numb. Questions that had been asked by thousands of mothers swarmed my mind. Why was he allowed to amass such an arsenal? Why did no one stop him despite all the warning signs? What could I have—should I have—done differently to save my child?
“You can do something,” they said. “Let’s work together to honor the memory of Hayley and bring about change.”
Many have called me naïve or worse. What did I think was going to happen? After decades of watching the exact same script being followed to end in thoughts and prayers, what made me think this time would be different? It was the very definition of madness.
Cynicism might make some invulnerable and superior. But not everyone is built that way. In the thralls of grief, you cling to any ray of hope.
“Politics is broken,” they said. “It should be enough, after the deaths of little children, after the deaths of newlyweds, after the deaths of mothers shielding newborns, to finally do something. But it never is. Logic and persuasion have lost their power, so we have to arouse the passions. Instead of letting the media direct the public’s morbid curiosity to the killer, let’s focus on Hayley’s story.”
It’s been done before, I muttered. To center the victim is hardly a novel political move. You want to make sure that she isn’t merely a number, a statistic, one more abstract name among lists of the dead. You think when people are confronted by the flesh-and-blood consequences of their vacillation and disengagement, things change. But that hasn’t worked, doesn’t work.
“Not like this,” they insisted, “not with our algorithm.”
They tried to explain the process to me, though the details of machine learning and convolution networks and biofeedback models escaped me. Their algorithm had originated in the entertainment industry, where it was used to evaluate films and predict their box-office success, and eventually, to craft them. Proprietary variations are used in applications from product design to drafting political speeches, every field in which emotional engagement is critical. Emotions are ultimately biological phenomena, not mystical emanations, and it’s possible to discern trends and patterns, to home in on the stimuli that maximize impact. The algorithm would craft a visual narrative of Hayley’s life, shape it into a battering ram to shatter the hardened shell of cynicism, spur the viewer to action, shame them for their complacency and defeatism.
The idea seemed absurd, I said. How could electronics know my daughter better than I did? How could machines move hearts when real people could not?
“When you take a photograph,” they asked me, “don’t you trust the camera A.I. to give you the best picture? When you scrub through drone footage, you rely on the A.I. to identify the most interesting clips, to enhance them with the perfect mood filters. This is a million times more powerful.”
I gave them my archive of family memories: photos, videos, scans, drone footage, sound recordings, immersiongrams. I entrusted them with my child.
I’m no film critic, and I don’t have the terms for the techniques they used. Narrated only with words spoken by our family, intended for each other and not an audience of strangers, the result was unlike any movie or VR immersion I had ever seen. There was no plot save the course of a single life; there was no agenda save the celebration of the curiosity, the compassion, the drive of a child to embrace the universe, to become. It was a beautiful life, a life that loved and deserved to be loved, until the moment it was abruptly and violently cut down.
This is the way Hayley deserves to be remembered, I thought, tears streaming down my face. This is how I see her, and it is how she should be seen.
I gave them my blessing.
Growing up, Gregg and I weren’t close. It was important to my parents that our family project the image of success, of decorum, regardless of the reality. In response, Gregg distrusted all forms of representation, while I became obsessed with them.
Other than holiday greetings, we rarely conversed as adults, and certainly didn’t confide in each other. I knew my nieces only through Abigail’s social media posts.
I suppose this is my way of excusing myself for not intervening earlier.
When Hayley died in California, I sent Gregg the contact info for a few therapists who specialized in working with families of mass shooting victims, but I purposefully stayed away myself, believing that my intrusion in their moment of grief would be inappropriate given my role as distant aunt and aloof sister. So I wasn’t there when Abigail agreed to devote Hayley’s memory to the cause of gun control.
Though my company bio describes my specialty as the study of online discourse, the vast bulk of my research material is visual. I design armor against trolls.
I watched that video of Hayley many times.
It was impossible to avoid. There was an immersive version, in which you could step into Hayley’s room and read her neat handwriting, examine the posters on her wall. There was a low-fidelity version designed for frugal data plans, and the compression artifacts and motion blur made her life seem old-fashioned, dreamy. Everyone shared the video as a way to reaffirm that they were a good person, that they stood with the victims. Click, bump, add a lit-candle emoji, re-rumble.
It was powerful. I cried, also many times. Comments expressing grief and solidarity scrolled past my glasses like a never-ending wake. Families of victims in other shootings, their hopes rekindled, spoke out in support.
But the Hayley in that video felt like a stranger. All the elements in the video were true, but they also felt like lies.
Teachers and parents loved the Hayley they knew, but there was a mousy girl in school who cowered when my sister entered the room. One time, Hayley drove home drunk; another time, she stole from me and lied until I found the money in her purse. She knew how to manipulate people and wasn’t shy about doing it. She was fiercely loyal, courageous, kind, but she could also be reckless, cruel, petty. I loved Hayley because she was human, but the girl in that video was both more and less than.
I kept my feelings to myself. I felt guilty.
Mom charged ahead while Dad and I hung back, dazed. For a brief moment, it seemed as if the tide had turned. Rousing rallies were held and speeches delivered in front of the Capitol and the White House. Crowds chanted Hayley’s name. Mom was invited to the State of the Union. When the media reported that Mom had quit her job to campaign on behalf of the movement, there was a crypto fundraiser to collect donations for the family.
And then, the trolls came.
A torrent of emails, messages, rumbles, squeaks, snapgrams, televars came at us. Mom and I were called clickwhores, paid actresses, grief profiteers. Strangers sent us long, rambling walls of text explaining all the ways Dad was inadequate and unmanly.
Hayley didn’t die, strangers informed us. She was actually living in Sanya, China, off of the millions the U.N. and their collaborators in the U.S. government had paid her to pretend to die. Her boyfriend—who had also “obviously not died” in the shooting—was ethnically Chinese, and that was proof of the connection.
Hayley’s video was picked apart for evidence of tampering and digital manipulation. Anonymous classmates were quoted to paint her as a habitual liar, a cheat, a drama queen.
Snippets of the video, intercut with “debunking” segments, began to go viral. Some used software to make Hayley spew messages of hate in new clips, quoting Hitler and Stalin as she giggled and waved at the camera.
I deleted my accounts and stayed home, unable to summon the strength to get out of bed. My parents left me to myself; they had their own battles to fight.
Decades into the digital age, the art of trolling has evolved to fill every niche, pushing the boundaries of technology and decency alike.
From afar, I watched the trolls swarm around my brother’s family with uncoordinated precision, with aimless malice, with malevolent glee.
Conspiracy theories blended with deep fakes, and then yielded to memes that turned compassion inside out, abstracted pain into lulz.
“Mommy, the beach in hell is so warm!”
“I love these new holes in me!”
Searches for Hayley’s name began to trend on porn sites. The content producers, many of them A.I.-driven bot farms, responded with procedurally generated films and VR immersions featuring my niece. The algorithms took publicly available footage of Hayley and wove her face, body, and voice seamlessly into fetish videos.
The news media reported on the development in outrage, perhaps even sincerely. The coverage spurred more searches, which generated more content …
As a researcher, it’s my duty and habit to remain detached, to observe and study phenomena with clinical detachment, perhaps even fascination. It’s simplistic to view trolls as politically motivated—at least not in the sense that term is usually understood. Though Second Amendment absolutists helped spread the memes, the originators often had little conviction in any political cause. Anarchic sites such as 8taku, duangduang, and alt-web sites that arose in the wake of the previous decade’s deplatforming wars are homes for these dung beetles of the internet, the id of our collective online unconscious. Taking pleasure in taboo-breaking and transgression, the trolls have no unifying interest other than saying the unspeakable, mocking the sincere, playing with what others declared to be off-limits. By wallowing in the outrageous and filthy, they both defile and define the technologically mediated bonds of society.
But as a human being, watching what they were doing with Hayley’s image was intolerable.
I reached out to my estranged brother and his family.
“Let me help.”
Though machine learning has given us the ability to predict with a fair amount of accuracy which victims will be targeted—trolls are not quite as unpredictable as they’d like you to think—my employer and other major social media platforms are keenly aware that they must walk a delicate line between policing user-generated content and chilling “engagement,” the one metric that drives the stock price and thus governs all decisions. Aggressive moderation, especially when it’s reliant on user reporting and human judgment, is a process easily gamed by all sides, and every company has suffered accusations of censorship. In the end, they threw up their hands and tossed out their byzantine enforcement policy manuals. They have neither the skills nor the interest to become arbiters of truth and decency for society as a whole. How could they be expected to solve the problem that even the organs of democracy couldn’t?
Over time, most companies converged on one solution. Rather than focusing on judging the behavior of speakers, they devoted resources to letting listeners shield themselves. Algorithmically separating legitimate (though impassioned) political speech from coordinated harassment for everyone at once is an intractable problem—content celebrated by some as speaking truth to power is often condemned by others as beyond the pale. It’s much easier to build and train individually tuned neural networks to screen out the content a particular user does not wish to see.
The new defensive neural networks—marketed as “armor”—observe each user’s emotional state in response to their content stream. Capable of operating in vectors encompassing text, audio, video, and AR/VR, the armor teaches itself to recognize content especially upsetting to the user and screened it out, leaving only a tranquil void. As mixed reality and immersion have become more commonplace, the best way to wear armor is through augmented-reality glasses that filter all sources of visual stimuli. Trolling, like the viruses and worms of old, is a technical problem, and now we have a technical solution.
To invoke the most powerful and personalized protection, one has to pay. Social media companies, which also train the armor, argue that this solution gets them out of the content-policing business, excuses them from having to decide what is unacceptable in virtual town squares, frees everyone from the specter of Big Brother–style censorship. That this pro–free speech ethos happens to align with more profit is no doubt a mere afterthought.
I sent my brother and his family the best, most advanced armor that money could buy.
Imagine yourself in my position. Your daughter’s body had been digitally pressed into hard-core pornography, her voice made to repeat words of hate, her visage mutilated with unspeakable violence. And it happened because of you, because of your inability to imagine the depravity of the human heart. Could you have stopped? Could you have stayed away?
The armor kept the horrors at bay as I continued to post and share, to raise my voice against a tide of lies.
The idea that Hayley hadn’t died but was an actress in an anti-gun government conspiracy was so absurd that it didn’t seem to deserve a response. Yet, as my armor began to filter out headlines, leaving blank spaces on news sites and in multicast streams, I realized that the lies had somehow become a real controversy. Actual journalists began to demand that I produce receipts for how I had spent the crowdfunded money—we hadn’t received a cent! The world had lost its mind.
I released the photographs of Hayley’s corpse. Surely there was still some shred of decency left in this world, I thought. Surely no one could speak against the evidence of their eyes?
It got worse.
For the faceless hordes of the internet, it became a game to see who could get something past my armor, to stab me in the eye with a poisoned videoclip that would make me shudder and recoil.
Bots sent me messages in the guise of other parents who had lost their children in mass shootings, and sprung hateful videos on me after I whitelisted them. They sent me tribute slideshows dedicated to the memory of Hayley, which morphed into violent porn once the armor allowed them through. They pooled funds to hire errand gofers and rent delivery drones to deposit fiducial markers near my home, surrounding me with augmented-reality ghosts of Hayley writhing, giggling, moaning, screaming, cursing, mocking.
Worst of all, they animated images of Hayley’s bloody corpse to the accompaniment of jaunty soundtracks. Her death trended as a joke, like the “Hamster Dance” of my youth.
Sometimes I wonder if we have misunderstood the notion of freedom. We prize “freedom to” so much more than “freedom from.” People must be free to own guns, so the only solution is to teach children to hide in closets and wear ballistic backpacks. People must be free to post and say what they like, so the only solution is to tell their targets to put on armor.
Abigail had simply decided, and the rest of us had gone along. Too late, I begged and pleaded with her to stop, to retreat. We would sell the house and move somewhere away from the temptation to engage with the rest of humanity, away from the always-connected world and the ocean of hate in which we were drowning.
But Sara’s armor gave Abigail a false sense of security, pushed her to double down, to engage the trolls. “I must fight for my daughter!” she screamed at me. “I cannot allow them to desecrate her memory.”
As the trolls intensified their campaign, Sara sent us patch after patch for the armor. She added layers with names like adversarial complementary sets, self-modifying code detectors, visualization auto-healers.
Again and again, the armor held only briefly before the trolls found new ways through. The democratization of artificial intelligence meant that they knew all the techniques Sara knew, and they had machines that could learn and adapt, too.
Abigail could not hear me. My pleas fell on deaf ears; perhaps her armor had learned to see me as just another angry voice to screen out.
One day, Mom came to me in a panic. “I don’t know where she is! I can’t see her!”
She hadn’t talked to me in days, obsessed with the project that Hayley had become. It took me some time to figure out what she meant. I sat down with her at the computer.
She clicked the link for Hayley’s memorial video, which she watched several times a day to give herself strength.
“It’s not there!” she said.
She opened the cloud archive of our family memories.
“Where are the pictures of Hayley?” she said. “There are only placeholder Xs.”
She showed me her phone, her backup enclosure, her tablet.
“There’s nothing! Nothing! Did we get hacked?”
Her hands fluttered helplessly in front of her chest, like the wings of a trapped bird. “She’s just gone!”
Wordlessly, I went to the shelves in the family room and brought down one of the printed annual photo albums she had made when we were little. I opened the volume to a family portrait, taken when Hayley was 10 and I was 8.
I showed the page to her.
Another choked scream. Her trembling fingers tapped against Hayley’s face on the page, searching for something that wasn’t there.
I understood. A pain filled my heart, a pity that ate away at love. I reached up to her face and gently took off her glasses.
She stared at the page.
Sobbing, she hugged me. “You found her. Oh, you found her!”
It felt like the embrace of a stranger. Or maybe I had become a stranger to her.
Aunt Sara explained that the trolls had been very careful with their attacks. Step by step, they had trained my mother’s armor to recognize Hayley as the source of her distress.
But another kind of learning had also been taking place in our home. My parents paid attention to me only when I had something to do with Hayley. It was as if they no longer saw me, as though I had been erased instead of Hayley.
My grief turned dark and festered. How could I compete with a ghost? The perfect daughter who had been lost not once, but twice? The victim who demanded perpetual penance? I felt horrid for thinking such things, but I couldn’t stop.
We sank under our guilt, each alone.
I blamed Abigail. I’m not proud to admit it, but I did.
We shouted at each other and threw dishes, replicating the half-remembered drama between my own parents when I was a child. Hunted by monsters, we became monsters ourselves.
While the killer had taken Hayley’s life, Abigail had offered her image up as a sacrifice to the bottomless appetite of the internet. Because of Abigail, my memories of Hayley would be forever filtered through the horrors that came after her death. She had summoned the machine that amassed individual human beings into one enormous, collective, distorting gaze, the machine that had captured the memory of my daughter and then ground it into a lasting nightmare.
The broken shells on the beach glistened with the venom of the raging deep.
Of course that’s unfair, but that doesn’t mean it isn’t also true.
“Heartless,” a self-professed troll:
There’s no way for me to prove that I am who I say, or that I did what I claim. There’s no registry of trolls where you can verify my identity, no Wikipedia entry with confirmed sources.
Can you even be sure I’m not trolling you right now?
I won’t tell you my gender or race or who I prefer to sleep with, because those details aren’t relevant to what I did. Maybe I own a dozen guns. Maybe I’m an ardent supporter of gun control.
I went after the Forts because they deserved it.
RIP-trolling has a long and proud history, and our target has always been inauthenticity. Grief should be private, personal, hidden. Can’t you see how horrible it was for that mother to turn her dead daughter into a symbol, to wield it as a political tool? A public life is an inauthentic one. Anyone who enters the arena must be prepared for the consequences.
Everyone who shared that girl’s memorial online, who attended the virtual candlelit vigils, offered condolences, professed to have been spurred into action, was equally guilty of hypocrisy. You didn’t think the proliferation of guns capable of killing hundreds in one minute was a bad thing until someone shoved images of a dead girl in your face? What’s wrong with you?
And you journalists are the worst. You make money and win awards for turning deaths into consumable stories; for coaxing survivors to sob in front of your drones to sell more ads; for inviting your readers to find meaning in their pathetic lives through vicarious, mimetic suffering. We trolls play with images of the dead, who are beyond caring, but you stinking ghouls grow fat and rich by feeding death to the living. The sanctimonious are also the most filthy-minded, and victims who cry the loudest are the hungriest for attention.
Everyone is a troll now. If you’ve ever liked or shared a meme that wished violence on someone you’d never met, if you’ve ever decided it was OK to snarl and snark with venom because the target was “powerful,” if you’ve ever tried to signal your virtue by piling on in an outrage mob, if you’ve ever wrung your hands and expressed concern that perhaps the money raised for some victim should have gone to some other less “privileged” victim—then I hate to break it to you, you’ve also been trolling.
Some say that the proliferation of trollish rhetoric in our culture is corrosive, that armor is necessary to equalize the terms of a debate in which the only way to win is to care less. But don’t you see how unethical armor is? It makes the weak think they’re strong, turns cowards into deluded heroes with no skin in the game. If you truly despise trolling, then you should’ve realized by now that armor only makes things worse.
By weaponizing her grief, Abigail Fort became the biggest troll of them all—except she was bad at it, just a weakling in armor. We had to bring her—and by extension, the rest of you—down.
Politics returned to normal. Sales of body armor, sized for children and young adults, received a healthy bump. More companies offered classes on situational awareness and mass shooting drills for schools. Life went on.
I deleted my accounts; I stopped speaking out. But it was too late for my family. Emily moved out as soon as she could; Gregg found an apartment.
Alone in the house, my eyes devoid of armor, I tried to sort through the archive of photographs and videos of Hayley.
Every time I watched the video of her sixth birthday, I heard in my mind the pornographic moans; every time I looked at photos of her high school graduation, I saw her bloody animated corpse dancing to the tune of “Girls Just Wanna Have Fun”; every time I tried to page through the old albums for some good memories, I jumped in my chair, thinking an AR ghost of her, face grotesquely deformed like Munch’s The Scream, was about to jump out at me, cackling, “Mommy, these new piercings hurt!”
I screamed, I sobbed, I sought help. No therapy, no medication worked. Finally, in a numb fury, I deleted all my digital files, shredded my printed albums, broke the frames hanging on walls.
The trolls trained me as well as they trained my armor.
I no longer have any images of Hayley. I can’t remember what she looked like. I have truly, finally, lost my child.
How can I possibly be forgiven for that?
Previously in Future Tense Fiction:
“Mika Model,” by Paolo Bacigalupi
“Mr. Thursday,” by Emily St. John Mandel
“The Minnesota Diet,” by Charlie Jane Anders
“Mother of Invention,” by Nnedi Okorafor
“Domestic Violence,” by Madeline Ashby
“No Me Dejas,” by Mark Oshiro
”Safe Surrender,” by Meg Elison
“A Brief and Fearful Star,” by Carmen Maria Machado
“The Starfish Girl,” by Maureen McHugh
“When We Were Patched,” by Deji Bryce Olukotun
“Lions and Gazelles,” by Hannu Rajaniemi
“Burned-Over Territory,” by Lee Konstantinou
“Overvalued” by Mark Stasenko
“When Robot and Crow Saved East St. Louis,” by Annalee Newitz