The Sagan Diary
in their way they loved and feared and wondered and hoped. They did not expect me to be the end of all of that.
    I will not pretend that all there was to them was the flesh I wounded, the bones I shattered, the blood I made to spill. I will not pretend that it does not matter to them that their lives are at an end. I grieve the loss of those I love and I will not pretend that those I kill are not missed, were not loved, are not grieved.
    Some would not choose to do this and I do not fault them. Each of us does what we can to accept ourselves and what we do. But to see those I kill as less than myself lessens myself. I do not have enough of myself to lose that way.
    After my first mission I learned of the Thumpers: their culture and ways and world. I learned of their gods and demons, their myths and fables and stories, learned of their art and song and the dances they danced without a bullet to guide them. I became an expert on the creatures I had killed, and when I did the one I made to dance and die took its leave of me.
    I learned of the next people 1 would kill before I killed them, as I have done every time since. It became my job, along with killing, to learn what I could about those we fought and killed, the better to fight them, and the better to kill them—my need to know and understand and recognize those whose lives I end turned to practical use.
    It is good to be useful for more than just killing. It is better to know that in my way I honor those I kill, as I would hope they would honor me.
    Let me speak your name. Let me feel the movement of my tongue within my mouth, of lips stretched and jaw pushed slightly forward, of the breath from my lungs shaped and formed into noise and phonemes and syllables and words; into proper nouns signifying you. Two names with marvelous utility: to recall you from memory, to bid for your attention, to speak your identity into the air and in doing so affirm you in your tangible skin, with vibration and waves and exhalation, with the intimacy of sound spoken aloud; with the pleasure that comes from the physical act of declaring you.

THREE

SPEAKING

Let me speak your name and in speaking let me sing, a secret melody whose notes rise like birds and fall into your ears, to turn you toward me, with a smile that anticipates your own hidden song that choruses with my name. Let me speak your name so I may hear my name spoken to me from you.
    You cannot imagine the sensuousness of speech, you who have spoken all your life, you who have mouthed words like bread, a staff of life common on your tongue. You cannot appreciate the luxury speech represents to those of us who have no time for it, we who speed our words, transmitting mind to mind without mediation, not even the briefest pause between mind and mouth to temper what we say or to soften sharp edges.
    To speak without words is to speak fast and cheap, to not have to choose words either wisely or poorly but to send them all without discrimination—all content and no style, function over form, everything being what is said and nothing being how it is said. I talk to those I know, one mind to another, efficient and sure. We say what we need to say and then move on. Words do not mean to us what they mean to you and yours. We have other ways to share our emotions and our care and regard. Words do not carry that freight for us; they are light and fast and hollow. Sparrows with fragile bones.
    Your words are not like this. Your words are filled, their hollows crammed with meaning, things unsaid nested within, jammed with implication. It is a wonder they do not drop to the floor the moment they leave your mouth. I marvel at what you say and even more how you say it, how your words shift their shape and contain their intent until they are inside me and unpack their contents, to leave me in awe of their economy. So much said with so little.
    I cannot do this myself. We speak the same language but build our words differently. Mine are simple and

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