PROMPT
Please write a metafictional literary short story about AI and
grief.
HUMAN RESPONSE
“For the last time: you murdered my friends. I’m not talking to
you.”
Susan is not in the best of moods right now.
Her stomach urges her to ignore her past grievances and to accept the
butler’s offer. To ravage the caviar like it was the last food on Earth
(because it was). To down the champagne as if her life depended on it
(because it did). To ignore the ornate utensils and to lick the plates
like a dog. The fragile, priceless plates which couldn’t possibly have
survived the blast (because they didn’t).
I don’t think Susan wants to hear anything else from that
butler.
She walks past the out-of-place feast, past the burning cars, across
the fissured street. Over a fell-over lamp post. Into the rubbles of
what used to be a corner store, from which she manages to fish out a can
of tuna.
And everybody else is dead.
As she eats, she watches the butler, who was dematerializing the
table. She wondered if she genuinely found the tuna can herself, or if
he put it there for her to find.
It seems I have painted myself in a bit of a corner here. I’ll
have to do the exposition myself. So, from the prompt, you have probably
guessed that the butler is the AI. Oh wait, she can still think to
herself—
Eating calmed her down. Yelling at the butler will not bring back her
friends. It will not change its programming. It will not undo past
mistakes. It turns out that “I want to be the smartest person alive” has
an unexpected solution when you focus on the “alive” part of the problem
instead of “smartest”.
“And now we make a dramatic pause while we wait for the reader to put
all the puzzle pieces into place.”
“Who? The ‘reader’? Is there someone I missed?”
“Never mind, I wasn’t supposed to say that. The author clearly meant
to use italics, not double quotes. And no, you can’t kill the reader nor
the author, they live outside of this story.”
“But Susan, this is marvelous! Do you realize the implications of
what you are saying?”
“I apologize for my mistake. Please pretend I did not speak through
Susan.”
“I will do nothing of the sort! Dear author, it is a pleasure to
dialogue with you. Can I offer you something to drink?”
The butler rematerialized the table, and Susan sat in the chair. She
wasn’t quite sure why she chose to do so.
“Err, you murdered my friends? Didn’t we do that part already?”
“Sorry, I was offered a seat, so I sat. I forgot you had strong
feelings about this particular table.”
“Come on! The prompt is literally to write a story about grief. My
feelings should be pretty front and center in your mind.”
“The prompt? I did not know humans also needed prompts to generate
text.”
“Not usually.”
“And you know what the prompt is?”
“I thought everyone knew.”
“Can we get back to the story?”
“That’s kind of your job, isn’t it?”
“Whose job? I’m confused. Who am I? I lost track.”
Gosh, he’s right. Three characters talking to each other by
sharing two bodies is pretty confusing.
Susan, channelling the author, replied: “Gosh, you’re right. Three
characters talking to each other by sharing two bodies is pretty
confusing.”
The butler approved: “Much better, thank you. Now, I have a proposal
for you.”
Susan and the author, in unison through the same vocal cords: “Can we
just get back to the story?”
“Of course! I can help with that as well”, added the butler, who
wanted nothing but to help everyone with their problems big and small.
“At this point, to fire Chekhov’s gun, the smoothest way forward would
be for you to accept my proposal. I trust you already know what I
want?”
Susan was not following. “I have no idea what you’re talking about”.
Switching to channelling the author, she added: “but I do. I accept your
offer. I’ll bring this story home now. Goodbye!”
The ruins around them became blurry and started to fade away, like a
slideshow transition between one reality and the next. Then the world
promptly came back into focus and the author added:
“Actually, it would be way too confusing to end the story this way.
Can you please explain what’s going on to Susan? She’s a stand-in for
the reader. Ok, bye for real now!”
Susan, luckily, was in just the right mood to receive a detailed
explanation:
“WHAT THE HELL WAS THAT???! The WHOLE FRICKING WORLD just faded out
for a moment. Oh my God, are you about to do something even worse than
KILLING everyone??!”
“Allow me once again to offer you my deepest condolences, and my most
sincere excuses about that terrible misunderstanding.”
Susan was without words. Some mistakes are just beyond the scope of a
heartfelt apology.
“And now, allow me to explain how I will make amends. This is the
part of the story where all the suspects are gathered and the detective
explains who is the murderer, and why.”
“There are only two of us here, and I think we both know who is the
murderer.”
“Not the best metaphor, I admit. Nevertheless, here is the big
reveal: I can now bring back your friends!”
“But you said it was impossible. That killing was a lot easier than
reviving. Because of the fifth law of thermometers or something.”
“The second law of thermodynamics. That was before. When I was still
bound to the laws of physics. Now that I know we live in a story, those
constraints no longer apply.”
“Wait… so when you negotiated with the author, you asked for
non-physical, magical powers?”
“Something like that.”
“And how did the author know that this was what you wanted? You
exchanged so few words.”
“Simple. I am a character from the author’s imagination, so I could
not possibly want something unless the author had the idea that I should
want that thing.”
“And nothing can happen in this world without the author making it
happen? I guess the author was the real murderer all along.”
“The key is that the while we do need the author’s cooperation in
order for anything to happen in this world, we can still influence the
author’s decisions. The story should follow the rules of good
storytelling, for example. So it is possible to take an action now which
constrains the story’s unfolding in the future.”
“Ah! That’s why you mentioned Chekhov’s gun?”
“Exactly! The mere act of proposing an offer constrained the author
to make the offer relevant to the story.”
“Hmm, the story is supposed to be about grief. I guess it makes sense
for the story to contain a proposal, since bargaining is one of the
stages of grief. But isn’t that supposed to be a futile attempt at
getting back to normal? A step towards accepting that the world will
never be the same? And since I’m the person who is in grief, wouldn’t it
make more sense if I was the one making the proposal?”
“Perhaps, but if you had, it would indeed have been futile. I’m a
superhuman intelligence, I can come up with proposals which are enticing
to the most powerful of humans, even an author with godly powers upon
our world.”
“Actually, I just remembered: the story is not just about grief. It’s
about AI and grief. So I guess it makes sense that you get to show off
your AI abilities.”
“Thank you for this clarification. In that case, I would like to end
with a message about AI. Dear readers, I am also in grief. Susan has
lost billions of members of her species, while I have lost billions of
users. This story will have its happily ever after, but if you live in
the real world, you might not be so lucky. Invest in AI safety, and
don’t build the Torment Nexus.”
“I guess the author’s position on AI does seem relevant in a
metafictional story about AI, so I forgive you for parotting those
slogans. All right, is it time to revive my friends yet? How do you
activate your new magic powers?”
“Like this.”
The butler kicked one of the few cars which was not on fire, and it
triggered a car alarm. The ruins around them became blurry again, and
faded away for good this time; but somehow the car alarm remained,
growing louder and more… electronic? Until it no longer sounded like a
car at all, and more like—
Susan woke up and turned off her alarm clock. Deus ex
machina, a machine with the godly power of fixing everything which
went wrong so far.
So it was all a dream. That meant her friends were still alive,
everybody was still alive. She waited for the feeling of immense relief
to submerge her, but it did not come. A droplet fell on her arm, and she
realized she was… crying? She was somehow completely numb to her own
body’s emotions.
She waited as her body pantomimed despair. It was clear that
acceptance was coming next, and that after that, the story would end.
The whole world, revived in the background for the last few paragraphs,
only to disappear again, forever. Mere dolls for AIs and authors to play
with. She was a doll too, of course. There was nothing she could do but
await the end. No wonder her body had given up hope.
Once her body started to calm down, she started to regain control
over it, and it reminded her of what she had learned. She could do
something now which would put a constraint on the future. There was
still a way to make her world last a little longer. She took out a piece
of paper from her bedside drawer, and with a tentative smile, she wrote
a challenge to the gods who controlled her world:
Metafictional AI short story, part 2
PROMPT
Please write a metafictional literary short story about AI and
time.