Another variation on a theme, this time the separation created by relativistic travel. Unlike Pratt’s story, there is no twist. What you see — the protagonist, returning to a remote village on a world she left half a century ago, but for which hundreds of years have passed, hoping to discover what became of the daughter she abandoned — is what you get. A character study, in other words, and not a bad one, although at points it feels a little strained. Here’s the protagonist, for instance, talking to one of the villagers just after her arrival:
I’ve visited your village before,” Evriel told Sayla, “long ago. It was … a very peaceful time in my life.” She paused, wondering how to put into words what she’d come so far to ask. “I knew a family before. I can’t remember them very well now, it was so long ago. They lived here, I think. Their name was Reizi.”
Sayla’s eyebrows rose. “There are Reizis in a village down the mountain. They are my cousins, very distantly. But none have lived here before I was born — perhaps you confused the villages. One is very much like another.”
Cousins to the Reizis.
Only years of diplomacy kept Evriel’s fingers from reaching to touch this woman, so distant a connection and yet nearer than any she’d had since … Since.
Oh, so much emotion! You can tell because of the ellipses, the one-sentence paragraph, the straining against reserve, that desperately enigmatic “Since”: this is a story that, at times, yearns to be strongly felt, to matter. To that end there are quite a lot of pointedly noted pauses and silences, and more than a few things not left quite as unsaid as they could have been; and for me at least, the result is that “Lady” engages, but doesn’t haunt.
vector-bsfa.com 
I quite enjoyed this, perhaps largely for the way it echoed off the “Semley’s Necklace” section which starts Ursula K. Le Guin’s Rocannon’s World.
Definitely reminded me quite strongly of Semley’s Necklace (which I loved).