On the fringe, jesters pricked and pranced, jugglers plied their trade with babies and knives (mixing the two as casually as one might mix apples and oranges). The life’s blood swelled at a more exhilarating pace, a pace that quickened beyond the fringe, where the doughty sailors of the River Moth sailed on barges, dhows, frigates, and the rare steamer: anything that could float and hold a man without sinking into the silt.
Beyond the river lay the jungles, where the pace quickened into madness. The jungles hid creatures that died after a single day, their lives condensed beyond comprehension, so that Dradin, in observation of their own swift mortality, had sensed his body dying, hour by hour, minute by minute, a feeling that had not left him even when he lay down with the sweaty woman priest.
Dradin let the breeze from the window brush against him, cooling him, then returned to the bed, circling around it to the bed lamp, turned the switch, and lo! a brassy light to read by. He plopped down on the bed, legs akimbo, and opened the book to the first page. Thus began the fantasy: that in some other room, some other house — perhaps even in the valley below — the woman from the window lay in her own bed by some dim light and turned these same pages, read these same words. The touch of the pages to his fingers was erotic; they felt damp and charged his limbs with the short, sharp shock of a ceremonial cup of liqueur. He became hard, but resisted the urge to touch himself. Ah, sweet agony! Nothing in his life had ever felt half so good, half so tortuous. Nothing in the bravely savage world beyond the Moth could compare: not the entwining snake dances of the Magpie Women of the Frangipani Veldt, nor the single, aching cry of a Zinfendel maid as she jumped headfirst into the roar of a waterfall. Not even the sweaty woman priest before the fever struck, her panting moans during their awkward love play more a testimonial to the humidity and ever-present mosquitoes than any skill on his part.
Dradin looked around his room. How bare it was for all that he had lived some thirty years. There was his red-handled machete, balanced against the edge of the dresser drawers, and his knapsack, which contained powders and liquids to cure a hundred jungle diseases, and his orangescuffed boots beside that, and his coins on the table, the gold almost crimson in the light, but what else? Just his suitcase with two changes of clothes, his yellowing, torn diploma from the Morrow Institute of Religi osity, and daguerreotypes of his mother and father, them in their short-lived youth, Dad not yet a red-faced, broken-veined lout of an academic, Mom’s eyes not yet squinty with surrounding wrinkles and sharp as bloodied shards of glass.
What did the woman’s room look like? No doubt it too was briskly clean, but not bare, oh no. It would have a bed with white mosquito netting and a place for a glass of water, and her favorite books in a row beside the bed, and beyond that a white and silver mantel and mirror, and below that, her dresser drawers, filled to bursting with frilly night things and frilly day things, and filthily frilly twilight things as well.
Powders and lo tions for her skin, to keep it beyond the pale. Knitting needles and wool, or other less feminine tools for hobbies. Perhaps she kept a vanilla kitten close by, to play with the balls of wool. If she lived at home, this might be the extent of her world, but if she lived alone, then Dradin had three, four, other rooms to fill with her loves and hates. Did she enjoy small talk and other chatter? Did she dance?
Did she go to social events? What might she be thinking as she read the book, on the first page of which was written:
THE REFRACTION OF LIGHT IN A PRISON
(Being an Account of the Truffidian Monks Held in the
Dungeons of the Kalif, For They Have Not Given Up
Sanity, or Hope)
BY:
Brother Peek
Brother Prowcosh
Brother Witamoor
Brother Sirin
Brother Grae
(and, held unfortunately in separate quarters,
communicating to us purely by the force of her will, Sister Stalker)
And, on the next page:
BEING CHAPTER ONE:
THE MYSTICAL PASSIONS
The most mystical of all passions are those practiced by the water people of the Lower Moth, for though they remain celibate and spend most of their lives in the water, they attain a oneness with their mates that bedevils those lesser of us who equate love with intercourse. Surely, their women would never become the objects of their desire, for then these women would lose an intrinsic eroticism.
Dradin read on impatiently, his hands sweaty, his throat dry, but, no, no, he would not rise to drink water from the sink, nor release his tension, but must burn, as his love must burn, reading the self-same words. For now he was in truth a missionary, converting himself to the cause of love, and he could not stop.
Outside, along the lip of the valley, lights began to blink and waver in phosphorescent reds, greens, blues, and yellows, and Dradin realized that preparations for the Festival of the Freshwater Squid must be underway. On the morrow night,Albumuth Boulevard would be cleared for a parade that would overflow onto the adjacent streets and then the entire city. Along the avenues, candles wrapped in boxes of crepe paper would appear, so that the light would be like the dancing of the squid, great and small, upon the midnight salt water where it met the mouth of the Moth. A celebration of the spawning season, when males battled mightily for fe males of the species and the fisher folk of the docks would set out for a month’s trawling of the lusting grounds, hoping to bring back enough meat to last until winter.
If only he could be with her on the morrow night. Among the sights the hansom driver had pointed out on the way into Ambergris was a tavern, The Drunken Boat, decked out with the finest in cutlery and clientele, and featuring, for the festival only, the caterwauling of a band called The Ra vens. To dance with her, her hands interwoven with his, the scent of her body on his, would make up for all that had happened in the jungle and the humiliations since: the hunt for ever more miserable jobs, accompanied by a general lightening of coin in his pockets.
The clocks struck the insomniac hours after midnight and, below the window, Dradin heard the moist scuttle of mushroom dwellers as they gathered offal and refuse. Rain followed the striking of the clocks, falling softly, as light in touch as Dradin’s hand upon The Refraction of Light in a Prison. The smell of rain, fresh and sharp, came from the window.
Drawn by that smell, Dradin put the book aside and rose to the win dow, watched the rain as it caught the faint light, the drops like a school of tiny silver-scaled fish, here and gone, back a moment later. A vein of lightning, a boom of thunder, and the rain came faster and harder.
Many times Dradin had stared through the rain-splashed windows of the old gray house on the hill from his childhood in Morrow (the house with the closed shutters like eyes stitched shut) while relatives came up the gray, coiled road: the headlights of expensive motored vehicles bright in the sheen of rain. They resembled a small army of hunched black, white, and red beetles, like the ones in his father’s insect books, creeping up the hill. Below them, where it was not fogged over, the rest of Morrow: industrious, built of stone and wood, feeding off of the River Moth.
From one particular window in the study, Dradin could enjoy a double image: inside, at the end of a row of three open doors — library, living room, dining room — his enormous opera singer of a mother (tall and big-boned) stuffed into the kitchen. No maid helped her, for they lived, the three of them, alone on the hill, and so she would be delicately placing mincemeats on plates, cookies on trays, splashing lemonade and punch into glasses, trying very hard to keep her hands clean and her red dress of frills and lace unstained. She would sing to herself as she worked, in an unrestrained and husky voice (it seemed she never spoke to Dradin, but only sang) so that he could hear, conducted through the various pipes, air ducts, and passageways, the words of Voss Bender’s greatest opera: