“I never much liked him,” said Qamar. “I can imagine what would happen if he even hinted at such a plan to the Empress.”
“It’s a pity he won’t dare,” Solanna said. “She’d be so outraged she’d throw him out. If that happened, at least the Joharrans wouldn’t have to suffer any more.”
“Ayia, but what would happen then?” Qamar grinned at her. “Joharra might get to like their new ruler, and then what would happen to the spirit of rebellion?”
She scowled her opinion of his teasing. “And what if Sheyqa Nizhria simply attacks and succeeds in gaining a foothold? Do we join with her against the Tza’ab, or join with the Tza’ab to throw out this new enemy? And where, finally, stand the Shagara?”
“Aloof, as always,” Miqelo said firmly.
Qamar exchanged a glance with his wife. “More wine?” he asked their guest, and poured from the chilled flagon. He would have liked a taste of it himself, but since that last tavern night in the seaport—so long ago now!—he had not touched a drop. He had promised Solanna.
So much to learn. So much to codify. So much to organize into useful, useless, and possibilities to be investigated further.
Berries, for example. Mulberry for peace and protection, raspberry for protection and love, strawberry for love and luck. Blackberry brambles prevented the dead from rising as ghosts, but in combination with rowan and ivy warded off all other sorts of evil.
The plants and trees that grew here gave fascinating promise. So many of them were unknown in Tza’ab Rih. Qamar wished that the Shagara in his homeland had thought to study them before now. If nothing else—and there was a great deal else—there was help here for the pains of the bone-fever that afflicted Haddiyat, help in the form of the humble walnut. Yet the tree had another tantalizing association: it expanded things. Wealth, horizons, the mind, the emotions, the perceptions, the soul...and magic. Its use in inks was long established, but Qamar had from the first seen other ways of using the tree. Specifically, the wood. More specifically, to write on the wood. And finally, and most specifically, to draw on the wood of the walnut tree that expanded magic.
A few months after their marriage, when they were still telling each other things about their families and childhood homes, the sort of idle reminiscences sparked by a word or a scent, Qamar was describing the palace where he had grown up. Gardens, gravel paths through them, intricate mazes of shrubs or walls that led to cooling fountains—all the serene beauties he had so taken for granted.
“But the most beautiful garden and fountain were inside the palace itself. It was all made of tile—the grass underfoot, the trellises of climbing roses, the sky above them, darker and still darker blue until they reached the domed ceiling, sparkling with millions of stars. In the middle of the room was a fountain . . .”
“Made of water, I hope?” An instant later she exclaimed, “Qamar! Stop that, you’ll burn your hand!”
Startled from his thoughts, he snatched his hand back from lighting a candlebranch with a twig and blew out the flame that had indeed come almost near enough to scorch his fingers. And as he felt the heat that had not quite burned him, two separate memories swirled together like different inks combining to make a new and different essence.
“Qamar?”
“Yes,” he said mindlessly. “The fountain. It stopped working. There was a book of drawings, and he drew the fountain from memory, and it worked again—but then it didn’t, and he was dead with burned paper in the hearth—”
“Meya dolcho,” she said with a worried frown, “what are you talking about?”
So he explained it to her, the curious thing he had heard about from Ab’ya Alessid years after the fact. The fountain, the drawing spoiled by blood from a cut finger, the dead fountain and the dead artist and the dead ashes in the hearth.
Solanna stared wide-eyed as he spoke. “Do you think—no, it’s not possible.”
“Isn’t it? Fadhil was burning the drawings he didn’t like or couldn’t use, including the one with his blood on it—the one that had reawakened the fountain.”
“With a picture?”
“Why not? We do it with words and symbols, why not a literal depiction of the thing we wish to influence?”
Suddenly she gripped his arm. “Or the person,” she whispered. “That’s what you’re thinking, isn’t it? You could draw a person, and in such detail that it would look real, and—and—”
“And I could do to it whatever I pleased,” he said slowly. “I can do it now, with a name and ink and the right talishann and my own blood—but those are mere curse-tablets, like the Hrumman used to make. Piles of them are found every so often where their temples used to be. But they were superstition, useless. Powerless. If a likeness could be made that looks absolutely real—”
“Stop. I will hear no more of this.” And to emphasize her determination, she rose from the chair beside him and went into their reception room and stayed there the rest of the evening.
So she did not hear his other story, the one about burning his hand as he wrote the letter to Rihana and Ra’amon for Ab’ya. His blood had surely been on that paper commanding them to rule wisely and gently, to unite his name with her power for the benefit of Joharra. Had they not done just that? Even when logic suggested otherwise, they had found ways to combine their strengths and—
—and he had even playfully included talishann for love and fidelity and fertility and happiness, and they had known all of those things in abundant measure.
But Rihana and Ra’amon were both dead, and Allil was ruling unwisely and ungently on behalf of the next queen, who was years away from taking power herself—if Allil was willing to give it up, which Qamar very much doubted.
Neither did Solanna hear his further conclusion: if someone had thrown that letter into a fire or ripped it up, was it likely that Qamar would not be alive?
In all the years since that night, he had never spoken of those things again, except to ask a casual question of one of his teachers. What was done with old pages? Once a healing had been accomplished, what became of the paper used to accomplish it?
“Back into the slurry, of course, to be used again. We’ve always done that—ever since the first years here, when we didn’t have mountains of paper to waste.”
So the blood was diluted, not actually destroyed by fire or its substance ripped apart by tearing the fibers into which it had soaked.
No one knew. No one knew about drawings, and no one knew about destruction.
Qamar kept these things to himself.
The original Shagara magic, in the desert wastes, had been medicine—potions and unguents and dressings made with precision and care—and then the hazziri, made with Haddiyat blood. Here, the medicine still obtained, though with new and different plants replacing the old familiar ones. The hazziri were much the same as well, though the materials used had changed drastically. From gold, silver, and gems to tin and brass, the traditional arts had been translated as best they had been able. But these Shagara had added something no one in Tza’ab Rih had ever even dreamed of—and whatever isolated instances might have provided the clues, no one had put everything together.
Qamar had recognized the entirety of it. The vastness of the magic that no one else had ever guessed. The art of the healer added to the art of the talishann, with quickening blood to kindle the magic, could find its ultimate potency in art.