“Listen,” said the orchid.
Fithowéo listened. In the silence of the cave, other than the irregular dripping of water, there seemed to be no other sound.
“Open your ears,” said the orchid. “You have come to a place of darkness, where eyes that see only with light are useless. Do you think creatures who make this place home stumble through their lives?”
And Fithowéo listened harder: He seemed to hear shrill squeaks, so high-pitched that they were barely audible, crisscrossing the air overhead.
“The bats see by shooting out rays of sound from their throat and catching the echoes with their ears as they bounce back.”
Fithowéo listened, and now he realized that the air was filled with another sound: wings beating rapidly against air. The bats were swooping gracefully in wide arcs near the ceiling of the cave.
“Dip your hands into the water,” said the orchid.
And Fithowéo dipped his hands into the cold water, and he felt a tingling all over his hands, even after he got used to the numbing cold.
“The tiny white fish who live in the water flex their muscles and nerves to generate invisible lines of force that suffuse the water,” said the orchid. “Like the mysterious force that fills the air before a thunderstorm, the invisible lines flex and twist around living beings, and so the blind fish see with their bodies.”
Fithowéo concentrated and he could indeed feel invisible lines of force lapping at his arm, and he imagined the ripples of force echoing back to the tiny fish.
“You call yourself a god of war, but war is not merely the music of steel sword against wooden shield, or the chorus of speeding arrows thunking into leather armor. War is also the domain of struggling against overwhelming odds that neither Tazu nor Lutho would touch, the realm of snatching life from the jaws of fiery Kana without Rufizo as your ally, the province of depriving a superior enemy force of the comfort of restful Rapa using only your wits, the territory of finding an unexpected path to humble proud Kiji despite the lack of all advantages, and the sphere of constructing out of ugliness beauty that would shock extravagant Tututika.
“You have become used to victory achieved at little expense against mere mortals, even if they are deemed heroes. But war consists of not only victories; it is also about fighting and losing, and losing only to fight again.
“A god of war is also the god of those who are caught in the wheel of eternal struggle, who fight on despite knowledge of certain defeat, who stand with their companions against spear and catapult and gleaming metal, armed with only their pride, who strive and assay and press and toil, all the while knowing that they cannot win.
“You are not only the god of the strong, but also the god of the weak. Courage is better displayed when it seems all is lost, when despair appears the only rational course.
“True courage is to insist on seeing when all around you is darkness.”
And Fithowéo stood up and ululated. As his voice filled the cave walls and bounced back to his ears, he seemed to see the stalactites hanging overhead like bejeweled curtains, the stalagmites growing out of the ground like bamboo shoots, the bats careening through the air like battle kites, the night-blooming orchids and cave roses blooming like living treasure—the cave was filled with light.
The god of war laughed and bowed down to the orchid and kissed her. “Thank you for showing me how to see.”
“I am but the lowest of the Hundred Flowers,” said the orchid. “But the tapestry of Dara is woven not only from the proud chrysanthemum or the arrogant winter plum, the bamboo who holds up great houses or the coconut who provides sweet nectar and pleasing music. Chicory, dandelion, butter-and-eggs, ten thousand species of orchids, and countless other flowers—we have no claim to the crests of the great noble families, and we are not cultivated in gardens and not gently caressed by the fingers of great ladies and eager courtiers. But we also fight our war against hail and storm, against drought and deprivation, against the sharp blade of the weeding hoe and the poisonous emanations of the herbicide-sprayer. We also have a claim on time, and we deserve a god who understands that every day in the life of the common flower is a day of battle.”
And Fithowéo continued to ululate, letting his throat and ears be his eyes, until he strode out of the cave, emerged into the sunlight, and picked up two pieces of darkest obsidian and placed them in his eye sockets so that he had eyes again. Though they were blind to light, they sowed fear into all who gazed into them.
And that was how the humble orchid joined the Calendrical Dozen.
CHAPTER SEVEN
TEACHER AND STUDENT
And so Aki helped Mimi get off the bed and gave her a crutch she made out of driftwood. She did not tell Mimi how unlikely it was that she would ever gain command of her leg. She simply expected her to figure out a way to do so.
Mother and daughter combed the beach and worked in the fields and helped the fishermen with their catch. Aki strode purposefully ahead, not looking back to see if the hobbling Mimi could keep up. For the common men and women of Dara, every day was a day of battle.
And Mimi learned to brush off the numbness in her leg; she learned to ignore the prickling pain in her hip; she learned to lean and shift weight and strengthen herself until she could walk with a crutch under her left arm.
One morning, as the pair combed the beach, they found pieces of some unusual wreckage. The remnants of spars and bulkheads were not made of wood, but some material closer to bone or ivory, carved with intricate designs of an unknown beast: a long tail, two clawed feet, a pair of great wings, and a slender, snakelike neck topped with an oversized, deerlike, antlered head. Aki brought the wreckage to the clan headman, but the elder could not recall ever seeing anything like it.
“It’s not from the emperor’s expedition,” said Aki, and she made no more mention of it. The world was full of mysteries. The strange wreckage seemed to Mimi to be holes in the veil that hid the truth of the world, but she could not understand what she was seeing.
They brought the wreckage to market and sold it for a few pieces of copper to those who liked collecting curiosities.
But Mimi dreamt of the strange beast long after. In her dreams, the beast fought the storm turtle and the gale shark and the squall falcon, while lightning froze their poses momentarily, creating staccato, chiaroscuro scenes as spare and beautiful as they were terrifying.
She hoped that the turtle did manage to save that dream ship, just as she hoped that the gods had spared her father and brothers.
News arrived that the Xana Empire was no more. A great lord called the Hegemon had toppled the throne of Emperor Erishi in the Immaculate City and restored the Tiro kings of old. Few in the village mourned the empire’s passing—patriotism, like white rice, was a luxury of the well-to-do.
It was said that the Hegemon had butchered the sons of Xana at Wolf’s Paw, including all the young men from the village who had gone to fight for Marshal Marana. For days, people waited outside the door of the magistrate’s home, hoping for news of their sons and husbands and fathers and brothers, but the doors remained shut as the magistrate convened with his advisers and clerks on how to properly conduct himself to curry favor with the Hegemon so as to keep wearing the official’s dark silk hat. The lives of the dead soldiers were not even an afterthought.