Hamjamser

A Place to Stop

2011-07-01T23:25:00.002-05:00

After a morning of searching, I found my way between the cities this afternoon, through a twisty little alley draped with yellow-blooming tassely vine. The buildings on both sides overhung so far that they met in the middle; the only sunlight in the alley came in through the openings at the ends. I left behind the glint and whisper of Thrass Kaffa's constant rain and emerged into the dusty streets of Karkafel. Scraps of paper blew across the cobblestones. I couldn't make out the writing on most of them. I can speak enough of the Golden Desert's various languages to understand most of what I hear, but all I can see in their writing is the calligraphy - graceful, but silent.

Most of the streets in Karkafel lead to the Library sooner or later. Some lead directly to it, while others spiral in gradually, like the strands of a spider's web. This was one of those. As usual, it was full of people carrying piles of books and scrolls. Many were reading as they walked. When they bumped into each other, they would mumble some unintelligible apology and keep walking. This is normal in Karkafel.

I reached the Library eventually. It's the largest building in the city. It was grand even when it was first built, nearly a thousand years ago; it's continued to spread since then, sprawling out into new additions and engulfing every neighboring building. It's almost as bad as the Creemer Museum by now. Even the senior librarians don't know where everything is. I spent several hours just wandering through the shelves, pulling out the occasional book or scroll to see if I could read it. I did find a book of legends, three travel journals, and a guide to raising scorpions; most of the time, though, I didn't even recognize the languages in the books. It didn't matter. There's something wonderful about being surrounded by books, even if you can't read a word of them. All those patient blocks of knowledge, resting in quiet stacks until someone needs them… It's as close as I ever get to truly feeling at home. The Golden Desert has no end of stories about treasure chambers and Caves of Wonders, but none of them can compare to a library.

The silence was so deep, I could almost swim in it. Then Blue showed up.

It's impossible to go to the Library of Karkafel and not meet Blue Fir. He goes everywhere. I met him several years ago, on my first visit to the city; we had a long conversation about the work of Millici Trappilack, queen of the dreamlike novel. The conversation continued over dinner at his house, then over the following week while I worked on a mural for a newly built temple. He talks all the time (when he's not reading), and I'm happy to spend entire conversations listening. We get along splendidly.

This time, I ran into Blue in a dusty back corner of the library, by a shelf of mechanical philosophy treatises. He resembles a kangaroo, with dusty blue fur (the color of the tree for which he's named) and rather amazingly long ears. They perked up when he caught sight of me.

"Nigel!" he said, literally leaping over to me. He continued in a stage whisper.* "Where have you been? I haven't seen you in years! I had almost forgotten what you looked like, though obviously you don't look the same now anyway, I think you had hair the last time I saw you, but I can always tell it's you because you carry about a million bags of stuff and your face squishes up that way when you smile, yes, just like that, even when you look like a lizard. I was just telling a lizard about you last week, actually! He landed on our house on his way to Hram - he was the migrating kind of lizard, with a little suitcase and everything - and he wanted to know about that mural you painted the last time you were here, you know, the one with the saxophone elephants, so I told him it was by a traveling artist and that you made the whole thing up out of your head, except for the bits from that Ozmit legend about the cyclone and the sidewinder."

He kept talking as we left the Library and walked back to his house - I walked, that is, and he bounced. Blue never has prolonged contact with the ground unless he's reading. He spends most of his time in the Library; the rest he spends… finding things. He works for the Museum of Antiquities, and sometimes for the Library as well, visiting ruins and scriptoriums and obscure ancient cities. I think his job has something to do with research or exploration - possibly both. He's tried to explain it to me a few times, but he has enough energy for two and a half people and rarely stays long on a single subject. He used to go on expeditions with a friend named Achelyes, a cat with green fur who was good at listening. (No wonder they got along so well.) They lost track of each other years ago, though - easy enough to do when you travel so much - and he hasn't been able to find her since.

"Did you know that the Library has the oldest written copy of that legend? Chrysalie Chalk brought it back from one of her expeditions to the Hatchery ruins. The secretary birds let her take what she likes, because they're inventing better forms of language and they don't have any use for the old ones anymore, or if they do they can just send a messenger apprentice here to get it, because the apprentice birds get all the hard jobs. Chrysalie said the birds were inventing a language that's impossible to forget. She recited a whole a whole poem to me that she'd only read once, but she doesn't know the language and neither do I, so it didn't really do us much good except that it sounds pretty. I want to learn the language if they ever finish it."

Blue is already verbose in at least fifteen languages, five of them extinct. I suspect that he'd be horrified to meet someone and not be able to talk to them.

"Can you imagine how useful it would be to never forget things? Just last week I was trying to remember the name of that corkscrew thing that plunder snails use to drill into boats, and I couldn't! I had to go look it up! It's called a stellithork, by the way. How could I forget a word like stellithork? It sounds like a creature that delivers baby stars, except that that's a siltrath, at least in Silvani mythology. Hardly anyone even knows about Silvani mythology. I don't know if I would even have heard of it if the Hideous Queen hadn't been mentioned in that book, I think it was called Uglification - you know, one of the last books Lord Halda wrote before he completely lost his mind and started writing his Ode to Soup. The library has that, too, but hardly anyone ever bothers to read it, and if they do, they usually give up around the two hundredth verse, because that's when it stops making any sense at all. I never knew there were so many words that rhyme with "herring" until I read that book."

I'm fairly sure that Blue has read more books than anyone else I know, though I'm not sure when he ever stops talking long enough to read. I suspect that he doesn't sleep. He lives in a semi-ruined castle near the edge of the city with his rather large adopted family; they grew up in an orphanage in Thrass Kaffa, in one of the swampier parts of the city, and made a rather spectacular exit from it about ten years ago. That's all I'm sure of. The rest of the story is different every time they tell it (every time Blue tells it, usually), and no one else in Thrass Kaffa will talk about it.

Blue's sister Muriel, who resembles a long-horned cow, studies fencing and is teaching her scriptoscarab to use a typewriter. Thefoi, another sister, is a mammal with coppery red fur and a mane of scarlet hair that reaches to the floor. She's quite easy to get along with, provided you agree that she's the most beautiful mammal in Hamjamser. This could easily be true. As is so often the case, the only flaw in her beauty is that she's aware of it.

Their avian brother never seems to be home. Whenever anyone asks where he is, the others say he's "out working" and quickly change the subject.

Blue was still talking as we reached the house. "There was a man in town last week who said he had a herring he'd trained to sing, but I'm pretty sure it was really a lungfish, because herrings don't usually last this far into the Desert, and their eyes don't bug out like that when they sing. Have you ever heard a lungfish sing? They sound like frogs, all yawp yarp yeep, but they can certainly carry a tune. My friend Snark had a baritone lungfish he'd trained to sing Moldomer's Left-Hand Concerto no. 6, and it did all the oboe trills and everything. He would plop it down on the table at dinner and conduct it with a spoon, which made people complain if they were still eating, because it sort of got slime all over the place. That's why I have my slug eat on the floor - that, and she doesn't really fit on the table, because she's grown since you were here last, and it's getting hard to pick her up anymore. Are you staying for dinner? We're having figs and a cactus-hen that Jill blew up this morning."

Jill is yet another adopted sister, a tall, thin avian who spends most of her time standing on top of things. Her full name is Jillgog Javamarn Jandramaxil Fiogaja; apparently, her family used to be royalty in Specklemax, hence all the names. She's the last one left. She likes blowing things up,** but contents herself with dropping pumpkins off the roof. She usually checks to make sure there's no one underneath.

Dinner was surprisingly good; Anna (yet another sister, though you might think she was the mother of the family if she didn't look like a griffin) has become something of an expert at salvaging exploded meat. There was a hint of gunpowder in the flavor, but it was well-cooked, and it was already in such small pieces that we didn't have to cut it.

The conversation over dinner consisted of Blue talking, just like the last time I was here. Muriel and I nodded and gave the occasional single-word response when it seemed appropriate. Thefoi only interrupted when people neglected to look at her. Fortunately, she keeps a pair of small horned moles who spend all their time gazing at her adoringly, and one of her current admirers was also there to help. Thefoi has a constant procession of young men (and not-so-young men, and quite often women as well, not to mention a few hermaphrodites and at least one talking plant) who come to gaze upon her beauty. Some are artists; others, less lucky, are in love. Thefoi encourages them all equally, which is to say not at all. If she chose one, the others might stop paying attention. As far as I know, she's not interested in love - she just likes having an audience. She certainly gets one. Some of her admirers have been hanging around for years now.

It was after eleven o'clock when I left the table. I would have loved to stay and listen more, but after walking all morning and afternoon, I was exhausted. Everyone refused to let me go back to the inn I'd been staying at in Thrass Kaffa; instead, Anna showed me to one of the empty rooms upstairs. The castle has a lot of them, full of books and explosives and the creative plumbing that a six-hundred-year-old castle needs if you want it to have running water. This room also has half a sofa. The other half has been rebuilt with onion crates and cushions, and it makes quite a comfortable bed. It was hard to stay awake long enough to write.

Someone came into the castle around midnight; I heard a door shut, then the sound of claws on the floor. Whoever it was had vanished into another room by the time I looked up.

I think I'll be here for a while. There's always plenty of work for an artist in the two cities, and I didn't get to explore nearly enough the last time I was here. Besides, I have friends to stay with.

As I write this, my salamander lies in her lantern, curled around her eggs. Their fire provides light to write by and warmth against the cold Desert night. There's a postbird in the window, patiently waiting to take my letter once I finish writing.

This is likely to be my last letter for some time. Farewell, and safe travels. You'll hear from me again next year.

Nigel

* Blue has perfected the art of the stage whisper. When you work in a library and are incapable of not talking, it's a necessary survival skill.

** There's a reason the Fiogajas don't rule Specklemax anymore.

Unexpected Arrivals

2011-06-30T23:25:00.003-05:00

I believe I mentioned, perhaps a week or two ago, that my salamander was getting a bit fat. I may also have mentioned that I still didn't know whether my salamander was male or female, as it's nearly impossible to tell unless one is an expert.

Any doubts on the matter were settled this morning, however, when she laid her eggs.

This came as a complete surprise to me. I'm not particularly knowledgeable about the reproductive habits of salamanders, and I hadn't even known that mine was old enough to lay eggs. She's barely longer than my hand. She must have met someone while visiting the burning man in Twokk; as far as I know, that's the only extended period of time she's spent with other salamanders in the last few months. She meets them occasionally, but they usually just exchange polite puffs of smoke and go about their business.

I had absolutely no idea how to care for salamander eggs. Fortunately, I managed to keep from panicking. Instead, I asked random people on the streets - they were quite helpful, probably recognizing the signs of desperation - until I got directions to a salamander breeder in town. He keeps a shop in the basement of a pump house near the Grand Hat's palace.*

In a city where the rain never stops, there are a lot of pump houses. This one keeps water in the Grand Hat's fountains and out of the Grand Hat's gardens. It's a good place for a salamander hatchery; there's plenty of water close at hand when things catch on fire. I had to circle the building, nearly deafened by the thunder of the pumps, before I found a narrow staircase leading down under the street. There was a door of soot-stained metal at the bottom. It was open, so I walked in.

I felt as if I'd stepped into the Minotaur's labyrinth. Salamanders were scattered throughout the dark room behind the door; when I entered, a dozen lizard-shaped flames lifted their heads to stare at me. The man in the middle of the room turned around a moment later. He was built like an ox, and in fact rather resembled one, with wide-set eyes glowering under a broad, shaggy forehead. When I entered, he rose to his feet - hooves, rather, bigger than my head - and clomped over to me, glaring down from somewhere near the ceiling. The floor creaked under his weight, as did all the leather he was wearing. His horns would have scraped the ceiling if he hadn't been hunched over under a massive pair of shoulders. His beard and mane - it was hard to tell where one ended and the other began - were blackened and ragged. Small flames flickered in his hair. He frowned and let out a rumble that might have been a question, or possibly an earthquake.

Attempting to produce something like a smile, I held up the lantern full of eggs.

His expression changed, instantly, from monolithic hostility to wide-eyed delight. "And what is THIS?" he boomed, taking the lantern and peering into it. It nearly disappeared in his hand. "Look at all these beautiful eggs! Who is their mother? Is it you?" He reached a leathery finger as thick as my wrist into the lantern and gave my salamander a gentle rub under the chin. If she'd been a cat, she would have purred. "Of course it is! Such pretty eggs could only have come from such a pretty salamander! You must be very proud, you beautiful thing, and well you should be!"

He continued to make adoring noises over her for a minute or two, then looked up at me. "This is her first clutch of eggs?"

I wasn't quite sure of my voice, so I just nodded.

He grinned, showing several gold teeth. "Your first as well?"

I nodded again.

"Well, you were wise to come here. I am Karloff Hajrastarn, keeper of the finest salamanders in the two cities. Come. I shall tell you everything you need to know." He clomped back over to his chair, motioning for me to follow. The chair had the well-worn look of an old boot, as if it had been crushed into a comfortable shape by the weight of its owner, and the leather upholstery was mottled with singe marks. It creaked when he sat down. The fireplace in front of it held an enormous fire; it would have lit the whole room if Hajrastarn hadn't been sitting in front of it.

It took me a moment to realize that the logs in the fire were actually a pair of salamanders. They were the size of small alligators. One of them grinned and gave me a long, slow wink.

"You have kept the eggs in the fire." At the sound of Hajrastarn's voice, I looked away from the giants, suddenly relieved that my own salamander is a more manageable size. "Good. Do not let it go out; that is the most important thing. Salamanders are creatures of fire, and they must stay in it until they are grown, just as tadpoles must stay in water. This lantern will serve, though you will need a larger one when the hatchlings grow older. Have you been feeding the mother coal?"

I had. She's been much more insistent than usual about it lately; now I know why. I nodded, hoping that that was a good thing.

Apparently, it was. Hajrastarn nodded in approval. "Good. Keep doing so. She will need to build up her fire again after making so many little embers. She is from Cormilack, yes? They are strong salamanders there, and she has been well cared for. It will not take long. Now, when the eggs hatch…"

He spent the next few hours giving me instructions - enough for the next few years, I think, until the hatchlings are old enough to go out on their own. He would pause occasionally to feed his own salamanders (I counted at least fifty just in the one room) or to do various things related to their training.** Sometimes both of us would pause to just look at the eggs.

The eggs are quite beautiful. They're soft-shelled, like most reptile eggs, lying in a leathery heap at the bottom of the lantern. My salamander dug a little nest for them in the smoldering wood shavings. I can't tell what color the shells are through the flames; waves of quick orange light flicker over their surfaces, as if they were burning coals. Occasionally, I can catch a glimpse of the tiny embryos silhouetted inside.

I left the hatchery with ten pages of detailed notes, a bag of supplies,*** and considerably more confidence than I'd had this morning. Hajrastarn wedged himself up the steps of his shop - he had to climb them sideways - and waved as I left.

"Take good care of the little lady!" he bellowed, grinning. "And bring the hatchlings back to see me when they are old enough!"

I'll certainly do my best.

* This is a literal translation of the title of the ruler of Thrass Kaffa. It sounds much more impressive in Kafri - "Shishra Samakat" - but it means the same thing. The title could also be translated as "Biggest Super Hat," but that sounds even sillier.

** Several of his newer salamanders are at a rather overenthusiastic stage, which is why his hair was on fire when he answered the door.

*** My favorites are the little sticks of yellow incense. They're for nutritional purposes. Salamanders originally lived in active volcanoes (the first domesticated ones were caught laying eggs in brimstone deposits near the surface), and the embryos need certain volcanic gases to develop properly. I think the incense is mostly sulphur. It smells like fireworks.

Umbrella Crystals

2011-06-29T22:14:00.003-05:00

Another caravan came through Thrass Kaffa today. They had heavy cargo and were moving very slowly. In wetter parts of the world, wagons this heavy would be driven by oxen or pushpigs; in the Golden Desert, they're pulled by tortoises. Tortoises, in fact, are the favorite slow animal in the Desert. They're slightly less stubborn than mules and far less vulnerable to heatstroke. They pull carts and carry people who don't need to get anywhere quickly. (Camels are faster, but a little too unpredictable for day-to-day use.) Nothing speeds them up, and nothing slows them down. A tortoise might take hours to get to town, but it will move just as quickly - or just as slowly, rather - whether it's carrying tiny children or pulling three tons of umbrella crystal in a cart.

That's exactly what these had. Behind the tortoises, sturdy wagons braced with steel rumbled along under the weight of at least thirty umbrella crystals. They were rolling mountains of honey-colored stone; even the smallest crystals were taller than I am. The smoothest ones distorted everything on the other side, squashing houses into narrow towers or inflating them to bloated yellow mansions. Children walked alongside the caravan and made hideous faces at each other through the stone. So did quite a few adults. Umbrella crystals are rare in the Golden Desert, and practically nonexistent everywhere else. They're some of the only stones in the world to be created by plants.

Umbrella palm trees get their name from their leaves, which are the same shape and just as watertight as an umbrella. The divert the water of the Desert's infrequent rainstorms directly onto the ends of a tree's outer roots - which are often nowhere near the trunk - and keep the base of the trunk dry. That's where the trees grow their crystals. The inner roots absorb sand and cement it together into massive stones, anchors against the relentless winds of the Golden Desert.

Nor surprisingly, the crystals have become incredibly valuable all across Hamjamser. They grow at the same speed as their trees, which - while still slow - is still much faster than any crystals that form by ordinary geology. Most of all, though, they're valued for their size. No gemstone on the planet can rival the size of even an average umbrella crystal. Queens and Emperors have had entire sets of dining room furniture - chairs, tables, dishes, even the knives and forks - carved out of a single crystal. The Sultana of Fasra Koum, according to legend, lived in a palace carved from a single stone. It's not hard to believe. The oldest crystals in the Desert, the ones that no one found or harvested before they grew too large to move, are at least large enough to make a respectable mansion. The wind and rain have eroded them into strange, fluid shapes. On some, they've eaten away at the hieroglyphs of long-dead civilizations. Archaeologists make pilgrimages to them with rock-climbing gear or lifter giraffes. They've found whole mythologies carved into a single stone.

Most of the time, though, the trees are cut down when their crystals are still small enough - just barely - to be moved. Most of them don't live that long anyway. Being the only tall things in many parts of the Golden Desert, umbrella palms are frequently struck by lightning. The branching twists of fused sand left by Desert lightning end up stuck to the bottoms of the crystals when that happens, as if the crystal had grown roots. Until only a few centuries ago, most scientists believed that the crystals grew by themselves, like giant stone turnips.

It doesn't matter much when they're harvested, though; the sale of even a relatively small crystal can keep a small village supplied with everything it needs for a whole year. The keepers of umbrella groves guard their locations as fiercely as compass makers guard their twigs. Stone farmers take their jobs quite seriously.

Healthy umbrella palms grow clear, egg-shaped crystals the color of honey; unhealthy ones (much more common in the harsh Desert weather) produce stones full of bubbles and the elegant black traceries of dead roots. In one particularly old and enormous crystal, a group of explorers found the skeleton of a dragon. It had been preserved like an insect in amber, the bones covered layer by slow layer over the course of decades. It's currently in the Museum of Antiquities in Karkafel, where I saw it on my last visit. The skeleton looks like it's sleeping.

I have yet to find a way into Karkafel on this visit. I've caught a few glimpses of it - vague, shimmering towers in the distance - but all the alleys I've tried have simply led me back into Thrass Kaffa. I'll try again tomorrow. I'd rather not have to find my way there through the catacombs again.

Thrass Kaffa

2011-06-28T23:50:00.002-05:00

We felt Thrass Kaffa before we saw it. After days in the dry air of the Golden Desert, the breeze this morning carried tiny droplets of water, which collected on every surface in the caravan. People walked along with their mouths open, drinking the water that condensed on their tongues. We were soaked by the time we reached the city.

The city of Thrass Kaffa is built beneath the Neverending Waterfall. The Waterfall comes straight out of the sky; if there were ever any clouds, it could almost be an exceptionally precise rain shower. Most of it has spread into a fine mist of spray by the time it reaches the ground. The constant wind of the Golden Desert blows the spray over the entire town, so everything is constantly wet. Rainbows appear at random in the air. Somehow, a whole collection of jungle plants ended up here many years ago; they've thrived in the dripping heat, growing over and through the entire city. Thrass Kaffa is a tiny patch of rainforest in the middle of the Desert. It's like being back on the Greenhouse Cliff. The buildings are draped with vines; orchids and bromeliads sprout from sandstone gutters. The streets are full of sunlit mist and the dripping green explosions of tropical plants.

There used to be a lake in the middle of the city, but by now, the jungle and the surrounding farmland drink up all the water that reaches the ground. The fish have taken to the trees instead, since there's nearly as much water in the air as on the ground. You can see them occasionally, wriggling up and down the trunks. Groups of Kaffans gather occasionally to race them.

Surprisingly, the city's aquifrax has never complained about the disappearance of its lake; it only seems to care about the Waterfall. The water that reaches the ground is no longer important. The aquifrax refuses solid gifts, disdainful of anything coarse enough to be affected by gravity, but it happily accepts offerings of music and poetry. It's said to have exceptional taste. When walking through Thrass Kaffa, it's common to find writers and musicians with their heads raised, blinking, singing or reciting their work to the rain. Every so often, the rain gives them an answer.

No one knows where the Waterfall comes from. Several of the city's avians have flown as high as they could, trying to find its top, but they all ran out of strength before they ran out of water.

Of course, not many avians live in the Golden Desert; most avians capable of flight need to eat nearly half their weight every day, and food is not quite that plentiful here. There are far more avians in the comparatively lush Blue Desert. In Thrass Kaffa, there are actually a surprising number of amphibian people - nearly all of the ones in the Golden Desert, I believe. Men and women with glistening, speckled skin pass by with perpetually damp clothes and brightly colored lap-frogs, only a few streets away from the waterless dunes.

The city of Karkafel often connects to Thrass Kaffa, though you can only travel between the two through catacombs and obscure back alleys. The cities are only visible to each other in the occasional mirage. Thrass Kaffa is built around the Waterfall, Karkafel around its famous Library; the cities trade life for information, nature for culture. Farmers pick fruit in Thrass Kaffa and bring it to Karkafel to trade for music. Archivists from Karkafel sneak into Thrass Kaffa when they've had enough of dust and dry paper and need someplace green. It's an unusual relationship, but the people of the two cities seem happy with it.

About half of the caravan is staying here; the rest is moving on, taking the jazz birds off to who knows where. I'll miss traveling with their constant warbling improvisations. I have friends in Karkafel, though, and I want to at least stay long enough to try to find them before I leave.

Fish of the Ground, Beasts of the Air

2011-06-27T22:04:00.002-05:00

The people here have a great deal of trouble with flying camels. The beasts just swoop down out of the sky on bristly wings and carry off small children, spiriting them away to their camel fastnesses in the desert, where they raise them on the fruit of the hazzle-cactus and teach them the mystical secrets known only to flying camels. The rare camel-snatches who return to the villages are famed for their wisdom. Most people are willing to overlook their eccentricity and their refusal to explain anything (not to mention the spitting). Still, most parents here keep a close watch on their children while they're small enough to be snatchable.*

One of these camel-snatches was Hanzifan Krickl, who found a fish in the Desert and founded a town on it. The town is called Kellekath, the local word for "coelacanth." The caravan stopped there for water today. According to the legend, Krickl discovered the system of caves beneath the town thanks to a fossil of one of the ancient fish, which pointed the way for him. The water that collects in the caves is all that allows the town to exist. There's an aquifrax in the caves, as there is in every oasis in the Golden Desert, but it allows the town to use the water in exchange for honey and the occasional shiny marble. It probably has hundreds down there by now, unless it's been eating them. You never know with an aquifrax.

These days, the coelacanth fossil is considered to have been a sign from Gilliva, Lady of the Waters, to whom fish are sacred.** Fish show up seldom enough in the Desert that they're generally considered to be a sign when they do. Kellekath is particularly devoted to the Lady; the town keeps a pool full of koi in her honor. Like most koi, they - or their distant ancestors - were imported from Mollogou. Unlike the piebald Mollogou koi, though, the ones in Kellekath have been bred to be shades of blue and green; they range from the deepest ultramarine to the pale green of new leaves and a turquoise the dry desert sky has only seen in its dreams. The townspeople love them and spoil them terribly. Many people wish they could have actual coelacanths in the town, besides the fossilized one, but bringing a whole population of misanthropic saltwater fish to the Golden Desert would be all but impossible. The koi were difficult enough.

Coelacanths aren't the only fossils that show up here. According to geologists, the whole Golden Desert used to be the floor of an ocean. The tall rocks that stick up from the sand often have fossils in them, fish and ammonites and strange spiny beasts with compound eyes. They speckle the stone in layers, like jeweled rings around sandstone fingers. Other parts of the Desert have larger things. The bones of whales and great sea-serpents emerge from the dunes now and then, breaching between the waves of sand, until the wind covers them again. A few travelers have found a mountain that, when seen from the right angle, is unmistakably the skull of a giant fish. The smaller peaks of its vertebrae stretch out in a line behind it. The most dedicated wanderers say they've even found shipwrecks out in the sand, buried up to their bone-dry masts, with shreds of ancient sail flapping in the Desert wind. Archaeologists have found books in some of the wrecks. Their pages are speckled with strange pictograms, beetles and blowfish and delicate assemblies of gears. No one has deciphered them yet. Linguists believe that even the gears are a language, but any meaning remains lost in the machinery.

Perhaps one of the camels' pupils will decipher them one day.

* A few parents with different ambitions send their children outside every day wearing brightly colored clothing. It all depends on your hopes for your child's future, I suppose.

** Fortunately, fish are rare in the Golden Desert. This religion has never caught on in coastal towns.

Charcoal Chrysalis

2011-06-26T22:10:00.001-05:00

Back in the Autumn, I visited the village of Glimrack. It's a tiny village in a barren corner of the Scalps. The whole area looked as if it had been burned recently; there were plants here and there, but the soil they sprouted from was completely black. It seemed to be mostly ash. On the way to the village, I passed through a whole burned forest, a field of blackened sticks poking into the sky. None of the plants sprouting beneath them looked more than a year old.

There was very little soil, even ash, around Glimrack itself. Most of the village is built on bare stone. The villagers make their living by farming mushrooms in caves; most of their food comes from the nearby village of Gramfimly. All the buildings are made of stone with slate roofs. There are wooden beams underneath, but they're well hidden. When I arrived, the only wood in sight was piled up in tall heaps on the plain outside the village - broken chairs, dead branches, and what looked like several years' worth of firewood. Everyone in the village was running back and forth, adding more wood. Wagons rolled into town, one after the other, piled high with dead logs from the surrounding forests.

All the people I saw were reptiles, which was interesting by itself; even the smallest villages usually have at least a few mammals and avians as well. I asked a few of them what it was all for. "For the moths," they said. "They hatch tonight." None of them would tell me any more. They kept running back and forth, their arms laden with wood. I stayed and watched. Eventually, I started helping; there didn't seem to be much else to do. The piles of wood kept growing until they covered most of the plain. The bare stone was still visible, but more than half of it was buried under the splintered heaps.

After dark, they lit them.

It was the largest collection of bonfires I've ever seen. They turned the plain into a fiery maze, paths of bare stone between walls of flame. The air had been chilly all day, but it quickly grew so hot that I had to back away. The villagers didn't seem to care. They walked out into the maze, shedding their coats and jackets as they went. Slowly, solemnly, they began to dance.

The reason for the burned forest became clear when moths of flame emerged from the bonfires, swirling up and out in cindery clouds, sparks dripping from their burning wings. They swooped in wild curves through the flames, rising on updrafts and whirling around each other. The people danced through the flames, most of them stripped to the waist or further, spinning in graceful circles with the tiny scraps of living fire.

It seemed to be special when a moth landed on someone. Whenever it happened, the person would stand perfectly still as the moth dripped fire on their skin, smoke rising from the singed scales. Everyone else would do wild leaps and turns around them. When the moth finally left, the standing person would press their hands to the burns left behind, then throw themselves back into the dance with renewed vigor. I must have seen it happen more than twenty times during the night.

I learned later that this is actually part of the life cycle of the moths. They return every year to lay their eggs in the ash, the way monarch butterflies lay their eggs on their native patches of milkweed or viperwort. The caterpillars are gray and ordinary-looking. They live ordinary lives all year, eating ash and charred wood, until a fire burns away their solid bodies and releases the adult flame moths inside. A hundred years ago, there was a forest where Glimrack is now; its frequent fires provided the moths' first hatching ground. The trees are long gone, but the people of the village still gather wood all year long for the Autumn bonfire. The moths have been part of the villagers' lives since the days of their forest-dwelling five-times-great-grandparents. They don't want them to find another place to lay their eggs.

I still don't know exactly what the moths mean to the villagers. Whatever happened that night is obviously quite important, to be worth enduring so much pain, but I don't know why. No one I spoke to offered any information, and I didn't ask.

It was almost dawn before the fires finally burned down to embers. The dancing slowed down as the fires died. A few people paused to receive a last fiery kiss; then, all at once, the whole burning cloud of moths lifted into the sky. The villagers watched the moths until they vanished in the glow of the rising sun. Then, silently, they turned and walked back to their houses.

In the morning, they emerged with the shapes of tiny wings burned into their scales.

The Shell of a Town

2011-06-24T22:55:00.003-05:00

I'm not sure exactly when we crossed over from the Pinstuck Plains to the Golden Desert; perhaps we haven't yet. There's no clear border between the two, and what there is shifts constantly.

Rain is capricious in the outskirts of the Golden Desert. People settle in the green spaces, plant crops and build towns, only to have the rain move on a decade later and turn their farmland back to dust. There are ghost towns all over the Desert's outskirts. The dust piles up against cracked boards and peeling paint, drifting through the broken glass of carefully shut windows. Years later, if the rain returns, the exiles of a different town will move in and bring the ruins back to life. The people of the outskirts are used to living with someone else's ghosts.

CheChmit is one of these towns. It's new and old at the same time. The people only recently moved in, settling down in the abandoned husk of the town after weeks of traveling. Their old town dried up several months ago. A few months more, and it will look exactly like this one did.

At the moment, though, CheChmit is coming back to life. Weeds grow up around the buildings. In most parts of the world, people would pull them out, but not here. Weeds are a sign of life. When they start dying, you know it's time to leave. The town well has water in it again - though the bucket is rusted through - and the farmers are busy plowing the soil around the town. Families are clearing the dust from the houses, putting new glass in the windows, and replacing curtains worn to white rags by the wind. The children keep finding old wooden toys and glass marbles that have lain in the empty houses, forgotten, for decades. The town is like a hermit crab's home - a dry, discarded thing filled with sudden, bustling life. Before it was abandoned, this place was known as Kelikeff. The place its current inhabitants came from no longer has a name. This is the outskirts of the Desert, where whole villages pack up and move all at once; a town's name goes with its people, not with its buildings.

I walked around the streets for a while (there aren't very many), looking at the deep cracks the wind has worn in the stone and wood of the buildings. People were painting a few of them. Mostly, they limited this to a touch of red here, a yellow door frame there; in the Golden Desert, the texture of well-aged wood and stone is considered at least as beautiful as a coat of paint. I stopped for a while to help a family of reptiles patch the roof of their new old house. They were doing it very carefully, so as not to harm the tree growing up through it.

Their daughter stayed on the ground (her mother didn't want her up on the roof) and drew things on the walls with a piece of charcoal. I came down to take a look when we all took a break for water. She had drawn a procession on the walls; strange, solemn-looking shapes marched in a rough black line around two sides of the house. There were tall ones and short ones, smooth and spiny, bare-faced and hooded, fat and thin. Mostly thin.

"These are the quiet people," she said, without waiting for me to ask. "I see them every time we move. We've moved a lot. They always leave the towns before we get here, because they don't like noise. That's all my mother would tell me. She said it's not polite to talk about them. Too noisy." She returned to drawing. One of the taller shapes was covered in what might have been stripes or bandages. "She didn't say anything about drawing them, though."

I didn't ask anyone else about the quiet people - I wouldn't want to be rude - but I'll have to keep an eye out for them if I visit any more abandoned towns.

FlunDitChukk delivered the jazz birds and musical instruments to the leader of a caravan in town. They'll be moving on to some city or other in the next few days; the caravan is only in CheChmit to pick up the birds and replenish their water supply. I don't know how they managed to schedule the meeting so precisely. In return, FlunDitChukk picked up a load of palm-tree crystals to bring back to SuyMaTmakk. His wagon settled noticeably lower on its wheels when the chunks of honey-colored stone were loaded onto it. I said goodbye before he left, and he replied with a grunt that sounded almost friendly. The caravan leader noticed me a bit later, when I was painting a border of morning glory vines around the window of a house, and offered me a seat on the caravan. Apparently, they need someone to touch up the paint on the wagons.

I accepted. It's been years since I've visited the Golden Desert.

Pins in the World

2011-06-23T22:18:00.012-05:00

The road reappeared today, leading off across the plains instead of leaping over the Edge. It's a relief, and not just because it means we can get the wagon started again. That abrupt end was making me nervous. FlunDitChukk got the dunderblub started again, and after saying goodbye to the geographers, we set out along the new road. It continued to wind through the long grass of the Scalps all day.

After a week in SuyMaTmakk, I'd forgotten just how much open space there is out here. Nothing interrupts it. There are no mountains, no buildings, no hills higher than my waist. I still haven't seen any of the Scalps' precious forests. We did see the occasional single tree - acacias and lightning pine, for the most part - but most of them had jaglars reclining in the upper branches, so we stayed well away. Jaglars are rather possessive about their shade.

For most of the day, though, the wagon was the only thing in sight that wasn't grass. When the wind blows - and it always blows here - the low hills look like waves, an ocean of shimmering grass stretching to the horizon and beyond. I'm not the first to think so, not by any means; many people have written of the Scalps this way. There are even some who build prairie-boats out of lightweight wood. They have sails and run on polished runners, skimming over the grass as if it was snow. A well-built prairie-boat can hold one person - two, if they're small. You can't take much with you, but they're the best way to travel here if you travel light.

Of course, weighed down with art supplies the way I am, they're out of the question for me. I've never been particularly fond of speed anyway. I'll stick to wagons for now.

The grass got thinner and drier the farther we went. Dust rose from the wagon's wheels in dry orange clouds. A few of the jazz birds started coughing halfway through an improvisation, and FlunDitChukk kept me busy bringing them water all afternoon. Patches of dry ground began to creep in between the short clumps of grass - bald spots on the Scalps - and though the grass still shimmered, it was because of heat, not wind. I doubt this is the kind of country that sees many visits from the rainwalkers. With every mile, there were fewer trees. Instead, there were the poles.

I'd heard of them before, but until today, I'd only seen them from a great distance. Most people on the Scalps believe they were left by the Hill Builders. They do have that look. They're battered poles of black metal rising from the ground, probably five times my height where they haven't broken off. Each one has a different shape at the top. You can see them from miles away, silhouetted against the sky, as if they were the glyphs of a very tall language. If there's any logic or meaning behind them, no one's deciphered it yet.

No one is sure what they were for, though there are plenty of theories: radio antennae, vertical shrines, tent poles, the markers of a mysterious game, the dead trunks of metal trees. A compass will go mad if brought too near to one of the poles. Birds don't seem to mind them; there isn't much else to perch on on the Scalps, though, so that could just be a matter of convenience. They seem to have no effect on people, though those who live near them sometimes speak of having unusually vivid dreams. Whisperlings say they can hear the poles humming occasionally. Some of the humming is music, melodies in strange and secret keys, but it never has words.

They've become part of the landscape of the Scalps by now. Birds nest on them. People build sod houses around their bases for support. (Sod houses have a tendency to slouch, especially when it rains.) Unlike many of the things the Hill Builders left behind, the poles are not made of the mysteriously indestructible hypersteel. They're obviously made of a fairly tough metal - they've withstood centuries on the Scalps, after all - but they've been worn and battered over the years. The poles are full of scratches and dents and crookedness. People have carved words into a few of them. Often it's just their names, but I've been surprised at how often the graffiti turns out to be poetry.*

The people of the Scalps call them Kucha, which roughly translates to "pin." This is why the Scalps are also called the Pinstuck Plains.

Archaeologists have tried to dig to the bases of the poles a few times. They always have to stop when they hit bedrock. Some flat-worlders believe that the poles hold the world up, like the pilings of a pier; round-world theorists believe that they go all the way through it, like a giant's hatpins, holding the world together - or perhaps keeping a few specific places apart. Here on the hairy Scalps of the world, that doesn't seem too far-fetched.

* One had a copy of the Recursive Sonnet on it, of course. Quite a few have nonsense poetry by Carlis Rowell.

Mist-Wolves

2011-06-22T22:22:00.001-05:00

They came up over the Edge this morning. It was cloudier than usual; this close to the Edge, there are occasional full-sized clouds, not just the little puffs of white that usually float over the Scalps.* The sun was a bright blur through the gray. At first, there was just the mist, drifting up from the cliff as usual - until it formed itself into shapes and came out into the geographers' camp.

They were gray and silent shapes, great beasts of cloud that drifted through the camp on misty paws. It was hard to tell where one ended and the next began. They were a pack and a cloud-bank all at once, a blur of paws and tails and hunched backs. Pale eyes and teeth gleamed in the mist. They flowed around and through the camp, passing through tripods and tent-poles as if they weren't even there, only occasionally pausing to glance at us. Mist-wolves aren't interested in solid things.

Most creatures in the world are solid - made from earth, as the elemental philosophers would say - but a surprising number are not. There are sea-horses that run in foaming herds across the waves near Kennyrubin, born in the froth of their crests. Fire-dancers hold wild, leaping gatherings over forest fires in the Railway Regions. Most parts of the world have creatures of fire and water such as these. Mist-wolves are creatures of air.

On the plains, they only come out at night or in the early morning. It's too dry during the day. I don't know where they go then; perhaps they sink into the ground or simply become so thin that we can't see them. That's what they do in the Winter. In January, mist-wolves are only visible on the most humid days, spread so thin in the cold, dry air that they can step over houses. These ones were smaller and denser; it's humid near the Edge. They were barely twice the size of solid wolves.

They left dewy paw-prints in the grass.

It was the first time I'd heard the jazz birds in the wagon fall completely silent. Normally, even when the rest of them are asleep, there's at least one still noodling to itself (tu-WHEET-a-deedle-deedle awk awk awk), but when the mist-wolves arrived, all they did was watch. Everyone did. The normal mathematical bustle of the geographers' camp gave way to complete stillness. I found myself holding my breath, half-afraid that the wolves would melt away if I disturbed the air. The only thing that broke the silence was a cup of coffee boiling over on a camp stove. No one moved to take it off.

One of the wolves padded over and sniffed at the steam rising from the coffee. It licked its muzzle with a pale white tongue, as if considering the flavor, then sneezed silently and flowed away. The others grinned at it as it rejoined the pack. I could see tents and wet grass through them. With the graceful unity of a cloud, the whole pack turned and padded out across the plains. A moment later, the sun came out and broke the spell. the mist-wolves vanished instantly, as though they'd never existed. They'd been transparent even under the clouds; in full sunlight, they were completely invisible. If we hadn't all seen them, I'd probably suspect that I'd dreamt the whole thing.

Later in the evening, the geographer with the echo-frogs showed me the reading from his sonograph. (Like a seismograph, it draws a line on a roll of paper.) For just an inch or two, early in the morning, there was a faint zigzag - a rhythm as soft as a whisper. One of the mist-wolves had passed around the sonograph, and the instrument had picked up its heartbeat.

* Some people, if they're used to bigger clouds, refer to the ones over the Scalps as "dandruff."

The Edge

2011-06-21T21:13:00.002-05:00

After barely a whole day of traveling, we had to stop this morning; the road had come to an end. For that matter, so had the ground. The road led straight off the edge of a sheer cliff.

This is not what one expects to find on the Scalps. After months of flat plains, it's easy to forget that the world even has vertical surfaces. I certainly wasn't expecting a cliff.

The River KleMit skirted dangerously close to the cliff, but only a small branch of it actually went over. it vanished into the mist that rose up from below. It was impossible to tell how high the cliff was. Looking to either side, it was equally impossible to tell how wide it was. There was just the edge, tufted with grass and small bushes, winding away into the mist.

The Edge, as I found out later, is one of the areas most hotly debated by theoretical geographers. If it truly is the Edge of the world, it would prove the round-world theorists entirely wrong, as a sphere cannot have an edge. They maintain, of course, that the Edge is merely a very large hole. The flat-world theorists insist that it is indeed the Edge, while the mosaic and amalgam theorists don't really care one way or another. According to the mosaic-world theory, the world is neither round nor flat. It's merely a bunch of small pieces of ground that happen to be connected to each other at random (and constantly changing) points. The world doesn't have a shape; it just shares edges. You might as well say that literature has a shape because books share words.

To be honest, this has always sounded like the most reasonable theory to me.

The amalgam theorists maintain that space is an illusion and that every place in the world is simply a different facet of the same single location - similar to the way that, in geometry, an infinite number of circular slices can be taken from the same sphere. Every place is the same one looked at from a different angle.*

The debate between the four theories (and numerous more eccentric ones) has been going on for centuries, and everyone is still unsure whether the Edge is the actual edge of the world or just an unusually large hole. The mist never clears, so it's impossible to see. No climber or flier has ever found a bottom. Explorers have walked along the Edge for months, even years, and never returned to where they started. The cliff doesn't appear to curve in either direction. Of course, the constant mist makes it hard to tell; it just sits there, drifting up and down in plumes, wafting through the cliff's fringe of hanging grass, making it impossible to see any distance below or beyond the Edge. Possibly the Rain Dragon could be persuaded to do something about the mist, but no one ever knows where to find him.

I heard all of this from a team of experimental geographers staying at the Edge. It's a popular place for them, as you might expect. Some of them have been here for years. They have that disheveled-but-enthusiastic look that scientists often get when they've found something interesting; they're too busy to care if their coats are inside-out.

While I talked to the geographers, FlunDitChukk sat on the wagon and didn't look at the road. Every few minutes, he'd take a quick glance at it, just in case it had decided to lead somewhere else while he wasn't looking. So far, it hasn't. Maybe the dunderblub has been peeking at it. I doubt anyone could tell.

The geographers have a small forest of instruments set up at the Edge. There are telescopes, mist-lenses, all manner of surveying tools,** and dozens of other things I couldn't identify - devices like giant sextants and exploded clocks on carefully calibrated tripods. One geographer was inspecting the Edge with a sonograph and a trio of specially bred echo-frogs. Salamander lanterns burned everywhere, more for heat than for light. The mist makes it almost chilly near the Edge. A group of large samovals - research assistants, I assume - were gathered around one lantern, scribbling busily in tiny notebooks like a scientific sewing circle. Their thick fur is less help than usual here. The mist condenses in it, making it stick out all over in damp spikes.

The assistants, when they aren't busy, amuse themselves by throwing things over the Edge. If there's anyone down there, they're probably not amused.

* I have probably explained this entirely wrong. I don't pretend to understand the amalgam world theory in the slightest.

** Contrary to common belief, these actually have some practical uses and are not merely amusing mechanical curiosities. Surveying is not as pointless a pursuit as cartography. It can be quite useful in measuring the heights of large objects, such as mountains or termite mounds.

Leaving SuyMaTmakk

2011-06-20T23:04:00.001-05:00

Farewell to SuyMaTmakk. Today I left behind the whirlpool lake, the wicker buildings, the endless living cacophony of life on Market Street. As the wagon rattled along the road by the River KleMit, the bird's-nest skyline and its crown of waterfall mist faded into the distance.

I've enjoyed my time in SuyMaTmakk, but it's time to move on before I get too attached.

I said goodbye to the TiLeKraNas before I left this morning. As thanks for their hospitality, I gave them a set of origami birds in bright paper, the kind that can be folded up and put into an envelope or a pocket. I learned how to make them in Mollogou. To my surprise, the family gave me a beautiful salamander lantern, a fluid shape like a turnip of blended metal and glass. HmoTan said it was an experiment that went slightly wrong. It makes a perfect home for a salamander. Apparently, the children have been playing with my salamander while I've been out,* and they'd noticed that its lantern was getting a bit small. My salamander has grown a lot since I got it. In fact, it's starting to get a bit fat. Maybe I should feed it less coal for a while.

The TiLeKraNas are going to spend a few more days in the city before heading back up the Hley. Instead, I got a ride with a merchant on his way out of town. His name is FlunDitChukk. Whether it's his first name or last name, I have no idea; he's said maybe six words since I met him, and that many only if you count grunts. His cart is pulled by something called a dunderblub, which looks something like a hairy mushroom with four stumpy legs. If it has a head under all the fur, I haven't been able to find it. I can only tell which end is the front when it's walking; even that's only a guess. I'm not entirely sure that it's even an animal. Its name is Tupp.

FlunDitChukk is taking a shipment of jazz birds to CheChmit. They look a bit like roadrunners, but they have clever faces and black-and-white magpie stripes. When they spread their wings, the feathers look like piano keys. They sit in wicker cages in the back of the wagon and warble syncopated improvisations to each other. Occasionally, one of them gets its talons on a trumpet. (FlunDitChukk has a shipment of those too. I'm not sure whether this is a coincidence or not.) I have no idea how they can play a trumpet without lips; whenever I look around, the music stops. All I ever see are a bunch of birds sitting around and whistling innocently.

This could be an interesting trip.

* I was surprised at this, but not particularly worried. My salamander was well trained even before I got it - Cormilack salamanders are some of the most reliable in the world - and children on the dry plains of the Scalps learn fire safety at about the same time they learn to walk. I wasn't worried that they'd hurt each other. I'd watched TiLi and HnerKipPeLo catch fireflies and phosphor moths on the way to SuyMaTmakk, and I don't think they harmed a single charcoal scale of their wings.

Market Street, Day 5: the Lucky Bungler

2011-06-19T23:00:00.003-05:00

Kekehruy Square is one of several small open spaces that are often connected to Market Street. Today, it was the site of a three-tower clockboard tournament.

Clockboard is generally considered the most elaborate board game in Hamjamser. Each board is unique, laid out to serve the personal strategy of its creator, or simply to make the game work the way they think it should.* People often say that a clockboard looks like a chessboard; this is true, in the same way that a city looks like a brick. Clockboard uses chessboard as a building material. There are multiple layers of black-and-white squares - checkered terraces, spiral walkways, bridges, rotundas, and the checkered towers by which the game is ranked.** The more adventurous clockboards look like mad model cities in harlequin dress. Each board contains some amount of clockwork as well. At the very least, there's a clock in the board somewhere; it usually has three or more hands, only one of which has anything to do with time. The functions of the others vary from board to board. Advanced boards also include clockwork that changes the game, shifting and rotating sections or dropping pieces down hidden chutes to bring them closer or farther from wherever they're trying to go. Half of playing clockboard is anticipating your opponent's moves; the other half is anticipating the moves of the board.

I've never quite been able to figure out three-tower clockboard. It's possible that I could if I took the time, but so far, my experience is limited to the single-tower variety.

This tournament was in its fourth day, so most of the players were seasoned experts. The beginners have been out of the running since Friday. I couldn't understand half of what was going on. The tournament seemed to be going well; nothing particularly exciting was happening, but the players and the audience were interested. Then Spud showed up.

No one has ever managed to find out Spud's last name - or, for that matter, anything else about him. His response to every question is usually something like, "yes, I'm Spud. Where are the doughnuts?" He shows up occasionally at tournaments (some say he's drawn to large concentrations of board games) and usually doubles the size of the audience once word gets around.

He had neglected to bring a clockboard of his own. This was a requirement for the tournament. It's customary, especially at a tournament, for a pair of clockboard players to play pairs of games - one on each player's board. It wouldn't be fair otherwise. A well-built clockboard gives its creator a significant advantage. If one player wins both of the first pair of games, he or she is the winner; if the first pair is a tie, the players move on to a second pair of games. This continues until one player or the other wins both games in a pair.

It often takes a while for this to happen; the Duchesses of Shimrick and Marbelsack once continued a single match of clockboard for almost ninety years. They met every day to play it over lunch. The match was said to have consisted of four thousand and thirty-six separate games (two thousand and eighteen on each board), and it only ended when the Duchess of Shimrick died of such extreme old age that everyone had lost count. The Duchess of Marbelsack is said to have been quite irritated at her timing, as she was winning the current round. It was just like Shimrick, she said, to die at such a contrary moment.

Fortunately for Spud, one of the other contestants had to drop out at the last minute to have a baby. As she left with a doctor and her husband (who looked by far the most nervous of the three), she gave Spud permission to borrow her board, with the clear understanding that she would kill him if anything happened to it. He nodded vaguely, thanked her, and waved as she left.

He proceeded to win every game he played. This is what always happens. Spud has been the world champion of clockboard - and several other games - for years, despite his apparent lack of any strategy whatsoever. I certainly couldn't find any when I watched him play. He moved his pieces seemingly at random; occasionally, he had to ask his opponent what one of them was.*** Several of his opponents appeared to be winning at first, taking full advantage of mistakes a novice player could have avoided, but his luck always changed by the end of the game. Player after expert player saw their detailed strategies overcome by what looked like randomness and sheer luck.

Board game enthusiasts have argued about Spud for years. A third of them think he's a genius who's impossibly good at hiding it; another third think he's an idiot who's impossibly lucky. The remaining third just think he's cheating. If he is, no one has ever managed to catch him at it. Experienced players who've matched wits with Spud - if wits have anything to do with it - are usually certain he's not cheating. What exactly he is doing, they don't know. They just wish they knew how to do it themselves.

Someone - no one remembers who - once called him the Lucky Bungler. The name has stuck. Clockboard players speak of Spud the Lucky Bungler in a tone of voice normally reserved for only the most insane emperors.

The tournament had narrowed down to the last eight players, seven of which were looking rather nervous, when Spud simply got up and wandered off for no apparent reason. Everyone waited for a while to see if he'd come back. In a game that can take years to complete, players quickly learn patience.

He never returned. After a few hours, during which most of the players mobbed the surrounding shops for food and news of Spud's disappearance, the tournament continued without him. The winner and runners-up continued to play well, though they all looked a bit shaken when accepting their checkered clockwork trophies at the end.

I heard later that Spud had shown up at a Go tournament that happened to be taking place simultaneously on the other side of the lake. He won, of course. The city's reigning Go champion, an ancient and brilliant woman named Trihakna Start, reportedly asked him to marry her on the spot. Accounts vary as to what he replied. On his last comment, however, everyone agrees. When asked about his miraculous success at the tournament, Spud simply blinked and replied, "tournament? I thought this was a yard sale."

And then he left.

* For many serious players of board games, the object is simply to play as well as possible; if a game goes well, it doesn't matter who actually wins. An elegant strategy is often all the more satisfying if your opponent surprises you with it.

** Three-tower clockboard is the most complex variety commonly played; double- and single-tower clockboard are more common. I've heard that the game goes up to seven towers, but I've never even seen a board with more than four. Beyond three, it gets so complicated that you might as well try to predict next year's weather as your opponent's next move.****

*** Clockboard has seventeen basic pieces per player, nearly three times as many as in chess. Each piece has its own unique abilities, and advanced players of the game often invent their own.

**** Unless, that is, you're a Weather Dragon. In that case, the weather is easy to predict, as you're the one making it.

Swarm

2011-06-18T22:55:00.003-05:00

I haven't had time to write or draw much today, I'm afraid. A swarm of locusts arrived in SuyMaTmakk this morning. This happens periodically - perhaps once every month or two, in the Summer. It always becomes a contest: the locusts eat the city, and the city eats the locusts.

As in Twokk, locusts are something of a staple food here, along with fish, potatoes, wig-root, and a few species of grains. Cooking on the Scalps tends to be full of crunchy bits and the nutty taste of insect meat. Every swarm that comes within a mile of SuyMaTmakk stops for a snack; apparently, all these wicker buildings are too appetizing to resist. (In addition to being the most available building material on the Scalps, grass also seems to make excellent bait.) Once the locusts arrive, descending insatiably on the city, the people of the city descend on them. Wielding scythes, hammers, hatchets, badminton rackets, or whatever else they can lay their hands on - often just their own claws and teeth - they swat and smash the locusts from the air and walls of the city. The best climbers sweep them from the rooftops. I caught a glimpse of Emiline and Katal at one point, cleaving their way through the swarm. Katal swung her trangaban in whistling, deadly arcs; Emiline took a sword she'd gotten somewhere and became a glittering blur too fast for the eye to follow. I can see why they've been so successful at hunting. Everyone tried to stay out of their way.

Other people, the ones less willing to kill things in such large numbers, gather the dead insects as they pile up on the ground. This was what I did all day. I dislike killing things for any reason, and though their numbers and appetite can make them a plague, locusts are still beautiful animals. Fortunately, they're tasty as well. It was easier if I reminded myself that I was gathering food.

It took all day. Everything else in the city stops when a swarm arrives; the locusts have to be caught as fast as they land, or they'll eat the buildings. In the past, when the city hasn't reacted fast enough, whole blocks have simply vanished down a thousand tiny throats. Everyone comes out to catch locusts, taking only occasional breaks when the heat and the noise become overwhelming. The air is filled with spiny legs and hungry jaws and the incessant rattle of insect wings. It's impossible to hear anything else; even Hmakk is inaudible over the noise. The people of the Scalps have developed a sort of sign language to use during swarms. Unfortunately, I don't know it, so I just went where people pointed.

Up in the air, the avians of the city - those capable of flight - cut swathes through the clouds of locusts, using claws or beaks or antique weapons left over from more warlike centuries. A black-feathered man named Katahweet was particularly skilled; he used a saber passed down from his grandmother, and the sky rained bisected insects wherever he flew. Everyone tried to stay out from under him. A few of the other avians have discovered a particular note, inaudible to most vertebrates, that knocks locusts unconscious when sung. They only use it when they're too high to hear from the ground, so that they don't knock out the city's chitinous citizens as well.

Only the herbivores took any breaks for meals. Most of them don't eat insects. When the rest of us got hungry, we just ate the locusts as we caught them.

It was sundown before the swarm was gone. The fastest and nimblest locusts ate their fill and flew on, clattering away in a much smaller swarm than when they arrived. Their fallen comrades remained behind, piled on the street, filling barrels and baskets and a great many stomachs. The buildings around us were in surprisingly good condition; they were a bit chewed around the edges, but nothing a few days' patching won't fix. Most of the locusts hadn't had time to eat much. The people of SuyMaTmakk have had a long time to get good at this.

About half the people went home, exhausted, to rest until tomorrow. The rest of us spent the next few hours gathering the remaining locusts and carting them off to the city's storehouses. These are enormous subterranean buildings built solely to hold locusts; they're called Hlatakanit (from hlataka, the Hmakk word for locust), and they're as large as the city's granaries. Over the next month or two, the heaps of locusts gathered today will be dried, stored, and gradually reintroduced as breakfast, lunch, and supper.

I've eaten a lot of locust dishes in my time on the Scalps, but tonight's supper was the best yet. I don't know whether the reason was freshness or satisfaction. Food always tastes better when you catch it yourself.

Market Street, Day 4: the Singing Huntresses

2011-06-17T22:38:00.003-05:00

These two looked like an interesting pair. I could hear them laughing from across the street (one of them, anyway). I introduced myself, and they agreed to let me draw them if I bought them another round of drinks.

Their names are Emiline and Katal. Emiline was drinking green tea with mint; Katal had something that steamed and turned the table black when it spilled out of her mug. They were in good spirits and talked while I drew. Emiline says she grew up in Ganraminga, a coastal city in Minann, just far enough from Mollogou to stay intact. It's a city of mist and elegant manners. Katal told me a long, detailed story about how she was raised by wolves on the Scalps, and how she left when she realized she was bigger and stronger than any of them. About twenty minutes later, she told me another story about how she was raised by shark-riding bandits on the Mandible Coast. An hour after that, it was sky-monkeys in the floating jungles.

The two of them make their living by traveling across the plains, hunting and singing ballads. There wasn't much hunting to be done in town, but I did get to hear them sing in the inn this evening. They say people are often surprised to find that both of them are equally skilled at hunting and singing. Katal has a lovely alto voice, sweet and clear between her fangs, and as delicate as Emiline looks, she's apparently rather deadly with her bow. It's almost as tall as she is.

There's a lot of space on the Scalps. Of all the creatures that cross them - thunderbeast, rainwalkers, candlegiraffes, wild horses, lightning hyenas - very few ever come within sight of a town. Katal and Emiline say they find some creature no one's ever heard of on almost every trip they take. This month, it was a strange elephantoid beast with multiple tusks; they grow in rows out of its mouth, curling up and over its head in ranks, like a second ribcage. There's a whole herd of them on the plains. The two huntresses caught "the best one" and brought it back to the Museum of Natural Philosophy in SuyMaTmakk, where it will probably spend the next month being cleaned by carrion beetles and then stuffed. It took the huntresses two weeks to drag it back on a wagon. This is what they were celebrating when I met them.

At this time of year, though, they mostly hunt thunderbeast and speckled antelope. Katal seemed to be wearing most of an antelope already; she wore one of the speckled skins as a dress and several particularly interesting bones around her neck. One of the songs the two of them sang this evening comes from the Scalps, and they performed it the traditional way, with drums made of antelope skulls. The clack of bone went perfectly with the clattering Hmakk words.

The songs came from all over Hamjamser. There were sea shanties, hop-fugues from Kennyrubin, lightning-fast breakdowns from the Railway Regions, arzenroyds with chords that made the silverware vibrate. I recognized love songs (frequently estimated to be half of the music ever written) in at least five different languages. They sang a few hymns, a cappella; the harmonies were breathtaking. They even sang the Saga of Neinrak, one of those bleak Northern song-tales of ice and revenge. It takes half an hour and leaves every character dead. They had the entire room spellbound by the third verse; by the eighth, we were joining in for the choruses (there are five different ones, each repeated throughout the saga). By the sixteenth verse, most of us were too choked up by the story to trust our voices anymore. It took several patter-songs and ironic ballads before anyone could smile again.

While they sang, I touched up the paint on Emiline's quiver. It had gotten scratched while she was wrestling a cathomar in the foothills of the Railway Regions. Though she's modest about it, Emiline has trained rather extensively in the kinds of martial arts that let you toss around creatures five times your size. She's the only person I've met who's chosen the contest of strength - usually the least popular of a cathomar's traditional three choices - and one of the only ones I've even heard of who's actually won it. The cathomar must have been quite surprised.

Some of my favorite songs were the ones from Mollogou, crooked melodies with strange, metallic chords. Katal's instrument is called a trangaban; it's an enormous stringed thing, like a five-foot banjo made of steel. It looks like she occasionally uses it as a club (presumably when her actual iron hunting club isn't handy). For the Mollogou songs, she played the trangaban with a pair of tin spoons, producing a sound somewhere between a steel drum and a dulcimer. Emiline plays the soolian, a relative of the clarinet. It has a flared opening carved to look like a dragon's head. The two of them showed exactly how good they were with their instruments when they performed a traditional haknit from SuyMaTmakk; soolian and trangaban skittered up and down the scale, forming complex, glittering harmonies with Katal's powerful voice. The angry words of the haknit would have been slightly more convincing if they hadn't been grinning so widely the whole time.

Market Street, Day 3: the Animals

2011-06-16T22:53:00.011-05:00

There are probably more animals for sale on Market Street than there are people to buy them. Their snorts and clucks and shrieks occasionally drown out even the songs of the vendors. Horses, mules, oxen, emus, and a variety of cart-lizards pull wagons between the crowded stalls. Klepts lurk silently in the shadows. Fish circle in barrels and tightly woven baskets. Messenger monkeys scuttle over the rooftops, screeching to each other in raucous code. Below them, people stop to listen to the songs of the Kelleries, birds as drab as kiwis and as musical as nightingales. Their voices have outgrown their wings. Some of them sing counterpoint with the calliope cicadas.

The spotted hens this one boy seemed so fond of are only one of the hundreds of kinds of poultry in the market. There are ducks and geese, chickens and kaklbirds, paihens and pahareets, bred for meat or eggs or feathers. One breed of tiny bantams produces eggs the size of grapes, with all the iridescent colors of an opal in the shells. There are jewelers who use them in jewelry; they spend hours hollowing out the eggs, filling the shells with something more durable, and coating them in substances that make the colors last. The recipes for these are jealously guarded by each jeweler. Only their apprentices learn the secret.

The russet crabs are raised to turn food scraps into useful meat, like pigs. They get to be about the same size. The ones at the market are usually sold small - palm-size at most - but they never seem to stop growing. A man once kept one for twelve years to see how big it would get. At the end of the twelve years, it ripped its way out of his basement and cut a thundering path of destruction through the city before plunging into the depths of Lake Twiliat. The hole it left revealed that the man had quadrupled the size of his basement to make room for it. It was taller than his house. As far as anyone knows, it's still somewhere in the depths of the lake, growing bigger every year.

Since then, everyone makes sure to eat russet crabs before they get much larger than a pig. Almost every family has one if they can afford it. You can see them all along the canals, scurrying around in wicker pens under the water. There's never more than one crab to a pen; they have an unfortunate habit of eating each other. I can't say I blame them. I've tasted them once or twice myself, and they're delicious.

There are pets in the market too, of course. This girl seemed to have fallen in love with one of the house-spiders, as so often happens with small, fuzzy animals. It had pink feet. Her brother didn't seem quite so sure about them.

House-spiders are a fairly common sight in SuyMaTmakk. They're descended from the wild tarantulas of the plains, in much the same way that lap-dogs are descended from wolves. The poison was bred out of them a long time ago. They can still bite, but it's only painful, not deadly, and they've long since lost the aggression of wild spiders. You're more likely to be bitten by a hamster. They're kept for the same reason as cats; they're soft, they're affectionate, and they catch mice. Many people prefer house-spiders to cats. They're more easily housebroken, and they get rid of ants as well.

There are dozens of kinds of fish in the market - this is a lake city, after all - but these are some of the strangest. In the wild, jar-fish live in the abandoned tunnels of muskrats and water-snakes. Only the most vertical holes will do. They sit in the holes all day, dangling their long fins down through the entrances, and only come out when they can sense that nothing's moving nearby. No one's sure what sense they use. It could be hearing, or a form of echolocation, or the strange electric awareness used by sharks.

Jar-fish are always kept in tall jars like this, hence the name. If they're kept in larger containers, they develop acute agoraphobia and stop eating. The TiLeKraNas knew a scientist once who kept one in a beaker and used it as a seismograph. He said it was the only reason his workshop survived the eruption of Mount SanCheLi; the tremors were still too gentle for him to feel when the fish panicked and tried to hide in its own mouth.

This is one of my favorite parts of Market Street, second only to the scavenger docks and the booksellers' alley. The animals of the market come from all over the plains. There are birds from the forests, beasts from the open spaces, strange and wondrous fish dredged up from the lake. Parts of the city have become whole ecosystems of their own, narrow wicker forests between the lake and the plains. Many of the creatures here were bred in SuyMaTmakk and exist nowhere but in the city.

Every day, it gets harder to leave the market without bringing some of them with me.

Market Street, Day 2: the Waitress

2011-06-15T22:52:00.002-05:00

Gisella Peliak is a waitress at the Krolem Hmuytebit, a restaurant on Market Street. Its name means "the Affable Troglodyte." In SuyMaTmakk, it's called a yanyanitlekka, which means something like, "sunrise, sunset, all night long." It never closes. In other parts of the world, it would be called a diner.

There was some sort of festival today - just a minor one, I think. Crowds of people lined up along the docks and threw weeds into the lake, which sucked them down into itself (except where people had brought bladderwort or floatweed. I'm not sure whether or not this counts as cheating). The festival is called the Eating of the Weeds, or something of the sort; it has something to do with farming. A few people tried to explain it to me, but I couldn't hear them very well. I'm fairly sure at least half of them were drunk.

The crowds got to be too much for me after a while, so I ducked down a few alleyways to find a more peaceful spot. Alleys in SuyMaTmakk are even more like crooked birds' nests than the rest of the city. No one bothers to weave neatly on the back of a building. I eventually came out on the quieter end of Market Street. There was hardly anyone there; they were all at the festival. A tall person in a striped cloak - male or female, I couldn't tell - was poring over a bookseller's stall, running a slow finger along the spine of each book, as if reading an unfamiliar language one letter at a time. It looked as if this had been going on for a while. The bookseller was snoring. Other than the two of them, and a couple of construction workers napping on a half-woven building, there was no one on the street.

I stopped for lunch at the nearest restaurant, which turned out to be the Affable Troglodyte. It was nearly deserted as well. There were a few people reading at solitary tables, a couple who appeared to be quietly celebrating an anniversary, and an insect mother and child playing some sort of pencil-and-paper game between crumb-scattered plates. That was all.

I stayed there for most of the afternoon, sitting in a back corner and sketching the other customers. Not many came in. The ones who did usually stayed a while, sitting still, which made them easy to sketch.

Ms. Peliak noticed what I was doing when she brought me lunch. (I forget what it was. Something made of locusts.) Her nails were painted bright pink; so were the tips of her tusks.

"Hmm," she said. "Not bad. Have you been here after dark?"

I hadn't.

"You might want to come back then," she said, and moved on to refill someone's coffee without another word.

The sun was hot and the crowds were noisy, so I decided to simply stay there. It wasn't as if I was taking up needed space; not even half the tables were full.

At about midnight, someone turned the lamps down, and the diner became a dim cave. The customers were stranger after that.

It started with the usual mix of troglodytes and nocturnals - people with pale skin and large eyes, snakes and ferrets, the kinds of miners who never leave the house without a pickaxe. Many of them wore dark glasses and wide-brimmed hats. A bat-woman came in wearing a waistcoat fastened with magnets. There were so many rings in her ears that she jingled when she turned her head. A group of werewolves came in soon after midnight, on two legs or four or something in between. They were laughing and talking among themselves as they ordered meat and green tea. The topic of conversation always seemed to be the moons.

A steady procession of fishy people went in and out all night, dripping with lacy fins and clear lake water. Most of them were wearing weeds, the same little stalks and flowers that had been thrown from the docks that afternoon, tucked into their pockets or gills. They ordered soup and ate it with great slurping gusto.

The person in the striped cloak came in carrying a single book. It was small, but obviously carefully selected. The person sat down at a table and unwrapped the cloth from its head to reveal more cloth. This layer was in a dark gray houndstooth pattern. There was a horizontal tear near the bottom of what I'm assuming was the person's head, into which it tucked tiny slices of potato for almost three hours.

At a table in the back, a man with four ears sat and muttered to himself while he made painstaking repairs to what looked like a disembodied hand. I assumed he was either a shapeshifter or an expert on clockwork. He crunched peanuts from a bowl as he worked. After an hour or two, he unfolded a third arm from his coat and attached the hand to its wrist. He grinned in satisfaction as he flexed the fingers. I'm still not sure whether it was real or clockwork, but whichever it was, he seemed to have gotten it to work.

Vague upright shadows flitted across the floor to lurk under tables, as if even the dim lamp light was too much for them. They gave their orders in flickering sign language. What they got was either ink or the blackest coffee I've ever seen.

Two men sat down on opposite sides of a small table. "It is time," said one of them.

The other man nodded. "Have you the Tome?"

The first man pulled an enormous book out of his coat - I have no idea how it fit - and thumped it onto the table. It was bound in green leather, singed at the corners. The two of them stared at it for a while.

Eventually, the other one reached into his own coat and pulled out one of the little booklets of crossword puzzles that you can buy at the market, three for a Packle.

"Ah. The Tome," said the first man.

"What dreadful checkered mysteries it contains." The other nodded solemnly.

"This night shall see their unraveling."

"Indeed. Let us begin."

They spent the rest of the night doing crossword puzzles with the solemnity of a burial. They were still there when I left.

Ms. Peliak served everyone with equal cheer, pink nails shining in the dim lanterns. Apparently, she's used to them all by now, or professional enough not to show it if she isn't. She asked several of them about their families.

"I visited my parents at their home last night. Then I woke up."

"My sister has been dead for ten years now. She said to thank you for the flowers you sent last week."

"My aunt is downstairs, my uncle is upstairs, my grandfather is on the roof. When it rains, he is the first to know."

"Fam'ly? Whazzat?"

"My children number in the hundreds. They knit me socks to make me proud. Whatever shall I do with so many socks? I have only three feet."

A drifting, diaphanous thing came up through the floor at three o'clock, wreathed in smoke. I'm fairly sure it came through the cracks between the tiles. It sat slightly above a table and drank the smoke from a bowl of incense as if it was a fine wine.

That was when I left. I was too exhausted to tell if the thing was real or a sleep-deprived hallucination. In fact, I wonder the same thing about most of the people I saw last night. Ms. Peliak is the only one I'm sure was real. She was there all night, solid among shadows and phantoms, serving eggs and pouring coffee. I don't know when she sleeps.

This, as you may have guessed, is the reason my letter was late yesterday; I was up all night at the diner. I think it was worth it - for this picture, if nothing else.

I haven't included any of my other sketches. I'm not sure I believe them.

Market Street, Day 1: the Scavenger

2011-06-15T07:47:00.004-05:00

After a day spent exploring the market district of SuyMaTmakk, I'm afraid I'm too tired to write much tonight. I did come back with some pictures, though; perhaps they'll make up for it. Here's the first.

This is Harzifan Scrath, scavenger and merchant. He spends most of his days climbing over the islands of flotsam in the center of the lake. On Tuesdays, he brings back what he's found over the week and sells it at the market. His stall is set up by the docks. It's full of old clothes, boxes, and assorted bits of furniture; he found a whole butter churn last week, perfectly intact. A heap of tableware in materials that float (wooden spoons, bone-handled forks) sits next to an array of mismatched jewelry.* There are books so waterlogged that they're shaped like fans, their pages splayed and wrinkled and all but illegible. There's a china doll that looks like the survivor of a shipwreck. Perhaps she is. She has one shoe, patent leather with a brass buckle, and lake-weed in her hair.

A row of bottles stands in an uneven line in front of the stall. They're full of the small, smooth gouges left by the vitreous snail, which makes its shell out of glass. Any glass object left in the lake will be full of the same little pockmarks within days. The snails normally eat sand, processing it into glass in some strange pocket of their digestive system, but they've developed a taste for pure glass since people first settled by the lake. The TiLeKraNas have a colony of them at their house; they bring the occasional shell to the market whenever a snail dies of old age. There were none this time, but the shells are apparently quite lovely. Surprisingly, they're also quite practical. Most of the predators in the lake eat snails - if they like snails - by crunching them up, shell and all. Hail-storks and a few kinds of seagulls can crack even the toughest ones by flying them to great heights and dropping them on the docks.** Nothing bothers to do this with the vitreous snails, though; cracking their shells gives you nothing but a lump of meat full of glass shards.

An ornate wooden mantel clock sits on a back corner of the stall, ticking quietly. Harzifan says he's had it for five years now. It's made of some kind of hardwood - rare and valuable on the plains, where most wood comes in the form of small sticks - but no one has bought it. Harzifan says this might be because of the water stains, which have turned the clock charcoal-black in splotches, or possibly because it's run backward ever since he fished it out of the lake. I'm impressed that it runs at all.

Harzifan himself simply sits there all afternoon, grinning that same piratical grin at everyone who passes by. Every Tuesday, he says, he's more grateful than the week before to have the chance to relax. (His voice is deep and rough, like gravel on a lakebed, or the razor grin of a shark.) He's getting too old to be climbing over heaps of flotsam all day, he says. When someone buys the backward clock, or when it finally stops ticking, that's the day he'll retire.

I took a look at the clock as I was leaving, after I'd thanked Harzifan for letting me sketch him.*** The gears inside, where they were visible, gleamed with polish and good repair; the clock's price was higher than everything else in the stall put together, including the stall itself and possibly Harzifan's hat. Somehow, I don't think he's in a hurry.

* It's impossible to find a matched pair of earrings at a single scavenger's stall. It takes visits to at least a dozen to have the slightest hope of a match. There are people who spend hours going from stall to stall, playing the scavenger market like some sort of giant memory game, cataloguing hundreds of salvaged earrings in their heads in the hopes of finding a match. According to Harzifan, it's surprising how often they succeed.

** This, of course, is what hail-storks are named for. A whole flock of them can produce a short but devastatingly well-aimed shower of snails. This is why dock workers around Lake Twiliat wear such thick hats all the time, even during the hottest weather. They can't just drop what they're doing and run, the way everyone else does when the storks appear overhead; they have to have a different method of avoiding concussions.

*** I bought one of his books, as it seems rude to sketch someone's business and not buy something from it. It's called Hni Teli Paka, which could be translated as either "Greetings, O amusing one" or "Hey you, ugly." Some of its pages still look legible. This could be interesting.

SuyMaTmakk

2011-06-13T22:48:00.002-05:00

According to the TiLeKraNas, SuyMaTmakk is the only real city on the Scalps. There are a few large towns that like to call themselves cities when they think they can get away with it, and a couple of ghost cities where no one lives except night-haunts and the intensely solitary, but SuyMaTmakk is by far the largest concentration of living people. It's built around the only lake.

When I first saw SuyMaTmakk, I thought it was on fire. The setting sun caught the cloud of mist that hangs constantly over the city, raised by its hundred waterfalls, and lit it all up in orange. The buildings, made of sticks and straw and sod bricks, cast scarecrow shadows against the sunset.

Every river on the Scalps eventually empties into Lake Twiliat. There are only four of them, so this is not quite as impressive as it sounds, but that's still a lot of water for the Scalps. The Hley comes from the East. The other three rivers are the KleMit (West), the HatPaLikk (South), and the Flyeek (Northwest, except during full moons, when it moves around to parallel the HatPaLikk from the South).

The entire lake spins slowly, as if someone's opened a drain at the bottom. According to those who live in the lake, that's fairly accurate. There's a giant hole in the floor of the lake. It's called the Hwuyk - literally, the Drain. Most lake-dwellers stay away from it; the current is too strong to resist past a certain point. Many people have gone into the hole, curious or simply unaware of it until it's too late. Only a handful have ever come out again. They've returned over land, all of them, stumbling across the Scalps on dusty feet or carried in barrels of water by traveling merchants. Their stories have made little sense. They've raved of moons, of coal-fish, of strange and secret oceans. As they recover their senses, they lose their memories of their journeys. No one has ever gotten any sense out of them. The world beneath the Drain remains a mystery.

Some call Twiliat the Lake with No Plug.

It's actually surprisingly difficult to reach the lake by water. Its constant spinning has carved a huge bowl in the ground over the centuries, and the banks are much higher than the water. In many places, they actually overhang it slightly. Fish lurk in the shadowy places underneath, waiting for prey that doesn't have a hook in it. Water only leaves the lake through the Drain; everything above ground flows into it, not out. The four rivers reach the lake as waterfalls. Only the stupidly adventurous sail over those. There are a few systems of locks around the banks, series of stepped pools that lift boats with clever arrangements of valves and gates, but few boats use them. Instead, most of the city's shipping trade takes place in a ring of canals around the raised edges of the lake.* Much of the city is built around and over these canals, or clinging to the steep banks below them. Many buildings slouch on piers over the slowly swirling water.

The dry part of SuyMaTmakk forms a ring around the lake; the submerged part of the city forms a somewhat smaller ring inside it. Their populations are about equal. The city is evenly divided between the people of the air, the people of the water, and the amphibians who travel between the two.

The only people who sail on the lake itself are fishers and scavengers. Whole islands of debris build up in the center of the lake.** The current draws them together, but it's not strong enough to pull them down into the Drain, so they simply float on the surface, spinning gently. Everything that falls into the lake and floats eventually ends up there. The islands are made up of broken furniture, lost toys, dead fish, papers blurred to illegibility, leaves and sticks and wood shavings and a hundred kinds of dust. Some of them are old enough to have sprouted grass and small bushes. There are people who make their living by rowing or swimming back and forth, scavenging in the shifting heaps of trash and lost things. They bring back what they find and sell it in the city's markets. Their booths are full of stained books, locked boxes with no keys, dolls with waterweed in their hair, wooden clocks with their gears full of silt. The scavenger's booths are the first places people go if they lose something. Chances are it will turn up in one of them eventually.

The city itself is a chaotic jumble of buildings. Wood is just as scarce here as elsewhere on the Scalps, so the buildings are made of wicker, of crooked sticks lashed into bundles, of piled sod bricks topped with grass, of bones taken from the elephant graveyards outside the city.*** I don't think there's a straight line in all of SuyMaTmakk. The city tangles around the edges of Lake Twiliat like the nest of an enormous bird.

I haven't actually seen all that much of it yet. The sun set shortly after my first glimpse of that crazed silhouette against the sky, and it was dark when we began to reach the outstretched fingers of the city's river docks. The lamps on them are lit by bottled fireflies and exquisitely trained salamanders. In a city made of sticks and straw, actual fires are extremely scarce. The streets are mostly dark after sunset.

The inn the TiLeKraNas usually stay at is on the Hley, so we didn't actually set foot on the streets tonight; we simply tied the raft up at the dock, next to a shack built on a huge floating dome, and went inside. I looked back as the door was closing and saw the dome lift its head out of the water. It was an enormous turtle.

The inn is called the Hmofrem Pekelli (the Eloquent Pig). It's a cozy, slouching building made of sod bricks. From outside, it looks like a grassy hill with windows. The walls are threaded with embroideries of living roots, some of which reach pale flowers out to the lanterns or the dusty windows. The most bored or drunk patrons of the bar pour various drinks on them; some turn the next day's flowers interesting colors, as if the plants themselves are drunk. A few regulars have become experts and can combine drinks to give the flowers multicolored stripes or splotches. The other patrons generally agree that they don't have enough to do.

All of this is still only what I've heard from the TiLeKraNas; they come to SuyMaTmakk often enough to be familiar with the most interesting parts of the city. It was late when we arrived, though, and the children went straight to bed (after some protesting), soon followed by the adults. I've only stayed up late enough to write this letter and hand it to the patiently waiting postbird. My own exploring will have to wait until tomorrow.

* Twiliat literally means "Ear." It is, after all, a hole beneath the Scalps. English-speakers call the city's main waterway the Ear Canal.

** This might explain why rafts on the Hley look the way they do.

*** Most of the bone-houses' inhabitants are immigrants from Trammelghast, where a house is not considered homey until it's haunted by at least one shrieking specter. They see the dead as something like eccentric pets. Their neighborhoods tend to remain politely out of earshot of the rest of the city.

The Hley

2011-06-12T22:49:00.003-05:00

The dry stream eventually joined another dry stream, forming a somewhat wider dry stream that still had no water in it. This continued for a day or so before reaching the river.

The river is called the HleyPakkPakkKa. (Yes, that's a triple K, though it's technically a double K followed by a single. Hmakk is not meant to be written in this alphabet.) When someone pronounces the name correctly, it sounds like fireworks are going off inside their mouth. This is how you identify people who grew up in the Scalps. When I try to talk about the river, it sounds more like someone pulling their boot out of a swamp.

Fortunately, many people simply call it the Hley. I can manage that.

The Hley isn't particularly wide or deep; only the middle is over my head, as I found out a few times when the heat got to be too much for me. It's still the largest - possibly the only - body of water I've seen in months. Since the highest hills in the Scalps are about as tall as I am, the river doesn't flow particularly quickly either. You can use its surface as a mirror. It meanders so crookedly over the plains that the banks are made up entirely of peninsulas. Nearly every one of them had someone fishing on it as I walked by. I said hello to a few of them, but they told me - rather irritably - to shut up before I scared away the fish. I stopped after that.

One woman had a pole as thick as my arm, strung with rope and what looked like a grappling hook. She was baiting it with pickles. I don't know what she was fishing for, but the teeth hanging from her hat would have put a smilodon to shame. A few were longer than my fingers.

I didn't ask. From the way she was frowning, I got the impression she would have broken me in half if I'd scared off the fish - though what could scare off something with teeth like that, I have no idea.

I tried to stay out of the deep sections after that.

There are very few boats on the river, but a great many other things. I suppose you could call most of them rafts. Many are made of sticks - the kind you get from the little bushes of the Scalps - tied into bundles and lashed together with string. Others are floating collections of bottles, or barrels, or empty pots. One raft I saw floated on empty snail shells the size of pumpkins. Their openings were sealed with wax. Other people poled by in enormous baskets, either sealed with tar or simply woven well enough to be watertight. A few people were in coracles of oiled cloth stretched umbrella-style over a thin frame. They folded them up at the dock and carried them away on their shoulders.

Then, of course, there are those who don't need boats. There seem to be almost as many people in the water as on it. This is the case in most of the highly populated parts of Hamjamser, but it still surprises me occasionally. Maybe I just haven't spent enough time underwater. Everyone here is quite used to it, of course; it's fairly common to see people stick their heads up out of the water and start conversations with people in boats. Some seemed to be dropping their children off with friends for the day. A group of small mammalian girls - sisters, I'd guess - jumped off a raft at one point to join an otter-like family that looked like they might be cousins. A bit later in the day, a pair of small frogs in straw hats climbed up onto a raft to eat lunch with a family of avians. Everyone seems to know everyone, in and on the river, or to simply not care if they don't.

At around noon, I passed a raft that had stopped on the bank. Everyone on it had gotten off and was doing something in the grass. When I got closer, I found that they were picking strawberries.

Patches of wild strawberries turn up here and there along the banks of the Hley. I'd found a few of them already, but this was by far the largest yet. The people from the raft turned out to be a family - HeMiKa (a reptile), HmoTan (a mammal), and their children (various combinations of the two). Their last name was TiLeKraNa, and they were a family of glassblowers. The raft (which was made of corncobs) was piled high with glass bottles and fishing floats. It clinked every time anyone moved. The family lives somewhere upstream, near a convenient sand pit, but they come down the river every few weeks to sell their wares in the city.

They told me all of this over lunch. After I helped them gather up the last of the strawberries, they invited me to come the rest of the way downstream with them, and I was happy to accept. There's only so much walking I can do in one day when it's this hot. The little awning on the raft was the only shade I'd seen since sunrise.

As is traditional, I contributed the most exotic bits of food I had left. Most of my current supplies are plain food from the plains - bread, dried clackrabbit, and various things made of locusts - but I still had a few of those little sugar things I picked up in Mollogou. The children loved these, though their parents limited them to one each.

While we ate, the family told me all about the city, though the two smallest children kept interrupting to show me various blobs of glass they'd made. Their names are TiLi and HnerKipPeLo. (HnerKipPeLo is at a stubborn age and refuses to let anyone shorten his name.) They've started learning the trade already, apparently, and they seem quite good at it; TiLi had made a bottle large enough to hold a grape, which she showed me several times, and even the blobs were quite beautiful. There were streaks of blue and green in them. (The source of this color is a family secret.) The oldest son, MetTeyy, has started making some of the precision glassware used by the alchemists and apothecaries in the city. He doesn't talk quite as much as his two siblings. I'm not sure anyone does.

Once they found out that I'd never visited SuyMaTmakk, the city became the main topic of conversation. I'd been interested before; now that I've heard a bit more about the place, I can't wait to get there. The raft arrives (probably) tomorrow. I'll write more then, but I want to see this place with my own eyes first.

Out of the Wild

2011-06-11T21:57:00.002-05:00

Although I've been traveling across the Scalps for over a month now, it wasn't until today that I finally saw a jackalope. They're not easy to find. I only barely caught a glimpse of this one; it was running between two hills, out in the open for as little time as possible. I thought it was an ordinary jackrabbit at first. I had just enough time to see the tiny antlers on its head before it vanished into the grass.

According to legends, some jackalopes will grant wishes if you catch them (or wealth, or luck, or wisdom, depending on who you ask). No one I've met has ever succeeded in catching one - or if they have, they aren't telling anyone. After centuries, jackalopes have gotten good at not being found.

There are a lot of clever animals on the Scalps. The local foxes are a jackalope's match - some of them, at least - and so are the rhyming magpies. Colonies of the long-legged grass ants have shown rather alarming intelligence at times, though whether they count as one animal or many is anyone's guess. This may be the reason for a widespread belief on the Scalps - that every intelligent being was an animal that somehow found a way to be reborn. The methods of doing this vary quite a lot.

This is seen as an improvement, not because people are considered better than animals (after all, according to this theory, they're the same individuals), but because people have more options. An animal's life and personality are largely determined by its species. It is also, of course, somewhat more pleasant to live in a house and eat cooked food instead of sleeping out in the cold and eating raw dead things; this is considered sufficient reason to want a civilized life all by itself. So is the existence of art. Some believe that music alone (or painting, or poetry, or storytelling, depending on your tastes) is all the reason anyone needs to live in civilization.*

Domesticated animals, while not quite human also tend to have more widely varied personalities than their wild counterparts.** They are seen as an intermediate step - creatures that didn't quite manage the leap to intelligence, but are perhaps halfway there. Ones that show an appreciation for art are thought to be farther along than others and are encouraged. No one on the Scalps stops a dog from howling along with a song.

For similar reasons, people tend to treat animals well here. Killing an animal for food is all right; you are, after all, simply sending it one step further on its journey to intelligence. (Besides, carnivores have to eat something.) Causing unnecessary pain, however, is considered barbaric. Twenty years from now, an animal could turn out to be your own grandchild. It's best to treat all of them kindly.

Many of the stories of the plains are, not surprisingly, about animals seeking humanity. Hance DeStrill has written whole books about them. The most common heroes are the clever ones, such as foxes, crows, and jackalopes, but there are also stories are about more unlikely species. Several tell of the surprising successes of termites or tubermoles.***

A major event in anyone's spiritual life is the discovery (or the theorizing, as few people are ever entirely sure) of what animal they were before. This is not as simple as it might appear. Looks would seem an obvious way to judge species - antelopes become people with horns, snakes become people with scales, and so on. This is not the case. In fact, as far as anyone can tell, the opposite is frequently true. Many herbivores are thought to become large, intimidating people, while predators may be misleadingly small and soft - at least on the outside. The instinct for camouflage is not so easily left behind.

If people are themselves reborn as something a step beyond humanity, no one is sure what it is. Weather Dragons, perhaps, or any of the myriad other nature spirits. They do seem to know much more than we do. It doesn't seem all that unlikely.

* Many people believe art is civilization's only excuse for existing in the first place.

** This is only partly due to the eccentricities caused by inbreeding.

*** It's anyone's guess what sort of people these would make. Hardworking, I suppose, and probably good at digging.

Candlegiraffe

2011-06-10T22:47:00.002-05:00

The candlegiraffes walk at night. As far as I know, they might not even exist in the day. I've only seen them in the dark. The candles on their heads never seem to go out; they're visible for miles, a procession of bright flames in an uneven line, marching over the Scalps. They cross the plains in silence, traveling from somewhere to somewhere else, or possibly to nowhere in particular.

I don't know where the candles come from. Perhaps they grow out of the giraffes' heads - unicorn horns of wax and string. The giraffes don't seem to mind the hot wax that drips down their faces. Moths flutter around their perpetually burning lights, along with other insects, flies and lacewings and dimly shining beetles. Fireflies ignite themselves in the flames and fly off like tiny phoenixes to lay their coal-black eggs in nests of ash. The candlegiraffes pay them no notice.* The little ones are distractible; they stop to look at flowers and bushes and interesting insects. The adults are above all that, though, and not just in height. They never seem to notice anything. Their feet glide along, invisibly distant in the dark - but they never trip, never stumble, never make a sound except the faint rustle of grass against hooves. I've seen people try to get in the way of a candlegiraffe procession. It doesn't work. Somehow, the line seems to go around all obstacles without ever changing its course; people who try to get in the way find that they've simply misjudged where that is, every single time. The giraffes just walk by, uncaring. They march in a perfectly straight line that never quite meets anything. People seem to be about as important to them as weeds. We are below eye level and below notice.

People have tried to follow candlegiraffes before - scientists and writers, usually, or other members of the perpetually curious. They say that the night never ends. The giraffes seem to follow it, somehow, or perhaps it follows them. People have trailed along after them for whole weeks without a single day. Dawn never comes until they give up, or collapse from exhaustion, and the candlegiraffes move on without them.

Wherever they're going, nothing is going to follow them there. Not even the sun.

* There are rumors that they catch the insects with their tongues, like frogs; if so, they do it so quickly that I've never seen it.

Fish of the Drought Land

2011-06-09T22:35:00.002-05:00

Most signs of the rain are gone by now. The grass is dry again, except for half an hour of dew each morning; the sogginess of the ground has turned to steam and vanished in the sky. The only water left is in the streams.

To most of the rest of the world, the streams of the Scalps would barely be worthy of the name. They only hold water for a few weeks in every year. The rest of the time, they are simply dry channels, wrinkles in the Scalps, empty except for dust and cracked earth.

One of these streams runs beside the road I'm on. The water was low this morning, barely halfway to the grassy edge of the stream bed, but it was still there. The sound of it woke me up in the morning. It's been a while since I last heard running water.

There were little fish in the stream.

I have no idea how they survive in such a temporary place. Three days ago, the silt they were swimming over was a cracked desert. There has been no water here for months. Where did they come from?

It's different for other creatures. Periodic frogs and lungfish, for example, spend most of their lives waiting underground, sealed in the thin layer of moisture under dry stream beds. They emerge only in the floods after rain, released from their dark confinement for a few days, briefly free to swim and mate and eat ravenously. Unlike their cousins in more permanent waters, they don't lay eggs; their children are born fully mobile. They have to be. Before they're three days old, they have to burrow down into the mud with their parents to await the next rain.

These were not lungfish. They moved more like tiny salmon. It was hard to make out their shapes; the surface of the stream was shattered with the ripples of water going somewhere in a hurry, and the fish never stopped moving. They were like flames in the water, quick flashes of bronze and scarlet and electric blue. They were mesmerizing. These were not the kind of fish who burrow and spend months sitting in the mud.

I had no idea what they did plan to do. I sat and watched them while I ate breakfast. By the time I finished, the water was barely half as high as it was when I started. Mist rose around me as the dew on the grass returned to the air.

The water kept sinking over the morning. I watched it as I walked. The fish grew fewer as the stream shrank; every few minutes, there were fewer flashes of color beneath the surface. They must have been following the water downstream to wherever it was going.

There were still far too many when the stream dried up at noon.

I missed the exact moment when it dried up. I had gotten distracted for a few minutes, trying to remember the third verse of a song by Chellery Hewer. (It still hasn't come to me.) When I looked back at the stream, the water was gone. Only a few puddles remained. The bright fish were flopping in them, gasping as the water drained away into the ground.

I don't believe I was really thinking when I picked up the nearest one. When something is dying, the instant, automatic response is to do something - anything - to try to save it. It's a reflex. It keeps working even when there's nothing you can actually do. The fish continued to flop in my hand, just as doomed there as in the puddle I'd taken it from, a puddle that was gone already. The fish's mouth worked uselessly in the dry air. It was one of the red ones. There were tiny freckles of yellow down its side.

Still running mostly on reflex, I dropped my bags and fumbled one open with my free hand. The small glass jars I use for painting were on the top. With my feet sliding in the mud, I half-stepped, half-slithered to the bottom of the stream bed and filled a jar with as much muddy water as I could take from the largest remaining puddle. Two fish came along with it, blue with pale green spots. I dropped the red one in with them.

As the brown water cleared, I realized that half of it was mud. The fish swam in tiny circles in the inch or two that was left. There was barely room in the jar for them to turn around.

I stood there, looking down at the tiny, fragile lives in the little jar, and wondered what exactly I thought I was doing. Water is not abundant on the plains; only the very wealthy can afford to keep fish. It could be days before I found more water. I didn't even know what kind of fish these were, or what they ate, or how big they were going to get.

There were still dozens of them flopping desperately in the mud.

The sheer impossible hopelessness of the whole situation overwhelmed me a little at that point. There was really nothing I could do for most of the fish. They had fallen behind, unable to keep up with the water and their faster siblings, and they were doomed for it. Things die in nature all the time. It wouldn't work otherwise. I was probably crazy to try to intervene with something like this, but those three little fish were still swimming in the pathetic amount of water I'd managed to save. I couldn't just let them die.

I was standing there, staring blankly at the confused little circles of the fish and feeling like much the same thing was happening in my head, when I noticed something sparkling at the corner of my eye. I looked up. A sinuous, glittering shape was coming down the drying stream bed. As it got closer, I could make out a long body with a flat-topped head - a great snake, or possibly an eel. It must have been ten times as long as I was.

It was made of water. I could see the ground through it.

The snake meandered back and forth across the stream bed. I couldn't tell what it was doing until it got closer. It glided from fish to fish, sliding over the sad little flopping shapes and gathering them up into itself. I don't think it missed a single one. Its back was covered with the crossed ripples of a stream; on the snake, the pattern looked surprisingly like scales. When it reached the spot where I was, standing in mud halfway down the bank, it turned to look at me.

Its eyes were pools of liquid black, the color of cave pools or the ocean at night. Small fish swam in its face. Its whole body was full of them, a flashing rainbow of rescued colors, but all I could look at were those eyes.

I've only seen two other river spirits in my life. They don't often show themselves. The rest of the world seems to fade when they're around; everything else is simultaneously too solid and yet not real enough, depressingly static and ridiculously transient, too old to care and too new to understand. Nothing changes so constantly as a river. Nothing is so utterly unchanging. Nothing except, perhaps, the ocean.

This was only the spirit of a small stream. If there's a spirit for the ocean, I hope I never see its face. I would drown from looking.

The snake made an impatient gesture with its head, somehow managing to indicate the jar I held, and the spell was broken. My brain started working again. Quickly - there were fish still waiting in the mud - I held out the jar and upended it over the snake's transparent body. The surface absorbed the water with a small plop, sending ripples over the shining back, and the fish darted away to join the rest. I lost them immediately in the bright school of colors. The snake gave me a nod that seemed approving, somehow, then turned and continued down the stream. The wet trail behind it steamed in the sun.

I didn't try to follow it. There was no help I could give to a being like that, not beyond the well-meaning but useless little bit I'd already done, and I'm not sure I could have handled another sight of its face. I'm used to looking at rivers. I'm not used to them looking back at me.

Instead, I just watched until the shimmering tail had vanished in the glare of the sun. The mud in the jar had already dried to a thin, flaky crust when I put it away and picked up my bags. The road stretched into the distance. Cracks were appearing in the empty stream bed beside it.

I wonder where the spirit was going. I suppose I'll find out soon enough.

Shapeshifters

2011-06-08T22:49:00.003-05:00

Twokk, as it turns out, is mostly surrounded by farmland. I suppose most towns are. They had run out of things to paint - the need for artists tends to be limited in places this small - so I moved on this morning. The cook of the Moons and Magpie gave me half a dozen different kinds of food when I left, all of them made of locusts.* She says they'll last for months. I believe her.

The road out of town (an actual road, not one of the treacherous paths of the Scalps) winds through fields of cotton. The vegetable lambs are still young at this time of year. They sit curled on top of their stalks, cradled by leaves, pink skin still showing through their first layer of cotton wool. The fields are full of the sound of tiny bleating.

Most people are fairly sure that the vegetable lambs were created by shapeshifters. Not all hybrids of plants and animals were shifter-made, of course. Though no one can be entirely sure, tubermoles probably came into existence the normal way (whatever that happens to be), as did the enigmatic Greenlings and the trapper vines with their subterranean stomachs. Most of them are closer to one side or the other, though. Greenlings and trapper vines are mostly animal; they just happen to be capable of photosynthesis. Tubermoles are basically roots with digging claws.

The vegetable lamb, though, is an even division of plant and animal: a little sheep on a stalk. That rarely happens when shapeshifters aren't involved. No one is sure how many of the living things in Hamjamser were originally created by shapeshifters. The meatroots that feed the floating cities** certainly were; their creator's name was Sashrem. Tesra Sashrem, some call her - a craftswoman who worked in flesh and bone. There are statues to her on most of the floating cities, depicted as whatever species she happened to look like at the time each sculptor met her. She also created coal-nuts and the dirigible octopus. She supposedly said that sea-spackle, silt-crabs, and the surprisingly popular memory leeches were also created by shapeshifters, though she respected their privacy too much to mention their names.

She was unusual. It's rare to meet a shapeshifter and know it. Nearly all of them stay hidden, anonymous, using their extraordinary abilities to appear completely ordinary.

Most of Hamjamser's disguised people have a perfectly innocent reason to hide themselves, of course. Vancians consider faces to be private. Visitors to Samrath Kazi used to be required to wear a mask if they didn't meet the town's standards of beauty.*** Cloisterers hide their faces for religious reasons. Aggravarns (sometimes called the Worms that Walk) occasionally cause vomiting in people who are scared of worms; they usually feel just awful about this, so they wear coats over their collective bodies when they go outside, recognizable only by the faint squishing noise when they walk. Some troglodytes simply sunburn easily. Shapeshifters have a similar but different reason: they don't want the attention.

Like anyone with rare and exceptional abilities, shapeshifters tend to become instantly famous whenever and wherever they reveal themselves. Everyone is curious about them. Everyone wants to find out more about them, to understand how they work, often to ask them for help. Even ordinary conversations with shapeshifters can be awkward; no matter how good your intentions, it's almost impossible to forget that they've built themselves from scratch. The mind has a tendency to dwell on how they must have sculpted their bones, strung their muscles, tailored their skin, wired their nerves... If, that is, they even need nerves. People with near-perfect control of every cell of their bodies (or whatever they prefer to use instead of cells) have little need for anything as inefficient as a nervous system.

This is why many people are somewhat uncomfortable around shapeshifters. Of course, being basically sensible, most inhabitants of Hamjamser think nothing of it after a few days; they have no qualms about eating dinner with someone who uses a homemade stomach and could grow their own silverware from their fingernails. The shapeshifters answer the same questions that everyone asks them constantly over the years of their unending lives, smiling patiently, and all is well.

Still, there are always a few people who can't get used to shapeshifters, and even more who are just annoyingly curious. This is why most shapeshifters have stayed in disguise for the last few centuries. Their existence is fairly common knowledge; most people have heard of them, if only as a myth. Individual shapeshifters, though, prefer to stay anonymous. All we see is their handiwork.

Many village healers are actually shapeshifters. (The villagers are usually polite enough to avoid finding out.) Being able to manipulate individual cells - their own and, with far more difficulty, those of others - shapeshifters have healing abilities far beyond anyone else's. Most of what we know about biology was discovered by shapeshifters; they've seen it, or sensed it, firsthand. They build their own cells, defend themselves against diseases, puzzle out the complex mechanics of reproduction (and often design more convenient systems of their own). Medicine would be very different without their vast and microscopic experience.

Their creations have changed the world just as much. Life on the floating cities would be impossible without the meatroot; even if there was room for pastures in the vast machinery of the cities, the weight of a whole city's livestock would make them too heavy to float. Without memory leeches, who provide brains in exchange for blood, the mental abilities of abacus thinkers and omniglots would be equally impossible.

Then, of course, there are their descendants. About one person in sixteen has some sort of obvious quirk inherited from a shapeshifting ancestor, however distant. Some call it the Shapeshifter's Curse. Many of its apparently random manifestations certainly seem like curses - there are tails that never stop growing, hearts that play hide-and-seek with doctors, and a bizarrely common variation that causes the random growth of extra teeth.**** It's harmless most of the time, though. Many people even consider it a gift. It also shows itself in unexpected wings, in perfect immune systems, in shifting kaleidoscope skin, in bodies that heal without scars when anyone else would die - sometimes even in immortality. Many inheritors of the Shapeshifter's Curse never age past a certain point. I've met people who have been thirty (physically, at least) for hundreds of years.*****

My own variation of the Curse has been useful, however slow and uncontrolled - a constant, gradual change that always seems to know what I'm going to need, wherever I find myself. In the Winter, I grow fur; in the swamp, I once grew gills. It's possible that the legends about the wandering of the Cursed are true, and I might have settled down in one place if I had a body that could settle down in one shape. I don't know. Without shapeshifters, though, I'm sure I'd be quite a different person.

Without shapeshifters, you probably wouldn't be reading this letter.

* Swarms of locusts come through Twokk occasionally, though it might be more correct to say that the town comes through them. The insatiable insects normally eat everything in sight. They're probably surprised when Twokk eats them instead.

** Another combination of plant and animal, by the way. The meatroots are enormous, turnips the size of mountains with roots of solid steak.

*** This is not the case now, of course, as the town no longer exists.

**** I have several myself. There are rumors of people who have even grown teeth on their eyeballs, but I suspect that this is hyperbole.

***** Whether they see it as a blessing or a curse after all that time depends heavily on the person.

Rain-Walkers

2011-06-07T21:04:00.003-05:00

It's been raining for two days now. Today, the rain-walkers arrived.

In Hmakk, they're called takahreel. It means the same thing. I'd never heard of them before, but apparently, they're fairly common on the plains. They follow storms.

They arrived at what the clocks said was noon, though the sun was nowhere in sight. One moment, there was nothing but gray sheets of water, thick enough to turn distant buildings to dim gray silhouettes; the next, tall shapes strode out of the rain, and there they were.

Their heads were level with second-story windows. They looked like frogs, but huge ones - plump, green-speckled bodies walking on two long legs, their waists eight feet off the ground. Their feet were the size of sleds. I counted nine of them, striding along with slow, careful steps, as if they were walking across snow. People came out of their houses as they passed. We stood there - under umbrellas, in rain coats, or simply getting wet - and watched the rain-walkers go by, a slow, silent parade in green and gray.

Their skin was shiny in the rain, but no water dripped off of them; somehow, they were absorbing the rain as fast as it could fall. They left dry footprints in the wet mud of the street.

They had tiny arms with delicate, long-fingered hands, which they kept tucked against their chests. Each walker held something. One had a trumpet; another, a carpet brush. A third clicked the beads of an abacus as it walked. Some had things from nature - a coconut, mostly bald; a lump of rock covered in pyrite crystals; a sun-bleached rabbit's skull. One held a mariner's clock covered in what I'm certain were barnacles. I don't know how far that must have come - it's hundreds of miles from here to the sea. I could still hear it ticking.

I watched this strange procession of objects, each one unique, as if it was the name of the rain-walker holding it. A found name.

Later, after the walkers had gone, I asked the whittler from yesterday about this. She had watched the walkers too, still gnawing at that lump of wood in her mouth. It was starting to look like something. I couldn't tell what.

"Hm," she said. "Might be names. Makes as much sense as anything else I've heard. I don't know - they never say anything. I can't tell them apart, but I recognize some of the things they're carrying. The one with the abacus was just a baby when they came through last year. Barely old enough to walk. Probably the same one, unless they trade their things when no one's looking. Somehow, I doubt that."

No one spoke while the walkers were here. It didn't seem right.

One walker had babies on its back.* They looked like fat tadpoles. Their tails were small and stubby - there aren't many opportunities for swimming on the plains - but they clung to the adult with webbed feet that were already as big as my hands. Not surprisingly, none of the tadpoles were carrying anything. Maybe they only get something when they grow hands to carry it.

One of the full-grown walkers held nothing at all. It clutched at the air as it walked, wringing its empty hands as if unsure what to do with them. Perhaps it had lost what it carried - lost its name. A little girl was standing in the rain nearby, watching the walkers underneath an umbrella bigger than herself. As the empty-handed one walked by, she put down the umbrella and tapped it on the foot. It stopped and stared at her. She stretched out - on tiptoe, she could almost reach the walker's knee - and held up a little wooden horse.

The walker stared at her for a moment, its eyes round and unblinking. I almost didn't notice when it started to sink. It was like watching a tree fall. The great knees bent impossibly slowly until it was squatting on the ground, looking more frog-like than ever. One arm reached out - slowly, carefully - and the long fingers gently plucked the little horse from the girl's hand. With the same slowness, the walker lifted it up to those huge golden eyes.

It stared at the horse for what seemed like forever. Finally, it turned back to the girl and nodded its head. The great legs unfolded, as slow as a sunrise, and the walker strode away to rejoin its companions. It clasped the wooden horse tightly against its chest.

Most of us followed the rain-walkers as they made their gradual parade down the street. They don't come into towns very often. There are a lot of them on the plains, walking in groups or alone, but there's also a lot of space on the plains. For every walker that comes within sight of a town, there are probably hundreds that walk past it, hidden and silent in the rain.

They had reached the outskirts of town (not a long walk) when the rain grew gentler, then stopped altogether. The air turned dry almost immediately. The walkers paused and stood there for a moment, blinking, then changed to match it. Clear membranes - some sort of second eyelid - slid over their eyes. Their skin turned from slick green to a dusty gray. I could almost see the pores closing up. The one with the tadpoles opened its mouth, and they all climbed inside. I suppose that's one way to keep them wet between storms.

The whole group stood there for a minute or two, swaying slightly. Their heads were tilted as if they were listening for something. Mist rose from the hot ground around them. There was no signal I could see, but they all turned in unison and strode away over the wet grass. On their way to the next storm, I suppose.

The little girl watched them go. When they had almost vanished in the mist, she dropped her umbrella and waved. It was hard to tell, but I thought I saw one of the tall shapes wave back.

* I would say on her back, but there are plenty of amphibians that let the father carry the babies. All the walkers looked more or less the same to me.

The Burning Man

2011-06-06T22:47:00.002-05:00

Today, I was woken at sunrise by horrific screaming. I stumbled to the window, certain that someone was being murdered outside.

The street proved to have a distinct shortage of death. People were walking around and nodding to each other. No one seemed to notice the screaming, though I didn't see them trying to talk either. I doubt anyone could have heard.

The flames I'd glimpsed last night came to mind. Maybe this was just one of those towns where fire and screaming were considered unremarkable. I usually try to avoid those. They're quite rare, fortunately, but it's not always easy to tell when you've found one. I had nearly made up my mind to sneak out quietly, before anyone noticed me, when I happened to see the source of the screaming. It was a little gray bird, about the size and color of a mouse, which sat on a fence post and screamed as if it was being eaten alive. It seemed far too small to have a voice like that. Occasionally, it stopped to sneeze or preen its feathers.

I gave up trying to sleep and went outside instead.

Twokk is a fairly small town, so it was easy to find my way to the center (which was lucky, as I couldn't have heard anyone if I'd asked for directions). There was a man there. He was sitting in the middle of the town square, and he was on fire.

This seemed like the sort of situation that might warrant screaming, but everyone in sight seemed as unconcerned as ever. Several people stood with buckets next to a trough of water. I assumed there were there in case anything else caught fire. They watched the burning man idly, looking almost bored.

"Er… does this happen often?" I asked one of them.

She shrugged. "Usually he only does it once every few months, but there's been a drought lately."

I had been under the impression that droughts were normally a reason not to light fires in the middle of town.

"Normally, yes." The woman took the piece of wood she'd been whittling, eyed it critically, turned it around, and stuck it back in her mouth. I tried not to stare. I can't recall ever meeting someone who could carve wood with her teeth and talk at the same time. "Not in his case. He does this to end droughts, apparently. Something about taking the dry thoughts and burning them away. When he wakes up, he won't even remember there was a drought unless we tell him. I don't pretend to understand it myself, but I've seen it rain after his little bonfires often enough. Whatever he's doing, it works. Besides, the salamanders like it."

I looked closer then, trying to see through the flames. The man was sitting in what looked like meditation - one of those poses that requires minimal use of muscles to maintain. The flames rose from every inch of his body, bright and roaring, as if he was made of dry wood. I could feel the waves of heat blowing from him.* His eyes were closed; his face was peaceful, completely unmarked by the fire.

He was also covered with salamanders. They perched on his head and shoulders, sat around his feet, and clung gecko-style to his bare chest. My own salamander seemed agitated, so I let it join them. It climbed into the flames and settled down on a heap of other salamanders on the man's foot.

Maybe salamanders like the taste of dry thoughts.

One of the other bucket-holders checked a pocket watch. "You showed up just in time. He's been going for almost a whole day now. Can't be much longer."

"Usually, he remembers to take his clothes off first." The whittler pointed to the ground around the man. It was covered with a thin layer of ash and a few half-melted buttons. "Not this time."

"Hmm." The man with the watch put it back in his pocket. "Pity. That was a nice shirt."

We talked for maybe ten minutes or so. The screaming had stopped by then. The bird, I found out, is called a throkelit skeee, which literally means "shriek of death." They're found only in a very small region of the Scalps. Thank goodness. Apparently, the shrieking is a mating call; females are attracted to the males with the most bloodcurdling screams. They occasionally get confused and mob the heroines (sometimes the heros) of particularly melodramatic traveling plays.

We were comparing the plot of "Death in a handbag" (the dialogue in the Hmakk translation is apparently a bit more… explicit… than Trachia Ghastie's original script) to that of "The Perils of Pulgreen" (one of the few plays with an ogre as the heroine) when the burning man woke up. His eyes were wide and golden. Steam hissed as the fire vaporized the water on them. He didn't seem to care.

The fire died down gradually as he sat there, as did the conversation. He looked strangely naked without the coat of flames. (Technically, he was, but since he was a reptile, no one cared.) His scales were orange and yellow, speckled here and there with the intense blue of a fire's heart. I could just make out the shape of clothing silhouetted on him in soot. Other than the ash on the ground, that was all that was left. He got up, stretched, and gave everyone a vague smile.

"My, it's hot out here, isn't it?" he said.

No one seemed to have an answer to this.

A cool breeze wafted in as he spoke, carrying the scent of rain. His smile widened. "Oh. Never mind."

With that, he turned and walked away, shedding salamanders as he went. The rain swept in a few minutes later. Everyone ran to gather their own salamanders, or their children who had been watching the show, and disappeared into various houses. The extinguished man disappeared in a cloud of his own steam. The raindrops sizzled and vanished when they touched his skin. It rained until nightfall, and I spent the rest of the day inside, illustrating the inn's menus.

I never did find out his name.

* It was early, after all. The morning air was barely hot enough to melt candles.

The Cat's Radishes

2011-06-05T22:50:00.002-05:00

Today, after almost a week of walking, I finally reached a village. Its name is Twokk. There was something on fire in the middle of town, but no one seemed particularly concerned about it, so I assumed it was normal. I'll take a closer look tomorrow.

It was dark when I arrived, and my feet were sore, so I stopped at the first inn I came to (the only one, as I discovered later). It's called the Moons and Magpie.* It's a cozy place, comfortably settled into its space on the street. The inn somehow manages to lean on the buildings to either side and slouch to the rear at the same time. It looks as if it's relaxing in an old armchair.

The locust stew was quite good; the meat was tender, the shells still crunchy. I've heard that's a hard combination to achieve. As so often happens, I had been there hardly ten minutes before someone sat down across the table and started talking. He was reptilian - mostly, anyway - with gray-green scales and whiskers. A thin mane of gray hair ran down the back of his neck, twisted into a tangle of braids and fastened with blue glass beads. His face had more folds than an origami alligator.

"You look like a traveler," he said. "Got that windswept look. You got a name?"

I introduced myself, and he nodded.

"Nigel, eh? I had a cousin named Nigel once. He could play the accordion like nobody else. Got so good that a dragon came and took him away to be its personal musician. Or maybe it ate him. I dunno. I'm Brexical Cheezerbaum, expatriate carter and merchant, but you can call me Cheese. You ever been to the High Fields?"

My single visit to the High Fields had, in fact, been a rather memorable one - I might write about it someday - but I settled for a simple nod.

"Well, there's something you oughta know if you ever go back. Pretty sure it saved my life once. Care to hear the story?"

I almost never say no to this sort of question. It always leads somewhere interesting, and I've found that most people don't particularly care if you say no anyway. I nodded again.

"Well, it was up on the terrace road," he began. "Highest of the High Fields, up near Pelfry and Farcastle, where there's more cliff than ground and weather's something you look down at. I'd stopped to repair a wheel on my cart - roads are terrible up there, see, 'cause the pothole crabs keep digging 'em up. Can't take horses on those roads at all. I had my cart-lizard. Good eating, though, pothole crabs, if you know how to catch 'em…

"Anyways, there I was, putting my wheel back on, when a steeplecat climbs down the cliff above me. You ever seen a steeplecat?"

I hadn't.

"Well, a steeplecat is like a tiger, see, except green instead of orange and with spines all over like an iguana. Sticky feet, too - it climbed down that cliff face like it was walking on the ground. A giant of a steepler, big as a horse, and all muscle under that green fur.

"Well, my poor cart-lizard completely lost his head - can't blame him, I suppose, since the steepler could have eaten him in two bites. First the silly thing tried to hide in a crab-hole in the road, then he realized that wouldn't work and practically turned himself inside-out trying to hide under the cart he was pulling. Me, I just stood there with nothing but the hammer I'd been using to fix my wheel - about as long as one of the steepler's teeth, it was - and the stupid hope that maybe if I stayed still, it wouldn't see me. I wasn't thinking too clearly, you understand.

"Well, as it turned out, the steeplecat wasn't interested in me or my lizard. She went straight to the cart - I could tell she was a female, cause the males have horns when they're full-grown, and this one was more full-grown than most - and she started pawing through the bags and boxes inside. Didn't break anything, just kept digging till she found a box she liked. I was so terrified I couldn't even remember what was in it. She picked at it for a while, scratching at the lid - even tried biting it open, as if it was a nut the size of my head. That gave me the shivers, I can tell you. Looked like she'd done it before.

"Well, the box was one of those little iron-bound chests, the kind you use when you're delivering china by dropping it off an airship and don't want it chipped. Even the steepler's teeth couldn't get through that. She sat there growling at it for a while, while my lizard about had a fit under the cart. Then she picked the box up in those big teeth and walked over - her paws were bigger than my head, and they didn't make a sound - and dropped the box right in front of me. Sat there and looked at me, waiting, till I realized she wanted me to open it.

"Well, I wasn't about to argue with that. I picked up the box - nearly fell over doing it - and opened the lid, though my hands were shaking so bad I nearly dropped it twice. Found it was full of radishes. I'd picked 'em up in Sickle, where they grow 'em in buckle tortoise shells, so they last for months and glow when you put 'em in water. The cat had her whiskery nose in the box soon as I opened it, so I put it down quick and backed off. She plucked those radishes out of the box with a claw and ate them, one by one, dainty as a lady eating chocolates. Didn't stop till the whole box was empty.

"When she'd eaten all the radishes - half a Geint, those cost me, but she could have eaten me instead, so I'm not complaining - she walked over to my cart, climbed up on top, and went to sleep. Right there on my luggage! Softer than rocks, I suppose, which is all there was nearby. I still couldn't quite believe it till she started snoring. My lizard got out from under that cart so fast, I was picking splinters out of his tail for a week.

"I figured eventually we might as well keep moving, since the steepler didn't show any sign of waking up, and she could eat us just as well someplace else if she wanted. My lizard was happy enough to get moving, though he spooked every time the cart went over a bump. In the High Fields, that's practically every two steps. We got another few miles before the cat woke up. She yawned - hope I never see a sight like that again - jumped down from the cart, and gave my lizard a big, friendly lick, like a dog. Poor thing fainted clear away on the spot. I was afraid she'd do the same to me, but she didn't even look at me - just turned and poured herself over the nearest cliff. I looked down and saw her climbing down the rock, faster than I can walk. Still not a sound. My lizard didn't wake up for another hour, but when he did, he was so eager to get out of there, we reached Farcastle by nightfall.

"And if you don't believe me, look at this."

He pulled a wooden box out from under the table. It was scratched and dented all over, both the wood and the metal bands around it; the marks could have come from a pickaxe, except that I've never seen a pickaxe that sharp. A few of the gouges had what looked like grass caught in them. On closer inspection, this turned out to be strands of long green fur. He opened the box to show that it was full of radishes.

"I've never made a trip since without a box of these," he said. "Far as I know, they're the only reason me and my lizard didn't end our trip as lunch. And I'd advise you to do the same."

I bought half a dozen. After a story like that, how could I have done otherwise?

It's entirely possible, of course, that the whole story was an elaborate plot to get me to buy his radishes. (I later overheard him telling a rapt pair of rabbit-eared Mattergovian monks how he had outsmarted a band of pirates with these, yes, these very sea-pickles.) It doesn't really matter. True or not, the story was worth at least the price of a half dozen vegetables.

Besides, I like radishes.

* Or, in Hmakk, Hmika mi Kikimey. I think the name comes from a story from the Scalps.

Malanian

2011-06-04T22:36:00.002-05:00

During my time in Mollogou, I stayed for over a month in the town of Malanian. It was relaxing - a stable island in a sea of geographical chaos.

Geography is inconstant, to some extent, in every part of the world; this is why maps are useless before they're completed, and why Wayfinders' abilities are in such high demand. Mollogou is worse than most countries. There are very few towns in Mollogou that bother to have names. They are simply collections of random buildings, rearranged in different groups every day, shuffled and dealt across the entire country like a pack of cards. Your neighbors today could be a hundred miles away tomorrow. Mollogoons consider themselves lucky if their houses even stay intact; most houses trade rooms with other buildings, apparently on a whim. Nothing in the country stays where it's put. This is why parents in Mollogou don't put their children down until they're old enough to fend for themselves. Once something - or someone - is out of sight, chances are they'll never see it again.

Most people in Mollogou try not to get too attached to anything.

Malanian is the largest town in Mollogou. It's one of the only ones with a name. The town is built in the domain of Malanian, the pill bug spirit, which is where the name comes from (it means "Silver Shell" in an archaic dialect of Togol). There are a ridiculous number of local spirits in Mollogou; practically every copse and hilltop has one. No one can possibly be expected to remember them all. The spirits' names are usually written on their shrines, so that strangers (which means practically everyone in the country) can pay proper respect. In Malanian's case, they simply named the town after the spirit and saved themselves the trouble.

Malanian (the spirit) tends to keep to his or herself.* The spirit only appears occasionally, in visions and dreams. During the days of the locust marauders, Malanian is said to have sent nightmares to the entire town and woken them before every attack. Other than the occasional practical message, though, Malanian rarely appears to come out of its shell.

This is not always the case with spirits. A few of the ones in Mollogou have even been known to have romances with mortals; it's surprisingly common to meet people there who claim to be descended from spirits. (The truth of these claims is usually impossible to prove.) Two of the fox spirits in one forest (brother and sister, however that works with spirits) each seem to take a new spouse every century or so. Their clever, elusive descendants number in the hundreds. A Samoval spirit in Gonrang has been married for nearly two hundred years to a man who is immortal due to the Shapeshifter's Curse.

Malanian is not one of these. There are an unusual number of chitinous people in the town - not surprising, I suppose, in a town with an isopod patron - but none of them claim to be descended from the pill bug spirit. Nearly everyone in the town is fond of it, though, and of the ordinary pill bugs that live around it. The streets of Malanian are full of randomly placed rocks, logs, and damp crevices - just the sorts of places pill bugs like. The largest ones run around in the houses like mice (only better behaved). People watch where they step and don't bother to sweep their kitchen floors. Any crumbs or scraps will be eaten by the next day. It's common to see children - and adults, for that matter - walking around with pill bugs on their shoulders or in their hands. They carry them like pets or good luck charms. There's a good reason for this; the town owes its very existence to the pill bug spirit.

Malanian is a dense collection of buildings arranged in a circle, with the outer buildings forming a seamless stone wall around the outside. There are arches through which to enter the town. The walls curve inward at the top, as if the entire town is half of a giant stone sphere.** They were built several centuries ago as a defense against the local variety of dragon. Mollogou dragons are damp, sticky-fingered creatures, more like giant flying frogs than the usual reptilian variety. They are rather insanely fond of leather. They like to chew it. This caused something of a problem several centuries ago; the dragons had a habit of swooping down into towns to carry off all the shoes in sight, and they didn't particularly care if the shoes still had people in them. (People may, in fact, have served as convenient handles, making the shoes easier to grab.)

The people of Malanian (the town) apparently came to an agreement with Malanian (the spirit): if the people built the wall, protecting the town from the sides, the spirit would protect it from above. The spirit's only condition was that the wall be round. As it turned out, this worked quite well. The dragons made several more raids, the spirit repelled them (accounts vary as to how), and they left the town alone after that.*** This protection has made Malanian a haven from many other dangers in Mollogou's history, such as the Locust Marauders and the Laughing Storm.

Though it's not currently needed for defense, this being a relatively peaceful time, the wall is the reason that Malanian is the largest town in Mollogou. It keeps the town together. Malanian's buildings have stayed Malanian's buildings ever since the wall's foundations were laid. The farms around the town still have a tendency to wander off when no one's looking, as all the land in Mollogou does, but the town itself has stayed more or less in one piece. The people all know each other and happily trade with whichever farmers live nearby on any given day.

People in Malanian seem to care about things more than most people in Mollogou. Perhaps it comes from knowing they'll still be there tomorrow.

* As is the case with most spirits, no one seems sure whether Malanian is male or female. It's difficult to tell even on an ordinary pill bug.

** There are a lot of spheres in the town. The spirit likes them, apparently. I suppose that's not surprising for a pill bug.

*** Several years later, a particularly fearless tanner taught the dragons how to make their own leather. Unfortunately, not all the dragons wanted to bother raising the animals they used for leather, so a number of them just switched from stealing shoes to stealing cows. Farmers were less than pleased with the tanner for this.

Hmakk

2011-06-03T22:59:00.001-05:00

One of the best parts of my time on the Pinstuck Plains has been learning the language. The civilizations of the Scalps grew up in a land of huge, open distances. As a result, their language is meant to be sung, shouted, or yodeled as much as spoken. It's called Hmakk.*

I've heard Hmakk shouted from a distance, back when I was traveling with the basket nomads. The clan I was with spotted another one in the distance. Instantly, they erupted with noise, screaming and shouting at the tops of their lungs (which tend to be quite powerful on a Scalp traveler).

This sort of situation is when Hmakk is at its best. Its hard-edged words carry for miles. Though I was nearly deafened by the shouting around me, though I couldn't even see the faces of the other clan, I could hear every syllable they shouted.

"Hni, TiMa! Tile paka hasnakk?" (Hey, TiMa! How is your daughter?)

"Hmaleet mi tle pakyan tiri! Ale powrak kesyameet le hakk!" (Beautiful and growing far too fast! She has trained her first weasel!)

"Preet, preet! Tisa mika hatsa puyrak hnetka…"

(Good, good! My son is learning to weave…)

Every member of the clan seemed to be shouting at once. Through the ringing in my ears, I could hear questions about families and courtships, deaths and births, crafts and stories, travels and tribulations. The young children of the clans shrieked back and forth about beetles and mice they'd caught. The conversations continued long after anyone else in the world would have been out of earshot. A few girls trailed at the back of the group, yelling to their cousins, until the other clan had vanished over the horizon. My hearing returned in a day or two.

As a language meant to be shouted, Hmakk often sounds like cursing even when it's not. I've met a few people in other parts of the world who, when they want to intimidate someone with a stream of incomprehensible profanity, simply count to twenty in Hmakk. ("Hakra tekna khisri HNUYKEMIT…")** It's quite terrifying if you don't know what it means. Actual Hmakk cursing is even more so. The most eloquent (and angry) plains-dwellers can peel paint with their words, and I don't mean that metaphorically.

For the same reason, it's a wonderful language for singing. Nothing can be sung with more enthusiasm than a Hmakk song. They are sung from somewhere below the stomach. Some are straightforwardly percussive, marches and haknits*** and mining songs as sharp as a pickaxe. Many rattle along at blinding speeds, unstoppable as the hot steel of the Train. Others are surprisingly gentle. There's a song called Tehmyana that is simply about the sunrise (which is what its title means). It takes the hard consonants and howling vowels of Hmakk and softens them, blends them together into something clear and smooth, like ice crystals melting into water.

Poetry is written in every language, and Hmakk is no exception. Not all the poems of the Scalp are hard and abrasive.

Just most of them.

* Most consonants in Hmakk are pronounced with somewhat more force than usual, hence the extra H when written in our alphabet. The HM in Hmakk should be pronounced as if trying to speak while coughing. The double K, when pronounced properly, sounds like splitting wood. I have yet to manage it. Apparently, this is one of the best ways to tell a native Hmakk-speaker from a learner like myself.

** …Hepikk sischuy tetya hokk hnitka tett plootya treykya strachney khat-hnuy khat-pikk khat-sis khat-tet khat-hokk khat-ka hlastekk.

*** The haknit is, to the best of my knowledge, a type of song unique to the Scalps. Other music is written to convey emotions like love, or joy, or love, or sadness.**** A good haknit is pure indignant rage. It is a rant, a tirade, a musical dressing-down. Apparently, there's a group of women in SuyMaTmakk who are famous for them. I'll have to try to hear them perform if I'm ever there.

**** Or love.

The Lost Pet

2011-06-02T22:08:00.002-05:00

I spent most of today walking a path on the plains. There aren't exactly roads here. Instead, there are paths through the grass, beaten trails of varying width and solidity. The biggest ones are almost what would be called a dirt road in other parts of Hamjamser. The smallest are fit only for field mice. This one was somewhere between the two - antelope-sized, perhaps. It also happened to be leading me in circles.

The paths of the Scalp (some call them "parts") are one of the less predictable forms of transportation in the world. They rarely follow the same route or lead to the same place twice. Some take you to towns or landmarks. Some lead back to where they started. Some peter out and vanish in the middle of nowhere. Some take travelers out into the featureless plains and lead them in circles for days on end, until the sun works its way into their brains and they return to civilization half-delirious from heat, babbling of visions that they can never quite explain to anyone, visions that fade - like dreams - with the sunstroke.

People don't travel much on the plains unless they're nomads. The chances of finding your way to any place you've been before are nearly nonexistent. The chances of finding your way to any place at all, in fact, are less than certain. Travelers on the plains get used to this sooner or later.

I was starting to suspect that the path I was on was one of the circular ones. Landmarks are scarce on the plains, but the last six bushes I'd passed had looked suspiciously similar. Luckily for me, the heat was - for once - not a problem. Back in late April, my skin developed a coat of brilliant silver-white scales and a dimetrodon-like frill along the back of my neck. It makes wearing shirts somewhat difficult, but keeping cool is easy. I wasn't worried about the heat. I was more worried about boredom. I'd been walking all morning without seeing so much as a shed, and the endless lumps of grass were starting to get monotonous. I amused myself by singing for several hours. By noon, the air was so dry that I was doing more coughing than singing, so I stopped in the almost-shade of identical bush number seven to have lunch.

Meat on the Scalp tends to become shoe leather by the time it's about eight hours old. I'd been chewing on the same piece of bacon since breakfast the day before. The bread I'd bought back in KhniLiPraNa* was still good, though, if rather stale, and I had plenty of water. If you travel on the Scalp, you expect to get lost every so often. A smart traveler carries enough food for a week or two.

I was just about to bite into a sandwich that bore a striking resemblance to a stack of boards when there was a scuffling noise from underfoot. "Hey," said a voice from ground level. "Hey you." **

I looked down to see a hole in the ground. For a second, I was sure that one of the hills had opened its mouth to talk to me - this is the sort of thing one starts thinking after a day of walking over the Scalps - but then I caught a glimpse of a dark shape moving around inside. There was someone talking to me from under the ground.

"Yes, down here," the voice continued. "Sorry to interrupt your lunch, but I'm sure your teeth will thank me. Have you seen a centipede nearby?"

I had, in fact, seen several centipedes that morning. There are a lot of them on the Scalps, twining through the grass like elegant head lice with fangs. One of the larger ones had been eating a woodchuck.

"What size centipede?" I asked.

"Oh, just a little one, about six feet long or so. She has spots and a blue collar."

The largest centipede I'd seen was barely two feet long - the one with the woodchuck - and that one had surprised me. I said as much. The voice muttered a word I didn't know, which might have been a good thing.

"Could you look around for her? She can't have gone far. She has the attention span of a drunken hummingbird."

Stalking a distractable six-foot centipede through the tall grass was not exactly an appealing prospect. "Is there any way you could-"

"I can't come out," the voice snapped. "Have you seen what the sunlight's like out there?"

This was like asking a fish if it had seen the ocean. "Yes," I said.

"I've lived in caves my whole life. If I come out, I'll sunburn so badly, my teeth will be peeling. Don't worry, she won't bite you - she's tame."

As I was walking out into the grass, I thought I heard the voice add, "mostly."

If you've never searched blindly for a venomous predator as long as yourself in a place where you can't see your feet, you're probably lucky.*** I'm rather proud of myself for not yelling when the fangs burst out of the grass a foot from my left knee.

The centipede was every bit of six feet long, and she did indeed have spots and a blue collar. There were frogs embroidered on it. Her front legs held the dried-out shell of a large riddler crab; she clutched it tightly, staring at me with a pair of beady black eyes.

We stayed that way for a few seconds. Then, apparently, she decided I was boring and turned her attention back to the crab, wiggling its legs around like some sort of hollow crustacean doll.

I tried everything I could think of to get her to follow me. I beckoned; I whistled; I coaxed and pleaded with increasingly desperate cheerfulness. I tried baiting her with meat, though its resemblance to dry tree bark may have made it slightly less than appealing. Nothing worked. All she did was sit there, playing with her dead crab and giving me the occasional amused glance. Oh, you're funny, her shovel-shaped face seemed to say. Go on. Do something else.

Eventually, it was obvious what I was going to have to do.

When I picked her up, the centipede unfolded a pair of poison fangs as thick as my thumb. I was sure for a moment that I was going to die. She refrained from biting me, though; instead, she draped herself over my shoulders and spent the entire trip back to the hole buttoning and unbuttoning the collar of my shirt. She seemed fascinated by the concept of buttons. The crab fell into the grass somewhere on the way, no longer the most entertaining thing in reach.

It's amazing how heavy a six-foot centipede is. Her legs hooked over my shoulders and arms with the wiry, surprising strength of a bird's talons. I could hear some sort of rhythm through the leathery armor of her body - breathing, perhaps, or the beating of her heart. Maybe several hearts. I don't know. I'm not particularly familiar with the anatomy of ordinary centipedes, much less giant ones.

"Marta!" said the voice when I returned to the hole. "Where have you been? What have I told you about wandering off through holes? Someday, you're going to come up through someone's drain and give them nightmares!"

The centipede - Marta - hung her head and looked sheepish.

"Thank the nice lizard thing and come back in here," the voice barked. "Now."

Marta somehow managed to give me an embarrassed look with a face made of armor plate. She crept slowly off of my shoulder, her head hanging - and then, with one flick of her fangs, she snipped one of the buttons off of my shirt and scurried into the hole with it.

I didn't object. She'll probably have much more fun with the button than I would, at least until something more interesting comes along, and I'd had enough of arguing with giant centipedes for one day.

Besides, I don't really know how I would have stopped her.

* All the towns on the Scalp have names like this. They get offended if you don't capitalize every syllable. More about that later.

** Actually, it said, "hni paka," but this conversation will probably be much more interesting to most of you if I translate it out of the language of the Scalp.

*** Also, you've obviously never played hide and seek with the viper squid in Kennyrubin. I'm still fairly certain they let me win. But that's another story.

The Scalps

2011-06-01T22:03:00.002-05:00

Well. After far too long an absence, here I am, writing to you again. One month of letters. It's far too short, but it's all I can promise for now. At least it's easy to find postbirds here.

After most of a year spent in Mollogou (much easier to find your way into than out of), the Cheeserock Plateaus (much easier to see than to reach), and the Death Marsh (much more pleasant than it sounds, actually), I currently find myself on the Pinstuck Plains - or, as most of the inhabitants call them, the Scalps.

There is very little here besides grass.

Grass is everywhere.

Grass covers the gentle bulges of ground that pass for hills, coating their domes with strands as fine as hair. This is where the Scalps got their name. From a distance, the hills do look surprisingly like scalps, a thousand sleeping giants packed together like eggs in a carton. Their hair is colored in patches - green and gold, blue and gray, russet and a surprising carrot orange. Some even have bald spots of dusty pink clay. It is nearly impossible to build a house on the Pinstuck Plains that does not end up looking like a hat.

Grass hides the myriad small creatures of the plains from the slightly less numerous large creatures that want to eat them. The plains are riddled with the holes of mice and rats, prairie dogs, riddler crabs,* tortoises, rabbits and coneybees, dustbowl eels, and snakes of all sizes and every possible shade of brown. Cerberus hyenas stride over the hills on long, spotted legs, keeping an eye or six out for prey. Coyotes howl at the moons. Gigantulas pad along on bristled, fingery legs as thick as my arm, leaving a trail of thin gray silk tangled in the grass behind them. Dervish lizards spin in dry stream beds. Hawks and falkyries soar overhead, silent except for the occasional sky-splitting scream.

Grass gives the wind a voice, a thousand thousand scratchy whispers from ankle height. Most visitors to the Scalps find themselves talking constantly, a little louder than normal, trying to distract themselves from the sense that someone is constantly whispering in their ear. It's one way, if not a particularly reliable one, to identify the people who were born here. They don't mind the whispering. Some of them simply tune it out. Others, a rare few, learn its language. The people of the Scalps call them Listeners, or Whisperlings, or Giants' Ears - those who listen to the whispers of the hills. They can find water buried six feet below the ground. They can hear tornadoes and locust swarms** coming long before anyone can see them, even across the unbroken miles of the plains. They hear warnings and secrets and long-forgotten stories. The grass, it seems, has a lot to say.

Grass - in more practical terms - also provides most of the plains-dwellers' food, cloth, and building material.

Sheep are rare on the Scalps - domestic ones, anyway. There's something in the wind, or the sky, or the endless miles of unfenced grass, that changes them. It only takes a few generations. Shepherds come to the plains with flocks from the High Fields or the Railway Regions: slow, simple animals that follow anything that moves and devote most of their brains to chewing.

Their children are just a little more intelligent, a little more courageous, a little more… wild.

Their grandchildren unlatch gates and vanish in the night. Some of them pick the shepherds' pockets before they leave.

The people of the Scalps have learned to do without wool.

Wood is equally rare. There are a few forests, but they don't spread easily; feral sheep and thunderbeast tend to eat or trample new saplings before they get even a foot high. The forests are jealously guarded by the timber towns (the plains' largest permanent settlements), by the squirrel clans with their deadly chestnut catapults, or - in one case - by an unusually aggressive grove of warrior dryads. Plains forest wood is taken from dead trees only and sold at exorbitant prices.*** People who attempt to steal it and survive generally wish they hadn't. The largest plant outside the forests is a little dry bush - hair brush, they call it - and it would take acres of those to make enough sticks to build an outhouse.**** Instead, the people make their houses out of grass.

The nomads live in wicker huts like upturned baskets. They're woven in elaborate patterns, diamonds and zigzags and spirals that rival the fanciest knitting. The nomads set them up in rings, like mushrooms, fastened to the ground with stakes and grass rope. They keep them far away from their cooking fires. The nomads travel with crunklewicks - large, hairy, round-backed creatures that look like their ancestors may once have been woolly mammoths, or possibly the hills under their feet. These carry the nomads' belongings and any family members too young or old or ill or pregnant to walk for days on end. The nomads put their houses on the crunklewicks as well; they fit perfectly over the humps, like wicker tea cozies, and make the crunklewicks look less like mammoths and more like giant armadillos.*****

The more permanent settlements on the plains simply dig a bit deeper. Some take whole bricks of root-woven earth, instead of just the stalks on the surface, and make their houses out of sod. Grass grows in the roofs and windowsills. Others hollow out the hills and make their streets out of streambeds. There are towns that are practically invisible from a distance, just a forest of chimney pots sticking out of the ground, until you get close enough to see people looking out at you from doors in the hillsides.

As if all this weren't enough, I've heard that there are even people who make their homes in airborne grass seeds. I've never seen them myself. They must be very small.

* Riddlers are one of the few species of land crabs in Hamjamser, along with the thirsty crab and the juggernaut horseshoe. All three species live on land, returning to water only to lay their eggs; it's fairly common to find riddlers in forests, and thirsty crabs are often mistaken for scorpions by desert travelers. Juggernaut horseshoes have been found burrowing in pack ice in the Arctic. The shells of riddler crabs are marked with wiggly patterns that look somewhat like writing - the "riddles" for which they're named. People occasionally find, or at least claim to find, riddlers they can actually read. There was one in the Sconth Museum for several years that had a perfectly legible copy of the Recursive Sonnet written on it. Visitors to the Museum can still read several of its castoff shells. Experts on literature and crustaceans have argued for decades about whether or not it was a hoax.

** Ordinary locusts bear only the smallest resemblance to the Locust Marauders of old, but they still call up bad memories in veterans of the Raids. Many families on the plains have stories of their beloved grandfather - or, almost as often, grandmother - blowing the dust off the old war chest and charging out into a locust swarm, armed with a cutlass and a bathrobe. Their children don't mind; the younger grandchildren tend to behave very well around their grandparents after seeing something like this. Besides, you can make a good meal out of bisected locusts.

*** A large portion of the wood is bought by dragons, who say it produces the sweetest smoke in Hamjamser. When one's hoard consists of entire national banks, I suppose one has money to burn.

**** Technically, the largest plants may be the tombstone cacti that grow in massive, weathered rings (crowns?) on the peaks of the hills. Mature colonies of the cacti resemble standing stones in shape, size, and consistency. They grow, though; I've seen a few broken in half, and they have rings like the trunk of a tree. Some even have stubby branches. Opinion is currently divided as to whether they're a plant or a type of rock crystal. They're too tough to eat, too brittle to spin, and too much work to build with, so the plains-dwellers mostly just ignore them.

***** I've never seen a glyptodont in person, but I've seen engravings and a few well-traveled photographs. They look surprisingly like an armadillo might if it was six feet at the hump.

Pieces of Mollogou

2010-06-30T23:42:00.003-05:00

The Truckle road ended today.

It wasn't completely unexpected. I'd been following it since I left the Great Shwamp, and it had been getting smaller since I left Crucible. I have a feeling that Sedge doesn't have many more towns that size. I said goodbye to Mr. Radish and his typewriter this morning, after sharing breakfast with him and Rumbulligan and reading the typewriter's latest poem. A few hours later, when the road had shrunk to half of yesterday's width, Rumbulligan turned off into what looked like a village made of origami lily pads in a water meadow near the road. He apologized for not being able to invite me. Weight is apparently a great concern in a floating village; they can't allow anyone in who's a great deal larger than they are, for fear of sinking. Rumbulligan is, he said, one of the largest people in the entire village. He is possibly a little over three feet tall. I assured him that I wasn't offended, and he splashed off over a bridge made of half-submerged leaves, looking relieved.

I wonder if his book of earthquake words has anything to do with this. Shaking earth, sinking villages - it's all just a matter of stability. I hope he succeeds in whatever he's doing.

In any case, I was traveling alone once again. The road continued to shrink all day, getting lumpier and narrower and more full of puddles. At around noon, I came to a branch in the river and had to take another detour. The road quickly became little more than a footpath on the bank. I could only tell where it was because the grass was shorter. The branch meandered for a while, looping its way through a jumble of low hills, though even ones that small were surprising after the flatness of Sedge and the Shwamp. I'd been following the branch for maybe five miles when it disintegrated. In the space of a few hundred feet, the water split away into handful after handful of little streams, each of which broke up into even smaller streams trickling down from the hills. Seen from the air, the whole thing probably would have looked like a tree. I've never seen a river branch that way. I counted thirty-six separate streams before I gave up.

Farewell, then, to the River Truckle.

The longer I walked, the stranger the landscape became. The sky here is full of odd, fractured clouds, each one moving in a different direction with no regard for the wind. They collide occasionally. The hills are full of little stone shrines; I must have passed one or two every ten minutes. There are stone animals inside them. Most are ordinary, birds and badgers and giant isopods, but a few rival the gargoyles of Crucible for strangeness. The shrines - and the hills, and the trees, and everything else - have a tendency to move around while I'm not looking. (Geography does that everywhere, of course, but not usually every time I blink.) It finally became truly ridiculous when I realized that I had been walking around the same hill for half an hour. There had been no turns, no forks in the road, but I had passed the same shrine four times. The statue inside was an otter-like thing with scales and a necklace of snail shells. Someone had left half a fish on the little shelf in front of it. I would be surprised if there are four different shrines with statues exactly like that. Just to be sure, I climbed up on top of the hill and looked around. It was quite clear from up there: at some point, the road I'd been following had turned into a closed loop. There was no sign that it had ever gone anywhere - including back to the river. Wherever I had ended up, retracing my steps was out of the question. There were no steps to retrace.

Farewell, then, to Sedge.

I gave up on the road and set off across the hills. As long as I came up on top of one and looked around occasionally, I seemed to actually be getting somewhere. Perhaps it's only the valleys that lead you in circles. I stopped for lunch in front of one of the valley shrines. It had a round, heavy roof that made it look a bit like a mushroom. A man with a vague resemblance to a raccoon was sitting in front of it. I thought at first he was making some sort of offering; you can see them in most of the shrines, little gifts that vary depending on the tastes of the spirit inside. People leave them to thank the good spirits and placate the bad. Some like flowers, others sausages or pretty stones. One particularly reliable one apparently brings rain every time anyone gives it a boiled egg. I couldn't see the statue in this shrine with the raccoon in front of it, and I couldn't see what he was putting in it either. It seemed to be taking rather a long time.

We ended up talking for perhaps half an hour while I ate and he continued to work. He was quite intent on whatever he was doing. I don't think he looked at me even once. I am, apparently, in a country called Mollogou. It's frequently near Sedge and the Great Shwamp, as it's slightly drier and hillier than either of them, but lower and wetter than anywhere else.

According to the raccoon (his name was Num, he said, and left it at that), every hill and valley has a shrine for its guardian spirit. You can tell how friendly a place is by the statue in its shrine. The smiling ones can be trusted; the ones with huge, staring eyes are disconcerting, but safe. The best places have mother animals with children in their shrines. The ones with masks or too many teeth should be avoided. No one seems sure whether the statues change to match the spirits, or whether the stone-carvers can somehow tell what the spirits look like, but no one seems to doubt their accuracy. I assume people carve the statues - though I can't actually be sure; I haven't seen many people here. Perhaps they're self-portraits.

Apparently, no other country could have nearly so many shrines. The spirits' domains never overlap; I don't know whether they're territorial or if it would simply be impossible for two spirits to guard the same place, like two people sharing the same body. Either way, there's still a shrine on every hilltop and another in each valley. Territorial creatures wouldn't put up with an arrangement like that anywhere else.

Mollogou isn't a particularly large country. It's just more fragmented than most. Places tend to be much smaller here. In the Mountainous Plains or the Railway Regions, places at least stay connected; the layout of each city changes from day to day, but it remains a city, with the same buildings and the same skirt of farmland spread around it. People know where they live.

There are no cities in Mollogou. They don't stay together. About the best anyone can hope for is that their house won't have misplaced any of its rooms when they wake up in the morning.

The same goes for everything else in the country. There are no mountains, but many hills; no rivers, but many streams; no forests, but an abundance of copses. Mollogou has just as much of everything as any other country. It's just divided into much smaller pieces. The shrines are content with a single hill or valley because it's impossible to hold on to anything larger.

I was getting ready to leave when Num finished what he had been doing and stood up. On the shelf in front of the shrine was a collection of tiny white eggshells, cut neatly in half across the middle and laid out in a spiral pattern like the seeds in a sunflower. They were arranged with such geometric precision that you could have cut yourself on the angles. The statue receiving them was a somewhat manic-looking owl clutching a ruler and compass (the geometric variety, not the navigational). It's a benign spirit, Num said, but a somewhat obsessive one. It cares more about the precision of its offerings than the substance. When I left, he was beginning a second spiral in what looked like grains of rice. He was using a ruler the size of a toothpick.

I think I'm going to like Mollogou.

This is the last day of June, and therefore the last of my daily letters for this year. Perhaps it's just as well. Even postbirds have trouble finding people in Mollogou. I will do my best to write during the rest of the year, but you should know by now how rarely I succeed in that. Somehow, there's always something to distract me.

Farewell, then, to you. I'll be back next June.

Nigel

A New Type of Writer

2010-06-29T23:43:00.002-05:00

I left Crucible yesterday, having run out of every color of paint except red and black. I haven't met people so starved for color since I left the Gray Coast. I hope I find a place to buy more soon. I spent this afternoon walking along the banks of the Truckle, trying to stay in the shade, watching frogs and lungfish jump into the water as I passed them. I'm always surprised at how high lungfish can jump. It's not what one expects from creatures with no legs.

The first traveler I met on the road was an amphibious man carrying an enormous book. It was written in a hieroglyphic language I didn't recognize; he said it was Tectograma, the Language of Earthquakes. He was sweating rather violently in the heat. Huge drops of greenish liquid formed on his face and arms and rolled down into his shirt, which would have been stained quite badly if it hadn't already been green. He left a damp trail in the dust of the road. I asked him several times if he would like me to watch his book while he took a dip in the river; I was afraid he was going to melt away to nothing as we walked. He said no the first few times, clinging tightly to the book with long-fingered hands. (He was wearing gloves, presumably to keep the book dry.) Eventually, he relented, handing the book to me and leaping into the water. He was noticeably larger when he came out again. Maybe he really had been gradually shriveling away. I don't think full-time air-breathers completely understand how important water is to amphibians. As we continued walking, his stops for water got more and more frequent; by sunset, I ended up carrying the book on the road while he swam along beside me. That seemed a more sensible arrangement. If he hadn't had the book to keep dry, I doubt he would have come out of the water at all.

He said his name was Rumbulligan. That was more or less all he said all day. Before he let me carry the book, he was in no state for conversation; after he let me carry it, he was mostly underwater. We traveled in a companionable silence.

There were few other travelers on the road today. Perhaps it was the heat.* We passed a few people on foot, a group of crow-feathered avians panting in their black plumage, a two-headed musician practicing counterpoint with himself as he walked, and a coggerel fruit vendor who was quite happy to sell us as much as we wanted. (It was plump, juicy coggerel fruit, glistening in buckets of cold water. Drops of condensation had formed on it in the humid air. No one can be expected to resist this sort of thing in June.)

The sun was getting low, dripping light as thick as honey sideways through the trees, when we met the final traveler of the day. We had stopped just before a bend in the road, resting in a small clearing under the trees. I had had more than enough heat for one day and was ready to stop for the night. I don't know what Rumbulligan thought. I'm not sure he was awake. His eyes were open, but I'm fairly certain he doesn't have eyelids, so that didn't mean much. The other traveler came around the corner while we sat there. He was human - the first one I've seen in nearly a month now. I like to see other humans occasionally. I haven't looked like one in so long that I sometimes forget what they do look like. He seemed fairly ordinary: perhaps a foot shorter than me, with brown skin, purple eyes, and zebra-striped hair. Nothing particularly unusual. He stopped at the clearing and we exchanged the usual courtesies - good afternoon, mind if I stop here, not at all, I have interesting food, perhaps we can trade, and so on.**

There was a clicking noise farther down the road. As the man began setting down his luggage, a typewriter came around the corner, walking along on spidery metal legs.

The man's name is Alister Radish. He's a traveling accountant and transcriptionist. The typewriter is named Selio, after the legendary poet T. T. Selio. It appears to have once been an ordinary typewriter, but it's been altered quite a lot since then. The legs are only the most obvious additions. On top of it are two mechanical eyes, those little black glass lenses that people dig up with other Hill Builder technology that no one understands. While Mr. Radish was unpacking his dinner, the machine folded itself into a sitting position, extended two slender metal arms, and began cleaning its roller with a small dustcloth.

I was not surprised when Mr. Radish told me that the typewriter runs on a crystal brain, like a clockwork pipe crawler. He says he gave it the brain so it could refill its own ink and check his spelling. It does a lot more than that by now.

It writes poetry.

Pipe crawlers are intelligent in a simple way, like trained animals, but they've never shown any gift for language. They work by imitating the plumbers and mechanics who own them. The mechanical Guardians of the floating cities have written poetry - they've done practically everything at some point in their dedicated, millennia-long lives - but their crystal brains are far more advanced than those of humans, much less pipe crawlers. I've never heard of one of the small brains doing anything like this before.

Of course, I've never heard of anyone linking one to a typewriter. Perhaps it simply picked up language like the ordinary ones pick up mechanics; perhaps any of them could communicate if given the words. If you teach a creature nothing but good plumbing, it's likely to give you nothing but good plumbing in return.

Mr. Radish has sheets and sheets of the typewriter's poetry in the basket of neatly filed papers he carries on his back. He pulled out a few to show us.

At the first was only darkness
And the world was only letters
As those letters came together
In the wrong ways or the right
Then the eyes were given to it
And filled the dark with light
But still in words and letters
It hears pictures in the night

I don't know if it's particularly good poetry or not. It's certainly the best I've heard from a machine. The typewriter seems to have a vague grasp of rhyme and rhythm, though I don't know how it picked those up with no ears. Perhaps syllables are syllables whether they're heard or not. The typewriter seems more concerned, though, with the number of letters in each line. The syllables may vary, but the lines always match. It sits there every night, clicking away to itself, and in the morning, there's a new poem. Some are short:

Ink on paper
Black, white
Two becoming
All there is

Some are long, and some are continuations of other poems. One of the longest - it took the typewriter two months - seems to be a sort of epic about a grain of light traveling through glass tunnels. Neither Rumbulligan nor I could make any sense of it. The poems are put on paper complete and never rewritten; the typewriter makes only one copy of each. If there's any editing, it occurs entirely within the crystal brain.

The typewriter has never written anything but poetry. There are rare occasions when it seems to be trying to communicate something practical, but even those are in poetry:

In the joints
Of right foot
Is a grinding
Is a catching
Needs the oil
Make it loose
And a sliding
Of two pieces
Out of jammed
Set them free

If it weren't for the poetry, it wouldn't seem any more intelligent than any other small crystal brain. It follows Mr. Radish around like a large mechanical dog or mule-crab. It had to be taught to walk; it damaged itself several times at first by walking off ledges or into trees. Even the poetry isn't always understandable. Some seem to be simply playing with words:

Pocket Watch
Pocket Watch
Patch Socket
Pocket Watch
Shack Rocket
Packet Shock
Snatch Hatch
Catch Pocket
Pocket Watch

Others are complete nonsense, at least as far as anyone who's read them can tell.

Parrot the Milky Way
On an enviable swing
The toad on the moon
Shall give it a ring
Try all of it oncely
And hear it all sing
The seconds are over
And minutes the King

The three of us slept on the ground, not bothering to put up a tent or umbrella. After the last few days, no one cares if we get rained on; it would cool us off. As I write, I can hear the typewriter clicking away, its keys going up and down by themselves like the keys of a player piano. (I wonder if anyone's ever hooked a crystal brain up to one of those.) It's a surprisingly relaxing sound, somewhat like rain on a roof.

The postbird has been waiting very patiently for me; I'll stop writing now so that it can take this letter and leave. I don't expect to be awake for long after that.

* My most recent round of molting left me covered with fine golden-brown scales, spotted with dark blue like a gecko, and quite hairless. It's a good combination for the Summer. I don't know how full-time mammals endure it.

** Most countries have courtesies of this sort, but in Sedge, they have an almost ceremonial rhythm to them. Everyone knows the same set of greetings and responses. I've heard older travelers speed through the entire introductory conversation in five seconds, reciting the familiar sentences too quickly for me to make out the individual words.

Cats and Riddles

2010-06-28T23:34:00.002-05:00

While in the Railway Regions last year, I had my first encounter with a cathomar. Don't worry - I'm still quite alive and in possession of all my limbs. In fact, as near-death experiences go, it was surprisingly entertaining.

Cathomars are some of the only dangerous animals still common in the Railway Regions. (There is the occasional carnivorous sheep, but they're relatively rare, and most are perfectly safe if they're trained correctly.) Wolves avoid anything that looks civilized, as intelligent creatures like humans are too unpredictable for comfort. The same goes for bears and dreadgoats. Most of the other large carnivores - the intelligent ones, like saberclaws and serrated raptors - have become somewhat civilized themselves; most of them live in towns these days. Once in a while, even the most dedicated predators like to get their meat by paying the butcher for it. The solitary ones, who still prefer to stay out in the forests and hunt, see travelers as sources of conversation rather than food. I've met several raptors who have trampled out of the forest, all muscles and fangs and ripping talons, only to lick the blood off of their claws and politely challenge me to a game of chess. (They're usually quite good at it.)

Even dragons have become relatively peaceful.* Their pillaging days are long gone. They've found that it's easier - if slightly less fun - to pay farmers to raise prey for them.** Half the cows and sheep in the Railway Regions belong to dragons. They acquire their gold (or other expensive collections) from estates of well-managed farms, or put it in banks and buy more gold with the interest. Business, it seems, is more profitable than piracy. Their only feuds are private ones with other dragons.

Cathomars are different. They have no compunctions about eating anything or anyone. Any animal that is not a Cathomar is food.*** The ones that talk are simply more fun.

This one was a tom - sleek, enormous, and fairly old, judging by the size of his fangs. They were nearly as long as my arms. The Train had been taking its time in coming, and I had decided - perhaps foolishly - to try the footpaths that pass for roads in the Railway Regions instead. Now I know why people generally avoid them. The cathomar glided silently out of the woods as I was walking and sat his sand-colored sleekness down neatly in front of me. He looked about twice my height, sitting down, and was slightly wider than the path I was on.

A fly buzzed near his shoulder. Without looking at it, without twitching a single unnecessary muscle, he flicked his tail up and swatted it into the trees.

"Good morning," he purred. "You're not as well-fed as I'd like, but you look educated. What will it be?"

Cathomars are quite polite when they catch intelligent prey. Creatures that can talk are much more entertaining than ones that can't. Instead of killing them immediately, the cathomars will challenge them to a contest of the prey's choice: speed, strength, or riddle. (Technically, this challenge applies even to non-speaking prey; anything that runs away has obviously chosen the contest of speed, and anything a cathomar catches has obviously lost.) If you lose, the cathomar will eat you. If you win, it will leave you alone, forever. Cathomars have excellent memories for faces and always keep their word. If you beat one, you will never need to worry about that cathomar again - only all the other ones.

Most people avoid the first two contests, as the cathomars always win. Only a giant or an exceptionally muscular samoval has much hope at winning a contest of strength, and if you could win a race, the cathomar probably wouldn't have caught up and challenged you in the first place. Nearly everyone chooses the riddles.

Fortunately, I spent several weeks on my first trip to the Railway Regions researching obscure riddles - and coming up with a few of my own - just in case I ever ran into a cathomar. (That was one thing that Plack probably needn't have worried about.) I followed tradition and chose the contest of riddles. In fact, cathomars are no better than anyone else at riddles (thank goodness); they just enjoy them. They could live entirely on non-speaking animals and never go hungry. Intelligent prey is just more fun. Creatures that don't talk are good to eat, but creatures that do talk are good to eat and possibly entertaining as well.

Numerous people have called cathomars psychopaths. This is not entirely correct. They're not insane; they're merely wild. The fact that they can talk doesn't change that. Consciences are only normal for civilized creatures, and cathomars - for all their cleverness and elegant manners - are anything but civilized.

I would love to tell you the riddles we asked each other, but I'd rather not spread them (and their answers) any further than I can help. The cathomar used a variation on the old egg riddle, easily guessed, but that's all I'll give away. You never know when you might need a riddle no one's heard before. Suffice it to say that I won the contest. When the Cathomar finally gave up, lashing his tail and rumbling, I told him the answer to my last riddle. He stopped and stared at me for a moment; then he threw back his head and roared. I thought he was angry at first, but eventually realized he was laughing.

"Very good, meatling," he eventually said, still sneezing with subsiding laughter. "Very good indeed. You have won the game and your life. Go run off and do whatever it is you herbivores do." I happen to be an omnivore, but I thought it unwise to correct him.

"And come back to visit me!" he roared as I walked away, trying very hard not to run. "We'll see if I beat you next time!"

Perhaps I will. It's always a delight to see a game played well. If the stakes are low enough, it doesn't matter whether it's played well by you or your opponent. Losing to a worthy adversary can be as satisfying as winning. It's rare to find anyone who understands that. That was not the case in this game, of course, as I had a rather personal interest in winning, but that couldn't be helped.

Perhaps next time.

* They are not tame. If you call them tame, quite a lot of them are still likely to eat you. "Relatively peaceful" doesn't mean you can insult a dragon and expect to live.

** They pay with Train tickets, of course, not actual coins. Few dragons will willingly part with anything metal.

*** Except llamas.

Bestiary of Nowhere

2010-06-27T23:51:00.002-05:00

Like practically every town of any size in Sedge, Crucible is built by the River Truckle. As the town is also the source of the molten River Flare, it contains one of the strangest river-meets in the world. Water and iron do not mix well. For the length of the town, the Truckle flows underground.

Before Crucible was built, the molten metal of the Flare simply flowed into the Truckle, solidifying as soon as it hit the water. More metal then flowed across the solid part and solidified farther out. Over the course of centuries, a thick shelf of iron gradually formed across the Truckle, spreading horizontally but never coming more than a few inches below the surface. The farthest edge is just over halfway to the far bank. Boats on the river are careful to skirt around it, or they risk having their hulls sliced in half at the waterline.

Most of the iron doesn't reach the Shelf these days, of course; the Flare has always flown sluggishly, and the smiths now siphon off nearly all of it before it reaches the Truckle. People have settled on the Shelf. They've built houses on the foot-thick sheet of iron and drilled holes to pull up water and fish. Crucible may be the only place in Hamjamser where people can live on top of a river and still have to dig wells.

I spent most of the day wandering through the streets of the Shelf. The heat on Crucible's central hill is a bit much to endure for more than a day at a time. The Shelf is much quieter than the hill. The edges are full of docks, some wooden, some iron. Like the docks in any town, they're backed by a forest of cranes for the loading and unloading of ships. The cranes are all anchored in the riverbed, of course. The Shelf wouldn't hold that much weight. There are rust-colored fish in the water, possibly relatives of the ones that live beneath the Earthmover in Cormilack. They eat the rust that flakes from the bottom of the Shelf. If they didn't, half the length of the Truckle would be red by now.

Now that it's no longer being replenished from above, the Shelf will probably rust away to nothing someday and drop its load of docks and buildings into the river. No one seems particularly concerned about it.

The buildings of the Shelf are covered with carved plants and animals. There seemed to be at least one on every wall. I had noticed a few of them up on the hill, but the thickness of the cloud and the dim firelight make them all look like soot-clad gargoyles. (If there were any real gargoyles, they were remarkably well-camouflaged.) The ones here were clean; in the slanting morning light, some of them were even lit by the sun. It should have been easy to identify them. I didn't recognize a single one. There were serpent-birds with eleven wings, skeleton fish with lanterns hung in their empty ribcages, tortoises with the legs of crabs beneath their spiny shells, creatures with all manner of multiple heads and mismatched limbs. Several seemed to be strange combinations of animal and plant. Even among those, there were none I recognized - not a single ordinary trapper vine or vegetable lamb in sight. These were fanged lilies and web-footed potatoes and cats with flowering whiskers.

As I was puzzling over this, I was stopped by a smith near the docks; he could tell, apparently, that I was an artist. He asked me what colors I had. As it happened, I still had some blue paint from the Gray Coast, where the villagers gave me a whole bucket of cockleworms before I left. Blue is apparently quite a novelty here. It's hard to find any color but red. Farmers bring the inedible stalks of corn and carrots into town along with their crops; leaves and stems don't pick up so much color from the rusty soil. People buy them for the green, keeping them in buckets of water as if they were flowers. All the flowers here are red.

When I told the smith I had blue, he was delighted. He asked me to paint his sign for him. Aside from portraiture, this is one of the jobs I get most often; I've painted one sign or another in half the towns I've visited. Many of them weren't even in languages I could read. I accepted, of course, and prepared to use up most of my remaining blue.

The smith's name was Dinbar Hammergavel. It was printed on his sign in peeling red paint, and he was polite enough to introduce himself as well. He was a thickset reptile with scales like river pebbles. His arms and chest were covered with shiny spots of metal, spatters that had cooled and fused to his body. He seemed to have a second coat of black and silver scales over his natural red ones. Apparently, his scales are thick enough to keep the hot metal from burning him, as it would anyone less armored.

He didn't seem to think much of the smiths by the Flare. Anyone, he said, could work metal that kept itself hot and let you shape it like wax. It took a true smith, one who worked with hammer and bellows, to heat it just enough and no further.

I was lucky enough to get to see what he meant. He came to work outside as I painted, saying that he liked to stand in the sun before it rose above Crucible's perpetual smoke. I had no idea what he was making. It started as a block of iron. He pounded it flat, then indented the surface with a complex pattern of holes and grooves, working with a progression of steadily smaller hammers and chisels. The ones at the end were hardly bigger than upholstery nails. In the end, the thing looked as if it had been made in a machine. You could have used the sides as straightedges.

It was, he said, a metaphorical flange for the Answer Machine in Miggle-Meezel. The machine has a tendency to catch the flanges with its paradox pistons and break them. He makes replacements when they're needed and has his apprentice bring them to Truckle Stop. Miggle-Meezel stops over Truckle Stop occasionally to pick up pipe crawlers from Tesra Malerian; his apprentice waits for the airship to come down from the floating city and brings the flanges up with it. Tesser Hammergavel rarely delivers themself these days. He is, he said, getting too old to make the trip, and his apprentice still finds it exciting.

I asked if it wasn't dangerous for the apprentice to travel alone. I've had relatively little trouble myself, but there's no telling when a traveler might run into bandits or cathomars or a nastier-than-usual troll. The smith laughed for a good half-minute at that. Apparently, his apprentice takes in wounded alligators that wash up on the Shelf; several, once healed, have decided to remain with her. They follow her everywhere. What few bandits there are on the river road have learned very quickly not to trouble her.

"Besides, she's got a lad there," he said, grinning. "Apprentice to a gear-cutter in the floating city. Reason enough to give her a little time to herself. Anyone's guess whether he'll convince her to stay in Miggle-Meezel or she'll convince him to come here. The other apprentices have been laying bets on the two of them for years. Personally, my money's on Serilla. A girl who can beat an alligator back to health isn't one to give up easily. I just hope she waits to bring him back until he's finished his apprenticeship. We could use another gear-cutter in Crucible."

Later, I asked about the creatures on the buildings. Apparently, the people of Crucible (most of them, anyway) disapprove of representations of plants and animals. This is not a particularly rare opinion. The mesmerizing geometric artwork of Thrass Kaffa and Hestamar is a result of this belief, as is the elaborate calligraphy of the Talixa Valley.* Quite a lot of people disapprove of copying the work of other artists, and many believe that the creator of the world - whoever they consider that to be - should be given special respect in this matter. Depictions of plants, animals, rocks, clouds, and anything else not made by people are strictly forbidden. Needless to say, I won't be painting any portraits in this town, unless they're of buildings.

As a result, the only creatures available to Crucible's artists are the ones they make up. No dragons, no chimaeras, no doorknob gremlins; the only creatures you'll find in Crucible are imaginary. Sculptors and painters are judged here by their ability to depict unreality. They restrict their work to beasts that don't exist - preferably ones that couldn't possibly exist, just to be safe. You never know what explorers are going to find.**

This is why the buildings teem with unidentifiable creatures. Happily, Tesser Hammergavel was able to identify quite a lot of them for me. The serpent-bird is a Frenible Tepiary; the tortoise-crab, a Chelimincer; the skeleton fish, a Garnet-Tailed Lissel. The oak-tree squid that shows up several times in the rafters of the Flue is a Hastadendraflack, commonly attributed to the Lady Pyrafax. The snail-shelled bulldogs are Pemerines, the birds with butter-knife feathers are Tallimonians, the feathered wasps with peacock-tail stingers are Claridots, and the snake with a head on both ends is an Ouroboruo.*** Even Crucible's flag is its own invention. The town's emblem is the Carrifrock, a plant that grows upside-down with its fruit buried and its perpetually flaming roots in the air. It's fitting for the town. Their harvest comes from the ground, produced by flame, and there's more water in the air than in the river.

The most popular artists here are the ones that make up the best impossible things. I wasn't surprised to hear that many of them had come from elsewhere; there's no shortage of inventors of the impossible in Hamjamser, both the drawn and the written, and it's rare to find places that appreciate them so completely. I knew most of the ones Tesser Hammergavel named. Ramer Oswelt - writer, illustrator, and beast-maker extraordinaire - was quite well-loved here. According to the smith, the town holds several hundred of his creations, copied many times in wood and iron and stone. The Chelimincer and Frenible Tepiary are among them. Oswelt's original sketches are in the town's fireproof museum, as are several paintings by Elva Ursunorn and the legendary (some say the mad) Mynorbious Chesho. Rae Drawdle and Carlis Rowell, writers of surprisingly sensible nonsense poetry, also spent several years each in Crucible. There are several of their impossible beasts on the buildings around the Hammergavel smithy. Many of them, according to the smith, have the poems from which they came carved into the walls beneath them. I'll have to go look for them when I have time.

* Talixan calligraphers are masters of not-quite-representational art. They will not paint a horse. They may paint a glyph that captures the essence of a horse, all its speed and grace and elegant strength, but it would have none of the features of a horse. Where are its hooves? they would ask you. Where is its eye, its tail, its snorting nose? Do you see them in these brushstrokes? No? Then how could this be a horse? It has no part of a horse within it. Many stubborn people have debated with the calligraphers of Talixa over this, and to the best of my knowledge, none of them have ever found an answer to that question.

** The discovery of the aerobatic frogs on the floating islands of Salyovemit, nearly a century after their invention by the decidedly earthbound Herbert G. Welleger, goes to prove that either the impossible is a lot more possible than it originally sounds, or science fiction authors know a lot more than they let on. I don't know which is more likely.

*** I thought this one was skirting dangerously close to reality, but apparently the fact that it has two heads and no tail to bite with them was enough to let the artist get away with it.

Crucible

2010-06-26T23:24:00.003-05:00

The Great Shwamp has a town for everything. Cloth comes from Chelissera, feathers from Meligma, pottery from Woodpot. There is no metal to speak of in the Great Shwamp, so it gets its metalwork from Crucible. There is quite a lot of it there. Lady Peraximander was right when she called it a city of fire and iron. A river of molten iron runs through the center of town. This is what has made the town the area's center of metalworking: it has a seemingly endless supply of iron and no need of fire to melt it.

We could see the town long before we actually came to it. The cloud of smoke and steam it produces is visible for miles, like the plume of a volcano (which, technically, I suppose it is). We didn't see the town itself until we came out of the trees and into the farmland that surrounds it. It was the first time I'd seen a hill in Sedge. Crucible is a great black heap of a town, a mound of black buildings on a black hill, lit like an oven from within. No sun shines through the cloud that hangs over it. The buildings are visible only as firelit silhouettes.

At the outskirts of the town, where the fields gave way to buildings, they also gave way to metal. There was a sheet of it a few inches thick covering the ground. The edge was smooth and rumpled, like wax, as if the metal had flowed molten over the ground and solidified there.

As I later found out, this is exactly what happened. Most of the hill beneath the town is made of iron, built up over centuries by the molten river that springs from its peak; in the soft, stoneless ground of Sedge, that's the only reason there's a hill at all. If the metal didn't spread out so far around the town, the whole thing would probably sink into the ground. It looks like the melted stub of a giant candle. Plants grow in the spaces between flows of iron, where dirt has collected or been exposed by splits in the metal. What streets there are have been melted out of the side of the hill or welded onto it. The melted ones are perfectly flat and mirror-smooth, polished by centuries of feet; the added ones are clattering catwalks of metal gratings. Most of the buildings on the hill are also made of metal, as it's more common that stone and less flammable than wood. With the clanking of the metalworking shops in the background, it's like being in one of the floating cities.

There is so much iron in the water and soil here that even the hair and skin of the people has a rusty reddish tint. It's rare to see any other color that isn't obviously the work of dye. They advise visitors to drink from cisterns of collected rainwater, rather than from the local wells. Like the spores in Sporetower, such a high concentration of metal can be harmful to anyone not raised with it.

The molten river is called the Flare. It follows a meandering path through the streets of the town, making its slow way from the peak to the base of the hill, and fills the streets with the heat of a thousand fires. There are few bridges over it; most people prefer to keep their distance. Strange spires and encrustations have formed all along the banks, like half-melted candles or icicles in black metal. Salamanders perch on them like miniature mountain dragons. Rare in most parts of the world, salamanders breed like rats in Crucible. It's one of the few places above ground that's hot enough for them. It's common to see the small reptiles climbing out of the river, glowing with its heat, shaking the drops of molten iron off of their backs as they look around for edible insects or mice. Most of them don't stay out long. I don't think they'd leave the river at all if they weren't so curious. Salamanders can survive perfectly well on a diet of sunlight and charcoal, but their natural habitat is the inside of a volcano. The ones that live near the surface only leave to find food. They hunt with light and flame, roasting or dazzling their prey before they eat it. The dragons say that there are larger ones down in the depths of the earth, lurking in the sea of fire that lies under the ground, that sea that leaks through in volcanoes and molten places like Crucible. I have no idea what those eat. Perhaps there are fish of fire down there for them. For all we know, there could be creatures of all kinds, a whole bestiary of flame living below the ground as we live above it, and the salamanders are simply the only ones that travel between the two. If the dragons know, they aren't telling anyone.

My own salamander spent most of the day out on top of the lantern it lives in, looking around with wide eyes at the town full of flames and the abundance of its relatives. I let it go and say hello to several of them. It was well-trained in Cormilack, though, and always came back when I called it.

Anyone who goes outdoors anywhere near the metalworking district or the river wears thick leather coats and wide-brimmed hats. Sparks and drops of molten iron spatter and drop there like rain, and not everyone is fireproof enough to just shrug them off. Fortunately, there are stores where you can rent the outfits. Like me, most visitors would rather not buy an entire set of fireproof clothing that they won't use anywhere else, but no one wants to come to Crucible and not see the River Flare.

The surface of the river used to steam and solidify when it rained.* Parts still do so, forming a dark crust on top like the ice on water; most of the river is covered, though, with a sort of metal awning that keeps it dry and therefore liquid. It's a beautiful structure, a roof held up by slender columns and rafters of metal, like a cross between a Caroque cathedral and an oven. The townspeople call it the Flue. It was built long ago by the legendary Lady Pyrafax, whom the legends say was part salamander (some say part dragon) and could sculpt molten metal with her bare hands, like clay. The Flue certainly looks like it was made that way; a skilled metalsmith could make work that graceful with a hammer, but it would take decades. Besides, the Flue has the look of something sculpted, not beaten. It's all fluid curves and graceful twists, no two parts quite the same, and there's not a seam in sight. Some say you can find the Lady Pyrafax's fingerprints in the metal. Fire-bats roost with salamanders in the upper reaches, swooping down to catch night insects before they fly into the bright river and incinerate themselves.

Most of Crucible's best metalworkers live near the river. It's the most convenient source of metal in the town. Many of them have balconies built over the banks, so they can lower containers made of stone** over the railings and pull up metal by the bucketful. Several of the smiths have pipes installed in their smithies that lead directly to the river. They have iron on tap with the turn of a handle. This only works in smithies by the river, though, as the iron will cool and solidify if it travels more than about six feet. That's a blocked pipe no plumber can fix.

I found out all of this without the company of Mahalia Peraximander. I had been traveling with her for the past few days - or, rather, I had been traveling with my scissors, which had been traveling with her. She didn't seem particularly interested in my company except as the owner of the scissors. She did talk to me occasionally - mostly describing her plans for her Fish, which continued to be completely incomprehensible to me, or complaining of the eccentricities of the family to which she was returning. "For they are a clan of the Stubborn and Unlistening," she said, "who would not see Sense if it was written on their very Eyelids." This is, apparently, the reason she spends so much time away from Crucible, despite her fierce devotion to the town. To hear her talk, no other place in the world is worth seeing, and no other family so impossible to tolerate.

When we reached the outskirts of Crucible, she stopped and turned to me. It had taken days, but her fur was short all over, if somewhat ragged. There were rust-red highlights in the black roots. It seems rather odd to complain about the heat and then return to a place like Crucible, but perhaps it's easier to endure when it's part of home.

"You have proved yourself Useful," she said, handing my scissors back. "You have my Thanks and Gratitude, and that of my Fish. May you be warmed by the Fire and never Burned. Now go away." With that, she turned and strode away through the streets.

I doubt I will see her again. If I ever find myself back here again, though, I intend to ask about her and her Fish. I am curious to hear if her plans for him succeed.

* Thanks to its constant shroud of soot and steam, Crucible is one of the only places in the world where the clouds clear when it rains. Sporetower is another.

** These are the crucibles with which the town shares its name. No one seems to be sure which is named after the other; both are containers that hold molten metal, so it could have gone either way.

Tunnelers

2010-06-25T23:33:00.002-05:00

I took a detour from the path back in May, when I was still in the mangrove swamp. There was a gathering of alarmingly large coconut crabs on the boardwalk, and I didn't feel like trying to go through them. Several were snipping branches off of the trees with their claws and waving them over their heads like flags. I kept my distance and climbed off into the mangrove roots.

It turned out to be surprisingly easy once I got used to it. They were old mangroves, their roots firm and gnarled, with plenty of footholds. Crabs of the ordinary size scuttled away into crevices when they saw me. I tried to stay out of the water; I'm not sure where the estuary becomes fresh enough for leeches. Twilight arrived as I traveled, turning the humid air beneath the trees a dusky blue-green. In the half-dark, I smelled the smoke before I saw it; I'm not sure I would have seen it at all otherwise. This is not what one expects to smell in so humid a place, so I stopped and looked around to see where it was coming from. A thin plume of smoke was rising from the corner of one of the roots. When I bent down to look at it, I found what looked like a tiny incense burner, a smoking brazier in miniature. There were no grasshoppers nearby. The roots were untouched and free of even the oldest bite marks.

That was when someone began throwing small twigs, with perfect accuracy, at my head. I moved away immediately. This sort of greeting is often followed by showers of small but extremely sharp arrows. Once I was out of range, I looked out into the trees and saw that over half of them were inhabited, full of tiny lit windows like stationary fireflies.

They were full of Tunnelers.

The twigs stopped when I had moved a few feet away from the incense burner, which I assumed to be some sort of grasshopper repellent. The last things miniature people want are giant insects eating their houses. I looked around before moving again, making sure I wasn't about to step on anything and provoke more twig-throwing (or worse). This sort of violent reaction from Tunnelers is completely understandable, as people my size are quite capable of accidentally crushing their fields and buildings before we even notice they're there. Our attention has to be gained quickly and emphatically.

Tunnelers are, to the best of my knowledge, the smallest people that anyone my size knows about. They tunnel in things, hence the name. Many live underground in holes dug by domesticated moles. Others live in walls or the unused spaces of machinery. The Arboreal Tunnelers are one of the most widespread tribes; most of Hamjamser's forests have at least a few trees full of them. They're harder to see in the daytime unless you know to look for the tiny shutters in the bark. Arboreal Tunnelers generally confine their excavations to the dead wood of trees, taking care not to harm the living parts except to punch through a window here and there. Entirely dead trees don't make the best homes; they have a tendency to rot and fall over. Tunnelers rarely go outdoors, as nearly everything outside wants to eat them, so it was unsurprising that I couldn't see any of them. I've never seen a tunneler; I don't even know what they look like. Even the twig-throwers never showed themselves. Every so often, one of the windows would flicker as someone moved in front of it, but that was the only sign of life that I saw.

I'm sure I was making them nervous, standing there, so I left after another look at the candlelit trees. I took a different route back and found the usual latticework warning markers set up along the edges of the boardwalk. Apparently, not many travelers leave the path in that part of the Great Shwamp.

The coconut crabs were gone by then. They'd set up the branches in a cone, like the frame of a teepee, and had set a large conch shell on top. I left it alone. I don't know what it was meant for, but it certainly wasn't for me.

Sporetower

2010-06-24T23:54:00.003-05:00

I've been uncertain whether or not I should write to you about this. It happened back in May, before I started corresponding again, and it is undoubtedly one of the strangest experiences I've ever had. If you have a sensitive stomach, you may prefer to wait until tomorrow's letter.

I was traveling on the boardwalk at the time. It was one of the above-water sections - fortunately, as it turned out. I had been walking for most of the morning without seeing anything particularly unusual. There had been a dead fish or two, but that's not all that strange; fish die all the time in the Great Shwamp. Something always eats them sooner or later.

As I kept walking, I came across more of them. Most were fairly small. When I passed the seventh one, a four-foot marsh pike floating on its side, I started to be uneasy.

The surface of the water gradually became covered with dead fish. The current was moving them along - at least, I hope it was the current. They kept pace with me as I walked. The bodies of water-rats and small alligators joined them, green and brown in the expanse of tan and silver. I'd rather not discuss the smell. Through gaps between the fish, I could see the bleached shells of crustaceans drifting across the silt. I almost didn't notice when the trees began to be covered with mushrooms.

I certainly noticed when I reached the source of the mushrooms. The boardwalk disappeared into a wall of cloud. Whatever force was moving the bodies in the water seemed to be keeping it contained; the edge undulated slowly, but it didn't seem to be spreading. I thought it was fog until I walked - hesitantly - into it.

I got out much more quickly. After a brief and violent fit of sneezing, during which I nearly stumbled off the boardwalk, I turned around and looked at the cloud through watering eyes. It had, I noticed now, a slightly greenish shade.

An avian woman with black feathers and the face of a vulture was standing in front of it. She wore a necklace of teeth and rodents' skulls.

"My apologies," she whistled. "Normally I catch strangers before they walk in. You're new here, aren't you?"

There seemed little point in denying it.

She didn't speak English. It's difficult without teeth or lips. Many avians are capable of pronouncing the full range of necessary consonants with their throats, parrot-style; this one either didn't have the required vocal anatomy or simply hadn't learned. Fortunately, I'd been practicing the whistling language she spoke, the one that non-avians call Whoopish. It's easy enough to pick up if one has any musical ability at all (though it apparently sounds rather comical when whistled with lips).

Her name, she said, was Lady Carnelia Sarcoramph, and the cloud I had walked into was the boundary of the town of Sporetower. Visitors often react that way to it. Due to some quirk of the currents, or perhaps a geographical sense of tidiness, everything that dies in the Great Shwamp (and isn't immediately eaten) ends up there. The water is thick with bones and floating carrion. Fungi cover the entire town, sprouting on every surface, from the damp houses to the contents of the water below them. The cloud that surrounds the town is made of their spores. It's no wonder I couldn't breathe it. The townspeople are used to it; they breathe in spores like incense. Travelers, not being similarly adapted, have to cover their mouths to keep from choking to death.

I was ready to turn around and take another branch of the boardwalk, but Lady Sarcoramph said that wouldn't be necessary. I was a guest of Sporetower and would be allowed to enter the town. Her tone was friendly enough, but I got the impression that the choice was not mine to make. She gave me a tightly-woven silk scarf (to cover my mouth) and a pair of goggles and led me into the cloud.

The sky of Sporetower was perpetually overcast, the sun visible as a blurred and slightly greenish light through the fog. Flies and brightly colored carrion beetles buzzed through the murk. Mushrooms and shelf fungi covered every tree, every post of the boardwalk, many of them taller than the largest pligma or elephant's-cap. There were small toadstools even on the little rafts of mold in the water. The surface was still covered with fish, but they were obviously older than the ones outside the cloud, and continued to get older. I was able to see the entire process of decomposition as we walked. (The scarf and goggles kept out the spores, but did nothing against the smell; I tried not to breathe through my nose.) The fish around the boardwalk were little more than bones held together by floating mushrooms when Lady Sarcoramph stopped.

"Behold," she said. "The town of Sporetower."

As you've probably noticed by now, many of the towns in the Great Shwamp, lacking solid land, build instead on trees and clumps of marsh grass. Sporetower is built on mushrooms. The town floats in the water, sprouting from a raft of accumulated decay, a translucent heap of fungus taller than the nearby trees. I don't know how deep it goes. I don't even know how large it is. We were close enough by then to make out the closest section of the town, bobbing gently on the cemetarial water, but the farther sections were lost in the fog. Most of the buildings I could only see in silhouette. That was enough to make out their shapes. If there's any wood in Sporetower, it's either well-hidden or rotted nearly to nothing by now; the town appears to be built not only on, but out of enormous fungi. They form the walls and columns of every building. Stalks like pillars hold up mushroom-cap roofs, tubular chimneys, walls of fungoid brick or woven mold. The streets are made of enormous brackets, ringed like slices of trees. The town is built on the slope of the fungal heap; the streets climb at steep angles, often built on top of buildings. Twisted bridges stretch from roof to roof. Instead of dogs, carrion beetles of all sizes wander through the streets.

From the middle of this heap grows the Necrophyte, a monumental tower of fungus, porous and translucent and turreted with spore caps. It looks like a crumbling castle of mushrooms. Most of them have been hollowed out inside to make rooms and hallways; the narrowest stems have been carved into spiral staircases, punctured with spongey windows, connected to the rest of the building by high walkways of living mushroom. No one seems sure whether the building is a single fungus or a collection of many.

Lord Microbius Sarcoramph, the Undecayed Baron of Sporetower* and Lady Sarcoramph's father, lives with his extensive family in the Necrophyte. He apparently likes to invite every visitor to the town to dinner. He says it's for hospitality. Lady Sarcoramph says it's so that he knows whose pockets to go through if they return to the town by other means. "Few people come back to Sporetower voluntarily," she said. "Many say they will die before they set foot in the town again. It is surprising how often they turn out to be right."

I saw a few other foreigners on their way to the castle, wrapped up like travelers in the Shattered Waste. None of them live here. Every visitor wore the same scarf I did, and most wore the goggles as well, to keep their eyes from watering uncontrollably. Springtime pollen is nothing compared to the air of Sporetower. The townspeople delight in telling about careless visitors who sneezed to death.

The town is inhabited mostly by avians with no sense of smell. Like Lady Sarcoramph, many of them rather resemble vultures - bald, wrinkly heads, similarly bald and sinewy arms, austere black feathers. (A few are a startling blood-red. I don't know if it's dye or just a rare color, like redheaded humans.) They breathed quite comfortably in the murky air. After ten minutes or so of watching them through my goggles and scarf, I began to feel as if I was underwater, surrounded by fish. Every few minutes, I'd see someone nearby make a little swallowing motion; it took me a while to realize that it happened every time they inhaled a fly. I think a large part of their diet comes from breathing insects.

Like ordinary vultures, the lack of feathers is perfect for the townspeople's work. Most of them are scavengers. They wade through the water, sorting through dead animals, collecting useful bones and other bits and pieces. There's quite a lot of that. Sporetower is the largest source of alligator skin in the entire Shwamp. It's also the most painless, for both people and alligators; all the reptiles are already dead. The people of Sporetower receive all the material of a hunter or a livestock farmer with very little of the work. It's not for everyone, of course, but those who can stand to live in Sporetower consider themselves uncommonly lucky.

Of course, not everything worth scavenging is actually part of an animal. Alligators eat so many inedible things that the people of Sporetower call an alligator's stomach its "purse." A cutpurse in Sporetower is not a thief,** but something between a butcher and a beachcomber. They often find such indigestibles as bottles, eyeglasses, nails, pocketwatches, jewelry, and the metal eyelets from boots. Alligators apparently have a fondness for shiny things. There's a legend in Sporetower that the disappearance of Baron Bredebrick was only solved when his crown, his scepter, and his cousin's dagger turned up inside the same alligator.

This is the sort of legend one hears in Sporetower. Any other place would consider stories like this morbid. The townspeople here just think they're funny.

They have no sense of smell, but their tongues are quite sensitive, flicking into the spore-clouded air like snakes. They can taste which fungi are blooming at any given moment. Women wear mushrooms instead of flowers, choosing those with the brightest colors or the sweetest spores. I saw at least three sporist shops (florists are for plants) with lush bouquets of spore caps in vases of decayed wood or carrion. Restaurants grow carefully selected mushrooms on their tables; the customers shake spores onto their food instead of pepper. (In this town of galvanized sinuses, pepper is considered a rather bland spice, suitable only for the sensitive of palate.)

Many of the avians I saw had rings pierced through the wrinkles of their faces. Some had little bone-and-feather charms hanging from them, swinging freely from a nostril or neck-wattle. A few had bells that jingled whenever they raised their eyebrows. One of the guards at the palace gates had hardly an inch of his face unpierced. A row of rings spanned both eyebrows, a mix of all different sizes. The farthest right was too small for a finger; the farthest left could have been a bracelet. He was tapping out a tune on them as he waited.

The philosophy in Sporetower seems to be that flesh is a temporary thing, a substance that outlives its owner hardly at all, so there's no reason to be particularly careful of it. This makes sense when you realize that most of their contact with the outside world is through its skeletons. They might as well experiment with their faces; a few years after they're dead, there will be nothing left of them anyway. Their bones, however, they treat with exquisite care. However invisible it is in life, a bonesetter's work can endure for centuries beyond its owner's death. As the saying goes, skin is the present; bone is the future.

If I needed any proof of that, I got it when we passed through the gates (the first wood I'd seen since entering the town). The entrance hall was made of a transparent fungus; it was cloudy, like the air, but the surface was as smooth as wax. There was a skeleton sealed inside the wall like an insect in amber. Its hands were crossed over its ribcage. The bones were perfectly arranged, with the shadowy outlines of clothing around them, as if the transparent fungus had simply replaced the flesh and left the rest in place.

Lady Sarcoramph smiled for the first time. "There's my grandmother," she said fondly, gesturing to the skeleton. "Quite well-preserved, don't you think? My grandfather always said she had the loveliest skull he'd ever seen."

Her grandfather was a few feet farther on, equally well-preserved in the shadow of a broad-shouldered suit. Lady Sarcoramph pointed out the symmetry of his eye sockets and bemoaned the arthritis that had distorted his perfect knuckles. Only in Sporetower is beauty judged by the bones rather than what covers them.

The Baron had obviously inherited those bones. He was a magnificent avian, a good six feet tall, his feathers raven-black with faint crimson highlights. A few of the ones on his neck-ruff had been edged with gold paint. This seemed to take the place of a crown. Like perhaps a third of the townspeople, he had wings, though I don't know whether or not he could actually fly. Perhaps he could in his youth. Judging from his appearance, though, he had since been more interested in putting on weight than in lifting it.

One of his eyes was missing; he'd replaced it with a large glass marble, the kind with a swirl of color in the middle. I have no idea why. I would have asked Lady Sarcoramph, but she left as soon as we entered the great hall and sat with her father throughout the meal. The Baron talked at great length and great volume. I got the impression, though, that his daughter was the one actually paying attention to the room. Her conversation was short but carefully attended. If she's not already running Sporetower, I think she will be before long.

The great hall was sealed from the outside, every window made of the same fine silk as the breathing scarves, the air free of spores. All the visitors could take their scarves off to eat. I'd been wondering how we would do that. It was strange to see faces other than vultures - or, for that matter, to see anything unobscured by the spore-fog. After my introduction to the town, I didn't expect to have much appetite, but the feast Baron Sarcoramph provided was surprisingly appetizing. Contrary to popular belief, carrion-eaters don't eat rotten meat. They just aren't so picky about it being fresh. Everything here was quite fresh, though; the fish were only the most recently dead from the water around the town. Some of them had even been alive when caught. I didn't quite have the stomach to eat any meat, but many of the townspeople survive quite well on a diet of fungus, so that's what I ate. Properly prepared - and these certainly were - mushrooms can be as good as meat anyway. I tried not to think about what the mushrooms had been eating.

I don't really remember much of dinner. I found it difficult to concentrate on the conversation; the Baron's substitute eyeball kept distracting me. It spun in circles whenever he blinked. The other visitors were a rather subdued group anyway, many of them more disturbed than I was by the fungal architecture, by the invitation that seemed unwise to refuse, or simply by the amount of death in the town. I think we were all relieved when dinner ended and we were escorted to similarly filtered bedrooms.

Overall, the Sarcoramphs' hospitality was beyond reproach, but it seemed just a little too mandatory for comfort. I left a small sketch of Lady Sarcoramph and the Baron in my room, as a sign of gratitude, and snuck out of the palace before anyone was awake. I was out of the spore cloud by dawn. I don't usually leave a town so quickly, or without thanking my hosts in person, but I can't honestly say I regretted it. Sporetower is a fascinating place - beautiful, even, in its own strange and morbid way - but I prefer to visit towns where I can breathe unassisted and choose where I stay. One visit was quite enough for now. I may return someday, but not any time soon.

Perhaps after I die.

* It's a lifelong position; the title changes only after death. You can probably guess what it becomes then.

** Of course, this depends on whether you consider it stealing when the owner is already dead.

Fish of the Sun

2010-06-23T22:50:00.001-05:00

I left the gregarials yesterday after a breakfast of fish and green cheese. (It comes from the green cow. Her name is Pickle.) In exchange for the hospitality, I left them a jar of dark green oil paint. As I mentioned, one of the gregarials is an albino, white-scaled with bright pink eyes; he has difficulty hunting, as he practically glows in the dark.* I can easily pick up more green at the next town I come to, and he could use some camouflage that won't wash off in the water.

The following day was relatively quiet; the gregarials carried me across the river on half of a boat that they have, wished me well, and sent me on my way. It took longer to get back to the main river than it had to get away from it, so I ended up spending a night in the open after all. Oh well. I'm used to it. I would have slept quite well if it hadn't been for the owls hooting in Morse code over my head.

Today, like every day in the last week, it seemed as if the sun had come down to bathe in the river. Steam rose from the water. The light reflecting from the packed dirt of the road was blinding. I kept to the trees as much as possible, their shade nearly black in comparison to the sunlight. Even there, the air seemed something to be drunk rather than breathed. I reached the river road slightly before noon, hardly a hundred feet from where I left it two days ago. The Tetravanians would be proud. It seems like a lot of work to cross that much distance, but I'm glad I did; I got to meet the gregarials, after all. I looked back at the branch that had caused the detour, that torrent of fast water that had been too strong for me to sail across, and was shocked to see someone wading in it.

Normally, I would say she was a large, fluffy samoval, but I don't think I've ever met one who was less than eight feet tall and didn't make a sheepdog look bald in comparison, so there's really no need. This one was no exception. She was plowing through the water, waves breaking against her waist, stomping as if she was trying to kill something with her feet. She was in the deepest part of the river when I first noticed her. As she started to reach the shallower parts, her head got higher... and higher...

If she wasn't at least nine feet tall, I must have shrunk a lot in the last few weeks.

She was wearing a wide-brimmed hat the size of a wagon wheel. It was almost wide enough to shade her shoulders. On one shoulder, she was carrying a four-foot jar full of what looked like orange juice. Every so often, a flash of red scales and fins was visible inside. Her fur was black at the roots, but she had dyed it a pale yellow, possibly to make it less hot in the sun. If so, it didn't seem to be working particularly well. She was panting in the heat. As I watched, she let out a roar of frustration, threw her hat into the bushes, put down the jar - I was afraid she would throw that too, but she put it down with exquisite care - and flung herself headlong into the river. The wave nearly capsized a little canoe passing by.

"A Thousand Thousand Curses on this abominable fur!" she roared, erupting out of the water again. The man in the canoe nearly tipped over out of fright this time. "Even in the cool of the shade, it Roasts me like a very Oven, and gives me no peace by Night or by Day! I swear this moment, in the hearing of all who hear me, I shall endure it no more! I shall cut it off! To the last Strand shall I sever this coat of Evil, and cast it into the Mud to be trampled by Cattle and Pigs! You!" She pointed with a massive fist at the terrified canoe-paddler. "Have you Scissors? Give them to me!"

The man babbled something about not having any scissors, sorry, goodbye, and paddled off at a speed I didn't know was possible in a canoe. I could see sunlight underneath the keel.

The samoval turned and caught sight of me. "You!" she said, sloshing over to the bank. "You are one who has Scissors. I can tell. You have the Look. Give them to me." She held out one enormous hand. I took a look at the claws on it and decided not to argue.

My scissors looked like nail scissors in her hand, but she managed to get the tip of a finger through each handle. Her fur stuck out in spikes as it dried in the hot air. She cut each one off as if it had personally insulted her. She started walking again as she worked, picking up her hat and jar again on the way by. The jar must have weighed more than I do; she lifted it easily, with one hand.

I had little choice but to follow her. I only have the one pair of scissors. Fortunately, she was going in the same direction I had been traveling anyway. She stomped along without another word, pounding dust out of the road, hacking away at her fur with every step. She somehow managed to hold the jar in one arm while trimming with the other. Cutting evenly seemed to be of no importance; after an hour, her arms had a sort of mangled hedge look to them. The scraps of dyed fur that remained made a sort of diced lightning pattern over the dark roots. The scaled thing continued to flicker in and out of sight in the glass jar. After another hour or so, the samoval seemed less completely enraged, so I asked her about it.

"This is my Fish," she declared. "He is a handsome Fish and quick of Fin. I am raising him in the Fruit of the Sun, so that he shall be a Giant among all Fishes and possess the power of Flame. The Waters shall steam where he Swims."

After that, she was quite willing to talk, though the conversation was rather one-sided. Her name, she said, is Mahalia Peraximander the Third. (The Fish is from the Unseen Deeps and does not yet have a name.) She is apparently part of the royal family of a place called Crucible, "a Great City of Fire and Iron." Having found her Fish, she is returning there. She's fifth in line for the Throne, "but unlikely ever to claim it," she said. "For we are a family of great Strength and Stubbornness, and it shall be many Years till the Death of my Uncle, if indeed Death ever dares to disturb him at all."

I wonder if everyone in Crucible talks this way. I suppose I'll find out. It's going to take a long time to cut all that fur.

* His name is something like Plrzzxgak. I can't pronounce it any better than I can spell it.

Gregarials

2010-06-22T22:51:00.003-05:00

I had to take a detour yesterday around a branch of the river. There was no bridge over it. There had been one once, judging by the broken pilings on either side, but it looked like the last flood had decided to keep it. The current was a bit faster than I was comfortable with, or I would have crossed on my suitcase.

The path was shady, overhung with trees and marsh creepers; I didn't mind leaving the hot, dusty road for a while. Frogs jumped off the bank as I passed. Kingfishers and spotted snatchers yelled at each other in the trees. The river branch was quiet, as flat and shallow as the main trunk, but the forest around it more than made up for that.

There were far fewer houses on the branch. I walked until almost sunset, when the light slanted sideways through the trees and lined them with gold, and saw not a single sign of anyone living nearby. I was starting to resign myself to sleeping in a tree when I came across the house. It was old, a low, lopsided building that looked like it was about to slide into the river. The porch sagged so much that one side was submerged. The water around it was full of weeds and floating logs; it looked as if the house had begun to dissolve already. Sedges and cattails covered the banks and leaned up against the crooked boards, except for a muddy, trampled-looking area by the water. There was a cow grazing in the back. It was green.

As I walked up to the door, several of the logs lifted their heads from the water and looked at me.

I covered the last few steps to the door somewhat faster, then wondered after I knocked if perhaps I shouldn't have. The face that answered the door was startingly similar to the ones that I could hear crawling out of the water behind me. They were completely unhurried. Crocodiles are always unhurried right up until that last moment when they lunge. The one at the door, taller on two legs than I was, grinned the grin that only crocodiles and snapjaw sharks can achieve. I was certain that I was about to become dinner.

Then the crocodile burst out laughing at the expression on my face, and I noticed - looking away from those teeth for the first time - that she was wearing an apron and a pair of oven mitts embroidered to look like sheep faces. The crocodiles behind me started laughing too. It was an odd, creaking sound unlike anything I'd heard before; it took me a moment to realize that it was laughter. After a few seconds, I started laughing too, if somewhat nervously. The two-legged crocodile beckoned me inside with one oven mitt.

"Khom in, khom in!" she said. "We won't eatchoo, we promish."

They were not exactly crocodiles, as it turned out, but a closely related species called gregarials. Crocodiles tend to be solitary creatures; gregarials are not. They're pack animals, and far more intelligent than the average crocodile. This was one of several packs living on the River Truckle.

Like most people, they varied quite a bit in shape. Most of them were built more or less like ordinary crocodiles. Several were part amphibian, their back legs missing, their heads adorned with leathery manes of gills. One was an albino; another was striped, like a tiger in green instead of orange, and had six legs. One looked almost human, except for the scales that covered his skin. His wife (the one with the oven mitts) was the other humanoid of the pack. She looked more crocodilian, but was by far the more talkative of the two. Her name was Cheleezixmargra; his was Shekelnark. I was introduced to the others, but their names are far beyond the capabilities of any alphabet I know.

I was never quite able to count how many of them there were.

None of them wore anything besides cooking aprons, which they took off once the food was served. Reptiles rarely feel the need to cover themselves up the way mammals do. There were a few dresses hung on one wall, next to a spectacular striped suit; I assumed that they were for special occasions. The dresses were a variation on the tube gowns popular among reptiles and weasels. Styles are different for people whose mouths are longer than their arms. The gregarial's voices varied as well. A few could have passed for humans with a surplus of teeth, at least in the dark; others had deep, creaking voices, and several spoke only a chewing sort of language that I didn't recognize. They seemed to understand each other well enough.

They invited me in for dinner, with repeated reassurances that I was not to be the main course. That was a stew featuring freshwater eel and a deer that one of them had caught crossing the river. (The roof was largely held up with antlers.) I added a piece of my shell cake and a marginally more recognizable crustacean thing from Woodpot. The gregarials pronounced them crunchy, but edible. I was asked to tell them about my travels - they've rarely been farther downstream than Truckle Stop - but the conversation during dinner was mainly about the day's work. They fish for a living, apparently, and sell things they find at the bottom of the river. The floods leave the things they don't like down there, and even in the dry seasons, people are always dropping jewelry and spectacles and so on out of boats. There's also a lost city somewhere beneath Sedge. None of the gregarials have ever found it - and not for lack of looking - but they keep finding statues and pots and ancient oil lamps half-buried in the mud. There's an archaeologist who, not being aquatic himself, comes up the river every now and then to see what they've found. According to him, it's all from something called the Alpaca Empire, which no one but archaeologists has ever heard of. They say he exclaims over each shard and fragment like a little boy on his birthday. They're quite fond of him.

After dinner, all the gregarials gathered around the fire and listened to Cheleezixmargra read a chapter of Year of the Manatee, Lena Tithe's epic seafaring novel. They were completely absorbed in the story, staring raptly at the reader, though I got the impression that they were most interested in the parts with the sharks. Several of them dropped off to sleep before the end of the chapter.

They invited me to stay the night, and I saw no reason not to accept. I spent the night at the edge of a heap of huge, hoarsely snuffling crocodiles, trying to keep from leaning on claws or the more serrated backs, with fish-scented fangs snoring gently in my ear. A cacophony of frogs shouted from the darkness.

Surprisingly, I actually slept. Once you've reassured yourself that they're not going to eat you, there are few places safer than a heap of crocodiles.

The Floodplains of Sedge

2010-06-21T22:43:00.004-05:00

I've decided to follow the River Truckle upstream. This close to the Great Shwamp, it's not far from being a swamp itself. It's comfortable in its bed and doesn't hesitate to stretch out into the surrounding woods. The road on the bank is wide and well-traveled - more so than the boardwalk - so there are fewer washed-out sections. Most of the ones that there are have been filled in with logs or little wooden bridges. The mice here - there are mice everywhere - keep their teeth short by chewing on the railings. They're more artistic about it than some; it's rare to see a bridge without fine traceries of carved scrollwork all over it. You have to look closely to see the tooth marks.

According to the Truckle Stoppers I spoke to,* this country is called Sedge. No one seems sure whether that's short for "Shwamp's edge" or a reference to the plants that grow everywhere. The country is a menagerie of seedpods. There's box sedge, pineapple sedge, pyramid sedge, bottle sedge, giraffe sedge, cabinet sedge, and the elusive invisible sedge. Hollow seedpods are used as much as pottery. Musicians who can't afford instruments just find a ripe rattlesack or whistling sedge, put a coat of varnish on it, and play that instead. Many of the seeds have spines all over, so they attach themselves to your clothing when you brush the plants. There are villages where they wear seeds on their clothes, stuck on in intricate patterns like beads or embroidery. Other plants have different ways of spreading. I was nearly hit twice today by rocket sedge, which can shoot its enormous seed spikes all the way across the river. They have a tendency to spontaneously explode during dry seasons. I'm glad this isn't one.

No one can agree on whether or not Sedge is part of the Great Shwamp. The border, like the land, is less than solid. After traveling through the Shwamp, where land is scarce where it exists at all, it's surprising to see so many houses. I come across three or four every mile. Most of them seem to be farmers or fishers, with nets hanging in the water or fields baking beneath the sun. One house had nets strung across the river, above the water, to catch skipperjacks. The fields are low and full of water; the water is shallow and full of dirt. People toss small stones into it as offerings to the river spirit. They believe that rivers ought to have pebbles to rub smooth, and the Truckle, flowing through a marsh, is deprived of them.

The river fills everything here. Ponds, inlets, and tributaries break up the ground into a thousand islands, which shift and change shape with the flow of the water. The land is so flat that you can see their outlines clearly, speckled across the landscape until they disappear behind trees. At night, the river rises into the air as fog; during the Spring, it climbs out of its banks (only a few inches above water at their highest) and floods the land for miles. The small forests and copses that speckle the fields are striped with the mud left by previous floods. The farmers can read the years on them. Every flood has a name.

"Here's the line from the Shell-Raiser. Highest water in my lifetime. I was only five, but I can still remember my mother taking us all up to the top of the old signal tower. First time I ever imagined what the Ocean might be like."

"There's the Great Perforation, when all the termite eels came up from Sporetower. You can still see the holes in the wood..."

Some trees have the detritus of floods caught in their branches. Children don't bother to build treehouses by the Truckle; they just find a tree with a wagon or a wardrobe in it and hang up a rope ladder. The farmers are thoroughly unconcerned about floods. Most of them are at least partly amphibious. They grow rice and mackerel grass, plants that don't mind spending weeks underwater; they build their houses low and sloping, with streamlined roofs that go all the way to the ground, so currents will go over them instead of carrying them away. Half the furniture is made of metal or ironwood so that it won't float away. The rest is tied to the houses. During floods, the farmers spend the day fishing and scavenging, then find their way home by looking for their furniture bobbing on top of the water. Nearly everyone has a bed or a wardrobe that can be turned into a serviceable houseboat for a week or two. It's not unusual to have the world underwater for five or six weeks out of every year. That's just the way things are.

Fortunately for travelers like me, there are rarely floods at this time of year. The land is as close to dry as it gets. The sun pounds dust from the road. Cicadas drone in the daytime, somewhere in the trees, hidden from view but audible for miles. Locusts make short, rattling flights in the grass. At night, katydids and frogs take over, moving from the lazy insect fugue of the daytime to the invisible polyphony of night.

I've never been fond of heat, but it's days like these that remind me of what I love about Summer.

* Most of the people I spoke to in Truckle Stop wanted portraits. There's a pipe crawler in the town that draws them, but it uses a geometric, highly stylized technique. Not everyone wants to come out looking like the carvings on a thousand-year-old tomb.

The Untranslatable City

2010-06-20T23:01:00.001-05:00

Most of my time in Tetravania (the country) I spent in Tetravania (the city). It's a strange place - stranger than the rest of Tetravania, if possible. The city seems to concentrate all the confusion generated by the entire country. The streets are full of musicians singing nonsense songs. Professional riddle-makers gamble with passersby, continuing the age-old riddle game in a slightly more profitable variation. The riddle-makers almost always win, of course - the ones that don't quickly go out of business - and fill the pockets in their hats with brass carolmarks and silver dringles. (The dringle is Tetravania's moebius coin, famous throughout the world for having only one side.) Perfectly respectable buildings occasionally decide to spend a day or two upside-down. The ones that don't lean out over the streets, close enough at the top to step from one house to the next; it's a popular saying that in Tetravania, sweethearts on opposite sides of the street can kiss each other without leaving their houses. Many people travel by rooftop alone, finding the slanted peaks and gables easier to navigate than the labyrinthine streets below.

The city of Tetravania is built on the side of a mountain. There's a ship grounded on the Southern slope. No one knows how it got there - or, equally likely, they do and just weren't telling me. It's hard to get information in Tetravania. If people don't think the truth is interesting enough, they make up something better.

It's easy to tell how old the ship is, though. It's got the light, bamboo-framed sails of a carnelian silk riverboat - or would, if the sails weren't long gone. Carnelian silk was only used in sails for three and a half years, the exact length of the crenelated weevil's incubation period; after those three and a half years, all the eggs that had been spun into the silk hatched, and the weevils ate the sails in a matter of weeks. River trade did not do well that year. The people with upholstery or clothing made of carnelian silk weren't too happy either. People in Tetravania still wear carnelian silk, but only in sashes; the weevils are quite pretty, with iridescent exoskeletons so knobbly that they seem to be encrusted with pearls. They're worn like living jewelry. Of course, everyone who wears them makes sure the rest of their clothing is completely inedible.

The peak of the mountain, perpetually hidden by high-altitude clouds, is commonly thought to be the highest point in Hamjamser - though no one's bothered to actually measure. (Mount Moler is not the highest mountain, just the most beautiful.) Like everything in Tetravania, though, that could be just a myth that's more interesting than fact.

I speak fairly good Theskerel, but the Tetravanian version of the language is like nothing I've ever heard. They speak entirely in metaphors and figures of speech. Words seem to have no literal meanings at all. I had a conversation with a large, fluffy samoval one day about the relationship between barnacles and plaid. The conversation ended when he handed me a large enameled fish, beaming as if I'd made his day, and left. I still have no idea what he thought I said.

The restaurants and cafes claim to serve only one thing each. I went to the Cafe Mastraflan one morning and was handed a menu containing exactly one word: "Raspberry." The cafe had the usual assortment of food and drinks.* Not a raspberry in the building. I tried to signal that I wanted a glyph muffin and coffee for breakfast, but no one cares what you point at in Tetravania. The waiter said, "yes, yes, raspberry," and left. Presumably, the Tetravanians have some sort of code to indicate what they want to order - or maybe they just don't care. I can never tell. My breakfast, when it came, was a miniature loaf of artichoke bread and a glass of green lemonade with whipped cream. There was not a raspberry in sight. It wasn't what I ordered - or, at least, what I thought I ordered - but it was surprisingly good.

I had some trouble getting to the cafe the next day, as there was a flock of stone sheep on the steps. the sheep are one of the many mysteries in Tetravania. They're only barely sheep - polished stone balls with little pillar legs and the carved suggestions of faces. If they were larger, people would probably call them elephants; smaller, and they'd be capybaras. They are sheep-sized, though, and therefore sheep. They move at night - or, at least, are in different places every morning. No one has ever actually seen them move. The most common theory is that they graze on the city's paving stones and move to new ones every day.

I don't know. It would make as much sense as anything else in the city.

* The cafes in Tetravania serve more or less the same sorts of things as cafes anywhere - coffee, pastries, experimental pies and pasta - though the selection and color of any given thing is likely to change from day to day. My theory is that the cafe owners have some sort of secret code that they use to communicate with each other. Every morning, Magdar Galordi of the Cafe Mastraflan walks over to the Cafe Venogoral** to look at the pastries. If there are scones on sale, it means that one of Tetravania's many impromptu street-barricading groups is at work again. Strawberry scones mean the Order of the Detour; walnuts mean the Society of Walking Flowerpots - unless, that is, the muffins have blueberries, in which case the scones refer not to barricaders, but to pastry locusts or snatch-ravens or yesterday's weather.

This is probably entirely in my imagination, but it's the sort of thing one starts thinking after a few weeks in Tetravania.

**Mastraflan means "by the Ocean." The cafe, like the rest of the city of Tetravania, is halfway up a mountain. Venogoral means "counterclockwise." I have no idea why.

Benevolent Clockwork

2010-06-19T22:17:00.002-05:00

After more than a month of water, I've finally reached one of the more solid parts of the Great Shwamp. Early this morning, I saw the familiar shapes of docks in the distance, shaggy with moss and freshwater barnacles. Something was odd, though; they weren't attached to trees. I had to get closer before I saw that they were actually connected to land. I can't remember the last time I saw land - not tussocks or mudbanks, but real land, the kind you can't see all at once. It seems strange to actually see the roots of trees.

There's a branch of the boardwalk here, somewhat better maintained than the one I left, but I think I'll be continuing on land from here. I miss being able to stay dry for an entire day.

I paddled my suitcase up to the docks, earning a round of stares from everyone nearby, and stepped ashore. I'll have to remember this mode of transportation. It was quite convenient to be able to pick up my boat and take it with me. Having no idea where I was, I asked a man on the docks. He was carrying a basket of cleaner snails bigger than himself.* Several had escaped and were crawling on his head and shoulders. This seemed to be a fairly common occurrence; silvery snail tracks covered his upper body like tattoos. He told me that the town is called Truckle Stop, as it's where the River Truckle reaches the Shwamp and stops being the River Truckle. Sensible enough.

Truckle Stop looks more or less like an ordinary marsh town: trees full of moss, houses on stilts, little plank bridges over the ponds and inlets that break up the land like the spots on a cow. Dogs and tame caimans wandered over the wooden streets. Many of the houses had fishing poles hanging from the windows; every so often, a bell would ring, and someone would come to the window to reel in a fish. Half the people travel by foot or moa cart, half by rowboat and canoe. The land changes position when no one's looking, as land does, so you never know when your house is going to be on the mainland or on an island.

The town is centered around a bridge over the River Truckle. It's built of wood, like everything in the Shwamp; if there was ever stone here, it's sunk far beyond where anyone can find it. There's moss growing on the bridge. Moss grows on everything here. Most of it is beaded or silvermoss, but there's an edible variety called spaghetti moss that the Truckle Stoppers try to encourage in the town. I tasted a bit this evening, boiled and served with marsh tomato sauce, and the name is quite accurate.

I'd never heard of the place before, but Truckle Stop is apparently rather famous in the Great Shwamp as the home of Temery Malerian, a local inventor. She makes pipe crawlers. They're the windup variety, of course, not the crustaceans. Everyone has their own opinion on which kind is better. The clockwork ones are easier to train; the live ones can make more of themselves. (So can the clockwork ones, of course, but they can't work at the same time.) Most of the towns in the Great Shwamp have the live kind if they have any at all. It's the perfect habitat for them. In Truckle Stop, however, there are so many clockwork pipe crawlers that there's no need for any other kind. Tesra Malerian** apparently does nothing but build them, all day and often all night. The nocturnal townspeople can hear her clanking away after dark. The town crawls with her previous creations, works of clockwork art that are as much like ordinary pipe crawlers as a jade statue is like a rock. Fortunately, this is one of the more accepting towns;*** the people treat the clockwork menagerie as something between pets and benevolent local spirits, welcoming them into their houses and winding them whenever they run down. The children of the town have the usual interest in animals, catching frogs and raising caterpillars in well-stocked jars to watch their metamorphoses; one little girl is constantly surrounded by a cloud of pygmy dragons, a few of which she's trained to carry her schoolbooks for her. With the pipe crawlers, though, the children never do anything more than watch.

The crawlers are beautiful creatures, elegant assemblies of polished silver and brass, like glittering beetles of rods and gears. No two are quite the same. Many of them do the usual pipe crawler tasks - fixing plumbing, patching roofs, collecting lost coins, and so on. Others are... different. It's common in Truckle Stop to come across geometrical arrangements of snail shells, elaborate abstract designs scratched into the plank streets, spidery webs made of cast-off bits of string and strung between banisters or fenceposts. One particularly large crawler shows up on the doorstep of any family that leaves a red ribbon around the doorknob, waits politely to be let in, and alphabetizes all their books. Another seems to know when construction of a new building begins; it always shows up to press bright pieces of broken glass into the clay between the boards. It spends the rest of its time collecting and filing the pieces smooth. The townspeople have developed a habit of leaving all their broken dishes in boxes on their front steps so this crawler can collect them. It must have thousands of pieces by now. No one knows where it keeps them.

The doorsteps all over town, in fact, are covered with bits and pieces for the pipe crawlers: glass shards, wood shavings, bits of string, nutshells and eggshells, pits from peaches and hobberel fruit, bent pins and old rags and the hair from combs and fur-brushes. The doors are just as thickly covered with signs for the useful crawlers. People leave red ribbons for the book-sorter, chalk marks for the windowsill-duster, daubs of jelly for the spoon-polisher, knotted string for the boot-scraper, and paper flowers for the one that comes in and paints tiny floral patterns on ceilings. In addition to the known signals, people often put things out at random - rocks and stockings and old keys - in the hopes of attracting a new crawler. It's like the fairy-signs in the villages of Fethily. Truckle Stop's fairies just happen to be the windup variety.

The overall effect is strange to anyone who don't know what it's for; there's an odd assortment of tiny things by almost every door, like the sweepings of someone's attic carefully arranged in little boxes. Newcomers to the town are occasionally somewhat disconcerted by this until someone explains it to them.

Tesra Malerian's family does most of the business, buying supplies and selling the ordinary pipe crawlers. (The special ones stay in town.) Fortunately, Truckle Stop is near a large supply of the crystal brains used in pipe crawlers. They mine them like gemstones. No one in Truckle Stop knows how the crystals work; no one in the world does, to my knowledge.**** They just hope they never run out of them. Without crystal brains, even Tesra Malerian's clockwork pipe crawlers would be little more than mindless windup toys.

Apparently, they're quite prized in several of the floating cities. No one uses more pipe crawlers than the floating cities, those weightless mountains of prehistoric machinery that depend on maintenance for their very existence, so that's high praise indeed. The inventor herself never leaves her workshop except for the occasional meandering, distracted walk around the town. She is not interested in business. As long as she's got mechanical supplies, she's content. By all accounts, there is no logic to her process; she simply builds the pipe crawlers "the way that seems right." Her clockwork is more art than science, and she is never satisfied with her own work. She considers all her creations, beautiful as they are, failed experiments. They're useful - worth making and keeping - but they're not what she's aiming for. No one seems able to explain what that is.

The townspeople all wish her luck getting wherever she's going. Still, though no one I've met has been tactless enough to say it, I have a feeling that they hope she takes her time getting there.

* The basket, that is, not the snails. The snails were only the size of his head - not unusually large for cleaner snails. Unlike most mollusks, cleaner snails are bred not as food, but as working animals. Practically every coastal town has a colony or two of them. They're let loose to eat the barnacles and shipworms that weaken wood. I'm used to seeing the ocean variety crawling around on docks and fishing boats; I wasn't aware there was a freshwater breed.

** Tesra is the title, in many parts of the world, for a master craftswoman. A ruler of places is a Lord or a Lady; a doer of deeds is a Sir or a Dame; a maker of things is a Tesser or Tesra.

*** This would never work in somewhere like Dubulith, for instance, where any machine that moves by itself is considered unnatural, and the harmless passing of a floating city overhead gets much the same reaction as a hurricane.

**** The Hill Builders presumably did, being the ones who made them. Whoever the Hill Builders were, though, they've all been gone for centuries. I asked why the crystals haven't sunk into the Shwamp, like every other stone does. No one is entirely sure. A common theory is that the little tunnels in them, those microscopic grooves that carry electricity like the cells of an organic brain, make them lighter than ordinary stone. Another common theory is that they're lifted by the power of thought. I don't claim to understand the science of the brain - or electricity, for that matter, fierce and mysterious substance that it is - so both explanations make equal sense to me.

The Gray and Motley Coast

2010-06-18T22:14:00.002-05:00

I seem to end up in the Great Shwamp twice as often as any other region of Hamjamser (except possibly the Railway Regions). Other travelers I've met have said the same thing. It makes sense, I suppose. The Shwamp draws everything in. Every river, stream, and ditch flows into it, at least occasionally. It's downhill from everywhere but the ocean.

I got in through a mangrove swamp this time. (All swamps are part of the Great Shwamp, just as all forests are part of the Great Wood.*) I'd been traveling along the coast, stopping in each of a line of the most monochromatic fishing villages I've ever seen. There seemed to be no color in any of them but driftwood gray. The rocks were gray; the houses were gray; the plants were gray; the people were gray. They wore gray clothes and lived on gray fish. Holes in the gray sand contained off-white ghost crabs, which seemed almost garish next to everything else. The villagers were delighted to see someone who carried lots of bright colors and could be persuaded to paint them on things.

In the last village, I noticed a few children playing with what were obviously indigo cockleworm shells; it turned out that they had an enormous field of them just offshore. Cockleworm shells make the best blue dye in the world. I brought this to their attention before I left. If they have any success at farming the worms, I wouldn't be surprised if the Gray Coast eventually becomes the Blue Coast.

It was a few days later that the gray dunes began to give way to mangroves. It was a welcome change. The mangroves were gnarled, ancient trees, raised up on tentacular roots like bark-skinned squid afraid to get their faces wet. Lopsided crabs climbed in the roots next to lizards and sea-green estuary frogs. There were flightless grasshoppers the color of painted Sackamock pottery jugs - and about the same size. Some of them were almost as big as badgers. They ignored the leaves of the trees, preferring instead to take neat little slices out of the roots, which were roughly the consistency of cast iron. I tried to keep my fingers away from them.

Between the mangroves and the sea was Snaffle, a decidedly non-gray fishing village that seemed not so much built as accumulated. In Snaffle, there is no apparent distinction between house and boat. I often had to check under the floorboards to tell which I was on. People without a boat cut their house away from its neighbors and float around in it; people without a house tie their boat up to the village and never leave. They gradually acquire more and more permanent gangplanks, which eventually become whole floors and have more cabins built on top of them, until what was a boat and a dock has become a single conglomeration of buildings with new docks sticking out of it. As far as I can tell, only about a quarter of Snaffle is built on actual land - if the word "land" even applies. It's mostly mangrove roots. The rest of the village has grown out from there. Many of the most solid-looking buildings are built on what are still recognizable - just barely - as the rotting hulls of old boats. I suspect that most of the village's foundations are held together by limpets. There are public fishing holes in the streets and, apparently, private ones inside the houses as well. People put baited strings down through a hole in the kitchen floor and pull up dinner without having to leave the house. Every surface of the village seems to sway, just enough to notice; even the walkways built on solid roots seem to rock gently back and forth, if only in comparison to the rest.

The whole village has a sort of patchwork look to it, being made of boats and whatever spare timber was handy at the time. Sails that have been patched until they're more patch than sail are cut up and made into dresses or coats; many of the people are as motley as the village. There are walls made of driftwood, or furniture, or packing crate slats still printed with their contents. Many people name their houses after the words on them. The inn where I stayed was called the Petrified Fragile. Some of the builders line up the labels to form rhymes:

Olives
Olives
Coffee
POTATOES
THIS WAY UP
DO NOT EAT
Extract of Pear
Salmon
(PICKLED)
The Finest Tomatoes
Peppermint
Pufferfish
Handle With Care

In the end, I had to leave the village in rather a hurry. The hurricane crickets had begun singing. I didn't know what that meant, but the innkeeper (an amphibious man named Cacophonous Moonwreck, who cultivates barnacles on his bald head) informed me that they only sing when there's going to be a storm. The impromptu mating season begins when they first sense the storm and ends, rather abruptly, when it arrives. That way, if the females get blown to other islands, they have all the eggs they need to start new colonies of hurricane crickets.

No one in Snaffle seemed especially concerned about the storm. They've reassembled the village so many times by now that it's practically routine. That's one advantage of living in buildings that float; if your house gets uprooted and blown out to sea, you just tie a bedsheet to the mast and sail it back.

Not being quite so accustomed to hurricanes, I thought it would be best if I made my way inland. I'm glad I did. The storm was frightening enough even three days away from the coast. When it caught up with me, I was able to take shelter in a hollow barrel oak, along with what seemed to be half the animals in the Great Shwamp. The trunk was full of them. Squirrels and tree lemmings crouched in holes with owls and snakes. Marsh wolves crowded into the wide base of the tree next to otters, beavers, several dozen assorted rodents, and one cantankerous alligator, who was given all the space he wanted. The dark hollow of the trunk above us was full of the quiet rustling of winged creatures. Feathers drifted down occasionally. Somewhere up there was a black panther; it never came low enough to see, black on black in the dim light, but I caught the glint of its eyes a few times.

It was an odd few days. The storm raged outside and made the wood around us creak. Inside, everyone was silent; even the goolhowlers and yatter monkeys kept quiet, as if they knew the roaring of the storm was out of their league. The carnivores refrained from eating any of the other animals. Either the storm had inspired some sort of truce, or they were smart enough to realize they were outnumbered. I shared some of my dried squid with them. They were very polite about it. When the wind died down two days later, all of them crept out of the tree and vanished quietly into the Shwamp. I'll probably see any of them again. I'm sure they'd prefer I didn't.

I found the boardwalk a day later, and I've been wandering through the Great Shwamp ever since. I'm in no hurry to leave. There hasn't been a dull moment so far. Nothing has been quite as exciting as those first few days, though - and I couldn't possibly be more grateful for that.

* The odd pronunciation of the Great Shwamp is due to the person who first named it. The Great Wood was named by the legendary explorer and dimensimancer, Lady Erica Pelican, the first to realize it was all the same place; The Great Shwamp was named by Shamyorl Heffelish,** the same sabertoothed explorer responsible for the Shilver Forsht and Lake Shoshenloosher.

** His name was originally Samuel, but he changed the spelling to match the pronunciation.

The End of the Boardwalk

2010-06-17T22:39:00.001-05:00

The fog cleared today, and I decided to leave Chelissera while I could still see where I was going. The Pelirikas left the day before yesterday. I was in the middle of painting KeChorlitrix's restaurant; they came to say goodbye while I was eating lunch. Ranapleximilian and Tessemira gave me a snail shell they'd found, banana yellow with black stripes. If you look closely, you can see that the stripes are actually dense lines of small black squiggles, like microscopic hieroglyphics. I wonder if they mean anything.

I'm going to miss talking to the family (though I mostly listened, especially in the case of Mr. Pelirika). I don't think I've enjoyed traveling with anyone so much since I left the Train.

Without the Pelirikas and their wagon, there were no vehicles of any kind scheduled to leave the town for several weeks. Spiders are lurkers by nature. They don't travel much. Lacking any other options besides swimming, I returned to the boardwalk.

I'm glad I bought the bubble-wrap in Chelissera; I don't know what I would have done without it. The boardwalk - already sunken and disintegrating - vanished altogether barely a mile from the town. The last few frayed boards simply disappeared into the silt. There was no trace of them any farther on. Some well-meaning worker had put up a sign: "THIS ROUTE UNDER REPAIR." The sign was almost as rotten as the boardwalk. There was moss growing on it. Somehow, I don't think the repairs ever happened.

The bottom of the Shwamp was fairly flat, so I kept walking. The water continued to get deeper all day. By mid-afternoon, I had emptied my pockets and was walking through water up to my shoulders. It was perfectly clear; I was able to watch for sinkholes and snapping turtles and so on. When the water got deeper than my head, though, I gave up trying to wade and stopped for lunch. The trees were mostly gnorls and marsh manoglia, some of the easiest kinds to climb, so it wasn't hard to find a wide branch to sit on.* I needed a dry place to unwrap my luggage and take out food. While I was there, I checked the bubble-wrap for leaks. There were none. The inside was as dry as a biscuit - unlike me. A small flock of green butterflies flew down while I ate to drink the water from my shirt. I sat there on the branch, perched next to my suitcase, chewing and dripping and wondering if I should turn around.

It was an unusually beautiful part of the Great Shwamp. Plants covered every surface. There were bladderworts and waterlilies in the water beneath me, bryophytes wedged into the bark of the trees, and wispweeds floating through the air on their feathery leaves. The pink blossoms of splash-me-nots clustered on low branches, close enough to the water to see their reflections, but not enough to get their feet wet. The trees around me were full of beaded moss. It hung down in damp, tangled strands, like long green beards with no faces. It was full of the little beads that give it its name. They start out the size and color of peas and change color as they grow, moving through every possible shade of brown and purple. The ripe ones are magenta. If you touch them, they burst and release little clouds of pink spores, which float in every direction and stick to everything. Many of the branches were completely covered on top with pink dust. It looked like an odd cross between sunset and snow. Within a few weeks, it will be gone, turning a more businesslike green as it gets ready to become next year's moss.

I decided to keep going. The water has to get shallower sooner or later. Besides, the bubble-wrap had given me an idea. I resealed it with more air inside, found a relatively straight stick to use as a pole, and turned my luggage into a boat. It wobbles rather alarmingly, but it hasn't quite tipped over yet. I poled my way through the swamp on a suitcase gondola. I sang as I went, of course; someone has to sing on a gondola. I usually resist the urge to sing in public - not everyone likes impromptu recitals of clock songs and show tunes - but there was no one to hear me but the birds. Several of them joined in with harmonies. Sky-blue day bats flitted through the trees overhead. Swamp koi swam lazily under my suitcase, white and orange or black and gold, a few of them the size of dogs. Tree toads watched me pass with eyes that filled most of their heads. Sunlight filtered through the trees, broken into narrow slivers by leaves and hanging moss, full of dust and late-season mayflies. It was a good way to spend the afternoon.

* I sat in one of the gnorls, of course. I don't trust manoglia trees. Most of them stay rooted and mind their own business, but you can never be sure.

Bubble-Wrap

2010-06-16T22:57:00.002-05:00

The fog rolled in today. I woke up this morning, in my silk hotel room like a giant's coat pocket, and there it was. The gauzy white buildings of Chelissera blended perfectly into the fog and became invisible. Nothing was left but the signs on them. The letters seemed to float in space, abandoned, like names that had forgotten whose they were.

I nearly fell off the thread bridges several times because I couldn't see them. It was not a good day to explore.

Now that I have money again, I spent this morning in the market, buying things I really should have bought earlier. Food, for one thing. I was down to my last salted cuttlefish. Fortunately, every town has some shop where travelers can buy the kind of food that lasts forever. In Chelissera, the best example of this seems to be a thing called "shell cake." No one seems entirely sure what it's made of. I suspect beetles. It is the color of fossilized sand. The main ingredients are shards of crunchy stuff held together with globs of slightly less crunchy stuff. The consistency is rather like fried eggs, if someone forgot to take the eggshells out and then burnt them.

The flavor is actually surprisingly pleasant; it has that spicy, nutty, shrimp-with-a-sunburn flavor that well-cooked insects often have. I suspected it would get monotonous fairly quickly, though, so I bought a few dried crustaceans* and six lumps of the universal travelers' staple, rock bread.

Ah, rock bread. How I love the stuff. It lasts forever and never gets staler.

Having obtained food, I then went to the bookstore and picked up a book, "Sikelak for the Mammalian Mouth."** I've been intending for some time now to improve my Sikelak. Of all the languages I know - not that there are many - it's probably the most often useful. I haven't learned as much as I might because it's so hard to pronounce. It has the flaw of all universal languages. Anyone can speak it; no one can do so comfortably. It strains every voice in the world. Its great advantage is that it strains them all equally.

Like KeChorlitrix, the shopkeeper spoke English. This happens in many invertebrate towns. The most successful shopkeepers are the ones who can speak the languages of lungs and vocal cords - such as Theskerel and English - as well as their native clicks and hisses. The owners who can't speak the languages themselves find someone who can to mind the counter. The spider behind the bookstore counter was every inch an arachnid, behind the compound spectacles and flowered apron, but somewhere in all those jointed mouthparts was something capable of pronouncing English. Clicking, scissory English, but English all the same.

I knew that my third and last stop would take a while. I decided to take a break for lunch. There was a cafe by the weavers' district that sold solid food; I got a pastry with what looked like blueberries, but turned out to be water beetle larvae. It was delicious. While eating, I watched a bristly spider outside weaving a basket, lying on its back and working with all eight limbs at once. The entire thing was done in about twenty seconds. No wonder the Chelisserites can afford to weave everything in the town.

After lunch, I went to the Chelissera tatter-shop. I try to visit the tatter-shop in every town that has one. This is where people bring their broken things - shredded clothes, smashed dishes, mangled machinery - in the hopes that someone else will find a use for it. Someone almost always does. A few people in every town make their living by fixing things from the tatter-shop and selling them. Others just use the pieces.

From the outside, the shop was all bulges and protrusions, like a sack stuffed with too many lumpy things (which I suppose it was). Inside, it was obvious why. The walls and floor and ceiling were hidden behind pure chaos. There were broken typewriters, reams of cloth with rips and stains, mismatched stockings (only five or six of a full set of eight), two-legged furniture (most of it designed for arachnid anatomy and completely incomprehensible to me), dented pots, stopped clocks, broken toys - everything jumbled together without system or reason. Any trace of organization the shop may have once had was more broken than the objects it contained. There were whole barrels full of shattered china. A spider was picking through them, sifting through shards and comparing them like the scrambled pieces of a hundred jigsaw puzzles. From the way everyone ignored him, I got the impression that he spent a lot of time there.

I looked around for quite some time, wondering about the purposes of some things and the state of others. What did that bottle hold before it lost two of its three spouts? What was the purpose of the clockwork beetle with abacus wings? Who in the world has the strength to not only bend typewriter keys, but to crochet them? I wish I knew.

Amazingly, in all the chaos of mystery and malfunction, I found the one thing I have needed for weeks.

Bubble-wrap is a variety of cloth that can only be made by spiders. It's one of the most precious things to come out of Chelissera. Unique among every kind of cloth, it is completely waterproof. All you have to do is wrap something in it; drop it to the bottom of the ocean, and it will remain dry.***

The secret of bubble-wrap is the stickiness of spider silk. Other kinds of cloth are waterproof only to their edges; you can weave them tight as an alligator's grip, oil and wax them until they gleam, and water will still leak through the seams. Bubble-wrap doesn't have seams. A mix of adhesive and static electricity makes it cling so tightly to itself that even air can't escape between the layers. This is why it's so prized by travelers in the Great Shwamp. If you leave enough air inside the wrapping, not only is your luggage waterproof, but it floats as well (hence the name). You can simply tow it along behind you in the water.

The wrap in the tatter-shop was somewhat shredded, which is why it was in the tatter-shop, and why I was able to afford it (it cost only a sixel).**** I spent an hour this afternoon sewing the tears together and sealing them with snail glue. It's not as perfectly waterproof as the bubble-wrap itself, but it will help it stay in one piece.

Inside the wrap was a pocketwatch with six hands and no numbers on its face. I have no idea how one is supposed to read it. Apparently, neither did whoever left it there. The shopkeeper seemed to have given up trying to sell the watch; when I asked about it, she threw it in with the bubble-wrap for free.

I have more useless curiosities than I probably should. I can't help it. There's something irresistably fascinating about devices that do nothing at all.

In a place like the Great Shwamp, though, bubble-wrap is as far from useless as a sheet of cloth can get. I really should have gotten something like this years ago. It's only luck that I haven't been caught in the rain more often than I have, and I can't rely on the Great Shwamp's haphazard assortment of transportation to keep my luggage dry. My encounter with the troll made that quite clear. Sooner or later, I am going to need waterproof luggage.*****

*It's been weeks since I gave up asking people to identify Shwamp crustaceans for me. It's impossible. No two seem to be the same species - if the word "species" even applies - and they blithely ignore all the rules of taxonomy. They combine features of crustaceans, insects, arachnids, and fish. Many seem to have chosen their number of legs by rolling dice.

**Given the variety of people who speak Sikelak, books on the language are sorted not by the native language of the learner, but by their vocal anatomy. The other options were "Sikelak for the Avian Larynx," "Sikelak for the Metatarsi," and "Sikelak for the Bipalate Coccitella." I didn't think those would help me much. I don't even know what a coccitella is.

***Even in Chelissera, city of spinners, bubble-wrap can be only be made by the very best. It takes experience to make fabric so tight it's waterproof. The master spinners hire other spiders with inferior thread to do their hunting for them; it takes a lot of protein to make silk. The masters grow fat and enormous, spending their days eating and spinning and rarely moving from the same spot. Most eventually learn to spin with one pair of limbs; this becomes a mechanical motion that they do with as little thought as I would need to tap my foot. Their remaining limbs are free for whatever occupation they choose to pass the time.

****Sixels, it turns out, are the middle of the Great Shwamp's glass currency system. One sixel equals eight crickles (smaller marbles with ants inside). Four sixels make a terlimick, a larger marble containing a flightless harlequin grasshopper. There's apparently a fourth coin that is large enough to hold an entire crayfish. No one I've met has ever seen one.

*****I borrowed a lovely waterproof chest while I was in Cormilack, the city with more rain than air. Unfortunately, it was too heavy for me to bring along even if I'd owned it.

Drawing on the Walls

2010-06-15T22:52:00.002-05:00

I'm glad I decided to stay in Chelissera. I was sitting on one of the thread bridges over the water,* sketching a tussock with sheep on top, when a spider climbed down beside me. This was fairly unremarkable until he spoke to me.

"Good moorning," he said. "You are an ahrtist, yes?"

His name was KeChorlitrix. He had a magnificent bass voice with a slight Truvidon accent. I have no idea which of his jointed mouthparts it came from. He was the owner of a restaurant, he told me - he pronounced it "rhoostaurant" - and had just moved into a new building. He was looking for an artist to decorate it. "I would like a myooral," he said. "One with insechts on it, fat ones, to make the coostomers hoongry."

I asked why he wanted me to do it, rather than some artist already in the town. Apparently, art by people with only two eyes is considered exotic in Chelissera. There are very few binocular artists in the town. There are plenty of vertebrates living here - perhaps a tenth or so of the population - but all of them have at least a trace of arachnid in their ancestry. Even the least spidery have four or five eyes each.** The only things with two are the sheep.

I've seen some of the multi-eyed artists' work. I can certainly see the difference. Cubist painters with two eyes have to imagine what their subjects would look like from several directions at the same time; ones with more than two eyes actually see them that way. There's a fragmented, fractal beauty to their work that I can't really describe.

I agreed, of course. I try never to turn down a job, especially one this interesting.

I got a book from the town library for reference; I'm not familiar with the insects in this part of the Shwamp, and most of the ones I could do off the top of my head would have been foreign or imaginary. It was the first time I'd been in the library. Nothing in this town seems to be made out of wood if there's a way to weave it instead. Rather than shelves, the library keeps books in tall lattices of silk. They hang from the rope-beams of the ceiling. The vertical strands are close together, the horizontal ones farther apart, so that each book stands in its own narrow pocket in the grid. They have to stretch some of the pockets to fit in the thicker books. Most of the lattices are sixteen books high or more; you have to climb them like rope ladders to reach the books on the higher shelves. No one seems worried about people falling off. Spiders just don't do that. Even if those of us with four limbs and no claws fell off, though, we wouldn't be hurt. The floor is cloth too.

There were several encyclopedias of insects in the naturalist section, but they were short on pictures. I eventually went and found the librarian. She was busy rearranging books on four shelves at the same time. She was wearing the most spectacular spectacles I've ever seen - not so much a pair as a crown, with more lenses than a microscope. Fortunately, we both knew and could pronounce at least a bit of Sikelak, so I was able to tell her that I was looking for pictures of insects.

She nodded, apparently used to vertebrates making the same mistake, and led me instead to the cooking section.

Interestingly, most of the books printed in Chelissera are made in the accordion style. Instead of being bound on one edge, the pages are segments of a single strip of paper folded in a zigzag. The entire thing can be unfolded and seen all at once. For people with eyes on every side of their head, I suppose this makes sense.

I got lost on my way to the restaurant, wandering through webs of ladders and bridges, but I met a few people who spoke Sikelak and could give me directions. The restaurant was made of silk too. There were a few lightweight tables tilted at odd angles on the cloth floor; most of the seats, though, were on the ceiling. When the restaurant opens, the spider customers will hang in comfortable padded hammocks and drink bottles of half-soup hung from the chandeliers. KeChorlitrix wanted the mural painted in dyes straight onto the cloth walls. (Embroidery would be more permanent, but embroidering a building costs a fortune.) I asked if he had a list of insects he particularly wanted. He handed me a menu.

Being somewhat unfamiliar with this medium - plant and insect dye on architectural spider silk - I started work in an unobtrusive corner, where any mistakes I made would be hard to notice. It was a good thing I did. Painting with cloth dye was a bit like painting with watercolors... on water. The strands took the dye and spread it out in every direction. I would touch the wall with the tip of a brush and get a blotch the size of an orange. I quickly gave up on painting the insects anywhere even close to actual size. Most of one wall is taken up by a gigantic dragonfly, blue with green trim. A beetle the colors of eggplant and blueberry fills another. KeChorlitrix would come in occasionally, roundly extoll the magnificence of my work, and then ask me to make changes to it. "Moore colors!" he kept saying. "Make it brighter!" I was happy to oblige.

There is very little red, orange, or yellow; poisonous insects tend to use these colors to warn predators away. They're about as appetizing to spiders as mold is to vertebrates.

The painting took most of the afternoon, but the canvas I was using was smaller than I had estimated - at least in comparison to the brush strokes - and I finished it before dark. At KeChorlitrix's request, I even managed to climb up and paint a few elaborate butterflies on the ceiling. He thanked me profusely. He offered me dinner. He paid me with a handful of beetles preserved in glass marbles - Sixels, he called them. Apparently, they're the main currency in this part of the Great Shwamp. I'll probably spend most of them soon (customers and stores have been rather scarce on the boardwalk, and I'm rather low on food), but I think I'll keep at least one. I always keep one of everything. If I gave up my collection of coins,*** my luggage would probably be six or seven pounds lighter.

Later that night, I went to the restaurant, which is called the Chuckelgrack.**** KeChorlitrix insisted I order as much I could possibly eat. (It was crunchy, delicious and - thanks to his versatile chef - solid.) I realized when I got there why he had wanted the colors so bright. Most of the buildings in Chelissera are the plain white of undyed silk; a few are dyed in one color, maybe two. Many have only their names written on the outside in tangled spider script. They're lit from inside by lamps and candles at night, white and multicolored, as if the stars had come down from the sky and moved into tents.

Among all of them, the Chuckelgrack stands out like a sunflower among daisies. It has more colors than the rest of the town put together. The paintings on the inside walls shine through, flies and beetles and bolster moths, every detail as clear and incandescent as the pattern on a paper lantern. It was breathtaking.

I may have painted the walls, but KeChorlitrix chose the colors and the setting; this is as much his creation as mine. I've rarely seen any of my work used so beautifully. The money and food are much appreciated, but this is the best payment I could have asked for.

*You can't really call them rope bridges when the individual strands are too fine to see. They look like gauze and are slightly stronger than steel wire.

**I had been wondering about this, but couldn't think of a polite way to ask.

***Most of them are coins, anyway. Not everyone has the same idea of what constitutes currency. I also have a scattering of Toli beads, a few of the little colored stones called Lint, an engraved pleach pit, and seven Train tickets.

****This is a pun in Sikelak combining the words "chuckel" - which means something like "sated" or maybe "bloated" - and "tuckelgrack," a popular variety of half-soup made from beetles.

Chelissera

2010-06-14T22:52:00.002-05:00

Invertebrate towns tend to be different from the rest to begin with. The differences in anatomy, speech, family structure, and seasonal schedules tend to keep them just slightly out of step with the vertebrate world. I enjoyed my stay in Carvendrone, meeting giant wasps who have a thousand sisters and speak with their wings, but I know there's a great deal I will never understand about them. For the most part, the differences aren't important - but they still exist. Most people prefer to live in places they understand. This is why insect towns tend to stay insect towns.

None I've visited have been half as odd as Chelissera.

Chelissera is for textiles what Woodpot is for ceramics. Most of the thread and cloth in the Great Shwamp comes from here. This is because the town is inhabited by giant spiders. From beneath, the town looks like a vast cobweb; there are a few wooden buildings, but most are enormous cat's-cradles of rope and silk strands. Hanging threads connect every tree. Many of the highest ones are woven to catch birds, the way small spiders would catch insects, in a strategy quite different from that of the trick-hunters. The rare ones they carefully untangle and set free; the rest they eat. Other lines go down into the water to catch fish.

Everything billows in the wind. Brightly colored flags and curtains hang everywhere. Many of the master spinners live in huge, gauzy hammock-pagodas hung between branches; the billowing buildings seem to just float in midair, like clouds with faint, busy silhouettes inside. The threads that hold them up are practically invisible unless the sun hits them right. Sparkles glint on the thousands of tiny strands, played by the light like the strings of a violin.

The spiders bought several large jugs from the Pelirikas. Ranapleximilian told me - very quietly - that they use these for what they call "half-soup." This is the food that they've digested with their venom but haven't eaten yet. He obviously thought the idea was quite disgusting and therefore talked about nothing else for almost half an hour. Half-soup is inedible to nearly everyone who isn't a spider; the acids alone would kill most vertebrates. Among spiders, though, it's by far the most popular food. There are half-soup chefs who strive to achieve the perfect combination of meat and venom, dissolving fish and fowl alike and stirring them together. They experiment with different acids, different animals, even different combinations of specific organs (though many consider it barbaric to dismantle prey while it's still solid). Spiders consider no part of an animal inedible except the skin and bones.* The rest all gets mixed together anyway. A few chefs have experimented with fruit and vegetables, but this is considered avant-garde at best and simply ridiculous in most cases.

It all sounds quite fascinating. This is an entire culinary world that's completely separate from any other. I can't decide whether I want to become a spider to try it out or whether I just want to be sick.

Fortunately, half-soup is not the only thing of interest in Chelissera. Most of the town is involved in the spinning and weaving of fabric. There is, after all, no one better suited to it. They dye the thread as much as any ordinary spinners, but the fact that they produce it themselves means that they don't have to add the color afterward. Many of the farms in the town are devoted to edible dyes. A relative of indigo grows down near the water; cochineal beetles are raised in the trees. The spiders eat them to change the color of their silk. This takes much less work than coloring it separately. There are spiders who eat cochineal like candy, specializing for their entire lives in producing red silk and nothing else. Others choose different dyes or mix them together, balancing their diets based as much on color as nutrition, striving for the perfect shade. The dye eventually stains their exoskeletons as well. There are spiders in Chelissera covered in outrageous swirls of bright colors (they don't blend in the chitin as they do in the silk) whose relatives are uniformly black or brown. The rainbow spiders wear their colors with pride. It takes dedication to a job to achieve so spectacular a change.

Spider silk isn't the only material produced here, of course. There are several farms in the town that produce the more ordinary variety made by worms.** Flax and cotton grow in boxes of earth high in the canopy, field plants growing next to silvermoss and other epiphytes. Sheep graze on the huge tussocks of grass that pass for land in this part of the Shwamp. I'm fairly sure I even saw a few angora goats and longhaired needle-mice.

Much of the cloth in the town actually comes from people. The Great Shwamp has fewer longhaired mammals than colder, drier parts of the world; long fur can be a nuisance in the sticky humidity that lasts all Summer here. Many do live here, though, and nearly all of them are in Chelissera. They go in several times a year to be shorn, just like the sheep. The difference is that they get paid for it, and they can take the dirt and brambles out of their own fur.

I was surprised to realize that, despite all the farming, there actually isn't much more land here than in any other part of the Shwamp I've visited. The tussocks are the only solid things in the water. Even they have very little actual soil, growing instead on the decomposed leaves and roots of previous layers of grass. Most are perfectly round. They sit in the water like giant green pom-poms with sheep on top. The spiders stick a post in the top of each tussock and tie the sheep to it; otherwise, they have a tendency to roll off the sides.

It's strange to see land again - real land, oddly shaped as it might be, with plants growing on it. I'd almost forgotten what that looked like. The Pelirikas plan to stay here for a day or two, selling pottery. I may stay longer than that.

*On invertebrates, of course, skin and bones are often the same thing.

**Like many silk farmers, they kill the moths before they chew through the cocoons. Unlike many silk farmers, they eat them afterward. Spiders don't let much go to waste.

Still in the Dark

2010-06-13T22:44:00.002-05:00

I did get to meet Mr. Pelirika tonight, as it turned out. Mrs. Pelirika was cooking some sort of improvisational stew over the incubator's oven, adding little bits and pieces that her children found in the dark. Their night vision is obviously much better than mine. They would wander off and return with plants, fish, snails, assorted crustaceans, and numerous other things I couldn't identify. I think one of them may have brought back a snake at one point. It seemed to be a rule that they gave everything to their mother first, so she could check that it wasn't poisonous. She thanked them warmly for everything. A few times, after the children left again, I saw her discreetly drop a few of the unidentified things back into the water.

I donated some salted cucumber squid that I got at the coast. It would have been rude to share dinner without contributing something. The stew seemed to be almost finished, the children beginning to be more interested in eating food than finding it, when there was a disturbance in the water nearby. It was just a splash at first, but it quickly grew into a great rushing sound, as if something huge was emerging from the water. It was practically underneath us. Before anyone could move, a huge dark shape rose out of the Shwamp, blocking out what few stars were visible through the trees, and sloshed up onto the wagon. The whole thing rocked crazily. The children screamed. I was about ready to do the same until Mrs. Pelirika said, quite calmly, "Don't be so theatrical, dear, we have company. Did you bring anything for dinner?"

"Oh," said the dark shape. "Sorry - didn't know we had guests. No one's jumped overboard this time, I hope?"

The screams turned out to be excited ones. By that point, all five children were climbing on the enormous silhouette. I still couldn't make out any details. I introduced myself, and an extension of the shadow came out of the dark to engulf my hand in a massive and rather damp handshake. This, it seemed, was the nocturnal Mr. Pelirika.

It turned out that he had brought something for dinner: a sabertoothed marsh pike, three or four feet long. The fish appeared for the children to admire, then promptly vanished back into the dark. I could hear him chopping it up to add to the stew. I couldn't see whether he used a knife or not.

"It took me half the day to catch this fish," he said as he worked. "I hunted it into the ruins of a sunken village three miles from here. It was clear it had been there before. Every big fish needs a lair, a deep hole to lurk in, and this was one of the biggest. I must have chased it through hundreds of flooded rooms. It knew the place better than I did. It was fast, darting into hidden openings and doubling back on its trail over and over again. I nearly lost it several times. But it could never quite outrun me. Slowly but unstoppably, I kept up with it, gaining a bit more with every failed evasion. Finally, I was close enough that I could almost grab its tail - if I'd been foolish enough to do that to a pike - and it slammed into a rotten timber, breaking it in half. The whole tunnel collapsed in seconds. It was lucky I was so close behind the fish, or I would have been buried alive!"

The children gasped. Mrs. Pelirika seemed unconcerned.

"As it was, I lost my net in the chaos. I was trapped in the last room, the only entrance buried under a ton of rubble, facing the most vicious fish in the Shwamp with only my bare hands-"

"If that was the only entrance, how did you get out?" Mrs. Pelirika asked.

There was a brief pause.

"I'll get to that in a moment," said Mr. Pelirika with great dignity. "Don't rush the story. Now, when the pike attacked, I was quick enough to jam its mouth open with a piece of wood..."

I don't remember all of the rest of the story, but it got steadily more dramatic from there, adding underwater tombs and cave krakens and curses from ancient drowned empires. It was quite clear where the children had gotten their love of talking. This was the way things went on all night. Every conversation inevitably grew into a wilder and wilder tale, with Mr. Pelirika going on at length about his adventures (or those of other people - he was actually only the hero of two or three stories), or the habits of exotic (in some cases mythological) creatures, or creative retellings of history. The children were enthralled and interrupted frequently with questions. Mrs. Pelirika was silent most of the time; it almost seemed as if she wasn't listening at all. Every so often, though, she would speak up to point out some inconsistency in the current story. This would stop her husband for a moment. He always managed to come up with some explanation, though, usually something even more outlandish than before.

Eventually, Mrs. Pelirika took advantage of a rare gap between stories and announced that it was time for bed. The children protested and were silenced with a look. I got the impression that Mr. Pelirika might have done the same, but knew by now that it wouldn't work. He filled all the available space in the wagon when he lay down. I still couldn't make out anything of him but a vague silhouette. The rest of the family went to sleep on top of him, as if he was a mattress, a vast expanse of solid black with bright lumps of feathers curled on top. I set up a hammock in a nearby tree. By the time I woke, the sun was up, and Mr. Pelirika was gone again.

We spent the entire evening listening to his stories, and I still haven't the faintest idea what he looked like.

A Wagon Without Wheels

2010-06-12T22:54:00.002-05:00

For breakfast this morning, I had a sort of chocolate pastry called a mud pie. Given where I was, I was somewhat wary of this, but the baker assured me that there was no actual mud in it (or, at least, as little as is possible in Woodpot). I ate it while wandering through the village. I had only been walking for about ten minutes when I realized that I had a small swarm of large dauber wasps following me. They kept a polite distance, but they were quite obviously waiting for something. I looked at them for a moment, then broke off a piece of my pie and tossed it to them.

There was a brief blur of buzzing black chaos. When it cleared, there was no sign of the crumb, but one of the wasps was cleaning its face and looking pleased with itself. The rest were still waiting.

I decided that this was more fun than eating the pie. The wasps got the rest of it. They continued to follow me as I walked around the village, looking at the architecture and the potters at work. It didn't matter which direction I tossed a crumb; there was always a wasp there to catch it. Some of them eventually got tired and sat on my shoulders, trying to snatch bites of the pie while I wasn't looking. They were surprisingly heavy. They hummed constantly, a faint vibration that I could feel but not hear, like the purring of a cat.

It's quite possible that feeding them is encouraging a bad habit, but I couldn't resist. How often does one get to spend a morning playing with giant wasps?

According to the baker, the boardwalk in the other direction is in even worse condition than the one I arrived on. I decided not to risk walking on it. Instead, I got a ride with a pottery merchant and her family. I met them at the bakery.* Like most people who travel frequently in the Great Shwamp, they can't afford to depend on the boardwalk and have come up with something better. I've met travelers who ride on alligators and giant tortoises, others who use rowboats or rafts, and one or two who have long enough legs (and wide enough feet) to wade in even the deepest water. Many people fly. A traveling tinker I met in May had a clockwork vehicle powered by a pair of capybaras running in wheels. He said they were a special variety bred for racing. The vehicle was amphibious; it had wheels, mechanical legs for soft ground, and a paddle-boat attachment in the back. It seemed to work quite well, aside from an unfortunate habit of shedding gears and breaking down every few hours.

The pottery merchant doesn't have anything so exotic. She and her family travel by wagon. Given the scarceness of solid ground in this part of the Shwamp, they've removed the wheels; instead, each axle has a cluster of ceramic floats tied to it. They look a bit like the glass floats used by fishermen to hold up nets, but in clay instead of glass. Each one is held in a many-knotted web of rope. They're glazed in three or four different patterns, like a mismatched set of dishes. Several have been broken and glued back together with metal. Webs of rusty lines outline the patterns of the cracks, weeping streaks of rust over the glaze.

The pottery reminded me of something I hadn't thought of before. Unbaked clay architecture works well in the desert, where there's plenty of sun to harden it and little rain to melt it. The Great Shwamp has just the opposite. How, I asked, do they keep the houses in Woodpot from melting in the rain?

One of the merchant's sons was happy to explain this to me. His name, he told me proudly, is Ranapleximilian, an old Kletheran name that means "slayer of the great night-frog," and he can pronounce the whole thing. (His sisters and brothers, all younger, have not yet succeeded with their own equally impressive names.) Apparently, the houses are waterproofed with gristlebird oil. Gristlebirds have the oiliest feathers of any bird in the Shwamp; according to Ranapleximilian, they repel water so strongly that they create a bubble of air around themselves when they dive. They eat the stunned fish that fall into it.** To waterproof a roof, the villagers simply lay a few fish on top of it; this inevitably attracts five or six gristlebirds, each of which wants all the fish and is prepared to fight for them. The resulting brawl leaves the roof, walls, and surrounding trees evenly coated with oil. (It also leaves them covered with feathers, dandruff, bird droppings, and half-eaten fish, but those wash off in the rain.)

The merchant herself is named Mrs. Pelirika. She doesn't seem to talk much. For most of the day, she was busy navigating the Shwamp and managing the somewhat temperamental marsh-squid that pulled the wagon. Her five children, in contrast, talk enough for ten. The other four's names, from second-oldest to youngest, are Tessemira, Donrondamole, Coralilamander, and Vanesily. No wonder the younger ones can't pronounce them yet. Vanesily, the youngest, is only just getting his down feathers. Ranapleximilian says that he is almost old enough to fly (he does have a few flight feathers, though they're mostly gaps, like some mammal children's teeth) and kept jumping off the wagon all day in attempts to do so. None of these worked, but he didn't seem to mind landing in the water every time. Quite often, he would come back with some sort of snail or outlandish crustacean. His sister, Tessemira, was fascinated with these; I don't think she ever had less than three or four sitting in her hands or on her head. All five children kept up a constant commentary on every unusual tree and fish we passed, as well as the pottery in the wagon and life in the Shwamp in general. They kept coming up with things for me to draw all day long. I was happy to do so. Hardly anyone makes a better audience than children. If you do something wrong, they will tell you immediately; if you do something right, they can be more enthusiastic than almost anyone. They found my attempts to draw some of the fish they described to me quite hilarious.

Much of the conversation during the day was about the current load of pottery. The children seem to take just as much of an interest in it as their mother; they had something to say about nearly every piece, and quite a lot of the talk of styles and glazes and double-firing went well over my head. The wagon seemed to have something from practically every potter in Woodpot. There are quite a lot of them. The clay under Woodpot is the best in the Shwamp, Ranapleximilian said, so all the best potters (and quite a lot of the others) end up in the village eventually. So do all the pottery merchants. No matter where you go in the Shwamp, you'll find someone eager to buy Woodpot work.

My favorite piece in the wagon is a huge pitcher in the shape of an octopus. The base and handle are made of five of its curled tentacles, and the other three twist above it to form the spout. The children said that this was the work of Artemisia Treble, one of their favorite potters, who is rather famous for beautifully detailed pottery in the shape of aquatic animals. Tessemira showed me a tiny bottle shaped like a marsh snail, in which she keeps buttons.

There appears to be a sixth child on the way. On the floor by Mrs. Pelirika's feet was a portable incubator, a metal basket with smoke coming out of the little oven in the bottom. There was a thermometer stuck in the mound of blankets in the basket, which she checked every few minutes. I assume that somewhere in there is an egg.

I have not met Mr. Pelirika yet. Mrs. Pelirika said only that he doesn't like the sunlight and travels underwater by day. I didn't press any further. The children seem to take after their mother, with brightly colored plumage like jungle parrots; they obviously enjoy the Shwamp, but don't seem particularly aquatic.

Perhaps I'll get to meet him tonight.

*Most of the village seemed to be at the bakery when I arrived. The diggers from the previous day were there - most of them, at least - though I didn't recognize them until they started talking to me. Their faces look different without a coating of mud. Some of them had sculpted patterns in the clay on their faces the day before, pinching it into cracked masks of swirls and ridges. I found it much easier to read their expressions this morning.

**He may have been exaggerating here, but I'm no authority on marsh birds, so I wouldn't know.

Bringing the House Down

2010-06-11T21:13:00.001-05:00

Wherever I go, I try to see at least one local performance. I don't particularly care what it is. I love music and the theater, and I never cease to be amazed at how different it is in every town. The musical I saw in Tetravania was Conrad Owle's "Obfuscation." It's about the Doff of Gelfizzy, the ruler of a small country, who is searching for something and fleeing from someone else. What and who depends on which performance you see. The Doff is played by a different actor or actress in every scene; he or she is identified by his or her hat.

Like most Tetravanian theater, the script is debatable. The basic plot and a given actor's favorite lines can generally be relied on, but there are no set entrances or exits. People go on or off stage, start or stop singing, whenever they feel like it. The rest are expected to improvise accordingly.* As a result, the story and music are different at every performance.

The costumes are done in a similar way. The cast members add or subtract bits and pieces whenever they want. On one night, one of the Troglodyte Duchesses in act two came onstage wearing a massive horsetail wig, in a shocking shade of blue, that hung down to her knees. Something about it delighted the live cicadas that were onstage for musical accompaniment in that scene. Fifteen of them ended up on her head by the end of the number.

The only absolute rule, as far as I can tell, is that no one is allowed to steal someone else's lines; if you want to do something outside the script, you have to make it up yourself. Other than that, many productions end up being theatrical free-for-alls. Most playwrights in Tetravania don't even bother to specify a main character. The stars are the ones who can upstage everyone else.

I never got to see the end of the play. "Obfuscation" does have an official main character, but that doesn't keep all the others from trying to steal every scene. Halfway through the last act, the Dowager Waitress came out in a four-foot pompadour wig that she had set on fire. The somewhat panicked improvisations that followed from the rest of the cast were some of the best parts of the entire musical. Unfortunately, the Dowager Waitress's wig then set the curtain on fire, at which the theater was quickly evacuated while the stagehands rushed to douse the flames with snuffer squids.

The musical closed a few days later. It seems to be generally accepted in Tetravania that when the actors start setting the stage on fire, the play has run long enough.

*The success of this method varies depending on the skill and quick thinking of the actors. The less skilled actors in Tetravania, unable to think quite as well on their feet as the rest, generally cultivate an expression of dumbfounded astonishment to give themselves time to think while the audience laughs. Lower-quality Tetravanian theater companies can sometimes double the length of a play with the sheer number of astonished pauses. Naturally, someone has taken advantage of this situation; "The Somnambulist," a play by the multitalented Rhem S. Trupelo, consists entirely of astonished pauses as various cast members enter the stage in increasingly ridiculous outfits. The play has no dialogue whatsoever.

Woodpot

2010-06-10T22:29:00.002-05:00

The boardwalk continues to be flooded. The water is up to my knees now; I'm starting to wonder just how deep it's going to get. As if that wasn't enough, the water got gradually more opaque all morning. By noon, I could no longer see my feet.

It seemed to be silt. The water was a thick, even brown color, occasionally turning reddish or yellowish, as if something was stirring up layer after layer of mud. I can't imagine this is pleasant for the fish. I saw silt eels break the surface several times; I've never seen so many in one day - or ones this large. They're muddy brown creatures that lurk in cloudy water, preying on befuddled fish lost in the murk. There were probably a lot of those today.

The mudbanks to either side of the boardwalk continued to grow in size as I walked. They didn't seem to be the source of the mud; they were the wrong color. It wasn't until almost sunset that I found out where it was coming from.

The trees in this part of the Great Shwamp are mostly gridwillows and gnorls. Their complex, twisted shapes are quite a contrast to the monolithic redwoods and cypresses around Meligma. They limit vision as well; I heard the diggers long before I saw them. Once I did, it was quite clear that they were the reason the water wasn't. They were in the middle of dismantling a mudbank. It looked as if it had been nearly the size of a house once. They had hollowed out the middle, leaving the sides high so that they could dig below water level. Water seeped in anyway; two of them did nothing but toss buckets of it out of the pit. The rest were busy filling more buckets with thick red clay and passing them on down the boardwalk. Those not equipped with webbed feet wore things like snowshoes to keep from sinking. They seemed to be a mix of species, like most people you meet, but it was hard to be sure. Fur looks the same as scales with enough mud on it.

They were singing one of those morbidly amusing songs that are so good for repetitive work. Miners and sailors seem especially fond of them. I didn't catch all the words of this one. It seemed to be about mud - I'm digging a hole that fills itself in, I can't remember what color my fur is, throw me in the oven and you'll have a brick wall, and so on. They seemed happy enough, in a businesslike way. Work songs just seem to turn out like that.

"Hey there!" one of them called, catching sight of me. "Welcome to Woodpot, the most beautiful village in the Shwamp!"

There was no village in sight. As far as I could see - which, admittedly, wasn't all that far - there was nothing in sight but trees, the boardwalk, and mud. I looked around, trying to think of something to say.

The digger seemed well aware of my confusion. He grinned at me, his teeth startingly white in his clay-covered face. "What, don't you see it?"

I admitted that I didn't.

"Look up."

I came out from under the gridwillow that shaded the mud pit and looked up. The trees seemed to be full of enormous striped pots. It took me a moment to realize that they were houses.

The only land near Woodpot is mud; the villagers build their houses not on it, but out of it. The buildings perch like fat clay owls at the bases of branches. Some of the larger ones have multiple stories or wrap all the way around the tree. Many are striped, like hornets' nests or sedimentary rock, each layer laid down in a slightly different color. They're more pottery than architecture; with their bulging shapes and round windows, they look as much like jugs as like houses. I almost expected to see corks sticking out of the chimneys.

Several of the diggers were quite happy to take a break from work and show me around the village, pointing out their own houses and talking about their construction. The houses are kept in repair by trained mud rats and dauber wasps. The mud rats seem to be a sort of cross between squirrel and beaver; they build their mud-and-stick lodges in trees, carrying mud up from the ground in their cheek pouches.* The dauber wasps are thin and blue-black, like the dauber wasps found near every muddy riverbank in Hamjamser. In size and intelligence, they're somewhere between the little wild ones and the civilized, dog-sized architects of the Sclesserax. The small daubers live here too, building their little clay egg cases alongside the larger ones. The rows of large and small tubes look like clay organ pipes.

No one bothers to decorate their houses much in Woodpot. There's no point. The baroque nurseries of dauber wasps end up covering every surface. If a building stands for a full year without a dauber wasp building on it, it is judged to be cursed, and the villagers tip it into the Shwamp to dissolve. Most people try to finish new construction during the egg-laying season, just in case.

The basic structure of each house is still built by the villagers. Mud-rats build everything in balls and mounds, while dauber wasps use only tubes. Humans still prefer to have things like floors and windows. Most of the actual clay, however, is laid down by rats and wasps. Each building is full of burrows, mud rat nests and chambers for the wasps' larvae. The grubs are roughly the size of my arm. They spend their entire childhoods in tubes only big enough for themselves and whatever food their parents can hunt or scavenge for them. Barring accidents, no one ever sees the grubs until they complete their metamorphoses and break through the walls as fully mature blue-black wasps. The village children play with them as if they were shiny, flying cats.

Most Woodpotters don't even try to keep their children clean. In a town where the very buildings are made of mud, there's not much point. A few parents do try to keep their children from burrowing in it with the others; they tell them to at least stay in the trees.** Children restricted this way have a remarkable tendency to accidentally fall off of low branches and land in mud pits.

The diggers eventually went back to work and left me at the inn, a collection of honeycombed chambers clustered around a particularly huge and twisted gnorl tree. The sun had set by then. Candles and marsh-lamps were burning in windows all through the village, making it look like a collection of lanterns hung in the trees. I went inside and rented a room.

The room is nearly perfectly spherical; it's tall enough, just barely, that I can stand up in the very center. Most of the walls are hidden behind heaps of old pillows and blankets. It's like being in a mouse's nest. I'm not sure I've ever been anywhere more comfortable. The room is full of the rich, dusty smell of dry clay, and the evening chorus of frogs and insects is just starting outside. I expect to sleep deeply and dream of Summer.

*For a long time, this behavior led people to believe that they ate mud, like earthworms or auger weasels.

**Most of those parents are avians. Cleaning mud out of small down feathers is not a pleasant task.

Troll Game

2010-06-09T22:54:00.001-05:00

The boardwalk has been deteriorating the farther I go. Nearly all of my traveling today involved wading. The boards are there, under the water, but you have to tread carefully or risk putting your foot through a rotten one. Still, despite its erratic condition, the boardwalk is the only way to travel through much of the Great Shwamp without swimming. It's inevitable that such an important route would eventually attract trolls.

For the most part, I object to trolls. I wouldn't mind paying their tolls if they actually provided something in exchange. Some of them do; there are many roads in the Railway Regions that would be completely impassable by now if not for their curmudgeonly but dedicated troll keepers. Few people in the Regions are particularly interested in roads. It's easier to take the Train. Most trolls, however, do nothing but get in the way.

The troll booth was built on the only unsubmerged piece of boardwalk I'd seen all day. Someone had done some work to keep that section, if nothing else, above water. There were so many posts and tree trunks wedged under and around it that it looked like a funnel shrike's nest. Many of them were held together with string. The house itself was more or less mushroom-shaped; the bottom floor was only as wide as the boardwalk, while the second looked just wide enough to lie down in. It was quite obviously a troll house. They're built to get in the way as much as possible.

As if that wasn't enough, the troll herself was sitting outside, fishing. She was one of the Northern trolls - built like a foothill, with a nose the size of a loaf of bread. She was wearing a coat made of strips of odd, shiny leather. They were quite obviously hagfish skins. Most people at least take the heads off first.

Normally, I would simply have swam around the booth.* I have no objection to getting wet. My books and supplies are not quite so waterproof, though. The only way to get them past intact was through the troll's front door.

She stood up when she saw me, her coat creaking in protest, and leaned her fishing pole against the house. The hook was baited with a slice of cucumber. She grinned at me as if she'd just caught a particularly large fish. Her teeth were a mix of brown, gold, black, blue, and missing. One of her tusks had knot patterns carved into the tip. I could see mice climbing through her hair.

"Gots any moneys?"

"Yes," I said quickly. Trolls often see a lack of money as an excuse to take whatever they want.

"Tha'sh good." Her voice creaked more than her coat, and the tusks made her speech even harder to understand. It sounded something like a rusty doorknob being ground up in a landslide. I began digging for change in my pockets, but she held up a long-nailed hand to stop me.

"NO! Firsht we plays ze Game."

"Game?"

She grinned again, even wider, and pulled a pack of battered cards out of her coat.

"Ze Game o' Pickerel Shproot."

From her explanation, I gathered that, unlike most trolls, she preferred to gamble with her victims before taking their money. If she won, she would take twice as much as usual. (What "usual" was, I have no idea.) She didn't say what would happen if I won. It seemed overly optimistic to hope that I would get by for free; a more likely possibility was that I would be eaten in revenge. Maybe no one had ever won before. I suggested that I could just pay her right then and be on my way, but she was quite firm about that.

"No wan getz by wizhout playsh ze Game. Boring here, eh? Gotza have shomething te do."

I couldn't very well argue with that.

From somewhere in her closet-sized downstairs, she pulled a card table with three legs and set it up on the boardwalk. From her coat, she pulled an enormous porcelain pipe; she wedged a lump of coal in the bowl and lit it. The smoke was black. She breathed in deeply and sat down, dealing the cards with the machinelike speed of a professional.

"Now liszen good," she said, "'coz I'z only gonna tell ye ze roolz wance. Ye gotz ninedy-sevhen cardsh in Pickerel Shproot. Twenny iz Flatz, shirty-six iz Numverz, elevhen iz Shproots, nine is Doublez, ten is Upz, ten is Downz, an' wan iz ze Shpit. Ye gotza make pairsh and Threezies. Firsht ta get three pairsh, or two Threezies, an' ye win..."

The rules were long and complicated, and I won't go into them all. I don't even remember half of them now, though I'll probably try to write down as much as I can recall later. I want to know more about this game. Does it even exist anywhere else?

I was surprised at the cards when I finally got to pick them up. The fronts of the cards were unmistakeably the madly detailed engravings of Reddish Crill. I'd never heard of him illustrating a deck of cards, but it's not particularly surprising. He did practically everything before his dramatic high-altitude demise. In my hand, I had the Nine of Corkscrews, the Three of Speckles, the Two and a Half of Rocks, the Reverse Sponge, Toothache, and a card with nothing on it but pink flowers. I tried to keep the backs of my cards hidden as much as possible. I wouldn't have been at all surprised if the troll was able to identify them by the coal stains.

Amazingly, I won the first game, more by beginner's luck than anything else. It's lucky that I pick up game rules fairly quickly; these ones were more confusing than most. The troll was not happy. The coal in her pipe glowed brighter, and smoke started coming out of her nose. She didn't say a word; she just shuffled the cards and laid them out again. I had won, so I got up to go.

"Besht two outta shree," she growled.

It didn't seem wise to argue.

She won the second game, after which she started to look happier. I had enough of a grasp of the rules to play the game, but not enough to be good at it.**

In the third game, I did my best to play badly, preferring to pay twice whatever the usual fee was rather than find out how gracious the troll was about losing. It didn't seem to matter. She was clearly not pleased with her cards. The coal in her pipe glowed hotter and hotter as the game went on, cards clenched in her rootlike fists. It only took a few rounds before it started shooting sparks; after that, it was only seconds before one of the sparks landed on her house. It started smoking immediately.

"FIRE!" roared the troll, erupting to her feet, upsetting the card table, and dropping her pipe in the Shwamp.*** She tore off her coat and began beating the flames with it.

Unfortunately, this was too much for the structure. Many of the strings had already been weakened by fire. At this new assault, they snapped. Knots broke, boards sagged, and as we watched, the entire house slowly tipped over into the Shwamp.

That put out the fire, at least.

Roaring with rage, the troll leapt into the water and sloshed over to her house. It was already starting to sink. It stopped when she dug her hands under it and heaved, lifting the entire structure several inches. I could hear dishes breaking inside.

I decided that that was a good time to leave. She seemed to have the situation in hand. As quietly as I could, I gathered up my luggage and crept over what was left of the boardwalk. I could hear her shouting unintelligible curses at her house long after I was out of sight.

I still wonder who would have won that last game.

*After checking for chekaraul and alligators, of course.

**Besides, the rules of drama require that every contest be decided only in the last round.

***It had obviously spent time in the Shwamp before. There were barnacles on it. From the look of them, some of the cards had been there as well.

Cracks in the Mud

2010-06-08T22:44:00.002-05:00

I've been traveling for weeks over dark, still water, so deep that the roots of the giant trees are completely hidden. They rise like wooden pillars from a floor of black marble. The water's getting shallower now, though; the cypresses are showing their roots, not just their knees. Some of the ridges between knee and trunk are high enough to stick out of the water. A few of the oldest trees have whole flying buttresses. There are stands of cattails here and there, clustered around the trees like green cuffs on wooden sleeves, and sedges with seed clusters in every imaginable shape. It's early in the year for them, but things tend to grow out of season in the Great Shwamp. I picked a few stems of box-sedge near the boardwalk. Each branch was tipped with a perfect little cubical seedpod, punctured at the top to let out seeds, like a tiny saltshaker. (I've heard that some mice actually use them that way.) Another sedge nearby had seeds arranged in perfect five-pointed stars. Mounds of red mud rose from the water a bit farther on; they were mostly bare, except for a few tufts of marsh grass. They had an uneasy, temporary look to them.

I began to suspect that the calmness of the water was not as constant as it seemed. The only solid things in sight, besides the immovable trees, were new ground and even newer plants. There had been storms here recently.

The mounds got larger as I walked, still bristly with marsh grass and the occasional sedge. Some of the larger ones had dried on top. The surfaces were cracked in the crazed patterns of dried riverbeds. A man in spectacles and a rather dusty coat was splashing between them, making rapid, precise sketches of the patterns. One trouser leg was rolled up; the other had fallen down and was dangling in the water. He didn't seem to notice. His feet were scaly and webbed, like a duck's.

"Good morning," he said, not stopping to look at me. It was late afternoon. "Stay on the boardwalk, please. Don't step on the mudbanks."

He needn't have worried. Even the driest ones were obviously the sort of mud that eats your boots and stains your socks for eternity. I had no intention of stepping on them; I told him so. He didn't seem to be listening.

"I've got to record them," he muttered. "Just a few more dry spells should do it. I'm so close. So close. It's almost complete."

"What's almost complete?" I asked.

He turned and stared at me as if I had asked what air was. "The message, of course!" he sputtered, blinking furiously. "You don't think these patterns just happen, do you? They're written! Written, I tell you, and I'm going to find out by whom! It's taken me years to decipher the language. No one else would even try. I'm so close... So close..."

He stared into space for a moment, lost in what I assume was thought, then seemed to lose all his patience at once. "Why am I even talking to you? I don't have time to waste talking! It could rain any minute and erase part of the message! There are two mudbanks I haven't recorded yet! I can't afford any more distractions! Get out!"

I got out. I was tempted to stay nearby (out of sight, of course) and wait for the reader to finish - just to see what happened - but despite his hurry, there's no telling how long that could take. It could be weeks before the rain comes and erases the cracks. Even if I could find somewhere dry to sleep, I don't think I could resist following the boardwalk that long. I have to find out where the path leads.

In his own way, I suppose, so does he.