Hollowane

This October, I happened to be in Golgoolian on Hollowane Night. I'm glad I was. The city throws itself into the holiday with more enthusiasm than anywhere else I've ever been.

Hollowane is the night of illusions, when everyone tries to look as strange as possible in the hopes of getting candy. Half the people in the city dress up and go out onto the streets; the other half dress up and stay home to feed the random strangers at their door. There are chocolates and candied fruit and muffins wherever you look, lollipops and peppermints and sugar beetles, berries and bonbons, fruit jewels and candymoss and the little spiral pastries called Shwamp shnails. The bakeries, fruit stalls, and sweet shops of Golgoolian are nearly emptied for Hollowane.

I wasn't out to get candy (I took what people in the crowd gave me, but that's all I want to carry), and I didn't have anywhere to give it out from, so I mostly just walked around the city. I wandered through Golgoolian all night. There were people and things everywhere, walking and eating and singing at the slightest provocation.

Practically everyone in Golgoolian is in costume on Hollowane. They mismatch their clothes, paint their skin and scales and fur, and hang curtains from their antlers. Groups of courtiers trade masks of their own faces and become each other for the night. Acrobats walk on their hands and put sock puppets on their feet. A few of the people in the crowd actually had two heads; others were two people sharing a costume. A spiny reptile had stuck fruit and vegetables on every spike - onions, turnips, squash, and a small cherry on the tip of his nose. A large samoval had rubbed something into his fur that made him glow pale blue all over. One... something... seemed to have covered itself with most of a hillside. It shed dirt in clumps as it walked. Grass covered its back and shoulders, pebbles dotted it like scales, and a small tree was growing out of its head. Someone else was wearing an outfit of creased leather that, in the dark, looked exactly like the wooden skin of a Drae. There were blue eyes behind the dark knotholes.

Golgoolian has more costume makers than anywhere else in the Railway Regions. They spend all year getting ready for that one night. The makers of wigs and artificial tails (a common sight in any city or medium-sized town) serve a steady stream of the bald and unentailed all year, but they still do more business in October than in all the other months together.

All over the city, the toads were dancing in the sinkhole gardens. It was like...

Well...

I can't explain it. If you've never seen a toad dancing, no amount of description can possibly tell you what it's like.

The moons were full. The moons are always full on Hollowane. It's a tradition. A group from the Lupine Astronomers' Guild had decided to come to Golgoolian for the celebrations, and the streets were full of grinning, hairy shapes. Some looked like ordinary people of canine ancestry; others looked like wolves, or large dogs, or massive hulks of teeth and bristles half-glimpsed in the darkness. The crowds of big furry stargazers added something to the celebration, a sort of intense canine happiness that seems to follow them wherever they go. Everything's more fun with werewolves.

They would stop every now and then, as if on cue, to howl hauntingly at the moons. Several of them had started doing four-part harmony and jazz improvisations by the end of the night.

Hollowane is the one night when shapeshifters all over Hamjamser (full shapeshifters, not their half-malleable descendants, like the werewolves or myself) get to show what they're really capable of doing. They can walk the streets undisguised, in all their frilled, multicolored, glittering glory, each one completely different from the others and many different from one moment to the next. If anyone recognizes them, they can always say that it was just a costume.

The people of Golgoolian also believe that on Hollowane, the things that live under the city come out to join the celebration. No one is sure exactly what the things under the city are, but almost everyone is sure that they're there. All that space has to have something in it. There are tales of mole-people, of albino alligators, of earthworms bigger than the Train and mud that writes poetry. You can find all of those on the streets during Hollowane. They're part of the city's mythology. It's anyone's guess how many of them are people in costumes.

As if that weren't enough, every ghost in Hamjamser gets stronger on Hollowane night. They refuse to be overshadowed by real people. No one is sure why. Some ghosts have even been known to leave their usual routines for the night, doing something new instead of the one thing they've been echoing for years or centuries. Three years ago, the ghostly actors in Tazramack stopped halfway through "Without the Dragon," the show they've been repeating since their deaths, and instead launched into an impromptu performance of "The Importance of Being Hairy," a comedy by the brilliant Worsel Acid. According to the audience (the theater allows a larger one than usual on Hollowane, due to the temporary amplification of the ghosts), they put on a splendid show. Scofferell Flint and Giacomo Cargellini even managed to acquire a plate of ghostly muffins for one scene. It's never happened again.

There are a lot of ghosts in a city as large as Golgoolian. In the dark, it's hard to tell them apart from real people.

For quite a lot of people, including me, that's the most exciting thing about Hollowane: the people out on the streets could be anyone or anything. There are a lot of strange and wonderful things in Hamjamser that stay hidden all year. Some of them are frightening; others, like shapeshifters, are just a little too interesting for their own good. Hollowane is a chance for them all to come out of hiding. By the next day, the shapeshifters have returned to their disguises; the troglodytes have gone back underground; the werewolves have returned to their observatory on Mount Moler. The ghosts fade. The clandestine androids cover themselves once again with artificial skin and rubber muscles. The world goes back to normal, or at least a very convincing imitation of it.

For many people, Hollowane is a chance to dress up as something else. For others, it's a chance to be entirely themselves, if only for a single night.

Golgoolian

One of the first places the Train stopped in October was Golgoolian, the huge and grimy city on the edge of the Great Shwamp. Nothing ever seems to stay clean there. The mist that comes off of the Shwamp oozes through the city, thick and brown, and leaves a coating of mud behind it. Smoke from chimneys goes up, curls back down again, and stains the buildings black. The whole city seems to attract dirt. The locals blame the wind.

Like Rampastula, Golgoolian is built on top of layers of itself. Each building in the city has two or three more underneath it. The mud has oozed in to fill the old rooms underground. Archaeologists have excavated some of them, digging as fast as they can while the ground sweats and sags in around them. The deepest ones they've found were little more than stone huts. Arrowheads fill the mud like fossilized fish.

Apart from the occasional archaeologist or basement spelunker, Golgoolian's underground is a blank to the people on the surface. No one goes down there. If they do, they don't talk about it. Three-quarters of the city is underground, and no one really knows what's in it. Every fantasy author in the Railway Regions has at least mentioned Golgoolian's underground; some of them seem to use it in every book they write.

Most of Golgoolian is stable now - the only buildings that still sink are the new ones at the edges and an unlucky few in the middle. No one knows why, but there are some buildings that won't stop sinking no matter how much architecture piles up underneath them. The Corkscrew Tower has at least fifty floors, probably more than that. Five of them are above ground. In the centuries since its foundations were laid, the building has never stopped or slowed its steady descent into the earth. The Earl of Mangrel and his family (one of many noble families in Golgoolian) abandon each floor when it starts to fill up with water and mushrooms, which happens about once every five years, and build another one on top to replace it. The tower tilts slightly every year. No floor is quite parallel with the one beneath it, hence the tower's name. It twists its way down into the ground like a segmented corkscrew of stone. It's anyone's guess how deep it goes.

The Corkscrew Tower is just one of many buildings that never solidified. Golgoolian is full of sinkhole gardens, little patches of ground which seem perfectly solid but eat anything built on top of them. Some are only fifteen feet wide. Buildings next to them have stood steady and even for decades; put a rock two feet from the foundations, though, and it will be swallowed up in a few years. Nothing stays in the sinkhole gardens but small plants. Even trees are too heavy. The gardens are little half-wild patches of solid bog in the middle of the city. They're filled with flowers; marsh-lilies raise their speckled blossoms above bluets and violets, crinkleweeds and moss of every kind. Crumpet creeper sprouts at the edges of the gardens, climbing the neighboring buildings and spreading its crusty orange flowers across walls and rooftops. Pitcher plants and whip-vines nibble at the legions of small flying things that spread from the Shwamp in the Summer. Venus flytraps lurk in the shade. Toads join them, one and only one in each garden. They don't multiply to fill the larger gardens; they just grow. The largest toad in Golgoolian is rumored to be the size of a cow.

Every sinkhole garden in the city once had something built on it. Most of them had several. In Golgoolian, if you give up after your first three houses sink, you're considered lacking in patience. It takes a long time to prove the existence of a sinkhole.

Even so, if it were any other building, the Mangrels would have given up on the Corkscrew Tower decades ago. Each floor only lasts about twenty years before it submerges and goes rotten. The tower has to be constantly rebuilt. It has cost the family a small fortune. They keep it, though, because it has made them a large fortune.

Purple pligma mushrooms will grow anywhere where there's more water than sunlight. They pop up in basements, caves, swamps, and places where it's just been cloudy for a week. Candy-stripe pligmas - a great delicacy in the Railway Regions - are pickier. As far as I know, they've only been found in four places in all of Hamjamser. The Corkscrew Tower is their favorite.

No one is actually allowed into the Corkscrew Tower except for the Mangrels, their servants, and a small army of pligma farmers. All I've seen are photographs of the inside. The mushrooms cover the floor of every underground room in forests of little red-and-white caps. It's like a garden of peppermints or tiny striped umbrellas. Half the candy-stripe mushrooms in Hamjamser come from the Corkscrew Tower, picked and packaged in its damp basements. The Mangrel family lives in the five floors above the ground. They've lived comfortably for generations by selling one small crate of mushrooms per week. All the basements of the tower used to be the elegant upper floors, so the dripping underground rooms are lined with floral wallpaper and carved molding. The water dripping down the walls gradually eats away at paint and varnish, eroding wood and revealing the bricks underneath, but it's obvious that the gray, dripping, fungus-coated rooms were once quite lovely. Large pieces of them still are. After all, there's no sense in letting a nice room go entirely to waste. When a floor sinks underground, its windows are removed and used in the construction of the next top floor. The holes are replaced with watertight seals. Any molding and paneling that can be pried off of the walls is used upstairs. The top floor is always a patchwork of new material and pieces of architecture from six floors down; a few murals and painted ceilings have been moved over a dozen times. The art of detachable architecture is thought to have begun with the Earls of Mangrel.

Below ground, the pligma farmers tend and pick the mushrooms from metal walkways bolted into the stone walls of the tower. Most of the old floors are still there; they're where the pligmas grow. After all these years under the soggy ground, though, the wood is about as solid as old cheese. Anyone who stepped on it would go straight to the bottom of the tower (wherever that is). Water seeps in constantly through the walls. There are holes punched in every floor for the tangles of ancient, corroded pipes that keep the rooms from filling up. Mushrooms grow from the rusty valves. Mud, water, and stranger things are pumped up from the bowels of the tower and dumped into the Shwamp. Children sit by the end of the pipe and try to catch the things that come out of it. No one bothers getting pets from outside the city. The more enthusiastic children have rows of jars and fishbowls in their bedrooms, full of strange creatures from below the ground, aquatic centipedes and spider-frogs and axolotls and amphibious eels and a hundred other things no one's bothered to name. This is the Great Shwamp, after all. Aquatic strangeness is just part of life.

Books Within Books

The weather was exceptionally beautiful today. It's been an unusually warm November in the Regions - almost like October all over again, though it's hard to believe we could be that lucky. October is always too short. People have written songs about it.

Even the Vanister Museum, probably my favorite building in Hamjamser that isn't a library, couldn't compete with the mountain around it. I didn't feel like walking around inside all day. Instead, I walked around Vanister and the surrounding forest all morning, sketched a few things here and there, bought a tin of lemon cookies at the Rinkler Bakery, and brought them - and a book - to the old standing stones uphill from the town. I like to sit and read under the one shaped like a platypus.

I think I've mentioned before that all the books I own are ambiguous novels. When you travel all the time, you can't carry a lot of books around with you, and libraries won't always be in the same place by the time you've finished a book and want to take it back. Ambiguous novels are the only good way to read new books on the road.

Recently, I've discovered yet another favorite author in Iliev Machinel, whose books have been showing up in one of my novels with rather alarming regularity. I just hope they continue to do so. I love them. Between Iliev Machinel and Inian Gleam - the book's current favorite authors, apparently - I feel like I've spent half of the last few months in strange places beneath the streets of Golgoolian.

Ambiguous novels, from what I've heard, are generally made by mixing up pages from seven or more different books inside one cover. This makes the book so confused about its own contents that it gives up and starts copying other books instead. It generally goes after books similar to the ones used to make it, though nearly every ambiguous novel gets bored and tries something else occasionally.

Reading ambiguous novels takes some practice. Once someone has seen the last page of a story, that's it; the book will have a different one the next time it's opened. I've had to track down over a dozen books at various libraries, having glimpsed the last page too early and missed the ending.

One of mine always contains fantasy, of nearly any kind. That's the one that's been obsessed with Gleam and Machinel lately. It's also the book that got me started on Ramer Oswelt, Tratch R. Pettery, Lena Tithe, Milici Trappilack, H. T. Garnix, and even Oswina Dennenjay. Another mixes fantasy and science fiction, and seems to have a particular fondness for Inry Varnel, Curl R. Hatcreak, and the unlikely technologies of Herbert G. Welleger. The third - put together, apparently, from a wider variety of books - alternates fantasy with murder mysteries (mostly by Trachia Ghastie), obscure works of biology and cryptozoology, and the occasional rather silly romance.

The fourth contains only graphic novels, which it seems to choose completely at random, but occasionally fills itself with what look like ancient Rampastulan hieroglyphs. I don't know where it gets them. They must be written somewhere - ambiguous novels don't invent their own words - but I've loaned the book to several Rampastulan archaeologists, and none of them had ever seen these particular hieroglyphs before. They were delighted to have them. All I can think is that the book has found some old ruin near Rampastula, probably buried deep underground or lost in the heaps and layers of architecture that make up the city, and is copying the occasional interesting wall. Maybe hieroglyphs and graphic novels don't look all that different if you're a book.

Completely unrelated to anything else, Mr. and Mrs. Dreefel - the fortune-teller and her husband - celebrated their son's negative second birthday today. Mrs. Dreefel says he'll be born in exactly two years. They had a party in the Train's dining room, with their friends and a few random strangers that are apparently going to be their friends someday, and divided a cake with two candle-shaped holes in it.

I love living on the Train.