Icebox

The village of Frish is a small place, its houses slightly shorter than the sand dunes that surround it. In spite of its small size, though, we saw the village long before we arrived - one part of it, at least.

Frish is built in the shadow of an enormous Hill Builder machine, a complex - though unmoving - engine the size of a large hill. The base is half-buried in the sand. There's a long metal spire sticking at an angle from its top. I do mean long, too - the spire is easily fifty times as tall as any house in the village. It's not just the tallest thing nearby; it's the only tall thing nearby. According to the villagers, every thunderstorm that passes over the village strikes the spire with lightning at least once.

Its size is not the strangest thing about it, though, nor is its affinity for lightning. Even in the most blistering Summers of the Golden Desert, the engine is always cold. The villagers caution their children not to lick it. (Some even listen.) I walked over to it after we arrived in the village. In the hot afternoon air, I could feel the chill coming off of the metal in waves. Faint clouds of mist drifted from the spire above me. The cold was pleasant from a distance; close up, I actually started shivering.

After a year in the Golden Desert, I'd almost forgotten what it feels like to be cold in the daytime. Cold weather here tends to be strictly nocturnal.

I don't know what the engine is, or how it works, and neither does anyone else in the village. This is normal for Hill Builder relics. Whoever the Hill Builders were, wherever they vanished to, they left their tools and toys and other creations scattered about the world in astonishingly large numbers when they left. Many of their old machines are still running today. The Train of the Railway Regions is one of these machines; so are all of the floating cities. The original radios, the elegant and relentless Guardians, the little crystal brains used in clockwork pipe crawlers, the Omnipresent Typewriter, the infamous Answering Machine of Miggle-Meezel… The Hill Builders left a lot of useful things behind.

It's a shame they neglected to leave an instruction manual.

However it works, the engine is cold enough to pull moisture out of even the dry Desert air. Beads of water condense on its surface every morning - and with the entire height of the spire, that's a great deal of surface. The windward side of the machine's base is buried beneath a drift of sand, but the leeward side shelters a depression in the rock, where the water dripping down the spire forms a small pool. This is what allows the village to exist. We're days away from the river Lahra; all of Frish's water comes from this one frigid pool, as clear and cold as snowmelt.

Very little lives in the pool. The Golden Desert does have a few aquatic species - mostly amphibians and the occasional lungfish. Pebble-toads bake themselves golden brown in the sun and disguise themselves as rocks. Raindrop frogs spend months hibernating underground, sealed beneath the cracked surface of dry stream beds, only emerging for a few exuberant hours when the rain comes and frees them from the hard ground. Desert-dwellers who know where to look come out sometimes to find them dancing in the rain.

None of these species live in the engine pool. The water is clean enough, but it's cold - so cold that the children of Frish often dare each other to stand in it until their feet turn blue.* Frost forms on the stones around it at night. Anything that wanted to live in the pool would have to come from a mountaintop somewhere, or perhaps the arctic wastes of the Stone Ocean, and it's a long way from there to the Golden Desert. For now, the pool remains uninhabited.

The caravan will not stay here long, sadly, as the village grows only what it needs and has little to trade. Many places with Hill Builder relics take them apart and use the pieces for other things - Cormilack, for instance, exports hundreds of ancient gears every year from its huge and motionless Earthmover - but Frish is understandably reluctant to do so. They rely too much on their silent engine, their great metal icicle, to interfere with its mysterious workings.

Besides, all of its openings have been frozen shut for centuries.



* Their mothers try to discourage this, but so far, it hasn't worked. A few of the mothers have given up and taken to wading with their children instead. This seems to work better.

The Radio

On another brief wander this evening, I was passing underneath an open window when I heard the unmistakeable crackly sound of a radio. I'd almost forgotten what they sound like; it's been a few years since I last heard one.

The last time was on my last visit to the Railway Regions, when I would gather occasionally with a small group of passengers on the Train to listen to Mr. Intaglio's salamander-powered receiver, a tiny machine held together with twine and snail glue. We would stay up until the quiet hours of the morning listening to tinny, static-filled broadcasts from exotic places we'd never heard of.

The Inadvisable Music Hour is broadcast from a mountain toll bridge in Skeen, where the bridge-keepers would let musicians cross for free if they played a sufficiently outlandish instrument.

The Nightsound Show is a nocturnal cornucopia of music and philosophy from the distant underground town of Carburrow, where they discuss stories and foreign politics and the supernatural late into the night.

Brendan Harzelflat, age two hundred and three, tells stories of his long and eventful life and sends them out over the Aether from his solitary lighthouse, speaking in a voice as soft and unhurried as waves on a beach.

One opera program we never did find out the name of, since none of us recognized the language.

It was a good few weeks. That little radio receiver was one of many reasons I was sad to leave the Railway Regions. Until today, I'd almost forgotten the sound of static, of scratchy voices riding on invisible waves over impossible distances, of the mysterious and melodic Aether-whistles that interrupt them every so often.

It was startling to hear that sound here, in this tiny town in the middle of the Desert. I looked around to see where the sound was coming from and chanced to be looking up just when a wild-haired man stuck his head out of a second-story window.

"It's working!" he called to the street in general. I was one of the only people actually in sight, so he turned to look at me. "I'm finally getting a clear signal! Well, almost clear. Come up, come up and listen!"

I rarely refuse invitations to interesting things, so I went up to listen.

The building looked like a shop of some kind. It was closed at the moment (possibly because the owner was busy tinkering upstairs), but the door was unlocked. Since I'd been invited, I opened it and went in.

The lower room was full of clockwork and other machinery. The sun slanting in the window struck glints from pocket watches, clocks in various sizes, a gramophone or two, even some of the more complex types of farming equipment, all in various stages of dismantlement. Gears and cranks and other specialized bits of metal lay with an array of tools all over a pair of long tables that stretched the length of the room. The smells of metal and machine oil filled the air. Something clanked rhythmically in a dark corner in the back. It was fairly clear that this was the town mechanic's shop.

A half-dozen salamanders dozed on a table beneath the front window, with their scales turned dull black to soak up every drop of the remaining evening sunlight. Small, slitted eyes opened briefly and then ignored me.

I could hear a crackly, muffled voice coming from the back. Past a curtain, I found a narrow spiral staircase leading up. It looked like it had come from somewhere else. The ornate wrought-iron railings, twisted round with designs of winged weasels and snakes, were wildly different from the simple stone walls around them, and the staircase didn't quite seem to fit the stairwell. The middles of the steps were worn down, the edges scattered with mysterious bits of machinery.

If the downstairs room had been cluttered, the upstairs room made it seem practically empty by comparison. It was all machinery, floor to ceiling, stacked in precarious heaps and hanging from the rafters. Jars of nuts and bolts stood on any surface flat enough to hold them. Loops of chains and wire hung from hooks. Several of the heaps had small, open areas in the middle, showing that there were work tables somewhere beneath all the clutter.

The machines here - when I could pick individual ones out from the chaos - were much more fanciful than the practical, workaday devices downstairs. Here was a fan, a ring of thin blades punched with geometric patterns of holes, designed to be spun by the air rising from a candle flame; there, a music box built to play multiple brass musical cylinders at once; farther in, an ungainly machine for cracking eggs. Judging by the litter of pulverized eggshell around it, it had not yet succeeded in doing so gently.

In the center of the room was the man who had called me in, whom I assumed to be the mechanic himself. He was a short man with a face like a bespectacled sheep and a wild mane of woolly hair. He wore a shirt stained with machine oil and a vest that seemed to be made entirely of pockets.

"Oh good, you found the stairs." He spoke Halsi, almost too quickly for me to follow. "Some people can't. Do you speak other languages? I finally got a signal on this thing and I'm talking to someone, or trying to, but I can't understand a word."

I replied that I spoke several languages. Unfortunately, my spoken Halsi is not particularly good yet; my reply probably sounded something like, "yes, it speaks many language, what need?" This did not appear to fill the man with confidence in my abilities. He was about to say something else when the radio interrupted.

"Finally, someone else," said a crisp, crackly voice from the speaker. "I don't suppose you speak English?"

It was surprisingly pleasant to hear someone speaking my native language again - even if the voice was crackly and coming out of a machine. It's fairly common to hear English, along with every other language, in the larger cities of the Golden Desert. Since leaving Karkafel, however, I've heard very little of it.

The voice on the other end turned out to belong to a Miss Anthetica Mandrigore, who was speaking from a cottage in the High Fields. She's currently trying to assemble a group of radio operators to create a sort of radio communication team - a "network," she called it - between several of the more remote parts of the High Fields. In that country of cliffs, landslides, broken bridges, narrow switchback paths, and weather so unpredictable that even postbirds find it difficult to deliver mail on time, a system like this could be quite useful.

The mechanic introduced himself - when he remembered - as Bofrid Haggadan. With me as a translator, the two of them spent the next few hours discussing radio technology. I got the impression that neither of them often got a chance to discuss the subject with someone who was equally interested. Miss Mandrigore also had rather a sharp tongue, though, so perhaps it was just as well that the two of them couldn't communicate directly just yet. Not everyone patient enough to operate radios has the same amount of patience with people.

I am far from an expert in any of the mechanical disciplines, so the conversation quickly grew to be over my head. Fortunately, many of the technical terms are the same or similar in both languages; most of the words I didn't understand, Mr. Haggadan did.

No one is really quite sure how radio works. People first found the old transmitters in the floating cities; the theory is that the Hill Builders used them to talk to each other. Some of those old transmitters still work, even after thousands of years, and people like Mr. Haggadan and Miss Mandrigore have started making their own.

Electricity has generally been dismissed as an unstable and impatient form of energy, especially compared to salamander power and the ancient Hill Builder reactors that still power the floating cities. No one would consider using electricity for anything practical. Still, the Hill Builders seem to have been fond of the stuff.

Of course, since no one actually knows how radio transmitters and receivers work, the best anyone can do is put wires and magnets and electrically-trained salamanders together and hope that it all works. Those few who try succeed almost half the time. Even when radio does work, it's never reliable. The signals have a tendency to fracture as they spread, becoming crackly and distorted. They can only be picked up in random patches of space. Move two feet to the left, and everything dissolves into static. Many radio operators find themselves yelling across the room to their microphones, holding their antennas out of the window for a better signal.

Fortunately, nothing like that was necessary today. The two radio operators continued to converse, their voices passing each other on tenuous streams of radio waves stretching halfway across the world, until a storm crossing the High Fields finally drowned out Miss Mandrigore's crisp voice in a sea of static. The two of them made plans to contact each other again in a few days. Miss Mandrigore has a niece who speaks Halsi, so they will be able to continue to trade notes after I leave Rikanta. Coming from two such distant locations, it sounded like they had a lot to learn from each other. I suspect that the niece will find herself with a full-time job shortly.

After switching off his radio, Mr. Haggadan thanked me profusely for my help. He said he would have invited me to stay for dinner, except that - like many passionate craftsmen - he had never taken the time to learn to cook, and all his meals consisted of bread and garlic with the occasional cabbage. Besides, it was quite obvious that he wanted to return to work on his radio. I thanked him for the offer and said goodnight. When I left, he was in the middle of dismantling some piece of electrical wiring, muttering enthusiastically to himself and shuffling through the sheaf of notes he'd taken during the conversation. Perhaps this will be the beginning of a more reliable or widespread form of radio.

For now, though, it remains a pastime for the patient and the hopeful, for dreamers and eccentrics, for engineers who are willing to tinker endlessly with half-understood technology for the chance of hearing a stranger's voice from half a world away.

Then again, anyone who answers them is almost certainly a similar sort of dreamer. Perhaps they're not such strangers after all.

The Graveyard Shift

On one of my last nights in the Railway Regions, I met the night watchman at the Train station in Metaxela. He walked all night, up and down the platform, around the empty ticket booths, stopping occasionally to stare off down the line of the empty tracks. His eyes were the pale green of frost on new leaves. They seemed to be looking at something beyond what I could see.

I was waiting for the Train, as I often do on warm nights in the Railway Regions. Most Train platforms are comfortable places. Passengers can sit and doze while they wait for the Train, which might arrive in minutes or in weeks. There was no one else on the platform in Metaxela that night. The watchman walked up and down, back and forth, and kept stopping to look - as far as I could see - at nothing in particular. After a while, I asked him what he was looking for.

He told me.

"I have seen the lights in the shadows, yellow and red and copper-green, the ones that are eyes and the ones that are fireflies and the ones that are both at once.

"I have seen the fire-dancers that make their way along the tracks, delighting in the freedom of a dance floor that does not end and will not burn beneath their feet.

"I have seen the clouds that will not cross the moons. They change their courses, going against the wind, to keep from brushing against the white faces.

"I have heard the echoes that come before the sounds.

"I have heard the trees whispering to each other at night. Most think it is only the wind, but even on the stillest nights, I have heard them whispering. Their words are soft and unhurried. I do not understand their language.

"I have seen mist-wolves chasing the rats of smoke that spring from the Train's smokestack.

"I have seen bats and owls and night-wyrms, and the winged night flyers that have no names but the ones they give themselves.

"I have seen the shadows of mammoths walking silently through the trees. The moonlight illuminates only their outlines, and not a twig snaps beneath their great dark feet.

"I have heard the song the Train sings to itself, a song of fire and iron and speed, and of the freedom in the single path it follows.

"I have heard the ramblings of beggars and madmen who think themselves alone or do not care who hears. Some speak in nonsense, some speak in riddles, and some speak of their own strange philosophies. One speaks only in rhyme. A few speak prophecies that no one but they and I will ever hear.

"I have watched the rise and fall of a dozen snowfly empires, built in a month and destroyed at the first thaw. I have seen their crusades against the Train. They believe it to be a great Dragon, the terror of their existence, a beast with enough heat to melt them and all their crystal palaces. Their spears and arrows melt before they ever touch the iron.

"I have seen moths with the names of stars written on their wings.

"I have seen flowers growing from steel.

"I have seen the troglodytes who live in the city's sewers. They come out at night to look at the stars. They put coins and rings and old medallions on the tracks, all the small metal things lost down the drains of the city, to be flattened by the Train they have never seen in daylight. They wear the pounded metal on their clothes and around their necks. Sometimes, when I walk past a drain in the street, I hear the jingling of their jewelry far below the ground.

"I have heard icicles in the Spring as their hearts break and they weep themselves away to nothing.

"I have seen people who wear masks to hide the faces that are masks over their true faces. Their eyes are black or gold or as multicolored as an opal.

"I have seen the man who walks with feet of brass and the woman who hides giant snakes beneath her overcoat.

"I have learned to read the patterns in frost and smoke and the stones scattered by careless shoes. They tell me the events of the future, or perhaps the past, but not to whom they happen. In this station, someone will find a suitcase with a lock but no keyhole. A child will be born in the ticket booth on a freezing day in December. A cocoon will hang from the doorknob of the station, untouched and unharmed by any of the thousand hands that turn the knob, until it hatches into a butterfly the color of sunrise over the ocean, on a morning when there is no one to see it but a small child waiting for her parents to meet her on the platform. A woman will find her name written in beautiful calligraphy in the snow. A man will look in the station's lost and found and find what he did not realize he had lost. Two lovers will meet each other when both look up to listen to the song of the same bird, and they will travel to distant lands where the sun never sets and the trees are made of black glass, and their children will be poets and gardeners, and they will live to be a hundred and eight and die on the same morning as they watch the sun rise over mountains of rose-colored stone. Or perhaps all these things have already happened. The frost and the smoke and the pebbles give me every detail but the names.

"I am the night watchman, and I watch. This is what I have seen. This is what I have heard."

The morning watchwoman arrived then, half an hour before the sun. The night watchman put on his coat, nodded to her, and walked away without another word. I caught the train at sunrise and haven't seen him since.

People seem to be willing to talk to me about anything at all. I don't know why. Maybe it's because I'm willing to listen to anything at all.

You never know what you might hear.

Spring in the Railway Regions

Once again, I apologize for the prolonged silence. If someone exists who is a less consistent correspondent than myself, I have yet to meet them. However, while several months of the delay (December, January, and February, namely) were entirely my own fault, most of March and April were not.

Spring has come to the Railway Regions (the lower parts, anyway. It won't reach Milldacken for another two months). The snow has melted, bringing the worlds of the snowflies to an end in a blaze of molten water. Rain is a daily occurrence. Mist-wolves pad through the towns and forests on silent cloud paws, passing like fog-furred ghosts over the rooftops. After spending the Winter as sleeping layers of frost, they seem happy to be moving again. It's considered good luck if one of their intangible paws lands on you.

In short, it's no longer Winter; the snow is gone, and it's possible to travel on foot again. I can't stay on the Train any longer. I rarely stay in one place for even a month. The longer I stay, the harder it is to leave. I left the Train three weeks ago, bidding farewell to Norrel Hepsidine, Flishel, and the sleeping passenger (and receiving one reply in English, one in some other language, and one snore). Flishel gave me a little wooden... thing, presumably as a goodbye present. It looks a bit like a snail, or possibly a very round trantelope. A string goes through holes in the spiral bits so that it can be worn around the neck. Over my years of traveling, I've gathered quite a collection of little charms and trinkets hanging there.

There has still been no sign of Professor Flanderdrack.

My fur has gotten steadily shaggier all Winter; I haven't worn a coat since before Christmas. It's white this time, with black markings around my eyes and the tip of my tail. I'll be sad to see it go. (Actually, when the weather gets ten degrees warmer, I'll probably be quite happy.) With any luck, it will come off in one piece like it did last year, and someone will make a coat out of it.

I left the Train in Findlebar, a small town built around a small and highly specialized library. It is, apparently, Hamjamser's largest collection of books on the Gastropod Conspiracy.* The townspeople make a point of bowing to any snail they see (just in case). As a traveler who lives largely on slug meat and smoked sump squid, I was rather uncomfortable there and only stayed overnight.

From Findlebar, I set out by road; there are a few in the Railway Regions, though they tend to be small and precarious. They only exist where there are no Train stations. Several sections were washed out entirely, forcing me into detours that involved more climbing than walking, and the road was so narrow that I had to climb over fruit carts coming the other way. (I have no idea how they got past the washed-out sections.) At least there were no troll booths.

I don't know the name of the part of the Regions I've been in for the last three weeks, though it's quite clearly separate from the rest. I'm not sure it has a name. It's only a cluster of villages, four or five at the most, but it might as well be a separate country. Postbirds don't go there, as the villagers speak a language completely unknown to the rest of the world. Anyone they could write to is within a few hours' walking distance. Fortunately, each village has a few people who speak English as well.

I'm finally writing from the village of Rampal's Pleek, the first place I've seen a postbird in weeks. I think it may be in Tetravania.** The villagers won't tell me. When I ask, they say Rampal's Pleek is "in the four-cornered land," or "below that which is above," or "it's right here. Can't you see it?"

This, of course, is why I'm almost certain I'm in Tetravania. No one else in Hamjamser talks like that.



*I refuse to comment or respond to comments about the Gastropod Conspiracy. It only leads to trouble. If you want trouble, get in touch with Commander Squish.

**I don't know which Tetravania yet, or how many. I'll let you know when I find out.

The End of November

Once again, November is over, about two weeks after it began. November and October always seem like the shortest months of the year. They're over far too soon.

The postbirds started leaving today. I'm not the only passenger on the Train who tries to write every day in November; the birds have been swamped with letters all month. They've taken off every day in ungainly postmarked flocks. Today is the last day, though, and most of the passengers will go back to being merely intermittent correspondents, like me. (Hopefully, most of them will do better than that.) The Train will get by with only a half-dozen postbirds for the rest of the year. The rest are off to warmer places for the Winter. They're all Wayfinders, so it won't take them long to get there.

I've found my warm place already; I'll be staying on the Train for the rest of the Winter. Most travelers in the Railway Regions do the same. Trenchcoat Guy showed up this morning, waiting by himself at the tiny Blue Wilderness station (named for the bluets that grow all over the roof and the ground around it). The Train stopped for him and he got on, grinning as widely as always. He has acquired a truly enormous umbrella at some point in the last month. It's pumpkin-orange with a pattern of plaid mushrooms. It's wider than the station, which is little more than a roof on a stick.

I don't know how he got there; there's nothing but trees for miles. Maybe he hitched a ride on a balloon. Maybe he really is a septuplet and this is one of his identical brothers. Maybe he just walked. He's certainly not telling anyone.

It's quiet out here in the wilderness. There are no cities, no noise like the rumble of Milldacken's thousand wheels or the buzzing of Carvendrone, none of the bustling crowds that have been such a common sight for the last two months. Just the calls of birds and the constant rhythm of the Train. Even Flishel has mostly stopped talking; he's been working on something in a small book, using several kinds of ink and the occasional dab of umbrella paint. He hasn't shown it to anyone yet. Maybe he won't. The sleeping passenger continues to sleep, breathing softly in the corner of the compartment. The days are long and peaceful.

Someone has been sitting on the roof and playing the handbagpipes for the last three days. Whoever it is picks a different tune each day - lilting, tentative melodies that move in loops and never quite seem to repeat themselves.

The whole Train gets quieter as the weather gets colder. The cold-blooded passengers get sleepy, even the ones who aren't hibernating. The warm-blooded ones are content to sit in their compartments and read, or dream, or just watch the mountains go by. No one ever knows where the Train is going; we all just get on and hope it's somewhere interesting. It certainly has been this year.

I'll try to write more next year than I have before. I love the November challenge, as exhausting as it is, but it shouldn't be the only time you ever hear from me. I can't promise anything; my mind is not the most organized place. I will try, though.

Wish me luck.

Nigel

Endless Tracks

We're out in the uninhabited parts of the Railway Regions. The mountains stretch away in every direction like a rumpled quilt made of trees. There are misty gray patches of skeleton trees, green speckles of fir and hemlock and pine, and smooth expanses of gray and brown stone. Birds fly overhead - crows, vultures, and the occasional Winter falcon. Their calls carry for miles across the empty mountains.

This is balloon country.

They're everywhere. There's always something in the sky - rarely more than one at a time, but always something. Hot-air balloons float by like brightly patterned soap bubbles. Floating cupolas hang like little cupcakes of architecture beneath their own balloons, larger than the ones with baskets, long tubes like cucumbers or stacks of balloons like abacus trees. Pedal-balloons putter by now and then. The people beneath them are visible if they get close enough, turning the rudders and propellers with bicycles rebuilt for flight. Airships of every size loom overhead, massive hulks of inflated cloth or leather or paper with tiny gondolas underneath, casting shadows like clouds on the mountains. Some spin their propellers lazily; others just drift with the wind. They're only crossing these mountains on their way to somewhere else.

The Train traveled all day without passing a single city, town, or village - not so much as a trackside cabin. Nothing but trees. The only sign that people had ever been here was, in fact, a sign, stuck on a post near the tracks. The paint was cracked and faded, but the writing was still legible. There was only one word:

WHERE?

It looked like it had been sitting there for years, asking its impossible question to the silent trees. I wish I had an answer for it.

Actually, that wasn't the only sign of civilization. Passengers on the Train just stop noticing the other one after a while.

After all, the tracks are always there.

The first tracks were laid by the Hill Builders. For centuries, no one was sure what they were; the long, straight pieces of metal just turned up now and then for no apparent reason. Farmers would find them beneath their fields or exposed by landslides. For some reason, the tracks were made of ordinary steel, which is why they didn't last as well as most of the Hill Builders' creations. Most of them had been buried and rusting for a long time.

After the Train was unearthed, of course, it was only a matter of time before someone noticed the shape of its wheels and realized what the tracks were. Most of the tracks were bent and rusted beyond repair by then, and there's no telling how many have never been found at all. Nearly all of the intact ones had been dug up and taken away. They obviously weren't doing any good where they were, after all. The scattered tracks show up in the strangest places. One of them is the roof-beam of a barn near Milldacken. Two others are in a circus that travels through the Railway Regions; they've been turned into stilts for a giant. A pair of tracks runs the entire length of a hallway in the Vanister Museum. They've been used as foundation pilings in Golgoolian, fence posts in the High Fields, and pillars and railings in several of the floating cities, where metal is lighter than air. According to one of my fellow passengers, one piece of track has made it all the way to the Golden Desert; a crinkle-bagel vendor in Thrass Kaffa uses it as a frying pan. Little pastries sizzle in the Desert sun, lined up in a row on top of the old steel.

As a result of all of this, when the Train was finally repaired and began running again, there was more or less no track for it. A few sections had survived, but it could have crossed all of them together in about two minutes. The Engineers had to lay their own tracks for several years.

Of course, once it became obvious that the Train was the best thing to ever happen to travel in the Railway Regions, every town and city wanted the tracks to come to it. The railroad doubled in length within the first few years.

It's fairly simple for a town to connect to the railroad. The people just add a small circle of track to their station - usually with one side hidden, so that it's not held in place by people looking at it - and within a few days, the track going through the station is just another part of the railroad. Instead of going in a circle, it continues out of the town in both directions. There is only one track in the Railway Regions. Any set of rails laid on the ground will become part of it sooner or later.

Strangely, it's continued to grow over the years. Each town only adds one or two hundred feet of track - not enough to even reach the edge of town, in most cases - but the rails still stretch across the mountains for miles.

No one puts tracks in the middle of the wilderness. They're there anyway. The railroad may have been started by hand in towns and cities, but most of it has grown all by itself.

Linewurm

The Train came around a curve this afternoon to find what looked like a lizard-shaped heap of scrap metal shuffling along the tracks. It was almost as large as the engine. When it saw the Train, it got off the tracks in a hurry, shedding machinery and pots and rusted sheet metal as it went. The noise was horrendous. It sat by the tracks as the Train went by, lashing its tail and hissing at us. The combination of clanking and hissing sounded like a steam engine about to explode. Its teeth were quite impressive. There were storm-drain gratings fitted over its eyes.

I only recognized the junk-heap creature from photographs and descriptions in books; I'd never seen one above ground. The Train had surprised a linewurm.

Small dragons and their relatives, such as salamanders, are usually content with anything metal. That's one of the many reasons to keep salamanders in lanterns; they've got a piece of shiny metal that's bigger than they are. Craftsmen's salamanders are generally happy with their ovens or forges. The ones in the great metal hulk of the Train - or, better yet, the floating cities - must feel like kings.

Large dragons usually have more refined tastes. They prefer gold. This is by no means true of all dragons, or even most, and the less obsessed ones can get rather unpleasant if you imply that it is. Quite a lot of dragons these days collect gears, or teapots, or umbrellas, or any number of the other pretty things that people make. I know of half a dozen off the top of my head who collect only books. (Frankly, I don't know why everyone doesn't do that, but you know how I feel about books.) Some don't collect anything - though most dragons consider those ones eccentric, or possibly just lazy. Still, all the most traditional dragons collect mainly gold and the occasional gemstone.

The linewurms - distant relatives of dragons, like giant white newts - have almost nothing in common with their winged cousins except their size and their love of metal. They certainly don't share their brains. Even the most uncivilized and temperamental dragon can outthink most smaller creatures; when you live for centuries and have a brain larger than an entire cow, you can hardly help it. Linewurms are considerably less intelligent. They spend all their time hoarding things. They prefer metal, but they'll settle for rocks. They're not picky. When they find something nice and hard, they glue it to themselves with the mucus they secrete, making their own armor plating to cover their soft bodies. They make claws out of old knives and pickaxes stuck to their toes. When two linewurms meet, provided they don't find each other attractive (and most of them don't), they fight. The fact that their claws and scales are secondhand and handmade makes them no less eager to use them. They fight, and the winner takes whatever useful bits and pieces are left on the floor when the loser runs away. The focus is generally on knocking armor off rather than actually hurting each other.

In other words, linewurms collect stuff to fight and fight to collect stuff. People have suggested that they could just leave each other alone, but the linewurms don't seem interested. Perhaps there's nothing better to do down in the caves.

The mucus that holds linewurm armor together eventually covers it with a thick white layer, like glue, giving the metal (and other assorted junk) a pearly shine and softening its edges. It reduces the clank of metal on stone to a quiet rustle. Old linewurms look like the ghosts of junkyards. The mucus also coats the insides of the caves where they live, turning rough stone passages into the smooth tunnels that linewurms prefer.

This, incidentally, is where linewurms got their name: they are wurms* that line stone with slime and line themselves with stone. It seems like rather a pointless cycle, but linewurms seem to like pointless cycles.

A rare few wurms have been known to make sculptures out of mucus, building them up layer by layer with the patience of a cave drip forming a stalagmite. Most don't have the patience.

The hardened mucus is said to be like tree rubber, only better, and there's gotten to be quite a trade in stolen linewurm upholstery. People go down into their caves and peel the coating off of the walls. It's a job for only the exceptionally brave or foolish. Linewurms grow to be several hundred feet long, keep themselves well armed, and suspect everyone they meet of being a thief. (To be fair, they're almost always right.) They're the main reason that abandoned underground villages stay abandoned. Linewurms like abandoned villages. People always leave such nice stuff behind. Fortunately, there's no shortage of abandoned underground villages in Hamjamser, so linewurms rarely need to bother with the inhabited ones.

Of course, not all linewurms live in the wild; quite a lot of them live in Mount Moler, primarily as garbage collectors. Once again, they're not picky. Lineworms have been known to live above ground, but only with completely opaque armor (they sunburn easily) and truly enormous sunglasses. It's extremely rare to see one out in daylight. I still have no idea what the one we saw today was doing. According to the passengers at the back of the Train, it got back on the tracks after we passed, clanking away behind us and lashing its tail angrily. It stopped first to pick up some of the pieces it had dropped.

Later in the day, when the Train stopped at the village of Hoggen, I found a horseshoe and the crank handle from some piece of machinery - a gramophone or pepper grinder, perhaps - caught on the front of the engine. Shreds of rubbery mucus still clung to them. The crank handle looked quite old, an elegant piece of Caroque brasswork. I brought them in and put them in my suitcase. I think I'll hold on to them for a while. It's not every day you get your hands on a piece of a linewurm's coat-hoard. Who knows - maybe I'll get a chance to return them someday.



* "Wurm" being the term for the amphibious variety of dragon. Not to be confused with "worm" (a limbless invertebrate), "werm" (any other limbless animal, such as furry snakes and nullipedes), "wirm" (a long, segmented robot), or "warm" (the same as hot, but slightly less so). "Wyrm" refers only to scaled dragons (though in some parts of Hamjamser, it's considered rude and therefore highly dangerous to use the word to their face). Why we can't just use completely different words for all of these, I have no idea.

Ayagolla

Ayagolla is a small fishing village on top of a small mesa. It's farther away from the water than any other land within two miles. The valley around Ayagolla is deep, edged by cliffs on every side, as if a section of the Railway Regions just sank three hundred feet straight down. Most of the valley floor is a lake.

The villagers have carved dozens of steep, precarious staircases into the wrinkled cliff sides of the mesa; at the bottom, where the cliffs rise straight out of the water, are the docks and the little boats that the Ayagollans use for ordinary fishing. They row occasionally to the little shacks and cabins on the valley's other islands, or to the outer staircases that lead to the rest of the Railway Regions.

The Train, on the other hand, can only get to Ayagolla by bridge.

The Bridge of Golla is built on two rods of hypersteel. They were laid across the valley a long time ago - far too long for anyone to remember, possibly by the Hill Builders themselves - and their ends were driven deep into the face of the rock. No one really knows exactly how long they are. One end of the bridge is attached to the mesa, the other to the top of the valley's outer cliffs. For hundreds of years, the two rods - each over two miles long and roughly the thickness of a pencil - simply had wooden boards laid across them. People could walk to Ayagolla, three hundred feet above the water. The boards had a tendency to rot in the damp air, though, and people kept getting blown off the bridge by the high-altitude wind, so most preferred to take a boat. No one objected when the Train began running and the bridge was turned into a a railroad bridge. Instead of wood, the two hypersteel rods were connected by bars of iron, and tracks were laid on top of them.

It's rather unnerving to cross the bridge. It's less than a foot thick. Nothing supports it except the two pencil-thin rods of hypersteel; from the middle of the bridge, with the cliffs far away, it looks like just a thin strip of metal hanging in the air. Underneath the steady beat of the Train, you can hear the bridge humming, the deep ringing sound made by the metal that does not bend. A piece of hypersteel doesn't just vibrate in one part. If the middle is vibrating, so are both ends and everything in between. The Ayagollans can hear the Train coming long before they can see it.

Ayagolla was originally built by fishermen, who cast their lines over the cliffs to catch the glider-eels that swim through the air over the lake. It's part of their migration route. The river that flows through the lake has carved a deep canyon into the cliffs on either side; the eels weave their way from one opening to the other, avoiding the waterfalls that spill over the edges. They float high above the surface. They swim with the same languid rippling motion used by aquatic eels; their fins are as large as wings and covered in shimmering rainbow patterns. Each eel has four long whiskers, far longer than its body, which it keeps trailing in the water at all times. If an eel's whiskers leave the water, it falls. No one has figured out why. Aeroicthyologists have spent their entire lives trying to discover the secret to glider-eel flight.

The villagers don't really care how glider-eels fly. They just catch them. When the first schools of eels start drifting through the valley, all other fishing stops. The villagers get out their poles, thick bamboo rods strung with rope and baited with apples (a favorite of the eels, for some reason). You need a strong pole to catch a glider-eel. Young eels are no larger than a garter snake, but the adults can reach the size of a tiger shark. The eels are completely weightless until their whiskers have left the water; after that, though, it sometimes takes two fishermen to reel in a large one. They anchor themselves in the fishing-holes scattered over the top of the mesa. Over the years, depressions in the stone fill with small grains of sand, which are blown around in circles by the wind and expand the holes a fraction of an inch every year. Some of the oldest and largest ones have had houses built on top of them and become root cellars. Each eel-fisher picks a hole and stays in it until their eel has reached the top of the mesa; mature glider-eels are large and strong, perfectly capable of pulling a loose fisherman over the edge.

The Ayagollans rarely catch more than ten eels each year. They salt or pickle the spongey meat to eat until the next migration. They sell the whiskers, which are quite popular among experimental aviators. The sky-sails used on some airships, which appear to be constantly filled with a wind blowing from below - like parachutes that never fall - are actually ordinary ship's sails with glider-eel whiskers woven into them. The owners of sky-sail ships keep large supplies of water on board so that the sails don't dry out.

The Train is going to stay at Ayagolla overnight and move on tomorrow afternoon. I hear there's a smokestack in the middle of the town, which I plan to go see tomorrow morning. I've never seen a smokestack up close before.

Inkweed

Since the abrupt disappearance of Professor Flanderdrack, our compartment has been only three-quarters full. A few people have taken a look at it, but being less inclined to stay up late than Flishel and I, none of them have stayed. One of the four seats has stayed empty. The sleeping passenger sort of spreads into it occasionally.

Today, we were joined by a fourth passenger.

The Train had stopped at Arkentram, a small town that seemed huge compared to the little villages we've been passing lately. The station was centered around a tall thing like a scrap-metal tree. The station-master explained that it was to attract sunlight. In Arkentram, he said, the sun shines even when it's raining. It certainly did while we were there.

The Train stayed for a few hours, so I went to buy some more ink in the market. I don't know when we'll find another town large enough to have ink vendors. I found the stall just as a heap of coats and scarves, presumably with someone inside them, was leaving with a gallon jug of ink. I bought one of my own and came back to the Train. The heap of coats arrived at our compartment only a minute or two after I did.

"Norrel Hepsidine," it said. "Midnight."

We introduced ourselves.

"Nigel Tangelo, two am."

"Flishel, midnight." (The only English word I've ever heard him use.)

"And, um... that?"

"Never wakes up."

"Ah."

That was all. Without another word, the heap put down its suitcase (her suitcase - Norrel is a girl's name) and settled in. She spent the next half-hour taking off layer after layer of coats and shawls and sweaters. Underneath, she turned out to be amphibian, with a salamander-like face and pale green skin. A fringe of vestigial gills hung down over her ears. Her face was covered with what I assumed were tattoos or paint: black spirals and leaves, like the shadow of a vine.

Her coats took up nearly every coat-hook in the compartment. Fortunately, the Train gets a lot of cold-blooded passengers, so each compartment has about forty hooks for just this reason. The air slowly filled with the smell of cinnamon. We found out why later, when she took a stick out one of the pockets - raw cinnamon, the alpine variety, still in stiff little rolls. She chewed on it absentmindedly all day.

Our compartment stays warmer than most, as a result of having three mammals in it. It would almost be stuffy without the blasts of cold air whenever the Train stops. In the end, all Miss Hepsedine kept on was a knee-length embroidered skirt, like the ones worn in the Golden Desert. (Keeping the chest covered is a purely mammalian habit; no one else has anything to cover up. Male and female amphibians look exactly the same to most people.) Her entire body was covered with the black vines. I was about to ask whether they were tattooed or painted when a leaf fell off of her arm. It dissolved into a puff of smoke before it reached the floor. That seemed to more or less answer my question.

I had only glanced at the falling leaf for a second, but that seemed to be all it took; Miss Hepsedine noticed me looking and grinned. "It's inkweed," she said eagerly. "Do you like it?"

Thus began the rest of the afternoon. Before the subject of inkweed came up, Miss Hepsedine had said all of seven words; after that, she turned out to be capable of talking steadily for hours.

Inkweed is a plant composed entirely of the color black. It's a dermatoglyph, like mobile hieroglyphics or rainbow splodge, a form of two-dimensional life that exists only as patterns on a surface. It can't exist by itself. It has color, but no thickness. A tree with an inkweed vine on it doesn't have stems and leaves stuck to its trunk; it has vine-shaped patches of wood that happen to be black. All inkweed needs is a smooth surface and a source of black, such as ink, tar, ash, or the dark mud on the bottoms of swamps. It has been known to survive on a diet of shadows, but it prefers more substantial kinds of darkness.

Miss Hepsedine, as it turns out, is something of an expert on inkweed. She makes her living off of it. Her suitcase is completely full of books, pens, and jugs of ink (I think she was wearing all the clothes she had), and all but a few of the books are copies of her guide to raising inkweed. She includes seedlings from her own plants when she sells them. The seeds look exactly like commas. They fall off of the plants when they're ripe and stick to the first surface they touch. The seed in each book is carefully planted on a sheet of black paper, which turns white as the seedling sucks the pigment out of it. Each seedling has to be added just before its book is sold; if it stays in it too long, it spreads and starts eating the words.

If it weren't for my disastrous luck with plants - every single one I've raised has died, except the ones that turned out to be weeds - I might be tempted to get an inkweed myself.

Miss Hepsedine fed the inkweed while she talked. Her hands were covered with the feathery black lines of roots. I wasn't sure why they were there, instead of on her feet, until she got out a jug of ink and started pouring it into her palm. I expected it to drip off onto the floor. Instead, it disappeared into her hand like a magician's trick, absorbed by the inkweed without spilling a drop.

She spent the evening writing; she's currently working on a book about dermatoglyph biology. When not discussing inkweed, she hardly talks at all, which is perfect - I don't either, and Flishel talks a lot but doesn't seem to care if anyone's listening. It all works out nicely. If we ended up with someone who talked all the time in a language I knew, I could never concentrate on anything.

Passenger Tree

The cold is still new and sharp in the air, only a few days old. No one is used to it yet. Most of the Train's passengers spent the day snug and warm in their compartments, sleeping or reading, talking to friends and relatives and random strangers. The Train had been quiet all day. It was getting dark when we pulled into the station at Filligan, a little wooden shack next to the tracks, and there was no one awake in the car except the Conductor and I. The platform in Filligan is a small field on the outskirts of town. The snow had melted there, and the ground was dark and muddy.

The Train always stops for at least a minute or two at every station, even the completely empty ones, in case someone wants to get off. No one had gotten on or off the Train all day. There was no one waiting outside the door. The Conductor was about to give the all-clear to the engine when I noticed something standing farther off on the platform (I was coming back from a quiet dinner in the dining car - just me, a plate of pasta, and Herveli Pipe's Lifted Engines) and pointed it out.

There was a silhouette in the dark, a slightly lighter brown than the darkness around it. At first it looked like a woman, then like a tree trunk, and then I realized it was moving. Not a tree trunk, then. It came slowly closer while we watched.

When it reached the light from the open door, we could see slowly moving limbs and the shine of light on wood. It was a Drae.

Drae are one of the few species of intelligent plants in Hamjamser. Their origin is a mystery. They are trees, leafy and wooden, but they're shaped (sort of) like humans. I've only seen two or three of them before, and never this close. It was surprising to see one at all this time of year. Most Drae are motionless through the winter, lost in sleep or whatever it is that trees do until Spring. This one was quite awake. She wanted to ride the Train.

Her torso was a trunk; her trunk was a torso. Drae look like trees and like women at the same time, and it's impossible to separate the two.* Her arms were branches. Her fingers were twigs. Her body split at the waist into two legs, like a double-trunked tree in reverse. There were knots at her knees.

Her head was little more than a knob of wood on top of her trunk. Being plants, Drae have no mouths or noses; they don't eat and they don't breathe. Her ears were wrinkled knotholes in the sides of her head. Her eyes were similar, two dark holes in the wood of her face. They were completely black inside. A tangle of vines hung like hair from the top of her head, framing what there was of her face. They rustled softly as they moved over her shoulders. She'd lost her leaves, like the other trees. Two skeleton-tree branches sprouted from her shoulders. She kept them folded behind her back, like wings, and the twigs rattled as she walked.

Drae don't walk on top of the ground. They're plants, after all; they prefer to stay in it. She waded across the field instead, plowing up little waves of dirt in front of her ankles. Soil is about as solid to Drae as water is to other creatures.

"Good evening, Ma'am," said the Conductor, with his unshakable catlike elegance. "Would you like to come aboard?"

Drae don't talk. They understand spoken words, and speak to each other with a slow language of moving branches, but they have no mouths to speak with. She nodded her head, slowly, and reached out with both hands. The conductor took the Train ticket she held silently in her wooden fingers. He waited for her to climb the steps, but she just stood there, arms lifted to us. Her feet were completely still below the ground. The meaning was fairly obvious: she wanted us to lift her into the Train.

It took both of us. Drae are trees, creatures of solid wood, and it takes more than one slender Conductor to lift one. Her arms were as stiff and heavy as branches. Drae don't exactly have muscles; they move using water pressure, like venus flytraps. They're incredibly strong. When a Drae moves her arm, it's not a motion involving separate pieces, like the bones and muscles of an animal. The arm is a single piece of wood. One moment, it's one shape; the next, it's a different one. To any outside force, a drae is as rigid as a tree trunk, even when she's moving. They can crack stone with their fingers.

She held our hands with exquisite care. Her own were as hard as carvings and as cold as the air outside. She pulled down heavily as she lifted one foot out of the ground.

It wasn't a foot. Below the ankle, her leg branched into a tangle of thick roots, like the trunk of any other tree. Clods of earth fell from them as they emerged. The roots kept coming, the thick primary ones branching into smaller ones the thickness of a finger, then into tendrils no thicker than string, and finally into huge masses of fine root hairs. There were as many roots sprouting from her ankle as there were twigs on one of her wing-branches. Normal trees have as many roots below the ground as they have branches above it; apparently, Drae are the same way. It's no wonder they don't walk on top of the ground. They have no feet.

She put the tangle on the lowest step of the doorway, the roots twisting and grasping for purchase like an octopus on land, but she kept most of her weight on our hands as she pulled her other set of roots out of the ground. The ground sagged as she left it. There was a fairly large hole below the door when she finally had all her roots spread on the steps. She climbed them, still leaning mostly on us, and walked slowly to the nearest seat. Her roots left a trail of dirt on the floor.

She sat perfectly still as the Conductor called to the engine and the Train started again. Her wing-branches framed her in rattling twigs as we moved on. At the very next stop, the station in Sellendendra, she stood up and we helped her back off the train. Her roots made the ground ripple as if she was stepping into water. She walked away into the night without a backward glance.

We watched her go. When she disappeared in the dark, the Conductor called to the engine, thanked me politely for my help, and said goodnight. I went back to my compartment. Flishel was asleep already, as (of course) was the other passenger. No one else on the Train had noticed the Drae at all.

I still have no idea where the Drae was going, or why she decided to get there by Train. I'm just glad I had a late dinner and happened to be walking by at the right time. If I hadn't, neither the Conductor nor I would have met her, and she would have had a long way to walk.



* Technically, Drae have no gender, but they've made it known (somehow) that they prefer to be called "she." They do look more female than male, even if it's just because of the hair.

Kingdoms in the Snow

It snowed for most of the day, surrounding the Train in silent curtains of white flakes. A layer of white built up outside the compartment window. I could see the tiny crystals in it against the dark wood of the frame. The engine dripped, hot and iron-black in the middle of all the white, and snowflakes vanished on it in tiny puffs of steam.

We stopped at a few small villages - Tremel, Arn, Tackahoe, and two or three more whose names I've forgotten. Everyone in them was tucked away in their houses, sleeping or sitting quietly, looking out at the snow. It's the first snow of the year. By January, no one will even notice it anymore; the flakes on the ground and in the air will become as unremarkable as leaves in Summer. Today, though, the world stops to watch them. Everything is quiet. The sleeping passenger in our compartment wasn't the only one. Only one passenger got off the Train all day, wrapped in so many scarves that nothing was visible but a pair of gleaming yellow eyes. The bundled figure was walking away down the streets of Tremel, a lone silhouette in the empty whiteness, when the Train pulled out of the station. The smell of frost came in through the open door and lingered for half an hour.

A few miles past Tackahoe, there were snowflies in the snow. They looked a bit like tiny white moths. I couldn't see their faces or their tiny hands; I'd need a microscope even if they ever stayed still. They were barely visible even when they flew right up to the Train's windows, braving the raging heat that leaked through the panes of glass. I doubt they got anywhere near the engine. The salamanders on the roof, letting out curious little puffs of steam, must have seemed like enormous fire-breathing dragons.

No one is sure where snowflies come from. They are never seen before the first snowfall. Some people believe they are born then, that one water drop in a million freezes into a snowfly instead of a snowflake and takes on a tiny life of its own.

Snowflies live fast. A day lasts about a year for them. They live through nights that are whole Winters, when ice blooms and the world flourishes, and bleak daytime Summers when the sun drains the cold from the world. An exceptionally long-lived snowfly might see the passing of an entire week. They collect snowflakes, digging them out of the layers on the ground or catching in them midair. Some of them look for quite a while. No one knows why, but only certain snowflakes will do. They build castles with them. This is probably the first tribe of snowflies to appear this year; they will begin a new era, here at the dawn of time, and be remembered in myth and legend by their descendants.

Their castles are marvels of miniature architecture. Snowflies lock snowflakes together like the pieces of a jigsaw puzzle, building them into walls and minarets and tall spires like icicles made of lace. The very thickest walls are thinner than my little finger, and they can withstand the strongest Winter gale. For their size, the snowflies' ice buildings are stronger than stone. The rooms are smaller than the ones in a doll's house.

The castles are more or less the same every year. Either the snowflies build them by instinct, or the basics of snowflake masonry are rediscovered each Winter.

By February, each castle will have become a palace, a monumental construction of a trillion tiny crystals. The snowflies will build an empire. Settlements will grow around the palace, little clusters of ice huts sprouting like mushrooms. A few snowflake empires have grown to cover whole hillsides. The farmers will harvest the frost every morning. Hunts will fly out after gargantuan field mice and the occasional terrifying shrew, waging ferocious battles in the tunnels beneath an inch of snow.

It's almost impossible to observe snowflies, as they're not much larger than snowflakes and move so fast they're practically invisible. Nearly everything we know about them is thanks to Brindle Soffmoggin, a scientist who once spent three weeks in the snow with a camera and a magnifying glass, studying the snowflies. They were curious about him at first (a mute, molten giant, lying motionless on the ground for years at a time), but started treating him like part of the landscape after a few hours. They harvested frost off of the mountain of his coat. Most people these days know Soffmoggin by his nickname, Snowfly Brindley.

In Spring, the world of the snowflies will come to an end. The days will grow longer and harsher. The castles will drip and collapse. The frost will become scarce and die out, the snow will stop falling, and empires that have stood for months will crumble and fall into anarchy. Every snowfly in the Railway Regions will be gone before May.

Next November, when the first snow falls, a new tribe of snowflies will appear and start history all over again.

The world, it is generally agreed, has been around a long time. It will probably be around for quite a while longer. Looking at the snowflies every year, though, I can't help but wonder how many there have been before it.

Valestrina

The Train had to stop for almost an hour today, in the middle of nowhere, because there was a valestrina on the tracks.

Valestrini are widely considered to be one of the seven most beautiful birds in Hamjamser. (No one seems to be able to agree on which is the most beautiful of all, but the top seven are always the same.) They look a bit like a cross between a peacock and an ostrich. Some believe that's exactly what they are. It's rare to see a valestrina anywhere colder than Clam-Porkle, much less in the Railway Regions during Winter, so half the passengers in the Train tried to get out and have a look at it. After five minutes, the Train was blocked as much by its own passengers as by the valestrina. Several people climbed onto the roof. (One of them was me - I like to be up high, out of the crowd. It's surprisingly easy to get onto roofs with a little practice.)

Every type of feather in existence can be found somewhere on a valestrina. They have rather more feathers than can really fit on a single bird, actually, and they lose them constantly. Predators can track the birds by the trail of feathers they leave behind them. (Not many predators bother with valestrini, though, as they kick like mules and are mostly fluff.) The colors vary from bird to bird - black and white, violet, a peacock's blue and green, or just about anything else. This one was mostly coppery orange. It had a peacock's crown on its head, a scarlet crest all the way down its long and elegant neck, and pink wattles so long they looked like a catfish's whiskers. Round-edged feathers like copper pennies covered its neck and breast. Its flight feathers - such as they were - were tipped with sapphire blue. (Valestrini are quite incapable of flight, though not all of them realize it.) Thick golden feathers covered the top half of its legs; past that, its feet were a vivid pink, and as scaly as a velociraptor's. Its tail was a magnificent sheaf of feathers, like a bouquet of the feathers from the tails of a dozen birds. There were woodpecker stripes in black and copper, the speckled rectangles of a mockingbird (blue and gold instead of gray and white), quetzal plumes almost eight feet long, the fluffy curls of an ostrich, and about fifty peacock eyespots in every shade of gold and copper and jeweled blue. It spread it while we were watching - just once - and there was a sigh of awe from everyone on and around the Train. It was like watching every flower in Melligan bloom at once. Nothing in the world has a tail like a valestrina's.

After a while, it became clear that the bird was not planning to move anytime soon, so a few salamander keepers went out to shoo it off the tracks. The valestrina watched them suspiciously. When they got within ten feet of it, it began to leap up and down and scream as if it was being murdered. Valestrini may have beautiful feathers, but their voices are somewhat less melodious than a crow's. Brilliant feathers flew everywhere. The salamander keepers backed off, alarmed; the valestrina let out a few more ghastly squawks, fluffed its feathers indignantly, and settled back down again.

The same thing happened whenever anyone got near it. The best place on the mountain, apparently, was right in the middle of the tracks, and no one else was allowed there. Eventually, people started settling in, as the valestrina showed no interest in moving two feet over and getting out of the Train's way. Picnic blankets sprouted around the Train. I took about twenty sketches and photographs of the valestrina. I may try to draw or paint it someday, but I doubt I could ever really do it justice.

Mostly, everyone just sat and watched the bird. It made little hiccuping noises. It bobbed its head like a chicken and scratched at its feathers, which fell out. It was still the most beautiful thing on the mountain.

After an hour of this, the valestrina seemed to decide that it had been stared at enough for one day, or that it was bored, or that it actually preferred that patch of ground over there, or something. I don't know. For whatever reason, it got up and poked its lovely way into the woods. Everyone watched it go.

There was a moment of perfect silence.

Then half the people on the ground ran to pick up one of the dropped feathers, and the other half started talking all at once, and the Train workers started shouting to each other, and the engine roared as it warmed up again, and there was all the usual noise and chaos that happens every time the Train leaves a place. It was like waking up from a dream. In fifteen minutes, everyone was back on board, and we were rolling along as if nothing unusual had happened. The rest of the day was perfectly ordinary. Still, whenever anyone mentioned the valestrina, all conversations would stop, and we would stare blindly at nothing in particular, remembering sunlight on feathers the color of copper and sapphire and gold.

The Sclesserax (part two)

Our guide eventually took us up into the tallest spire in the Sclesserax, a twisting needle of clay and paper far higher than anything else on the building. There was only room inside it for a steep, narrow staircase, little more than a twisted ladder. The central column was corkscrew-shaped to make room for the steps. The builder was at the top (the current builder, anyway; the tower looks like it may have had several). He, or she, was a small dauber who added layers of clay seemingly at random. There were empty buckets all over the steps. They looked too large to be carried by a single wasp, with or without clay in them. I got the feeling that the tower was something of an obsession. It swayed in the wind. Other daubers wandered past occasionally and stuck little gargoyles on it.

On the way back down, we passed through a cloud of ichneumons. They were a colorful group of wasps, small and slender, with striped antennae that flicked the air constantly. No two were quite the same. They passed us in a whirl of shining colors, jet black and pearly white, gold and crimson, silver and tangerine and primrose yellow. One or two were violet.

Something had changed while we were up in the tower. The halls and corridors had been busy before, but now they were almost frantic. Wasps rushed past with pots and baskets and wriggling larvae. Daubers pulled thick curtains over the windows, casting the rooms into gray stripes of shadows. One cicada-eater blew past us with a gramophone in each claw. They were getting ready for something.

The only people standing still were little groups of musicians set up in corners and alcoves. Most of them did the odd wing-singing that's common in Carvendrone; wasps have a surprisingly wide range of buzzes. Others beat out rhythms on their own thoraxes or on large scarabs, chitinous drums that sat happily on the floor while the musicians pounded them.

I've never heard anything like the music they were playing. One would start a beat or a melody and gradually speed it up. This could go on for a long time; insect music can be unbelievably fast. There are people in Carvendrone who can actually sing Moldomer's "Flight of the Skitterfly." When one melody had reached the speed of a patter song, someone would start another one behind it at about half its speed. The two melodies would harmonize, fast and slow, speeding up gradually, getting faster and faster until the first one reached an impossible speed and exploded in a flurry of buzzes and trills. The second one would continue, still accelerating, and a third would start behind it. The result was a song that seemed to constantly speed up without actually getting anywhere. The frantic preparations going on were never faster than when they were near one of these choruses. I felt like running through the halls myself.

The guide rushed us through the last ten minutes or so. We practically flew through the corridors, passing wasps and bees and beetles pushing carts and carrying buckets and boxes and long streamers of red and orange cloth that whirled behind them like floating fire. Somehow, no one crashed into anyone else. It helped that hardly anyone was using the floor. We eventually reached the little entry hall where we had started. The hornet gave us what sounded like a brief, polite farewell, bowed neatly in midair, and rocketed off into the depths of the Sclesserax.

That seemed to be all, so we left. It was getting rather frightening in the corridors.

Outside, the streets of Carvendrone were much the same. The ground and air were full of rushing insects. Wasps flew by like diving falcons, roaches skidded across walls and roofs as if they were on ice, and rickshaw beetles became briefly airborne when descending stairs. It's an impressive sight, five hundred pounds of beetle passing overhead. Their passengers clung tightly to their seats. Even the millipedes were hurrying, as much as that's possible. Their legs went up and down like armies of sewing machines.

Flishel and I got back to the Train as quickly as we could and stayed safely in our compartment for the rest of the day. The sleeping passenger is still sleeping. Since boarding the Train, a month and a half ago, he or she hasn't woken up once. All the places we've been since then - Golgoolian, Skither, Jiligamant, Vanister, Scarloe, and now Carvendrone - have probably seemed like little more than dreams.

This morning, the reason for all the hurrying was clear. The temperature has dropped. The warm part of November is over, and Winter has arrived at last. The people of Carvendrone went to sleep last night; most of them didn't wake up this morning. They won't until next Spring. For the next few months, the small minority of warm-blooded Carvendroners have the city all to themselves.

It snowed at the station this morning as the Train was leaving. There were five people there to see it. The city has buried itself for the Winter.

Found in the Rain

The Train left Vanister today.

It's unusual that we stayed as long as we did. The Train rarely stops for more than a day or two in any one place, and Vanister is a fairly small town. If you added up all the other buildings, they'd be about the size of three wings of the Museum.

For the last day, though, the staff of the Train (and several random passersby lured by the promise of free tickets) have been shoveling mud off the tracks. The station has been nearly surrounded by it. That's the problem with building a town on a diagonal slope. Vanister is a town of terraces, and every so often, one of them decides to just shuffle away down the hill. This morning, the tracks vanished into a detached piece of hillside, complete with several small trees and someone's mailbox. (A woman in a purple scarf came to fetch the mailbox in the afternoon, which I assume means it was hers. A large samoval came to fetch the trees a few hours later.)

I did a bit of digging myself, actually - I'm not one to say no to a free Train ticket. I found a bracelet of blue glass beads in the mud, miraculously unbroken by any of the shovels that had been chipping themselves on rocks and Train tracks all around it. Each bead was a tiny snail. A few feet beyond that was an antique adding machine, one of the ones designed to be run by a trio of dung beetles. It was rusted almost beyond recognition.

A bit farther on was a molar half the size of my fist. Three sides were covered with intricate markings that looked like runes; on the fourth was a carving of a frog. It appeared to be wearing mittens.

Vanister is built on old ground. The standing stones above the town are only the most obvious signs. The things beneath the surface have been there (or possibly slightly farther uphill) for a long time.

I have no idea, however, which ancient civilization was in the habit of putting mittens on frogs.

Having been out in the rain for most of the morning, I was completely soaked, so I curled up in the Train compartment with about five blankets and another Machinel novel. I love reading inside when it's raining outside. My salamander sat on top of my head and looked for umbrella plants. (It knows they're hiding somewhere. They can't fool it that easily.)

I was starting to worry by sunset. Professor Flanderdrack's luggage was still sitting comfortably in our compartment in the Train, but there was still no sign of the Professor himself. The sleeping passenger had somehow ended up on top of the pile of suitcases and was snoring into the leather. I wasn't sure what to do with the bags - leave them in the Train, or give them to someone in Vanister to keep until the professor reappeared? Fortunately, that was when he did reappear, hurrying over the platform and shedding notepaper like a rather short tree.

"Found it!" he said, breathlessly, when he reached the compartment. Water dripped from his coat and braided fur. "It was well hidden, oh yes indeed, and that frightening woman at the front desk nearly caught me, but I found it! Success! Huzzah! Now, on to Scarloe!"

With that, he sat down and began scribbling. He hasn't said another word all evening. The Train pulled out of the Vanister station on newly revealed tracks, raindrops hissing from the black metal bulk of the engine, passengers bustling around looking for empty seats, and the Professor didn't even seem to notice. He stopped only to take his coat off and dig an abacus out of one of his suitcases. Pages full of calculations and diagrams and illegible scribbles cover one seat and most of the floor of the compartment; a few of the soggier ones are stuck to the walls and the sleeping passenger's fur.

I don't know what Professor Flanderdrack is looking for, but it seems to be a bit more than a theory this time.

Quests, Clutter, and Freshly Picked Umbrellas

I spent most of today wandering through the Vanister Museum. Most of the passengers on the Train did the same thing, flooding through the entrance hall under the coldly bespectacled eye of Miss Corverly, who runs the Museum with a claw of steel and a mind like a dictionary. (She's rumored to have a dungeon full of badly behaved visitors underneath the Museum, but no one's ever found it.) There must have been nearly a hundred people in the Museum today. Beyond the entrance hall, I saw exactly three of them. It's a large place.

One of the other visitors today was Professor Flanderdrack, who claims to have incontrovertible evidence that the fabled Omnipresent Telescope is hidden in the Vanister Museum. As far as most people know, it was lost forever when Parrafan Loofra, the great aeronautical otter, crashed his airship in Gira Gira. Professor Flanderdrack disagrees. There is a clear and unbroken trail, he says, for those who know how to follow it, and it leads directly to Henrijohn Ignitius Creemer. (Everything Mister Creemer owned, of course, is now in the Vanister Museum. There is an entire room devoted to the contents of his bathroom. His nose-hair-clipper collection, I am told, was quite impressive.) Professor Flanderdrack intends to find the Telescope before the Train leaves Vanister. He seems quite confident. I don't know how he's planning to find one thing (not even a very large thing, according to legend) in the towering archival chaos of the Museum; he hinted at plans and methods, navigational strategies and clues in historical records, but refused to go into detail. I gave up eventually and simply wished him luck.

Most of the rooms I found today were in the Gormless Wing,* judging by the lavender bricks and the fact that most of the rooms' names began with Q. The first few were full of statues of geese. They grew in size as I went - the first room had silver ganders the size of midges and barnacle geese carved out of barnacles, while the last one had room for only a single statue, a reptilian-looking thing carved from a giant palm-tree crystal. The card next to it said that it had been found in a ruin in the Golden Desert, and that the creature it portrayed was widely believed to be extinct. That probably comes as a relief to the Desert-dwellers.

I wandered through rooms full of upholstered armchairs and speckled glassware, galleries of steam- and hamster-powered pipe organs, halls of paintings by legends like Tina Tharschryman and complete unknowns like Thoggerell T. HeFeffenaff, whoever he was. There were collections of thimbles, ear trumpets, mechanical antlers, dried gourds, oracular typewriters (all frauds, of course), fishbowls, tentacle socks, silverware, left-handed scissors, ceremonial spatulae, enameled fish, doorknobs previously inhabited by gremlins, teacups, coffeepots, stringed instruments from miniature feefelos to a six-handed garobassum. A broom closet was sealed behind glass, with a sign explaining that it contained Mister Creemer's collection of antique air. Two Museum visitors were debating the meaning of a copy of the Recursive Sonnet (which shows up all over Hamjamser, carved and written on everything from temple walls to handkerchiefs, and seems to have no purpose except to make people debate its meaning. This one was on a chunk of bluestone from a granary in the Blue Desert). One room was full of clocks shaped like the moon, which someone had recently wound. The ticking of mismatched clockwork was nearly deafening. (Tick tockle tick plink tackatacka PING, tick tockle tick plink tackatacka PING...) They were not all running at the same speed. I think some of them may have been using the Phelodean Interval instead of the standard second.

I've been to the Vanister Museum almost twenty times now. With the exception of the entrance hall, I don't think I've ever found the same room twice.

When I got back to the station, I found Flishel selling his umbrellas. He had set up a little stall on the platform (where he got it, I have no idea - maybe it was in his suitcase) and had umbrella leaves in all sizes standing in neat rows. He'd stuck a few unfolded ones on the top of the stall, where they stood like enormous flowers.

He's been painting the leaves for the last few days. The paint smells faintly of hazelnuts. The green has gradually disappeared under lovely abstract patterns, swirls and speckles and hexagons, like easter eggs or soap-bubble rainbows or Karkafelian tilework. I wasn't sure why - as the leaves were still on the plant, I couldn't imagine it was healthy for them. Watching customers eagerly open and close the fresh umbrellas, I understood. He's been planning to sell them all along.

Normally, umbrella leaves aren't unusually strong - they're stiffer than other leaves, certainly, but nowhere near as strong as the waxed cloth used for most umbrellas. They tear easily. Once they die and dry out, they stop being completely waterproof, and they eventually rot and fall apart. They are leaves, after all.

The paint must do something to the leaves to strengthen them - and preserve them as well, I assume. Several of the customers weren't any gentler with them than with normal umbrellas. They folded and unfolded them roughly, dropped a few on the ground, and tapped at the taut surfaces with claws that would have gone straight through an ordinary umbrella leaf. The umbrellas were not harmed in the slightest.

For a minute or two, I simply stood and stared at the bright little stall. The umbrella stems were tipped with the little wooden things that Flishel has been carving since August: shoes, seashells, fruit and little animals of all kinds - even a small model of the Train engine. Flishel put each customer's favorite handle on their favorite umbrella before selling it to them.

Eventually, of course, I had to buy one. I needed a new umbrella anyway; I lost my old one earlier this year, in Tazramack, when a large green thing (possibly a dragon with unusual taste in treasure) came down out of the rain and flew away with it. I hadn't found another one I liked since then. There were several I liked in Flishel's stall - I'd already been admiring them, without knowing what they were, for weeks - and I eventually chose one painted a rich blue (cockleworm dye, I think) with orange sunbursts. The handle is a little mountain sheep with enormous curving horns.

There's nothing left of the umbrella plants now but the stubby trunks - which, as usual, are hollow inside and resemble umbrella stands. Without their leaves, they seem to have finally gone dormant for the Winter. Flishel packed them all into his suitcase this evening. This is rather a relief, really; the umbrella plants had grown so large recently that there was hardly any room in the compartment.

From what I can tell, Flishel sold almost half his umbrellas today. They were a huge success with both Train passengers and Vanister townspeople. As pretty as metal-and-cloth umbrellas are, they're still mechanical things; some people prefer their umbrellas grown.

As I write this letter, which I will give in about two minutes to one of the Train's flock of postbirds, Professor Flanderdrack has still not returned. I hope he's all right.



* Other wings include the Northless, Salient, Spectacular, External, Superterranean, Ghastly, and Flightless. The rooms in them were named by the curators, but the wings were named by Mister Creemer himself.

Gilded Gravity

This morning, a fourth passenger came to our compartment. I've stayed in the same compartment with the umbrella-plant man since my arrival; his name (I think) is Flishel. His umbrella-plants have continued to grow in the warmth of the Train far beyond when they would normally have been dropping their leaves. If they didn't fold up, I doubt he'd ever be able to get them back out the door. We still can't speak to each other - I don't even recognize his language - but we've found that we sleep at more or less the same time of night, which is one of the most important things on the Train. When you're sharing fairly cramped quarters with large numbers of other people, almost half of whom are nocturnal, it's best to be careful about that. Passengers who are awake at different times tend to disturb each other's sleep. When people introduce themselves on the Train, they include their bedtimes along with their names: "Navadine Strane, midnight." "Archelgram, ten in the evening." "Camber Sugmithophulous, daybreak." "Nigel Tangelo, two am."

The third passenger in our compartment, who shuffled onto the Train in early October, doesn't appear to wake up at all. We've passed stations with brass bands rehearsing on the platforms - even a Thiglian SmashBang group, once, who were asked to leave the station when the percussionist started breaking glass jars on the tracks.* Our fellow passenger slept through it all. I think he (or she - there's too much hair to be sure) may be hibernating.

Lady Mallory, the Engineer, doesn't ever seem to sleep. Whenever I look into the engine, night or day, she's standing there with her ears tied back and her hand on the brake lever. The Conductor never seems to sleep either. I think it's beneath his dignity.

The fourth passenger introduced himself upon his arrival as Professor Chelonious Flanderdrack, one in the morning. (Professor of what, he hasn't said yet.) This was close enough to the rest of us (two am, midnight, and interminably) that he decided to stay.

Professor Flanderdrack spent the rest of the day, between meals, explaining his theories to us. As Flishel didn't understand him and the other passenger didn't wake up, I think I'm the only one who really got much out of them. That didn't seem to discourage the Professor. He has theories on Hill Builder reactors (they contain a type of plant native to the center of the planet, adapted for extreme heat and no air to speak of), kudzu (it distorts reality, thereby covering more space than is physically possible), and language (it's really just a sensory aid to the innate telepathy that is how people really communicate; unfortunately, this telepathy is imperfect due to lack of training, and ceases to function at all outside of face-to-face conversations, which is why so many people disagree about literature).

His favorite theory, though - or at least the one he talked about the most - is about gold. He has a theory, he said, that all the gold in the world is attempting to gather itself in one place, and that the existence of money is largely a result of this fact.

It makes a kind of sense, actually. If someone has gold, they usually do their best to keep it, or give it to someone else who has gold of their own. Its value means that people are careful not to lose it. We dig the tiny, scattered particles of it out of mines and streams, refine it, and make it into dense little shapes like coins and jewelry. The more traditional dragons pile it up in their caves. Banks keep it in tidy, concentrated stacks in their vaults. The reason for the Bank of Bannarbangle's success, according to Professor Flanderdrack, is that it was one of the first banks to start stockpiling gold. The mass created a pull ("economic gravity," he called it), that attracted more gold, like planets forming. Customers flocked to the Bank to add their money to the pile. People collect gold because it's the nature of gold to be collected; money and metalworking exist mainly as ways to move it around.

The Professor was wearing a small gold earring. When I commented on it, he said that he's keeping it in reserve. He's been watching the gold accumulate for two hundred years, he said,** and he intends to be there when it finishes doing so. It's been getting faster - too slowly for anyone less than a century old to notice, but faster nonetheless. According to his calculations, all the gold in the world will have coalesced within the next thousand years. He's been keeping an eye on the biggest masses - the Museum of Antiquities in Karkafel, the Bank of Bannarbangle, and the hoards of a few ancient and wealthy dragons.*** When all the gold has gathered, he intends to still have his earring. He wants to be the one to drop the last piece on the pile.

He can't wait, he said, to see what happens then.



* I must admit, it did make a rather interesting sound.

** He has the variation of the Shapeshifter's Curse that comes with immortality, so he doesn't look a day over forty. The only side effect he mentioned is that his fur never stops growing. He keeps his eyelashes trimmed and braids the rest, except for his whiskers, which are magnificent.

*** Interestingly, quite a lot of dragons keep their hoards in banks these days - economic gravity at work again?

Molting

I'm finally growing my winter coat. It took longer than usual this year - usually, the fur starts coming in soon after the first freeze. Maybe being in the Train confused it. It's warm inside, between the people and the salamanders, though I've had to wear three coats whenever I go out. I can see why so many reptiles hibernate through the Winter.

Unfortunately, this means I'll have to shed the scales I've had over the Summer. That's never fun. Anyone who thinks shedding fur is bad has never had scales. Actually, shedding skins normally is fine - it's a strange feeling when they're loose but not off yet, and the eyelids aren't much fun, but you get used to it after a while. I've done it three or four times already this year. Last year, I found out that shed skins - intact ones - are worth a good bit at the Cormilack cloth market. There are more reptiles in Cormilack than average; most mammals don't like having wet fur for half the year. As a result of that, and of Lady Xeredile's usual eye for opportunities, Cormilack is one of Hamjamser's main sources of shed skins (or "scale silk," as people prefer to call them). Scale silk raincoats are very popular among people who can afford them and don't mind wearing secondhand skin. They're completely waterproof, and the scale patterns make each one different. (Oddly enough, even people who like wearing leather often find the idea creepy. Don't ask me why.)

It seemed a bit strange at first to be selling my own skin (ex-skin?), but I wasn't about to turn down five gold Loundas because of that. I'm quite used to it by now. I've been keeping my shed skins since then, when I have room in my suitcases. There's no telling when I might pass through Cormilack again - or, for that matter, somewhere else where people are interested in scale silk. I'll have to see if anyone uses it in Tetravania. My scales this summer have been pale green with blue spots. I'll be rather sad to see them go.

Usually, though, I only shed the outer layer of whatever scales I have; they just sort of fade when something else replaces them. This time, for whatever reason, the scales are coming off whole, all at once - and the new fur has already started growing between them. This has happened once or twice before. It itches.

Most of the time, I enjoy the effects of having Shapeshifter ancestry, but I prefer the more gradual changes.

Oh well. With any luck, I'll find someone who's interested in buying an unusually thick shed skin covered with whole scales and lots of little holes from fur growing through it. It'll certainly be unusual.

Rats

I was sitting in the Train station in Jiligamant today, having visited the clockwork market that shows up in the town's main square every so often. Jiligamant is inhabited nearly entirely by mice and rats, who make some of the best clockwork in existence. No one else is better at tiny details.

Of course, having been a center of rodent culture for generations, it's not just the small mice and rats that live in Jiligamant. There are rodents of all kinds - squirrels, capybaras, chinchillas, three-legged gerboas, and probably a lot more that I don't know about. Even the town's humanoid inhabitants look rather rodent-like. There are winged mice the size of bumblebees and a clan of rats the size of hippopotami, who live in what used to be the town's sewers. Jiligamant has six or seven layers of sewers altogether; being a town of rodents, the pipes always have rats living in them, even when they're in use. The rats in the working sewers gradually dry out and brick up parts of them to make houses. This inevitably causes the whole sewer system to back up and stop working, at which point the town builds another one underneath it. Only a sixth of Jiligamant is above ground. The giant rats, who are as close to nobility as you'll find in Jiligamant, have the whole top level - the original sewers - more or less to themselves.

Anyway. I was sitting in the Train station, eating my lunch (some sort of grain thing from a food stall in the market) and waiting for the Train to finish exchanging a boxcar of seeds for a boxcar of clockwork pipe crawlers. A crate of pipe crawlers had, apparently, not been switched off or properly sealed; they were making things rather interesting for the loading crews when a tall gray rat in a blue frock coat came and sat down next to me.

"Morning," he said. It was four in the afternoon. "You ever been to Pickerell's Peak?"

I hadn't, and said so.

"Well, don't." He was quite emphatic. "Nothing there but fir trees and loonies. I was sitting at the Train station there, that little one that looks like an umbrella and never has anyone in it, just sitting there and minding my own business when a lizard in a tuxedo comes along the tracks and says to me, 'have you seen a house around here?' Now, if you'd been to Pickerell you'd know there's not a house within six miles of the station, not even a lean-to, so I gave him the look I give ceiling salesmen and said that if there'd been a house then I'd missed it. So he said fine, he'd wait, and I'll be flanneled if he didn't sit down there and wait! For a house!

"So I sat there with him and ate my lunch, and asked him if he wanted any, but he said he was allergic to cheese, said it made him grow fur, so I said what's wrong with a bit of fur then, and he said that he had nothing against fur but only in the Wintertime. In the Wintertime, he said, he ate cheese until he was so fluffy you could hardly see him.

"Well, I couldn't think of anything to say after that, so I just sat there and ate my lunch. Me waiting for my Train and him waiting for his house. And I'd just said to myself, well, he'll be waiting here a lot longer than I will, when there's a clattering noise off along the tracks, and around the corner comes a house. A house. Perfectly ordinary, the kind you see in Tazramack or anywhere, four stories high and one room wide. It was blue with dormer windows. Had those little fiddly bricks on the chimney. And it was walking, I tell you, just walking along on four great planking feet made all of boards. I could see the nails sticking out of the knees. And it walked right along the tracks, making a racket like you wouldn't believe, and settled down right in front of the station like a big dog, so that its little front porch was level with the platform. And you know what that lizard said? He said, 'my house appears to have arrived at me. Good day to you.' And his house stood there, calm as a horse, while he walked up to the front door and went right in. And then it stood up again on its feet - it had knobs on its toes like on a banister - and it clattered off along the tracks until I couldn't see it anymore. And what I say is, anyone who lives in a house that bounces like that can't have many dishes left by now. I mean, honestly, is it too much to ask for a man to sit and eat his lunch in peace? Why does every loony in the Railway Regions have to come and sit next to me?"

I nodded sympathetically. He gave me a suspicious look at that, stood up, and hurried away without another word.

I could have asked him the same question. Somehow, though, I doubt he'd have taken it well.

From the Train

Once again, it's November - and nearly four months since I last wrote. I apologize again. I wish I could say that I've been too busy, but the truth is that I simply forgot. I fear that I shall never be the world's best correspondent. Being one of the few travelers in the family, I really ought to keep you all better updated on where I've been. I hope to do that for at least the next month. It's that time again.

I've been on the Train more or less since I first reached it in July. It's the easiest way to travel in the Railway Regions. Walking over the mountains is difficult, even when they're not broken up by cliffs, and llamas are more in demand (and therefore harder to find) in the Regions than in most of the rest of Hamjamser. Kilopedes, of course, only go where it's warm and sunny. They only visit the Railway Regions in the Summer (though they love climbing over all the mountains when they do). Airships are expensive, the chances of a floating city passing overhead are slim, and it seems unlikely that I will grow wings anytime soon.

Besides, I like riding the Train.

Practically everyone who has lived in - or even briefly visited - the Railway Regions has been on the Train at some point. It's what makes the Railway Regions the Railway Regions instead of just a bunch of mountains. The Train itself is thousands of years old, an ancient salamander steam engine built by the Hill Builders for their own mysterious reasons. It was dug up by a farmer shortly before the invention of the airship and the rehabitation of the floating cities.

For decades, engineers on the ground had been looking wistfully at those massive heaps of metal drifting across the sky, but most couldn't reach them, and nothing they found on the ground made sense. A couple of the Hill Builders' Guardian robots had been unearthed, but their pistons and reactors and crystal brains were far beyond anyone's comprehension. No one could bring them back to life. Most just ended up in museums. The Earthmover of Cormilack seemed simple enough - for a machine the size of a mountain - but none of its joints and gears and pistons seemed to actually DO anything. (To be fair, people have been stealing the pretty metal pieces from the Earthmover since before we'd even invented machines, and its inner workings still baffle everyone who tries to make sense of them.)

The Train was the first thing to change that. A group of engineers happened to be passing by when it was unearthed, and the farmer who found it was only too happy to sell them the useless and alarmingly large hunk of metal that had been buried under his field. Its purpose was fairly obvious - it had wheels, after all - and it didn't take the engineers long to figure out how the steam engine worked. They replaced the rusted parts, filled the boiler with water and the firebox with trained salamanders, realized what the old rails all over the mountains were for, and - within a few generations - had brought the Railway Regions into existence.

Nearly every part of the engine has been replaced at some point - not surprising in a machine several thousand years old. The hypersteel boiler tank and axles will last forever, of course, but the only other original part is a glass pressure gauge lens. The engineers swore it was in the Train when they first dug it up. Their descendants, the modern Clan of Engineers, still own and run the Train (among other things). Lady Mallory, the current head of the family, practically lives in the engine.

Since the Train began running, one of the fondest dreams of any engineer has been to build a second one. (Most other Hill Builder technology can be duplicated these days, if not actually understood, and the reactors in the floating cities made perpetual motion more or less obsolete before anyone had managed it.) It seems like it should be easy. A steam engine is not impossibly complex, after all - just a bunch of moving parts. Copy them all exactly, and a second steam engine should work just as well as the first.

Apparently, that's not how it works. No other Train engine has ever moved more than a few feet. Airships have been fitted with miniature salamander engines for their propellers, and engineers in Bannarbangle have built sluggish and unreliable "steam-cycles," but every attempt to make a steam engine that can pull more than its own weight has failed miserably. There is still only one Train. No one has ever built one, at least one that worked, completely from scratch. The Train is the only Train, and the Railway Regions are the only Regions with a Railway. That doesn't look likely to change anytime soon.

Frankly, I hope it doesn't. The engine of the Train is unlike anything else in Hamjamser, an oiled leviathan of bolts and pistons and dripping black metal. It rumbles along the rails all year long, above and below ground, swathed in steam like an iron dragon on wheels. No one can ever quite seem to count the cars it pulls behind it. There are always just enough; no car is ever empty, but the Train never quite runs out of room. None of the cars really match - they're all different ages, paneled in different types of wood, papered in brown and red and gold, divided into compartments and dining rooms and the kitchen where the spider-chef grins madly as he prepares five things at once. Boxcars join and leave the Train in a constantly changing line at the towns large enough to use them. The cars swarm with engine salamanders, glowing orange along the lamp-tubes inside, pitch-black as they recharge in sunlight on the roof. The people of the Regions use Train tickets instead of coins.

In all of Hamjamser, the Railway Regions are one of the only areas without a capital city. The Mountainous Plains are largely owned by the banking city of Bannarbangle; Tetravania (the region) is ruled by Tetravania (the city); the floating cities are all dwarfed by Miggle-Meezel; even the Kennyrubin archipelago is centered on the island of Carpel Hromin. In the Railway Regions, everything is centered on the Train. It connects the Regions together, makes them what they are, and is just as much of a place of its own as Milldacken or Vanister or Tazramack. The heart of the Railway Regions is no less the heart just because it runs for miles and is no wider than a pair of steel rails.