Departure

The gafl have apparently eaten their fill, ballooning to three times their previous size, so the caravan packed up and left Denemat this morning. I was surprised to discover how many of the people I've seen around the village are actually passengers on the caravan. Denemat's population, apparently, is even smaller than I thought.

I went back to say goodbye to Fenbit and Hasisha before we left. They were sitting in the shade of their acacia again, though the tree had moved to the other side of their house. Perhaps it wanted a change of scenery. They gave me a package to deliver to their grandson, who apparently lives in a remote town called Snarkish. If the caravan happens to come across the town on its journey, I'll deliver the package myself; if not, I'll give it to someone else before I leave the Desert. It will find its destination eventually.

The package seems to weigh almost half what I do, which is why they're not sending it by postbird. The postbirds refuse to deliver anything that weighs more than they do. Heavy mail has to take its chances with foot travel. Inhabitants of the Golden Desert are used to waiting months or years for their packages to arrive.

The train of wagons had already lined up at the outskirts of the village when I arrived. Everyone was loading things aboard. The merchants in the caravan are transporting a wide variety of cargos. One entire wagon is full of parsnips and munchmelons; another holds cages of pahareets, jazz birds, and salamanders. Several harried-looking potter's apprentices were shifting towering stacks of ceramic tiles, glazed with brightly colored butterflies and sheep and squid and peacocks, and wrapping them in thick woolen blankets before loading them into crates. Further on, a team of the caravan's largest and strongest lifters were carrying heavy chests reinforced with iron bands and massive padlocks. I don't know what was inside them. Most of the lifters were samovals, who tend to be larger and stronger than average; there was also an upright elephant with painted tusks, a few of the masked people I've glimpsed occasionally in the Desert, and a pair of twins who looked almost human, aside from the armadillo scales across their backs. They lifted chests that were larger than I am, and must have weighed three times as much, without any visible effort.

A team of men and women in white robes were taking great care in loading crates onto one of the wagons. A few of the crates were still open, and I could see glimpses of complex machinery inside, all gleaming brass and polished lenses. One of the team - an avian woman with jet-black feathers, who was panting in the heat despite the hood shading her face - gave me an enthusiastic explanation when she stopped to rest.

"Is for, eh, measure the sand, yes?" She fanned herself with one feathery arm. "Is for… Look in sand, see what is before. Sand now is small pieces, but before, maybe is castle, or mountain, or glass, yes?" She pointed to a crate where an elaborate series of lenses sat, half wrapped in cloth, gleaming in the sunlight. "Look with this, see castle, mountain, glass. What sand is before."

I'm still not entirely sure what she meant. Some unusual variety of archaeology, perhaps? The equipment was nearly all packed, so a demonstration was out of the question. My Amrat, unfortunately, is nowhere near as good as her English, and I'm no geologist. Most of what she said went completely over my head. She didn't seem disappointed with my incomprehension; she just shrugged and smiled, a slight rumpling of the feathers at the corners of her beak. "Eh. When you maybe learn more Amrat, I tell you again. Yes?"

One of the wagons has been cleared out and altered to hold a single passenger. Normally, a caravan would not allow this; space is too limited to waste an entire wagon on one person. (I will be sharing a wagon with five other travelers and their luggage, as well as a shipment of assorted fossil shells, and sleeping on top of my luggage.) However, from what I've heard, this passenger is not only wealthy enough to pay for a whole wagon; he is also aquatic. The alterations to the wagon were mostly to make it watertight. The wagon bed has been sealed - I assume with tar, or snail glue, or something of that sort - and filled with river water. The canvas roof has been replaced with a silk canopy nailed down tightly on all sides. This, apparently, will hold moisture inside the wagon and keep the water from evaporating too quickly.

I don't know the passenger's name, but I've heard that he's from a wealthy family of river merchants from the Scalps. How he got all the way out here, I have no idea. I hope he doesn't mind being stuck inside a wagon for the next month or so.

The caravan set off shortly after noon. This was later than it was scheduled to leave - I could hear Tirakhai's voice from one end of the wagon train to the other, booming at steadily higher volumes the later it got - but it's nearly impossible to organize this many people, much less to do it on time. I'm impressed we only left a few hours late.

The gafl handlers had been maneuvering their charges into position all morning, checking harnesses and providing a few last snacks before departure. They steered the gafl with a sort of percussive code, thumping out quick rhythms on the shaggy hides that told the creatures to stop, go forward, turn left, and so on.

I managed to find a good place to sit when we left; it was a seat near the front of one of the central wagons, where I had a good view of the whole caravan. It was quite a sight. All the gafl started nearly at the same time, lurching forward with surprising speed as they stretched and compressed their massive bodies. Hundreds of soft feet hit the sand at once. The sound was like a pillow fight of operatic proportions.

The rest of the day's journey was largely uneventful. The wagons slid over the dunes fairly smoothly, though they seemed to find more bumps and pebbles than I would have thought possible in what looked like perfectly smooth sand. The springs on their shafts at least kept them from sharing the gafl's lurching gait.

There was always someone singing. Over the course of the day, I must have heard dozens of melodies from one wagon or another. Karlishek identified a few of them for me when he happened to be nearby; one was a love song, another a prayer, a third a comical ballad about a man who built a house out of sand.

The sun set an hour or two ago. The wagons are currently arranged in a circle around a large campfire. There is little wood in the Golden Desert, so we're burning gafl dung. The handlers collected enough over the course of the day to make a sizable fire. Thankfully, it has almost no smell at all. The gafl themselves smell strongly of rosemary right now, as their handlers have been rubbing the herb into their fur to keep away parasites. The gafl seem to like the smell; they stuff their faces into each other's fur and sniff happily every time we stop. Most of them are sleeping at the moment. Their silhouettes are like grassy hills in the dark, rising and falling slowly with their breathing.

All the passengers who are still awake sit around the fire. Supper was a bewildering array of shared food, contributed by everyone, followed by an hour or so of songs and storytelling. I missed most of the stories, but I was able to at least hum along with the songs.

By now, everyone is quiet. Most of the passengers have wandered off to their wagons to sleep. The few who remain sit around the crackling fire, writing letters or journals, or playing games with boards and decks of cards that I've never seen before. It's peaceful.

The moon and grandmoon are high in the sky above us, wearing the campfire smoke like veils. There must be a million stars around them. Bats and night birds fly overhead, black on black, little fluttering silhouettes that croon and squeak softly to each other. I have a bed of sorts set up in the wagon, but I might just sleep outdoors tonight.

After all, it's not as if it's likely to rain.

Creeping Hieroglyphs

After I wrote last night's letter and handed it off to the postbird, the innkeeper led me upstairs to a narrow stone room roughly the size of a coat closet, which I am sharing with an elderly tortoise.

At least, I'm fairly sure it's a tortoise. It hasn't actually come out of its shell yet. I'm certain there's something in there, though, if only because of the snoring.

Exhausted as I was, I collapsed into the heap of mismatched cushions that serves as a bed and fell asleep almost instantly. I dreamed that I had become a creature of living flame. Every time I tried to write a letter, the paper would burn up in my hands, and the words I'd written would speak themselves in the crackling of the flames.

I woke to find that I had left the curtains open last night and was now lying in direct sunlight. This explained the dream. Even early-morning sunlight is hot in the Desert. The room was far too hot to stay in at that point, so I left the tortoise shell to its nap and went out to look at the village. I'd only seen it in the dark last night.

Rikanta is a small town, perhaps two or three dozen houses, centered around an old sandstone castle. These are fairly common in this region. Like most of them, this one was built when the Locust Marauders were at their peak and had started making forays into the Golden Desert. You can still see the tooth marks in the stone. The Marauders are long gone, though, and the castle has been empty for nearly as long. It hasn't had an enemy to keep out in decades. The town's Chooser* lives in a house now, and the castle's few intact rooms are home only to sand-colored day bats and the occasional night wanderer. Swallows and potter wasps build neat clay nests under the crumbling battlements. The outer walls shrink just a little every year as people take the old, elegantly cut stone blocks to build new houses. They're not about to let good stone just sit around.

Most of Rikanta's buildings have a thick, chunky look as a result; they are small houses built with castle-sized blocks of stone. Many of the walls are thicker than the width of the doorways. As well as looking funny, this is actually a good design, keeping the houses cool during the day and warm during the night. There is very little that insulates as well as two feet of solid stone.

The architecture, however, wasn't the first thing I noticed in Rikanta. The town is overgrown with creeping hieroglyphs, a form of two-dimensional life adapted to live on dry stone. They look like letters, neatly painted in faded brown dye, a growth of random symbols that never quite resolve themselves into a readable alphabet. Their seeds are windborne and look like commas. The glyphs alarmed me at first - had the word-plague spread here from Arkit? Fortunately, a few townspeople assured me that the glyphs had been around for decades and had never shown any sign of interfering with the town's actual writing - though the appearance of the occasional Halsi character in the otherwise random symbols suggests that the two might be interbreeding.

Neat, geometric, and completely incomprehensible (though many linguists have tried), the glyphs apparently started at ground level and simply worked their way up. The popular theory in Rikanta is that they started on an old vase or pot buried in someone's basement. Craftsmen in several of the old Desert civilizations used creeping hieroglyphs as decoration, encouraging them to grow on pottery and carvings. No one is sure whether these craftsmen liked the nearly-legible patterns or if they were just too lazy to add their own decorations.

Wherever they came from, the glyphs have spread by now to nearly every (previously) unmarked surface in sight. They seem to fill the role that ivy or tambourine wisteria might in a wetter place. Lines of elegant symbols twist their way up stone blocks and wooden posts, along walls and across rooftops, curling around corners and tracing the most minute imperfections in any surface. On occasion, they will even spread to the skin of a person who sits too long in one place.

Mammals usually don't care; the glyphs are hidden beneath their fur, and being two-dimensional, cause no actual physical change. Some say that they even keep fleas and bedbugs away. The town's furless inhabitants are somewhat more likely to object. Many of the reptilian townspeople have rather dramatic scale patterns of their own, and they don't want to add a layer of meaningless symbols on top of them.

Fortunately, the glyphs can be killed by sufficiently heated debate. Inscripted people often go to the town hall, a stone building completely devoid of glyphs, and attend meetings of the elders' council for a dose of remedial bickering.



* Chooser is a position somewhere between mayor and magistrate; most towns of any size at all have a council of elders and a Chooser. The relationship between them is a complex one, and I don't fully understand it yet, but I suspect that the Chooser's job is to step in when the council finally becomes too exhausted to argue anymore.

A Place to Stop

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Nigel



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

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

Unexpected Arrivals

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

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

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

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

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

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

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

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

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

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

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

I nodded again.

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

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

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

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

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

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

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

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

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

I'll certainly do my best.



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

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

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

Charcoal Chrysalis

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

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

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

After dark, they lit them.

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

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

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

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

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

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

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

Candlegiraffe

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

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

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

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

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

The Burning Man

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

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

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

I gave up trying to sleep and went outside instead.

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

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

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

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

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

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

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

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

Maybe salamanders like the taste of dry thoughts.

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

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

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

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

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

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

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

No one seemed to have an answer to this.

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

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

I never did find out his name.

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

The Cat's Radishes

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

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

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

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

I introduced myself, and he nodded.

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

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

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

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

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

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

I hadn't.

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

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

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

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

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

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

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

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

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

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

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

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

Besides, I like radishes.

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

Crucible

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

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

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

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

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

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

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

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

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

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

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

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

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

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



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

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