Songs for Water

After leaving the centipede's valley, the next several days were pleasantly uneventful. We continued to make our way through the valleys, which grew incrementally greener and more overgrown each day; a promising sign, or so we hoped.

The most excitement we had was when Chak proclaimed that he had been sitting in the same water for long enough, and we spent most of a morning bailing out his wagon and refilling it with water from a particularly robust stream. We could hardly blame him; there had been no water sources large enough to completely refill his wagon in several months at least.

Before using the stream, we announced our intentions to the valley's spirit. The shrine in this particular valley was an eight-headed stone giraffe, carved so that it appeared to be singing harmony with itself. The trees were hung with a variety of chimes and wind-flutes that kept up a constant musical murmur in the background. Though random, they were tuned so that their semi-chaotic progressions of chords were usually pleasant.

One does not usually make direct requests of the spirit of a location. Doing anything that would require a spirit to actually provide an answer, interrupting whatever it is that spirits usually do all day, is considered rude except in serious emergencies. Instead, the accepted method is to simply announce one's intentions, in a respectful if-you-don't-mind sort of way, and wait to see if the spirit does anything to express their disapproval. In situations where one's plans require taking something, or imposing on the spirit's peace and quiet for an extended time, it's considered good manners to offer a gift.

In this case, we informed the spirit that we hoped to take a large volume of fresh water from the valley's stream for the comfort of one of our companions. We made sure to mention that we would be replacing it with a similar volume of significantly less fresh water. Though it was far less scarce in this middling region than in the Golden Desert proper, water wasn't so plentiful here that a wagonload was a trivial amount.

After a thoughtful pause, several seemingly chance gusts of wind brought the valley's flutes and chimes briefly into perfect time with each other, playing a pleasant-sounding melody (complete with three-part harmony and a handful of grace notes). We took this as a sign of the spirit's approval and went to work.

Without legs, Chak himself could do little to help with the process. Mogen lifted him out of his wagon, and while the rest of us bailed water, he clambered happily up and down the stream, preparing a lunch supplemented with various greens and herbs from the lushly overgrown banks. This division of labor seemed more than fair to everyone. (I think we would have been content to let him just sit and watch - as an amphibian, it's been difficult enough for him simply to exist in the Golden Desert - but after being trapped in his wagon for so long, with so little to occupy his time, I suspect he was eager to be useful again.)

Although not the sort to complain, Chak's excitement while he watched us work was matched only by his relief when Mogen lifted him back into the wagon and he settled into the refreshed pool inside.

"I cannot possibly describe how much better this tastes," he said, after thanking us all profusely. "Add a few decent bath herbs and a rubber duck, and I might almost feel like a civilized man again."

I hadn't realized that he could taste the water through his skin - although, since he was an amphibian, it didn't come as a total surprise. In that light, his lack of complaints about what must have been an exceptionally stale-tasting water supply were even more impressive. With the work done, we ate lunch by the stream's deepest pool, so that Chak could join us outdoors. (Though the water in his cart was much improved, he said, it still couldn't compare to an actual running stream.)

Given the spirit's apparent love of music, we concluded that a less physical offering would be appropriate thanks for their generosity. We spent the hottest part of the afternoon sitting in the breezy, instrumental shade of the valley's trees and singing.

Background orchestration was already provided by the valley's chimes and flutes, so we chose songs that fit their pleasant major key - no minor-key tragic ballads or harmonically twisted arzenroyds. We began with a couple of cheerful drinking songs from the Scalps (usually a good place to start, since they're written so that everyone can join in by the second or third chorus, regardless of their level of inebriation), and I provided a passable rendition of the Poltergeists' "Things that I Don't Know." Chak, we discovered, had a wide repertoire of the sort of dry, witty ballads that build up to some sort of terrible pun at the end.

A few songs in, Garnet made a hesitant offer to sing something, to surprised and delighted encouragement from the rest of us. For a small, soft-spoken woman, she proved to have a surprisingly deep and powerful voice; she dropped from her usual hushed tones to a beautiful lupine growl for Pitti Alfasca's "Carved out of Stone." After some discussion, she and I were surprised to find that we both knew the words and harmonies to Tara Chizely's "Perfect," and we sang it as a duet. I was delighted for the opportunity; it's one of those songs that simply cannot be sung properly with a single voice, and singing harmonies with a friend is always a pleasure.

Mogen declined to sing, saying that she had no musical inclinations or interest of any kind, and maintained her usual expression of professional disinterest through the entire afternoon. However, when Karlishek ended the impromptu concert by leading us all in a patter song from an operetta by Glibret and Snullavi, I noticed even her tapping her foot.

Songs from a Photograph

It's interesting to see the direction that one's thoughts take while indulging in a bit of light convalescence.

After our encounter with the Painted Ones, I spent several days comfortably ensconced in the shade of Chak's wagon, staring at the blank silk canvas of its roof while I waited for my stressed and overheated brain to cool down. What I found it doing, in the meantime, was attempting to recite the entirety of Away from April from memory.

The original play - a rare departure in genre by the great Trachia Ghastie, better known for her murder mysteries - is famous in the realm of theatre for containing no actual events of any kind. The cast is an extended family gathered to sit for an old-fashioned long-exposure family photograph. All of the dialogue in the play is, in fact, the internal monologues of the various family members; their inner selves are free to move about the stage and speak, while the physical bodies of everyone not currently in the spotlight remain silent and stone-faced in their seats. Over the course of the play, the members of the family come to various realizations (singly or in tandem) about each other, themselves, and the nature of reality, all without actually moving a muscle or speaking a single word out loud to each other.

It is, like most of Ms. Ghastie's best-known work, a brilliant piece of psychological drama. That, and the solos-and-duets method in which it is performed, made it perhaps inevitable that it would eventually be adapted into a musical - in this case, by the equally brilliant Temesh Pondshine. The songs of the musical adaptation, in which the characters find their own thoughts taking them to unexpected places and providing unknowing counterpoint to the thoughts of their relatives, are among Pondshine's best.

My own knowledge of the show (aside from those few songs that one hears frequently from music halls and street performers, such as On the Other Hand and Where Have All the Nothings Gone) is thanks entirely to an amateur theatre production in Leopard's Weskit, a small town in the Mountainous Plains.

The quality of the production was nowhere near a professional level; the stage was the back half of a local ice cream shop,* not a single costume was the correct size, and the orchestra was a single elderly pianist who somehow contrived to play three keyboards at the same time. (I believe she had remarkably prehensile toes.) Still, it was clear that the cast and crew loved the show dearly, and they gave it their entire hearts, untrained as they might have been. It remains in my memory as one of the better stage performances I've seen.

I was lucky enough to be commissioned to paint the show's one solitary backdrop, a sepia-toned drawing room with a frame around it. (The director had the clever idea to stage the show as the photograph itself; through the use of colored lights, all of the seated actors were made to look sepia-toned as well, only coming into living color when they left the photograph and came downstage to sing.) As space was limited, I was also lucky enough to find myself painting the backdrop in the shop during rehearsals, with the happy result that I had the show entirely memorized before opening night. This did not, of course, prevent me from applauding from a front-row seat during the performance, though the director flatly refused to allow me to pay for a ticket.

I'd forgotten many of the songs since then, but I was glad, during my recovery in Chak's wagon, to find - with a little of that peculiar not-quite-looking-at-it approach that one uses to gently reel in half-forgotten dreams and memories - that most of them came back to me more or less complete.

I'm glad to have them back in the repertoire of music that I sing to myself while traveling alone (or, on occasion, with a musically inclined companion or two). A good song makes any road shorter.

---

* Named the Tasty Snowman and run by a former manatee trainer and his husband, the shop was well-loved for their charmingly twisted sense of humor (their sign proclaimed that their ice cream was "Served from the Heart!" and featured a snowman cheerfully taking a scoop of ice cream out of his own sternum) and their accidental success, on precisely one occasion, in creating nostalgia-flavored ice cream. Any residents in town fortunate enough to have gotten a taste were eager to reminisce about it to me at length - although none of them were able to describe how, exactly, nostalgia tasted, except that it was "a little too sweet, but in a good way." The shop was the most-visited business in town for six days, after which the single batch of nostalgia ice cream ran out. Subsequent attempts to recreate the flavor were uniformly unsuccessful. Most residents agreed, in retrospect, that this was entirely fitting.

A Different Kind of Voice

During our time in the face-speakers' village, we never did manage to even begin speaking the village's language, nor they ours. We lacked color-shifting abilities of any kind; they appeared to be completely mute. The only sound we ever heard them make was a soft pop of the lips - which was not so much a word as a signal for attention, asking those nearby to turn and read the speaker's face.

Nevertheless, my three companions and I managed to communicate well enough, by gesture and expression, to make do for a few days. We were all grateful for the chance to rest. To be honest, we also might have been somewhat reluctant to venture back into the wild after the circumstances under which we had left it. A brush with death, however brief, tends to make one more appreciative of safe places for a while.

At one point, we even got to help with the harvest. I'm not sure what the season was in the Golden Desert at that time, or even if that particular part of it has any seasons that I would recognize. For all I know, the rainbow-faced villagers might harvest constantly all year.

Most of the harvesting - like everything else they did - happened at night. Like many nocturnal people, they didn't appear to actually need light to see, other than that of the moon and stars. The fires in their houses were only for heat and cooking. I never saw them eat meat of any kind. Their main sources of food seemed to be drought-wheat, which they grew in vast, dry fields of sand around the village, and a sort of fruit-like green tuber - like a hybrid of potato and zucchini - that grew under the wet sand of the village's oasis. This was what we had eaten in the soup on the night of our arrival. The name of the vegetable was a green oval with a sort of golden twizzle inside, which was actually a fairly accurate representation of the way it tasted. The villagers harvested it with long, spoon-like implements. They would walk around, stamping on the wet sand until they found a spot that felt somehow different. I never was sure exactly how they knew one of the vegetables was below. Once they had found it, they would dig their spoon into the sand and pull back on its long handle, scooping the vegetable out of the sand and high into the air. The children, lacking the necessary weight and upper-body strength for this task, instead ran around with baskets and caught the vegetables as they fell from the sky.

Upon realizing that we wanted to help, the villagers found a few spare spoons somewhere and let us try. We achieved nothing like the same level of skill, but the villagers' silent laughter at our efforts was good-natured enough.

No ordinary settlement in the Golden Desert can exist without a water source. The village's oasis was relatively small - hence their reliance on drought-wheat, a crop which seems to be able to survive on nothing more than vague rumors that there might be water somewhere nearby.

The resident aquifrax was… unusual, to say the least.

The water spirit seemed to spend most of its time making ice sculptures. It was rather prolific, actually. I can't imagine how much energy it must have taken to freeze so much water in the middle of the Golden Desert. Perhaps that's why it had left its oasis so small - or perhaps it simply preferred it that way. The motivations of spirits are rarely easy for mortals to understand, especially the more eccentric ones.

Most of the ice sculptures seemed to be sea creatures - the fantastic variety, like those drawn by illustrators who have never visited the ocean and have to rely on verbal descriptions of beasts they've never seen. One of the sculptures might have been an octopus. Another resembled a dolphin, or perhaps one of the sleeker varieties of beetlebrow fish. It was difficult to tell, anyway; we could only see them clearly during the day, and they always started melting long before sunrise. By noon, nothing was left but sad little lumps of ice bobbing in the lukewarm water. The only exception was a particularly massive sculpture - possibly a whale or a dire manatee - that lasted a full day and a half, though it more closely resembled a horribly ill blowfish by the second day.

We never saw the aquifrax, of course. Most of the life in the Golden Desert could not exist without their work, but the spirits themselves - like most spirits - rarely show themselves in person.

Perhaps my favorite part of our time in the village, though, was the music. Most of what we heard at first was simple and percussive. Workers in the drought-wheat fields, for example, would keep up a steady rhythm by plucking their toenails with their neighboring toes. (I managed to duplicate the technique myself, though with far less volume.) A whole team of workers could achieve a fairly complex rhythm this way. Still, for several days, this appeared to be all the music the village had. There was certainly no kind of singing.

We were somewhat surprised, on the third night, when the villagers brought out a couple of string instruments and something like a stone xylophone and proceeded to play music in a circle around the oasis. There were only three or four instruments - like the hybrid offspring of a banjo and a harp, no two alike - which the villagers passed around between themselves. Nearly everyone seemed able to play them, though their skill varied. I didn't recognize any of the tunes they played. Many of them were accompanied by rhythmic light shows on the musicians' faces; these were songs with words, apparently, even if I couldn't hear them. The instruments made their slow way around the oasis. When Red-Streaks-On-Yellow had finished playing, he or she hesitated before passing the instrument to me, uncertain of whether or not I could play it.

I couldn't, of course. Instead, I stood up and sang.

It was nothing particularly impressive - just a rendition of "Factory Fool" by Rango Tress. It's a song with a strong rhythm, which seemed to be a major part of the villagers' music, and its melody sounds good in my baritone range.

When I started, all the villagers froze and stared at me, motionless. I'm not actually sure if they had ever heard singing before. I began to be a little nervous when they hadn't moved by the end of the first verse.

Halfway through the second verse, they started to join in.

It was just a simple clap at first - one of our hosts' children, I believe, though I confess that I couldn't tell most of the children apart. A few others took it up as well. Someone started embroidering the rhythm a little. By the end of the third verse, I felt as if I was providing the melody for an entire Thiglian drum circle. It was amazing how many different sounds the villagers could achieve with just their palms and fingers (the rest of their bodies being far too fluffy for percussive purposes). I finished to wild applause.

My three companions received much the same response. Karlishek chose a skittering patter-song from Sham-Tarkazia, which gave the villagers all sorts of challenging rhythms to keep up with. Mirenza sang a thousand-year-old drinking song - evidently not at all worn out by age - which had everyone clapping and silently laughing, even though no one understood the words. Garnet surprised us all with a haunting song about coyotes (they're called feyul in the Golden Desert) that sent chills down my spine.

No one clapped through that one; it didn't need it. Instead, we were surprised again by the occasional clear, ringing note from the half-formed ice sculptures in the oasis. The aquifrax had decided to join in.

We left the village the night after that, feeling much more at peace than we had before our arrival. We said our goodbyes at sundown. The villagers - those who were up that early, at least - stopped what they were doing to give us a parting gift of dried tubers and drought-wheat crackers* and kiss us goodbye on our strangely wordless cheeks. We were sad to leave them; they had been the best possible hosts.

As we were walking away from the village, we heard a single stringed instrument taking up the melody of the song I had sung. It made good music for walking. I kept humming it long after the village was too far away to hear.



* The baker has yet to be born who can turn drought-wheat into anything as moist as, say, flatbread.

Wings of Stone

There are many ways of navigating in the Golden Desert. By far the most reliable are the singing sand rats, who can hear the unique song of each town and city and follow it to its source.* Human Wayfinders, blessed with the rare gift of a sense of direction, are also quite popular here. Those unable to afford a Wayfinder travel by kilopede. The great arthropods are just as home in the Golden Desert as in the Mountainous Plains, though they have to drink a lot, and many order snowshoes - several hundred pairs each - so that they can more easily traverse the shifting sand. Other people prefer tree compasses, which forever point to the living sources of their wooden needles. For a prepared Desert traveler, there are almost as many ways of finding places as there are places to find.

We had none of them. For lack of a better method, we fell back on the oldest means of navigation: pick a direction and hope that it leads somewhere. Fortunately, we still had several days of food and water, and we were finding enough on the way to keep our supplies replenished. Death by deprivation was not an immediate worry. All we had to do was keep walking and try to keep ourselves amused.

We spent the first few days singing and telling stories. Karlishek turned out to have a pleasant tenor voice and a large repertoire of folk tales and songs, which made the hot days go by much faster than they might have. (We traveled in the mornings and evenings, resting when it grew too dark to see or too hot to move, but the air was uncomfortably hot by an hour after sunrise and only grew worse from there.) Mirenza's collection of ancient legends and songs, in the bent keys of traditional Desert music, was also fascinating. As the widest-ranging traveler of the group, my eclectic mix of songs and stories made an interesting contrast; the tale of Gan the Foolish Fence-Builder, from the lush and carelessly governed land of Mollogou, required as much explanation from me as the tales of the ancient and highly ritualized Miravi Empire did from Mirenza.

Garnet continued to speak little, murmuring something about her singing voice being out of shape, but she listened closely to everything.

The Miravi Empire was on our minds quite often during those days. Hardly an hour went by when we didn't pass some remnant of it. Broken pillars quivered on the horizon. Piles of stone blocks lay half-swamped by dunes, still retaining just enough right angles to tell that they had once been the foundations of houses. Markers for long-vanished oases gave names to dry depressions in the sand and invited travelers to drink their fill. At night, we slept in old, half-buried ruins, surrounded by ancient stone and illegible hieroglyphs. Statues looked down on us: the stone-faced gods of a thousand years ago. No one but archaeologists remembers their names.

Every single statue had wings, or stumps where wings had once been.

In the ancient Miravi Empire, according to Mirenza, the ability to fly was considered divine. The wingless were normal; the flying were gods, rulers, cloistered and extremely rare. The highest-born spent their entire lives in towers and hammocks, never once setting foot on the ground. The palaces of the Empire were fantasies of towers and balconies and open courtyards, with more doors opening to the air than to the ground. Many rooms were accessible by flight alone. Others had narrow stairs or ladders added as an afterthought, a vulgar necessity for the rulers' poor, earthbound servants.

Those with wings but not flight were considered cursed and cast out into the desert. Even now, the nomadic tribes that wander between cities have an unusually high occurrence of vestigial wings.

As odd as this method of choosing rulers seems to us now, they seem to have run the Empire quite well for a time. It was one of the most prosperous countries in Hamjamser for several centuries. Most of the cultures in the Golden Desert have Miravian roots; the ancient Miravian language is the basis for modern Amrat, the tongue I have been learning from Karlishek and Mirenza. Modern Desert cities are built with the same majestic, highly ornamented architectural flair that the Empire perfected. The ancient Miravian cities were centers of art and trade and science, each city keeping a friendly and respectful relationship with the aquifrax that provided its water. These generous, enigmatic Desert spirits have probably never been as well understood, before or since, as they were by the ancient Miravians.

Unfortunately, as so often happens, this understanding eventually became complacency. All of this prosperity ended when the Miravians finally did something to annoy the aquifraxi. Accounts vary as to exactly what it was. Some historians believe it was due to political or religious differences; aquifraxi consider themselves subjects of the Rain Dragon (and he humors them politely enough, though he's never shown any sign of actually wanting to rule anything but tides and storm clouds). Others theorize that the dispute was over pollution, or excessive irrigation, or an infestation of imported foreign frogs. Whatever the reason, one day, every aquifrax in the Empire simply picked up and left. They took the water with them.

They hadn't gone far, as it turned out; they'd merely relocated to the uninhabited areas of the Empire. Within a few months, what had been empty desert was lush and blooming, and what had been fertile farmland was too dry to grow anything but dust and heatstroke. The people of the Empire packed up their things and left everything they'd built. In some cases, they only had to walk for a few hours to reach fertile ground. Many could still see their old homes as they built their new ones. The division between farmland and wasteland is a sharp one in the Golden Desert, though; people have to follow the water, wherever it happens to be. Without an aquifrax, the old cities of the Empire might as well have been on the moons.

Many of the wealthiest citizens stayed behind anyway, hoping desperately that things would go back to the way they had been, until their grand houses filled up with sand.

Most of the winged nobility were among them. The new settlements had been thrown together quickly, to give the farmers and craftspeople somewhere to sleep while they figured out how to feed an entire displaced Empire. There was nowhere for sky-dwellers to perch.

The Miravi Empire never really recovered. It took a long time to rebuild even a fraction of what had been lost, and in the bustle, most of the Empire's less practical traditions - such as the winged rulers - were left behind and forgotten. The rough settlements grew into stable towns and eventually became the Golden Desert's modern cities, such as Karkafel and Thrass Kaffa. The people developed new, somewhat more cautious relationships with the aquifraxi. Life returned to normal. Like most places in Hamjamser, though, the cities remained separate this time. They continued to trade goods and citizens and ideas with each other, but somehow, they never quite reunited into a single country again. It's not that surprising, I suppose. In every part of Hamjamser, empires have always been the exception, not the rule.

These days, the ability to fly is considered as ordinary in the Golden Desert as it is anywhere else. The winged hold everyday jobs and mingle with the flightless without hesitation. Many even consider the winged nobility to have been a foolish idea. In these modern times, most places in Hamjamser consider it unhealthy for rulers to be always looking down on their subjects. It gives them strange ideas.

Still, I have often seen the people of the Golden Desert gazing silently at the clouds, or at the wings of their neighbors. Perhaps a part of them still remembers a time when wings could bring them closer to Heaven, and not merely to the empty sky.



* They can even find things as small as individual oases, though they say those songs are little more than brief jingles.

Urban Bonsai

Nothing particularly unusual happened today, so I have little to write about other than what I told you yesterday. Instead, I think I'll tell you about my visit to Fresmareel.

It was a few years ago, during my trip to the Railway Regions. Fresmareel is one of the few villages in the Regions that is not connected to the railroad. Perhaps it will be someday. The town is built on land ruled by the dragon Agnathrommilax, a drake of middle years - three or four centuries - and somewhat eccentric tastes. He paints his scales in bright colors, wears the flags of extinct cities like scarves around his long neck, and collects gramophone records of Rampastulan opera. On clear days, the villagers can sometimes hear him singing along on distant mountaintops. They often mistake the sound for thunder.

The dragon lives alone in his cave. However, the villagers have known him to fly off for several days, carrying a plump mammoth or a particularly nice boulder of quartz, and they suspect that he might have a sweetheart on one of the other mountains.

He has allowed them to live on his land as long as they follow a series of rules.

They can hunt the deer and ground sloths in the area, but are forbidden to harm wolves, foxes, and dreadgoats, as many of the ones in the area are intelligent and the dragon's personal friends.

They must ask the dragon's permission before clearing large areas of land, and certain plants - such as wild lilies and whistle-sedge - are to be left alone entirely.

The village must be built in a perfect circle. Every building within it must also be a perfect circle. They are allowed to expand the village, but only in concentric rings around the current outlines, so that they preserve its shape.

The houses are to be painted white or other pale colors. They can paint their roofs in any colors or patterns they like, as long as they stick to a palette selected by the dragon. He seems to favor reds, oranges, browns, and the occasional intense blue.

Certain colors, such as black, mauve, and chartreuse, are forbidden except on special occasions, such as funerals. Other than that, the villagers may wear anything they like.

The dragon encourages singing; he has even been known to give lessons to those villagers whose voices particularly offend his ears.

The land is a rich and beautiful one, and aside from broad aesthetic decisions, the dragon leaves the people of Fresmareel free to govern their lives as they choose. Most of them see it as an exceptionally good agreement. Other than a certain care in their hunting and their choice of pigments, most hardly notice the effects of the dragon's rules at all. Many even consider themselves lucky to live in such a beautifully designed village.

The villagers note that several of the rules, such as those on expansion, have only come into effect when the colony reached a certain size; there had been no need for them before. Presumably, new ones will continue to be introduced as the population continues to grow. This might also be the reason for some of the more mysterious rules, such as the unusually wide streets.

Hunters have occasionally come upon the dragon perched on one of the many rocky cliffs that surround the valley, gazing down at the colony with a satisfied expression, as one might wear when observing a garden or a favorite work of art. Some have speculated that, rather than collecting art or metalwork - the most common manmade objects that dragons hoard - he is instead a connoisseur of urban planning.

It seems he is growing a bonsai town.

Dragons, after all, live for centuries and can afford to take their time. Who knows - perhaps Agnathrommilax is already planning what the city will look like hundreds of years from now.

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.

Cactus Flutes

Today, the road took me through stands of flute-cacti. I had never heard of these plants before this trip to the Golden Desert; in the past few months, though, I've seen them in at least three or four places. They are tall plants, but otherwise unremarkable - at least when they're alive. When a flute-cactus dies, though, it leaves a dry stalk full of holes, which blows soothing notes in the wind. Birds like to nest in them, as do the more musically inclined varieties of lizard.

I first saw flute-cacti in the desert around Teshirak. The villagers there tend the cacti and encourage the ones with the sweetest notes. Some cut the dry stalks and arrange them around their houses, so that the village is filled with music whenever the wind blows.

The village of Korfa also has flute-cacti growing nearby. There, skilled instrument-makers cut them and attach complex systems of wooden stops and levers, turning the dry stalks into lightweight, eight-foot-long flutes that are quite popular among dragons and other large creatures.

The smaller nose-cacti, which also grow near Korfa, play a high, nasal note like a whining child. These the villagers hunt down and uproot without mercy.

This grove seemed to be wild. There were several stalks lying on the ground, cracked and silent except for the occasional faint half-note, but I didn't see any of the stumps that flute harvesters leave behind. The wind was blowing, as it always does in the Golden Desert. The cacti surrounded me with a constant, airy cloud of chords; miraculously, they were almost all in the same key. I found myself whistling as I walked. It was hard to resist. I went through a few melodies that harmonized with the cacti, finally settling on a sea shanty by Rango Tress. At the end of the first verse, I paused to drink some water.

The cacti whistled the tune back at me.

My first thought was that the heat was starting to affect my brain. I'd been lucky enough to avoid that so far, but there's always a first time. I felt fine, though, aside from the fact that my mouth was dry from whistling.

I whistled the melody again. This time, the reply came from a cactus a few feet farther down the road.

As strange as this was, I wasn't particularly alarmed; musical plants are rarely dangerous.* I took another sip of water and kept walking, whistling as I went. The music followed me. It always came from a cactus nearby; I never heard it from a distance. After a few minutes of simply mimicking my whistling, the cacti started to do variations and harmonies.

I'm fairly sure the source of the music was a zephyr. They're some of the more curious wind spirits - perhaps the only ones that take any interest in people - and they often have surprising artistic tendencies. Many of them like to draw in fine dust and sand. I've heard that some have even developed ways of making sculptures, though I couldn't tell you how.

After I finished the sea shanty, I moved on to a few of Majenti Huddle's clockwork ballads, then to an operetta by Sherm Trupelo. The zephyr - if that's what it was - seemed to be hungry for new melodies. Out here in the Desert, there probably aren't a lot to choose from. It picked up tunes almost as fast as I could whistle them, filling in two- or even three-part harmonies as it went. Sometimes it whistled the melody and I harmonized. I'm not much of an improvisational musician, but I've sung in enough choruses, here and there, that I can make up a fairly decent harmony when I need one. We whistled jazz, folk music, concertos from the Caroque period, slow torch songs and rapid arzenroyds, even a few rock songs by the Poltergeists. The zephyr had some trouble with the idea of percussion until it found a way to knock two cacti against each other.

I must have whistled fifty songs over the course of the afternoon. My lips were getting dry by the time I reached the end of the flute-cacti. The Desert stretched out before me, seeming strangely empty with no sound but the hiss of sand blowing off the dunes. Behind me, I heard the first few notes of an old Desert song of farewell. I whistled the next few notes. The zephyr and I harmonized one last time, exchanging a musical goodbye, and I set off - with some reluctance - into the less musical section of road ahead.

As I left, I felt a tiny breath of air on my face - hardly enough to notice, except that it was blowing in the opposite direction from the wind. It was like the ghost of a goodbye kiss.

Long after the shimmering horizon had swallowed them from view, I could still hear the cacti singing behind me.



* A notable exception is the siren nasturtium. Fortunately, those only grow in semi-tropical areas, and most of them have been tamed for medicinal purposes, as their music provides a powerful anesthetic.

Lunch Break

I left Rikanta this morning. It was time. After stopping to say goodbye to Mr. Haggadan, who gave me a vague, absentminded reply from the depths of a machine I couldn't begin to identify, I packed up my things and returned to the road.

It was a quiet morning. The average size of the towns along the road has been decreasing over the past month or so, and the traffic on the road has done the same. I saw only two other travelers before noon. They were a pair of rat-like mammalians - twin brothers, if I had to guess - with narrow, pointed muzzles and the striped robes of Gillivan monks. They gave me a polite nod each, then went back to a vehement debate about something. Both spoke at the same time, far too fast for me to understand.

For the next few hours, I walked in silence. A lone flying hyena flew overhead at one point, but unlike the ones from previous days, it made no sound. Other than that, it was just me, the road, and the sun.

I had seen no shade since leaving Rikanta, other than the pale shadows cast by weeds and the occasional small rock, so it was a relief when I finally saw the silhouette of a tree on the simmering horizon. It was one of the giant acacias that you find occasionally in the Desert. They grow from tiny seeds that can blow for miles on the wind. The few seeds that land near some source of water, and aren't immediately eaten by a jackrabbit or Desert rat, grow into tall, elegant trees with wide canopies. This tree was in the center of a depression in the sand, ringed with boulders that suggested a bowl-shaped layer of rock near the surface - perfect for collecting rainwater underground. The tree's roots probably went all the way down to anchor themselves in the stone. Through gaps between the roots, I could see the glint of water in the dark under the tree and hear the peeping of small frogs.

It seemed like a good place to stop.

I set my bags down near the trunk and sat there for a while, just listening to the sounds of the wind in the leaves overhead, the frogs singing in their hidden pool, and the occasional cry of a bird in the distance. It was quite peaceful. It took me a while to notice another sound added to the mix - a low, steady drone, somewhere between a fly's buzz and the deeper rattle of a locust.

At first, I thought the dark shape above the horizon was yet another flying hyena. I realized my mistake fairly quickly; the sound, and the decidedly non-mammalian shape, made it clear that it was an insect of some sort. It looked fairly small at first. It got closer much more slowly than I was expecting, though. In a few minutes, it looked twice as large as before, and I could tell that it was still quite far away. The sound of its wings was deafening by the time it actually arrived. It landed under the tree with one last rattle of its wings and the thump-click of six segmented feet.

The fly was the size of a tiger, leathery black all over with vivid bronze streaks across its pointed abdomen. There were fringes of bronze-colored fur around the plates of its exoskeleton, more fringes around its clawed and padded feet, and a thick tuft like a mustache in the middle of its face. I could see my own face reflected a thousand times in its compound eyes. The six pairs of claws on its feet were quite impressive, longer than my fingers and quite sharp.

If the dagger-like mouthparts and lean, tiger-striped body hadn't made it obvious, the claws did: this was one of the predatory species of flies, and it was large enough to hunt antelopes. I got ready to run if necessary. I'm not sure if it would have done any good.

The fly stared at me for a moment, as if surprised to find me there, then made a quick series of buzzes - bvRRzfbvt - from somewhere below its chest. When that provoked no response, it tried what looked like a sort of four-clawed sign language. I shrugged to show that I didn't understand. It mimicked the gesture, shrugging the complex joints at the base of its wings, then seemed to give up on communication and settled down on the other side of the tree trunk to rest.

When the fly showed no indication of wanting to eat me, I decided it was time to eat lunch. I'd bought a few root vegetables in Rikanta. They grow them interchangeably there; instead of separating the different species, they just toss carrots and potatoes and turnips and any other interesting seeds they have into the same field and harvest whatever comes up. I had a couple of potatoes, in various colors and sizes, and a pair of purple-orange things that seemed to be a hybrid of carrots and sugar beets.

It's considered polite in nearly every part of the world to share food with strangers, but the fly showed no interest in the vegetables, nor in the loaf of bread I pulled out next. I also had most of a jug of beef stew in my bag. When I poured some of this out into my largest mug and set it on a nearby rock, the fly noticed. It reached into a large mail pouch hanging from its neck - I'd been distracted by the claws and eyes and stripes and hadn't noticed the pouch - and pulled out a metal lunch box. There was a pattern of little rabbits stamped into the lid. Those huge claws opened it with great care to reveal a selection of fruit and small cheeses wrapped in paper. The fly plucked a few out and offered them to me.

That's how I found myself eating lunch with a giant fly. We sat there in the shade, sharing food in a companionable silence broken only by the frogs under the tree. The cheese and fruit were delicious - the perfect blend of sweet and strong, with the faintest overtones of metal polish from the lunch box. The fly gripped its own food with a bewildering array of jointed mouthparts and sucked up the stew with a long, crooked proboscis.

Most of the Golden Desert's inhabitants don't travel at noon, at least not on foot. It's just too hot. When I finished eating, I sat for a while and read one of my ambiguous novels. (The story in it at the moment is Toad's Labyrinth, one of my favorites by Oswina Dennenjay.) The fly put its lunch box away and pulled a miniature concertina out of its bag. The rapid, buzzing music it played for the next few hours reminded me of the sound of its own wings. I didn't recognize any of the melodies.

Finally, when the sun was approaching the horizon and the shade of the tree had moved to fall on the rocks to the east, I shouldered my bags and got ready to move on. The fly tucked the concertina back into its own bag and did the same. It gave me a brief, friendly nod before lifting the great veined windows of its wings and taking off in a buzzing blast of sand.

The fly had arrived from the empty Desert to the left of the road. It left in the opposite direction, rattling off across the dunes at a right angle to my own route. I have no idea where it was going. I waved as it left, and I'm fairly sure that I saw it raise one claw in reply. I could hear the buzz of its wings for a long time after it was out of sight.

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.

Thrass Kaffa

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

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

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

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

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

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

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

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

Leaving SuyMaTmakk

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

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

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

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

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

This could be an interesting trip.

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

Market Street, Day 4: the Singing Huntresses

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

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

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

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

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

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

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

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

Market Street, Day 3: the Animals

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

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

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

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

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

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

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

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

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

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

Hmakk

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

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

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

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

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

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

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

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

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

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

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

Just most of them.

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

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

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

**** Or love.

A New Type of Writer

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

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

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

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

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

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

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

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

It writes poetry.

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

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

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

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

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

Ink on paper
Black, white
Two becoming
All there is

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

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

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

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

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

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

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

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

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



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

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