Aztec

by Gary Jennings

  Axayácatl did not hesitate or fumble. As expertly as any priest, he stabbed the knife point into the man’s chest on the left side, just under the nipple and between two ribs, then made a slash with the knife edge, then rotated the wide blade sideways to separate the ribs and open the wound wider. With his other hand he reached into the wet red opening, seized the unscratched and still-beating heart, and tore it loose from its enlacement of blood vessels. Not until then did the xochimíqui utter his first sound of pain—a blubbering sob—and the last sound of his life.

  As the Revered Speaker held high the glistening, dripping, purple-red object, a priest somewhere jerked some hidden string, the shroud fell away from the Sun Stone, and the crowd gave a concerted “Ay-y-yo-o!“ of admiration. Axayácatl turned, reached up, and ground the victim’s heart into the very center of the circular stone, into the mouth of Tonatíu carved there. He mashed and rubbed the heart until it was only a smear on the stone and nothing was left in his hand. I have been told by priests that a heart’s donor usually lived long enough to see what became of his heart. But that one could not have seen much. When Axayácatl was finished, the blood and ground meat were scarcely visible, because the carved sun face was already painted a color very like that of heart’s blood.

  “That was cleanly done,” said the bent man at my father’s side. “I have often seen a heart go on beating so vigorously that it jumps from the executioner’s fingers. But I think this particular heart had already been broken.”

  Now the xochimíqui lay unmoving, except that his skin twitched here and there, like the skin of a dog tormented by flies. The priests rolled his carcass from the stone and let it tumble unceremoniously off the terrace, while a second victim plodded up the stair. Axayácatl honored no more of the xochimíque, but left the rest to the priests. As the procession went on—each man’s extracted heart being used to anoint the Sun Stone—I peered closely at the massive object, so I might describe it to my friend Tlatli, who, even way back then, had begun practicing to be a sculptor by whittling bits of wood into doll figures.

  Yyo ayyo, reverend friars, if you could but have seen the Sun Stone! Your faces show disapproval of the dedication ceremony, but if you had ever once seen the stone, you would know it to have been worth all its cost in toil and years and human lives.

  The carving alone was beyond belief, for that was porphyry, a stone as hard as granite. In the center was the face of Tonatíu, eyes staring, mouth agape, and on either side of his head were claws grasping the human hearts which were his provender. Surrounding that were the symbols of the four eras of the world which preceded the era in which we now live, and a circle comprising the symbols of our twenty day-names, and a circle of the alternating symbols of jadestone and turquoise, the gems held in highest esteem of all found in our lands. Around that, again, a circle of the day’s sun rays alternating with the night’s stars. And, girdling the whole, two sculptures of the Fire Serpent of Time, their tails at the top of the stone, their bodies making the round of it, and their heads meeting at the bottom. In one stone, that one artist had captured all of our universe, all of our time.

  It was painted in bold colors, meticulously applied on those precise places where each color belonged. Yet the painter’s real skill was most evident where no paint at all had been put on. Porphyry is a stone that holds fragments of mica, feldspar, and quartz. Wherever one of those bits of crystalline rock was embedded, the artist had left it unpainted. So, as the Sun Stone stood in the midday radiance of Tonatíu himself, those tiny clear jewels flashed at us pure sunlight from among the glowing colors. The entire great object seemed not so much colored as lighted from within. But I suppose you would have to have seen it in all its original glory to believe it. Or through the clearer eyes and in the clearer light I enjoyed in those days. Or perhaps with the mind of an impressionable and still-benighted little heathen boy …

  Anyway, I turned my attention from the stone to our guide, who was continuing his interrupted history of the thing’s painful progress hither:

  “The causeway had never before known such a weight. The two brothers’ two mighty stones were moving along on their log rollers, one behind the other, when the road buckled under the leading burden, and that wrapped stone went to the bottom of Lake Texcóco. The porters rolling the second—this Sun Stone here—stopped it just short of the brink of the broken causeway. It was lowered onto a raft again and floated around the island to the plaza here. Thus it alone was saved for us to admire today.”

  “But the other?” asked my father. “After all that work spent, could not a little more have been expended?”

  “Oh, it was, my lord. The most experienced divers went down time after time. But the floor of Lake Texcóco is a soft and maybe bottomless ooze. The divers prodded with long poles, but they never located it. The stone, whatever it was, must have gone down edge on.”

  “Whatever it was?” echoed my father.

  “No one but its artist ever laid eyes on it. No one ever will. It may have been more magnificent even than that”—the old man indicated the Sun Stone—“but we will never know.”

  “Will not the artist tell?” I asked.

  “He never did.”

  I persisted, “Well, could he not do it over again?” A task of twenty and two years seemed rather less to me then than it would now.

  “Perhaps he could, but he never will. He took the disaster as evidence of his tonáli, as a sign that the gods had spurned his offering. That was he whom the Revered Speaker just now honored with the Flowery Death at his own hand. The rejected artist gave himself to be the first sacrifice to the Sun Stone.”

  “To his brother’s work,” my father murmured. “Meanwhile, what of the brother?”

  “He will receive honors and rich gifts and the -tzin to his name,” said our guide. “But the whole world will forever wonder, and so will he. Might there not be a work more sublime even than the Sun Stone lying unseen beneath Lake Texcóco?”

  In time, indeed, the myth-enhanced unknown came to be more treasured than the tangible reality. The lost sculpture came to be called In Huehuetótetl—The Most Venerable Stone—and the Sun Stone regarded as only a middling substitute. The surviving brother never carved another work. He became an octli drunkard, a pitiful ruin, but he had enough self-respect remaining that, before he brought irredeemable shame to his new and noble title, he too volunteered to participate in a sacrificial ceremony. And when he died the Flowery Death, his heart did not, either, leap from the executioner’s hand.

  Ah, well, the Sun Stone too has been lost and gone these eight years now, buried under the rubble when The Heart of the One World was demolished by your war boats and cannon balls and battering beams and fire arrows. But perhaps one day your own rebuilt new City of Mexíco will be razed in its turn, and the Sun Stone will be rediscovered shining among the ruins. Even—aquin ixnéntla?—perhaps someday The Most Venerable Stone as well.

  My father and I went home again that night, on our composite acáli now loaded with trade goods procured by the freightmaster. You have heard the major and most memorable events of that day, that celebration of my seventh birthday and naming day. It was, I think, the most enjoyable of all the birthdays I have passed, and I have passed more than my share.

  I am glad I got to see Tenochtítlan when I did, for I never again saw it the same way. I do not mean just because the city grew and changed, or because I came back to it surfeited and no longer impressionable. I mean I literally never saw anything so clearly again with my own two eyes.

  I have earlier spoken of my being able to discern the chiseled rabbit in the moon, and After Blossom in the twilight sky, and the details of the insignia on Tenochtítlan’s feather banners, and the intricacies of the Sun Stone. Within five years after that seventh birthday, I could not have seen After Blossom if some sky god had run a surveyor’s string from the star to my eye. Metztli the moon, at his fullest and brightest, became no more than a featureless yellow-white blob, his once sharp cir
cle fuzzing indistinctly into the sky.

  In brief, from about the age of seven onward, I began to lose my sight. It made me something of a rarity, and not in any enviable sense. Except for those few born blind, or those who became so from a wound or a disease, almost all our people possess the keen eyesight of eagles and vultures. My decreasingly clear vision was a condition practically unknown among us, and I was ashamed of it, and did not speak of it, and tried to keep it my own hurtful secret. When someone would point and say, “Look there!” I would exclaim, “Ah, yes!” though not knowing whether I should goggle or dodge.

  The dimness did not come upon me all at once; it came gradually, but inexorably. By the time I was nine or ten, I could see as clearly as anyone, but only to a distance of perhaps two arms’ length. Beyond that, the outline of things began to blur, as if I were seeing them through a transparent but distorting film of water. At a more considerable distance—say, looking from a hilltop across a landscape—all the individual outlines blurred so much that objects mingled and merged, and a landscape was to me no more than an eccentrically patterned blanket of amorphous smears of color. At least, in those years, with a clear visual field of two arms’ length, I could move about without falling over things. When bidden to fetch something in one of the rooms of our house, I could find it without having to grope.

  But my scope of vision continued to diminish, down to perhaps one arm’s length of clarity before I reached my thirteenth birthday, and I could no longer pretend well enough for it to go unnoticed by others. For a time, I suppose my family and friends thought me merely clumsy or slipshod or maybe dimwitted. And at that time, with the perverse vanity of boyhood, I would rather have been thought a lout than a cripple. But it inevitably became obvious to everyone that I was lacking in the one most necessary of the five senses. My family and friends behaved variously toward this suddenly revealed freak among them.

  My mother blamed my condition on my father’s side of the family. It seems there was once an uncle who, drunk on octli, had reached for another pot of some similarly white liquid, and had swallowed it all before noticing that it was the powerful caustic xocóyatl, used for cleaning and bleaching badly begrimed limestone. He survived and never drank again, but he was blind all the rest of his life, and, according to my mother’s theory, that lamentable inheritance had been handed down to me.

  My father did no blaming or speculating, but consoled me rather too heartily: “Well, being a master quarrier is close-up work, Mixtli. You will have no trouble peering for the threadlike cracks and crevices.”

  Those of my own age—and children, like scorpions, stab instinctively, savagely—would cry out to me, “Look there!”

  I would squint and say, “Ah, yes.”

  “That is really something to see, is it not?”

  I would squint harder, desperately, and say, “It truly is.”

  They would burst into laughter and yell derisively, “There is nothing there to see, Tozáni!”

  Others, my close friends like Chimáli and Tlatli, would also sometimes blurt out, “Look there!” but they would quickly add, “A swift-messenger comes running toward the Lord Red Heron’s palace. He wears the green mantle of good news. There must have been a victorious battle somewhere.”

  My sister Tzitzitlíni said little, but she contrived to accompany me whenever I had to go any distance or into unfamiliar surroundings. She would take my hand, as if merely making the fond gesture of an older sister, and unobtrusively she would guide me around any obstacles in my path not readily visible.

  However, the other children were so many, and they so persistently called me Tozáni, that soon their elders addressed me the same—unthinkingly, not unkindly—and eventually so did everybody but my mother, father, and sister. Even when I had adapted to my handicap, and managed no longer to be so clumsy, and other people had little cause to notice my shortsightedness, by then the sobriquet had stuck. I thought that my given name of Mixtli, meaning Cloud, ironically suited me better than before, but Tozáni I became.

  The tozáni is the little animal you call the mole, which prefers to spend its life underground, in the dark. When it infrequently emerges, it is blinded by the mere light of day, and squints its tiny eyes closed. It neither sees nor cares to see.

  I cared very much, and for a long time in my young life I went pitying myself. I would never become a tlachtli ball player, to hope for the high honor of someday playing in the Revered Speaker’s own court a ritual game dedicated to the gods. If I became a warrior, I could never hope to win knighthood. Indeed, I would be god-protected if I had a life expectancy of as much as one day in combat. As for earning a living, supporting a family of my own … well, a quarrier I would not become, but of what other labor was I capable?

  I toyed wistfully with the possibility of becoming some kind of traveling worker. That could take me eventually south to the far land of the Maya, and I had heard that the Maya physicians knew miraculous cures for even the most hopeless eye ailments. Perhaps there I could be healed, and could come home again in bright-eyed triumph as an unbeatable tlachtli goalsman, or a battle hero, or even a knight of one of the three orders.

  But then the encroaching dimness seemed to slow its approach and stop at my arm’s length. It did not, really, but after those early years its further progress was less perceptible. Today, with the unaided eye, I cannot make out my wife’s face farther than a handspan from my own. It matters little, now that I am old, but it mattered much when I was young.

  Nevertheless, slowly I resigned myself and adapted myself to my limitations. That strange man in Tenochtítlan had spoken aright when he predicted that my tonáli was to look close, to see things near and plain. Of necessity I slowed my pace, I was often still, I scrutinized instead of scanning. When others hurried, I waited. When others rushed, I moved with deliberation. I learned to differentiate between purposeful movement and mere motion, between action and mere activity. Where others, impatient, saw a village, I saw its people. Where others saw people, I saw persons. Where others glimpsed a stranger and nodded and hastened on, I made sure to see him close, and later I could draw a picture of his every lineament, so that even an accomplished artist like Chimáli would exclaim, “Why, Mole, you have caught the man, and to the life!”

  I began to notice things that I think escape most people, keen-eyed though they may be. Did you ever notice, my lord scribes, that the maize grows faster at night than in the day? Did you ever notice that every ear of maize has an even number of rows of kernels? Or almost every ear. But to find one with an odd number of rows is a happenstance far more rare than to find a clover leaf with four petals. Did you ever notice that no two fingers—no two of your own—no two in the entire human race, if my studies are any proof—have precisely the same pattern of whorls and arches infinitesimally etched on the balls of the fingertips? If you do not believe me, compare your own. Compare each other’s. I will wait.

  Oh, I know there was no significance or profit in my noticing such things. They were but trivial details on which to exercise my new penchant for looking close and examining with care. But that necessity-made-virtue, combined with my aptitude for copying exactly the things I could see, finally led me to take an interest in our people’s picture writing. There was no school on Xaltócan that taught such an abstruse subject, but I sought out every scrap of writing I could find, and studied it intently and struggled to read its meaning.

  The numerical writing, I think, anyone could easily make out. The shell symbol for zero, the dots or fingers for ones, the flags for twenties, the little trees for hundreds. But I remember the thrill when one day I first puzzled out a pictured word.

  My father took me along on some business visit to the governor and, to keep me occupied while they talked in some private chamber, the governor let me sit in his entry hall and look at the register of all his subjects. I turned first to my own page. Seven dots, flower symbol, gray cloud. Then I ever so carefully moved to other pages. Some of the names were
as easy to comprehend as my own, simply because I was familiar with them. Not far before my page was that of Chimáli, and of course I recognized his: three fingers, the duck-billed head symbolizing the wind, the two intertwined tendrils representing smoke, rising from a feather-fringed disk—Yei-Ehécatl Pocuía-Chimáli: Three Wind Smoking Shield.

  The more frequently repeated drawings were easy to espy. After all, we had only twenty day-names. But I was suddenly struck by the not so immediately evident repetition of elements from Chimáli’s name and my own. One page near the back, hence recently drawn, showed six dots, then a shape like a tadpole standing on its head, then that duck-billed symbol, then the three-petaled thing. I could read it! I knew whose it was! Six Rain Wind Flower, the baby sister of Tlatli, who had only last week celebrated her naming birthday.

  Somewhat less gingerly now, I turned the stiff folded pages back and forth, looking at the pages on both sides of the pleats, searching for other repetitions and recognizable symbols I could piece together. The governor and my father returned just after I had laboriously worked out another name, or believed I had. With a mixture of timidity and pride I said:

  “Excuse me, Lord Red Heron. Would you have the goodness to tell me, am I right, does this page record the name of some person called Two Reed Yellow Eyetooth?”

  He looked and said no, it did not. He must have seen my face fall, for he patiently explained:

  “It says Two Reed Yellow Light, the name of a laundress here in the palace. The Two Reed is obvious. And yellow, coztic, is easy to indicate simply by using that color, as you have divined. But tlanixtélotl, ‘light’—or more precisely ‘the eye’s element’—how does one make a picture of something so insubstantial? Instead, I put a drawing of a tooth, tlanti, to represent not the meaning but the sound of the tlan at the beginning of the word, and then a picture of an eye, ixtelólotl, which serves to make clear the meaning of the whole. You grasp it now? Tlanixtélotl. Light.”