Clockwork Princess
Page 46
When two people are at one in their inmost hearts, they shatter even the strength of iron or bronze.
"You remember, that you left it with me?" she said. "I've never taken it off."
He closed his eyes. His lashes lay against his cheeks, long and fine. "All these years," he said, and his voice was a low whisper, and it was not the voice of the boy he had been once, but it was still a voice she loved. "All these years, you wore it? I never knew."
"It seemed that it would only have been a burden on you, when you were a Silent Brother. I feared you might think that my wearing it meant I had some sort of expectation of you. An expectation you could not fulfill."
He was silent for a long time. Tessa could hear the lap of the river, the traffic in the distance. It seemed to her she could hear the clouds move across the sky. Every nerve in her body screamed for him to speak, but she waited: waited as the expressions chased themselves across his face, and finally he spoke.
"To be a Silent Brother," he said, "it is to see everything and nothing all at once. I could see the great map of life, spread out before me. I could see the currents of the world. And human life began to seem a sort of passion play, acted at a distance. When they took the runes from me, when the mantle of the Brotherhood was removed, it was as if I had awoken from a long dream, or as if a shield of glass around me had shattered. I felt everything, all at once, rushing in upon me. All the humanity the Brotherhood's spells had taken from me. That I had so much humanity to return to me ... That is because of you. If I had not had you, Tessa, if I had not had these yearly meetings as my anchor and my guide, I do not know if I could have come back."
There was light in his dark eyes now, and her heart soared in her chest. She had only ever loved two men in her life, and she had never thought to see either of their faces again. "But you have," she whispered. "And it is a miracle. And you remember what I once told you about miracles."
He smiled again at that. "'One does not question miracles, or complain that they are not constructed perfectly to one's liking.' I suppose that is true. I wish that I could have come back to you earlier. I wish I were the same boy I was when you loved me, once. I fear that the years have changed me into someone else."
Tessa searched his face with her eyes. In the distance she could hear the sound of traffic passing, but here, by the river's edge, she could almost imagine that she was a girl again, and the air full of fog and smoke, the rattling sound of the railway in the distance ... "The years have changed me, too," she said. "I have been a mother and a grandmother, and I have seen those I love die, and seen others be born. You speak of the currents of the world. I have seen them too. If I were still the same girl I was when you knew me first, I would not have been able to speak my heart as freely to you as I just have. I would not be able to ask you what I am about to ask you now."
He brought his hand up and cupped her cheek. She could see the hope in his expression, slowly dawning. "And what is that?"
"Come with me," she said. "Stay with me. Be with me. See everything with me. I have traveled the world and seen so much, but there is so much more, and no one I would rather see it with than you. I would go everywhere and anywhere with you, Jem Carstairs."
His thumb slid along the arch of her cheekbone. She shivered. It had been so long since someone had looked at her like that, as if she were the world's great marvel, and she knew she was looking at him like that too. "It seems unreal," he said huskily. "I have loved you for so long. How can this be true?"
"It is one of the great truths of my life," Tessa said. "Will you come with me? For I cannot wait to share the world with you, Jem. There is so much to see."
She was not sure who reached for who first, only that a moment later she was in his arms and he was whispering "Yes, of course, yes," against her hair. He sought her mouth tentatively--she could feel his gentle tension, the weight of so many years between their last kiss and this. She reached up, curling her hand around the back of his neck, drawing him down, whispering "Bie zhao ji." Don't worry, don't worry. She kissed his cheek, the edge of his mouth, and finally his mouth, the pressure of his lips on hers intense and glorious, and Oh, the beat of his heart, the taste of his mouth, the rhythm of his breath. Her senses blurred with memory: how thin he had been once, the feeling of his shoulder blades as sharp as knives beneath the fine linen of the shirts he had once worn. Now she could feel strong, solid muscle when she held him, the thrum of life through his body where it pressed against hers, the soft cotton of his jumper gripped between her fingers.
Tessa was aware that above their small embankment people were still walking along Blackfriars Bridge, that the traffic was still passing, and that passersby were probably staring, but she didn't care; after enough years you learned what was important and what wasn't. And this was important: Jem, the speed and stutter of his heart, the grace of his gentle hands sliding to cup her face, his lips soft against hers as he traced the shape of her mouth with his. The warm solid definitive realness of him. For the first time in many long years she felt her heart open, and knew love as more than a memory.
No, the last thing she cared about was whether people were staring at the boy and girl kissing by the river, as London, its cities and towers and churches and bridges and streets, circled all about them like the memory of a dream. And if the Thames that ran beside them, sure and silver in the afternoon light, recalled a night long ago when the moon shone as brightly as a shilling on this same boy and girl, or if the stones of Blackfriars knew the tread of their feet and thought to themselves: At last, the wheel comes full circle, they kept their silence.
A NOTE ON TESSA'S ENGLAND
As in Clockwork Angel and Clockwork Prince, the London and Wales of Clockwork Princess is, as much as I could make it, an admixture of the real and the unreal, the famous and the forgotten. The Lightwood family house is based upon Chiswick House, which you can still visit. As for No. 16 Cheyne Walk, where Woolsey Scott lives, it was at the time actually rented together by Algernon Charles Swinburne, Dante Gabriel Rossetti, and George Meredith. They were members of the aesthetic movement, like Woolsey. Although none of them were ever (proved to be) werewolves. The Argent Rooms are based on the scandalous Argyle Rooms.
As for Will's mad ride across the countryside from London to Wales, I am indebted to Clary Booker, who helped me map the route, found inns that Will would have stayed at on the way, and speculated on the weather. As much as possible I tried to stick to roads and inns that did exist. (The Shrewsbury-Welshpool road is now the A458.) I have been to Cadair Idris myself and climbed it, visited Dolgellau and Tal-y-Llyn, and seen Llyn Cau, though never jumped in to see where it would take me.
Blackfriars Bridge exists of course, then and now, and the description of it in the epilogue is as close to my experience of the bridge as I could make it. The Infernal Devices began with a daydream of Jem and Tessa on Blackfriars Bridge, and I think it is fitting that it ends there too.
Acknowledgments
Special thanks to Cindy and Margaret Pon for help with Mandarin Chinese; Clary Booker for mapping Will's journey from London to Cadair Idris; Emily-Jo Thomas for help with Will's and Cecily's Welsh; Aspasia Diafa, Patrick Oltman, and Wayne Miller for help with Latin and ancient Greek. Thank you to Moritz Wiest for scanning the whole manuscript so it could be delivered during Hurricane Sandy.
Much thanks for familial support from my mother and father, as well as Jim Hill and Kate Connor; Nao, Tim, David, and Ben; Melanie, Jonathan, and Helen Lewis; Florence and Joyce. To those who read and critiqued and pointed out anachronisms--Sarah Smith, Delia Sherman, Holly Black, Kelly Link, Ellen Kushner, Clary Booker--tons of thanks. And thanks to those whose smiling faces and snarky remarks keep me going another day: Elka Cloke, Holly Black, Robin Wasserman, Emily Houk, Maureen Johnson, Libba Bray, and Sarah Rees Brennan. My always-gratitude to my agent, Russell Galen; my editor, Karen Wojtyla; and the teams at Simon & Schuster and Walker Books for making it all happen. And lastly, my thanks to Josh, who b
rought me tea and cats while I worked.
THE MORTAL INSTRUMENTS
"The Mortal Instruments series is a story world that I love to live in. Beautiful!"
Stephenie Meyer, author of Twilight
International bestselling series
Over 12 million copies in print worldwide Translated into more than 35 languages City of Bones is soon to be a major motion picture
www.mortalinstruments.com
Also by Cassandra Clare
THE MORTAL INSTRUMENTS:
City of Bones
City of Ashes
City of Glass
City of Fallen Angels
City of Lost Souls
THE INFERNAL DEVICES:
Clockwork Angel
Clockwork Prince
This is a work of fiction. Names, characters, places and incidents are either the product of the author's imagination or, if real, used fictitiously. All statements, activities, stunts, descriptions, information and material of any other kind contained herein are included for entertainment purposes only and should not be relied on for accuracy or replicated as they may result in injury.
First published in Great Britain 2013 by Walker Books Ltd
87 Vauxhall Walk, London SE11 5HJ
Text (c) 2013 Cassandra Claire LLC
Cover photo-illustration (c) 2013 Cliff Nielsen
The right of Cassandra Clare to be identified as author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988
All rights reserved. No part of this book may be reproduced, transmitted, or stored in an information retrieval system in any form or by any means, graphic, electronic, or mechanical, including photocopying, taping, and recording, without prior written permission from the publisher.
British Library Cataloguing in Publication Data:
a catalogue record for this book is available from the British Library
ISBN 978-1-4063-4271-0 (ePub)
www.walker.co.uk