by Tanith Lee
Copyright
First published in the United States in 2003 by
The Overlook Press, Peter Mayer Publishers, Inc.
141 Wooster Street
New York, NY 10012
www.overlookpress.com
For bulk and special sales, please contact [email protected]
Copyright © 2003 Tanith Lee
All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system now known or to be invented without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper, or broadcast.
ISBN 978-1-46830-621-7
Did the fallen angels remember their time
in the house of their father, God, with shamed
nostalgia? Had they been happy then?
— Faces Under Water
(The Secret Books of Venus, Book I)
Crying What I do is me: for that I came.
—GERARD MANLEY HOPKINS
Contents
Copyright
AUTHOR’S NOTE
PROLOGUE: Death in Stagna Maris
PART ONE: Thin Air
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
PART TWO: The Return from Sleep
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
PART THREE: Actors and Spirits
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
PART FOUR: The Gorgeous Palaces
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
GLOSSARY
About Venus Preserved
AUTHOR’S NOTE
In this parallel, and future, Italy, some names are still spelled phonetically. But an e at the end of an Italian name is always sounded, (as ay to rhyme with day.)
The Latin in this book is of three kinds: (1) Classical, i.e., the type employed in ancient Rome and her provinces, (2) Medieval or renaissance, or (3) of a freestanding, parallel kind. (For the first two categories, I remain indebted beyond thanks to Barbara Levick, of St. Hilda’s College, Oxford.)
A glossary that may assist with other, “futuristic” terms can be found at the back of the book.
The connection between the last Julio-Claudian Emperor and the Beast of Revelation, (as mentioned in Part Three, Chapter 12) is also of interest in our world. The analysis of the fateful number 666 can be found in many historical or theosophic works, or books of numerology.
Lastly, the speech which informs parts of the novel, and which is fully quoted on the final page, is of course from William Shakespeare’s The Tempest.
PROLOGUE
DEATH IN STAGNA MARIS
“Kill him! Give him death!”
She lifted her head and looked all around at them, the shouting, screaming thousands. She raised her hand again, asking for him, for mercy. Knowing it would never come.
And “Kill him! Death! Iron death!” they shrieked back. The young woman turned and looked now at the single human figure there with her in the sanded pit.
He was lying on his side, on one elbow, like a citizen at table, but he was the feast for the screaming horde. An Ethiopian, his skin like a smooth black grape, marred only by the cuts of her sword. In her ignorance, two years before, she had been astonished, fighting her first black gladiator, that he bled red, as she did, and the rest. What had she expected? Purple, she thought, like the sweet blood of grapes.
“They won’t have it,” she said. She remembered his name. Phaetho. But it was a Greek-Latin name, of course; anyway, the name he had been given here, or in some other Romanized place. He only blinked his great angry arrogant eyes at her. “I’m sorry,” she said. “Do you want to pray to your gods before I do it?”
Above, around, the crowd, baying now, but the noise falling off a little. They knew how she was. Because they liked her, they allowed her these eccentricities.
But he would not answer. Just as he had refused to fight at first—not from cowardice, obviously—from disgust, the very thing that showed on his face now. She had made him fight, forced him to with her assaults, stinging him like a bee. (The sticklers had not intervened, leaving all this to her.) He was young and strong and had been well trained, she knew. He could have given a good fight before she brought him down. Then the crowd might have taken to him, and spared him. But they had not liked his hanging back, and her they thought they loved—if not enough to let her be merciful. So it was hopeless.
Nor could she waste any more of their time. The noise was getting up again, with an ugly note in it.
“I must do it now. Turn your head, and it will make it easier and more quick.” His lip curled, and he did as she said. She raised her sword. The arena terraces roared. This was the lonely moment. “Forgive me,” she said.
Then he spoke. “Never. I’ll meet you in Hell.”
She had heard all that before. She brought the sword down and killed him cleanly in the seconds before he felt the cold beyond his pride.
And then, of course, they erupted from their seats, and now it was her name they bellowed. “Jula Victrix! Jula Flammifer!”
Not till she was walking away did she notice her own blood trailing thick across the sand.
PART ONE
Thin Air
1
WHAT WAS ON THE COAST was the body, not the soul. The buildings looked pleasing enough, classical even, washed in faded rose-browns and creamy vanillas. But they were mostly given over to administration. Inside, behind the stucco and the birdcage balconies and the windows like fretted pastry, were sheer glass, plasticore, and the half-heard thrum of CXs.
Besides, the traffic on the sea and in the canals ruined any effect. Power-boats and raz’scafos churned and spooned the serpentine water.
And when you came down to the subvenerine station, all illusion was dashed to bits.
It was a modern marina. The jetty wasn’t even fifty years old and erected to deal with Jet Skis and other contemporary surface-water vehicles. Not even fishing-craft, not any more. The actual building was a rigid white maw, like the mouth of a glacial Hades, and arched above with dark blue glass, and fluted fins that belonged, perhaps, on the moon. (Or on the planet Venus. Maybe that was the joke.)
You went down in the air-conditioned elevator, to Visitor Control. Which was like those things always were.
There were no viewing windows.
Some Russans in iridescent shades were complaining about this, a smiling hostess explaining that they must wait, the views would come.
The Amerian who (Picaro recalled) had sat beside him on the plane, remarked, “Like waiting for Santa on Christmas Eve.” Picaro glanced at him. “And if the kids ain’t good, he won’t arrive, right?”
Picaro smiled. It was the smile he kept for decent people passing through his life. A nice smile, but far off.
The Amerian, whose name was Flayd, said, “I guess you and I read the literature beforehand.”
Picaro nodded. Then they reached the c
heck-in. It was quick for Picaro, longer for Flayd, an archaeologist, who had come laden with hand-held equipment. He was soon left behind.
Having been read for weapons and illegal substances, Picaro watched his hand scan under the blue tracer. It looked as it always did at such times.
“Professional musician.”
“Yes.” (He was seldom recognized.)
“Purpose of visit.”
“To live here.”
“Here it is on screen now. PB Status. Congratulations. You have your apartment details? That’s fine, Sin Picaro. Pass through.”
The corridor, which ran down to the subvenerine’s hull, had a moving floor, and sang, via its CX system, to a small guitar.
A steward saw him aboard.
Two minutes later, a puffing Flayd, a large man garnished with long auburn hair, shouldered his bags through the hull entry.
Apparently embarrassed, he took the last seat, beside Picaro.
“We gotta stop meeting like this.”
But now Picaro gave no response at all.
Then the safety arms moved around them all, and the little complimentary drinks rose from the plasleather, in their plasticrystal shakers. There came the rumble of the ship’s internal motors.
Flayd downed his drink. “Here we go.” (He frowned, Picaro could see it, reflected in the window, glaring at Picaro’s unresponsiveness.) “Hang on to your dreads, man. Hang on to your bloody heart.” Belligerently Flayd added, “You’re about to fall in love.”
THE WATER WAS SHRILL blue beyond the lock, from the subsea lights of the port. Fish scattered like diamonds and drew a little tweeting from the passengers. But the lights drained away behind the vessel. Like nocturnal animals, the subvenerines needed no illumination to find their way.
Now the travelers, shut in their bubble, stole through a darkness thick as primeval night. And then the cabin lights also went down. And those who hadn’t “read the literature” on what to expect let out some anxious squeaks, which needed the stewards’ soft voices, here and there, to calm them.
The lamps went down so you could see.
And then they went out.
And you saw.
“Jesu! Maria!”
Only one man shouted; a few of the other passengers laughed, amazed, conspiratorial, knowing why someone always did shout.
The Amerian, who had come this way before, was silent now.
Picaro stared out through the optecx window-port, across the blood-dark sea.
The water, there, caught by the day-radiance of Venus’s Viorno-Votte, was the color of the iris of a peacock’s feather.
But the pupil of the feather’s eye was made of glowing silver, and in it rested the City of Venus, as if in a star’s heart beneath the ocean.
Even from this distance it was possible to pick out the threaded jewelry of spires and domes, arcades like filigree, the sheen of a blue air ice-floated with soft pearls of cloud …
“The Primo Suvio!” cried a woman. “Look—look—Do you see?”
As if they had become one, the entity in the subvenerine whispered, murmured, called back to her “Yes, yes, we see—that white cupola—”
The cloud-capp’d towers, the gorgeous palaces, the solemn temples …
In the light of Venus now, the sea was parting for them, making way.
The fish that fountained before them were rainbow opals. There were flotillas of weed strung with sequins of luminescence. And hardly anyone saw them, eyes fixed only on the City, under its inverted goblet of Venusian glass.
PICARO SAW VENUS under water, meshed in his own reflection caught on the window. Some glim of light, and proximity, had made his image linger there, when Flayd’s had mostly melted from view.
Curious, the transparent globe with the City shining in it, set there in the black of Picaro’s skin, and his black-and-white plaited hair streaming away from it—and all the while the City took more of him, more of his face, and then his body, replacing them with its gleaming self. Until he was gone, and only the City remained. Eclipsed, he watched as the burning dome came nearer and more near, and towered up, a cliff of glass. He too studied the buildings, and the sky, inside. Then closed his eyes against them.
“We will now ascend into the entry port. There will be some adjustment of light and minor sensation of displacement. This is normal and will quickly pass.”
Consoled by the mechanical voice, the passengers now had no fear. And as the levers raised them, their cries of delight became orgasmic.
Dark changed wholly to light. (Picaro’s eyes opened of themselves.) The vessel had broken through a surface of apparently prevailing sea—and into shining Venus day. They were now inside the dome. Positioned directly before them on the water was a vast church, sudden, and from another time. Not of course the Primo, but one of the thousand churches of Venus, exquisite, golden. Its marble façade had the bloom of a white rose. Windows of excrutiatingly beautiful color threw shards of cobalt and wine, and a tower poised above, with a silver clock clung round by winged girls, whose damp-induced verdigris had been also lovingly restored. Maria Maka Selena, which had already lain drowned under the lagoons long before the sea swallowed so much more of the City, beamed in her risen glory upon astounded pilgrims.
“What do you think?”
Flayd again, seeming unable to restrain himself.
What did Picaro think? “It’s wonderful.”
“You don’t sound convinced.”
“Why else,” said Picaro reasonably, “could I be here?”
“Sky looks real, doesn’t it?” asked Flayd. “That takes some doing. Perfect atmosphere, guaranteed safe for human consumption, and kept entirely clean, to protect the buildings. Not one speck of pollution can survive. Gets sucked straight out. You know about the Viorno-Votte.”
And Picaro must speak again. “Of course.”
“Venus has a twenty-seven hour diurnal cycle. Twenty-seven hours and thirty seconds, to be exact. Look. No sun, you see? Don’t need any sun, the light is behind the sky. But they fix a sunset—and a dawn—and they put in a moon and stars for nighttime. Well, you can’t have Venus without the moon.”
Still far off, a backdrop to the glamour of the church, the dream of Venus hung across the water. While naturally, already you forgot that any water here was not quite water. That the true water lay outside now, beyond the magna-optecx of the dome-walls, and beyond the pale sapphire of the sky that was not a sky.
Presided over by the ancient church, the subvenerine had sprung from the green lagoon. There was only one lagoon now, separating the City, not from ocean, but from the dome-sides. Would Flayd tell him this, too?
They had docked against the island where the church stood. Little boats were already waiting. The seat-arms had let go. Everywhere, the buzz and flurry of excited exits. Flayd rose to his feet—quite a distance. “Nice to meet you. Enjoy your stay.”
Picaro waited until most of them were off, until he too got up, and left the last of the real world—for the Fantasy.
PALAZZO SHAACHEN STOOD by the Canale Alchimia. It had been named for Shaachen’s abilities. Although in eighteenth century Venus, the palace hadn’t stood on such a canal at all, nor among these other palazzos that were now its close companions.
This was how all the City had become, after its submergence by an encroaching sea, its rescue and refurbishment under the protective dome.
The records were also a little muddled. Picaro had guessed this, said nothing, as probably no one did who was lucky enough to be awarded PBS—Proven Bloodline Status, which meant you could “inherit” an apartment in the City, since your ancestors had formerly lived there.
Picaro’s PB wasn’t so old. It dated to 1700 or thereabouts. But it was sufficient. The fact that he had been housed in the rebuilding of a palace reckoned to be that of the alchemist Dianus Shaachen, was only a slight mismatch. It seemed Picaro’s true ancestors, who were not related to Shaachen, had yet roomed in his palazzo for two or three years. They were
now known only by the names Furian and Eurydiche, but they were strange enough, both of them. He had been a rich man who had perversely chosen poverty. She was a young woman whose facial muscles did not move, making of her a lovely icon—the condition then called Stone Face.
A wanderer, (there was no modern traffic allowed in-dome) with its guiding wanderlier, brought Picaro to the Alchemy Canal. The wanderlier sang during the journey. He had a very good voice. Picaro, driven crazy by the triteness of this touch, kept silent.
Arrived, the boat was tied to a mooring pole decorated with the figure of Neptunus, the antique god of the sea, once one of the Custodians of the City. The wanderlier, unlike the boatmen of former times, assisted Picaro with his luggage.
“A fine palazzo.” They idled on the strip of terrace above the water-stairs. “Do you know which are your windows, sin?”
“No.”
“Do you want my boat later?”
“Maybe,” said Picaro.
“I will come back, signore,” said the wanderlier, giving him now the full address rather than its contemporary abbreviation. “Show you the sights.”
“Maybe,” said Picaro again.
Two young women stepped into view, passing through the slender space between the Shaachen Palazzo and its right-hand neighbor, a building leaden green as a swan. Emerging on the half-meter-wide terrace, they stood there, looking at Picaro. They wore replica dresses, dated from 1890, perhaps. They whispered. One smiled directly at the musician.
“They seem to know you, sin.”
Indeed they did seem to.
Picaro took hold of the luggage and hauled it through the palazzo door, which had opened, also recognizing his identity. He heard the door shut behind him after a moment, closing him away from the boatman and the possible autograph hunters.
The house vestibule was cool, dark-tiled, with brown-spotted walls that looked as if they had survived at least five centuries, but were doubtless (mostly) much, much younger. A stone staircase swerved upward. He wondered if the palace had really always looked like this. Perhaps not. And yet much of its brickwork, wood, and plastering had been rewoven here, these tiles had belonged to it, either in this area or another. And the windows, with their iron bars, had conceivably always looked out on a canal, though never this one, with its dirtless glycerin water.