“The animals are in relief?”
“Yes.”
“What do they look like, if not tli?”
Haik thought. “An animal about as long as my arm, four legged with a tail. Spines protrude along the back, as if the animal had a fin there like a fish. That was the thing I did not imagine: the spines. And the tail is different also, flat from side to side, like the tail of a fish.”
“What color is the glaze?”
“Black, except the skull, which is white.”
“Tai,” said the old woman.
“Mother?”
“Is it beautiful?”
“She is the Potter of Strange Animals. The pot is strange, but well made.”
“I want it for my ashes.”
“You will have it,” he said.
She gave her son the pot. He turned it in his blunt, strong-looking hands. Hattali turned her blind face toward Haik. “You must still believe your crazy idea, that we are descended from bugs.”
“That the world is old and full of change, yes,” said Haik.
“Sit down and tell me about it again.”
Haik obeyed. The old woman listened as she explained about beauty, death, and change.
“Well, we have certainly improved our lineage through careful breeding,” said Hattali finally. “The child your kinsman fathered on Sai is a fine little girl. We hope she’ll be as clever as you are, though I’m still not certain about your idea of time and change. Why didn’t the Goddess simply make people? Why start with bugs?”
“She clearly likes bugs,” said Haik. “The world is full of them. They are far more common than people and more varied. Maybe her plan was to create a multitude of bugs through beauty and death, and we are an accidental result of her breeding of bugs.”
“Do you believe that?”
“No. She told me we have a gift no other living creature had: we know what we do. I believe this gift is not an accident. She wanted comprehension.”
Haik was wrong in saying this, according to modern scientists. They believe life is entirely an accident, though evidently an accident that happens often, since life has appeared on many planets. Intelligent life is far less common, but has clearly appeared on at least two planets and may be present elsewhere in a form we do not recognize. It also is an accident, modern thinkers say. This is hard for many of us to believe; and Haik, living in the distant past, could hardly be expected to bring forward an idea so disturbing.
“Well, you certainly ought to listen to the Goddess, if she talks to you,” said Hattali. “When will I hear your play, Dapple?”
“It will take a few days to prepare.”
The matriarch tilted her head in acquiescence.
They left Hattali then, going back to their room. “I want you to make masks for a new play,” Dapple said. “Five of your strange animals. They interest Hattali. Sit with her while you work, and tell her about your ideas. Taiin is an excellent man. None better! But her illness has got him frightened; and his fear is not helping her mood. Maybe she knows what she’s doing. Maybe it is time for her to die. But I wonder if the fall has frightened her as well as her relatives. A woman like Hattali should not die from fear.”
“Has she no daughters?”
“Two. Good women, but not half what she is, and she’s never gotten along with either. The love of her life has always been Taiin.”
He left the next morning, called to the western border. Gwa scouts had been seen. Their old enemies might have heard that Hattali was dying. What better time to attack?
“They expect that grief will break me,” Taiin said, standing in the house’s front court, dressed in metal and leather armor. A sword hung at his side, and a battle axe hung from a loop on his saddle. “It may, but not while there’s work to be done.” He swung himself onto his fern easily, in spite of age and his bad leg. Once settled on the animal, he looked down at Haik and Dapple.
“She is the last of her generation. What people they were, especially the women! As solid as stone walls and towers! I have lived my entire life in their protection. Now, the walls are broken. Only one tower remains. What will I do, when Hattali is gone?”
“Defend Ettin,” said Dapple.
He gathered the tsin’s reins, grinning. “You’re right, of course. Maybe, if I’m lucky, we’ll capture a Gwa spy.”
A moment later he was through the house’s gate, moving steadily along the dusty road, his men following, armed and armored.
“You may be wondering about his last remark,” Dapple said.
Haik opened her mouth to say no.
“There are men who take pleasure in raping prisoners before they kill them. Or in harming them in other ways. I have suspected Taiin is one such. Now I’m certain.”
This was how he’d deal with his grief at Hattali’s illness: by making someone else’s end unpleasant.
“Beauty and death,” Dapple said. “This is the way the Goddess has organized her world, according to you and your bones.”
They spent the next several days on Ettin Hattali’s terrace. The weather remained dry and sunny. Haik worked on the masks, while Dapple sat with paper and brush, sometimes writing, more often listening.
There was a folding table next to Hattali’s chair. The matriarch’s relatives brought out food and drink. In any ordinary circumstance, it would have been rude to eat while conversing with other people, especially guests, but the old lady had not been eating. Good health always goes in front of good manners.
At first, Hattali ignored everything except water, brought in a glass goblet. This she held, turning the precious object between her bent fingers.
The first mask was the animal on Hattali’s funeral pot: a long narrow head, the jaw hinged and moved with a string, the mouth full of pointed teeth. Snap! Snap!
The skin would be mottled green, Haik decided; the eyes large, round, and red. There were existing animals—small hunters with scaly hides—that had triangular pupils. She would give this creature the same. The spines on the back would be a banner, supported by a harness over Dapple’s shoulders. Hah! It would flutter when her lover danced! As she worked, she described the mask to Hattali.
“Have you ever found large animals?” the old woman asked.
“Not complete. But large bones, yes, and teeth that are longer than my hands. The layer they are in is high on my native cliffs and was laid down when the country was above water. They were land-dwellers, those animals, larger than anything living now, at least in the regions I’ve visited, and with teeth that remind me of birds’ teeth, though more irregular and much larger.”
“What eyesight you have!” Hattali exclaimed. “To see into the distant past! Do you really believe these creatures existed?”
“They did,” said Haik firmly.
Gradually, as their conversation continued, the old lady began to eat: hard biscuits first, then pieces of fruit, then halin in a small, square, ceramic cup. Hattali was sitting upright now, her bony shoulders straight under an embroidered robe. Hah! She was licking her fingers! “Can you write, Haik?”
“Yes.”
“I want you to write down your ideas and draw the animals you’ve found in stone. I’ll have one of my female relatives make a copy.”
“You believe me,” said Haik in surprise.
“Most of what you’ve told me I knew already,” Hattali answered. “How could any woman not know about inheritance, who has lived long enough to see traits appear and reappear in families of people, sulin, and tsina? But I lacked a framework on which to string my information. This is what you’ve given me. The frame! The loom! Think of the patterns the Ettin will be able to weave, now that we understand what the Goddess has been doing with sex and death and time!” The old woman shifted in her chair. There was a cup of halin next to her on the folding table. She felt for it, grasped it and drank, then reached for a piece of fruit. “I have been wondering whether it’s time for me to die. Did you notice?”
“Yes,” murmured Dapple.<
br />
“The blindness is hard to endure; but life remains interesting, and my kin tell me that they still need my judgment. I can hardly refuse their pleas. But when I fell, I thought—I know this illness. It strikes women down like a blow from a war club. When they rise, if they rise, who can say what the damage will be? Paralysis, stupor, the loss of speech or thought.
“This time the only damage was to one leg. But I may fall again. I have seen relatives, grave senior female cousins, turn into something less than animals—witless and grieving, though they do not remember the cause of their grief. Maybe, I thought, it would be better to stop eating now and die while I am still able to choose death.
“But I want your book first. Will you write it for me?”
Haik glanced at Dapple, who spoke the word “yes” in silence.
“Yes,” said the potter.
The matriarch sighed and leaned back. “Good! What a marvel you are, Dapple! What a fine guest you have brought to Ettin!”
The next day, Haik began her book, drawing fossils from memory. Fortunately, her memory was excellent. Her masks went to the costume maker, who finished them with the help of the apprentices. It was good work, though not equal to Haik’s. One apprentice showed real promise.
The old lady was eating with zest now. The house resumed the ordinary noise of a house full of relations. Children shouted in the courtyards. Adults joked and called. Looking up once from her work, Haik saw adolescents swimming in the river below the terrace: slim naked girls, their fur sleeked by water, clearly happy.
By the time the Ettin war party returned, Taiin looking contented as he dismounted in the front courtyard, the book on evolution was done. Taiin greeted them and limped hurriedly to his mother’s terrace. The old woman rose, looking far stronger than she had twenty days before.
The war captain glanced at Dapple. “Your doing?”
“Haik’s.”
“Ettin will buy every pot you make!” the captain said in a fierce whisper, then went to embrace his mother.
Later, he looked at Haik’s book. “This renewed Hattali’s interest in life? Pictures of shells and bones?”
“Ideas,” said Dapple.
“Well,” said Taiin, “I’ve never been one for thinking. Ideas belong to women, unless they’re strategic or tactical. All I can be is thankful and surprised.” He turned the folded pages. “Mother says we will be able to breed more carefully, thinking of distant consequences rather than immediate advantage. All this from bones!”
The actors did their play soon after this, setting their stage in the house’s largest courtyard. It began with a fish that was curious about the land and crawled out of the ocean. In spite of discomfort, the fish stayed, changing into an animal with four legs and feet. Hah! The way it danced, once it had feet to dance with!
The fish’s descendants, all four-footed animals, were not satisfied with their condition. They fell to arguing about what to do next. Some decided that their ancestral mother had made a mistake and returned to water, becoming animals like peshadi and luatin. Others changed into birds, through a process that was not described; Haik knew too little about the evolution of birds. Other animals chose fur, with or without a mixture of scales.
One animal chose judgment as well as fur.
“How ridiculous!” cried her comrades. “What use are ideas or the ability to discriminate? You can’t eat a discrimination. Ideas won’t keep you warm at night. Folly!” They danced away, singing praise for their fur, their teeth, their claws.
The person with fur and intelligence stood alone on the stage. “One day I will be like you,” Dapple said to the audience. “No spines on my back, no long claws, no feathers, though I had these things, some of them at least, in the past. What have I gained from my choice, which my relatives have just mocked? The ability to think forward and back. I can learn about the past. Using this knowledge, I can look into the future and see the consequences of my present actions. Is this a useful gift? Decide for yourselves.”
This was the play’s end. The audience was silent, except for Hattali, who cried, “Excellent! Excellent!” Taking their cue from the old lady, the rest of the Ettin began to stamp and shout.
A day later, the actors were on the road. They left behind Haik’s book and the new masks. Dapple said, “My play doesn’t work yet, and maybe it never will. Art is about the known, rather than the unknown. How can people see themselves in unfamiliar animals?”
Haik said, “My ideas are in my head. I don’t need a copy of the book.”
“I will accept your gifts,” said Hattali. “And send one copy of the book to another Ettin house. If anything ever happens here, we’ll still have your ideas. And I will not stop eating, till I’m sure that a few of my relatives comprehend the book.”
“It may take time,” said Haik.
“This is more interesting than dying,” Hattali said.
The story ends here. Haik went home to Tulwar and made more pots. In spite of Taiin’s promise, the Ettin did not buy all her work. Instead, merchants carried it up and down the coast. Potters in other towns began to imitate her; though they, having never studied fossils, did not get the animals right. Still, it became a known style of pottery. Nowadays, in museums, it’s possible to find examples of the Southern Fantastic Animal Tradition. There may even be a few of Haik’s pots in museum cabinets, though no one has yet noticed their accuracy. Hardly surprising! Students of art are not usually students of paleontology.
As for Dapple, she continued to write and perform, doing animal plays in the south and heroic tragedies in the north. Her work is still famous, though only fragments remain.
The two lovers met once or twice a year, never in Tulwar. Dapple kept her original dislike of the place. Often, Haik traveled with the actor’s company, taking pots if they were going to Ettin.
Finally, at age fifty, Haik said to her senior relatives, “I am leaving Tulwar.”
The relatives protested.
“I have given you three children and trained five apprentices. Let them make pots for you! Enough is enough.”
What could the relatives say? Plenty, as it turned out, but to no avail. Haik moved to a harbor town midway between Tulwar and Hu. The climate was mild and sunny; the low surrounding hills had interesting fossils embedded in a lovely, fine-grained, cream-yellow stone. Haik set up a new pottery. Dapple, tired of her rainy home island, joined the potter. Their house was small, with only one courtyard. A crown-of-fire tree grew there, full-sized and rooted in the ground. Every spring, it filled their rooms with a sweet aroma, then filled the courtyard with a carpet of fallen blossoms. “Beauty and death,” Dapple sang as she swept the flowers up.
Imagine the two women growing old together, Dapple writing the plays that have been mostly lost, Haik making pots and collecting fossils. The creatures in those hills! If anything, they were stranger than the animals in the cliffs of Tulwar!
As far as is known, Haik never wrote her ideas down a second time. If she did, the book was lost, along with her fossils, in the centuries between her life and the rediscovery of evolution. Should she have tried harder? Would history have been changed, if she had been able to convince people other than Ettin Hattali? Let others argue this question. The purpose of this story is to be a story.
The Ettin became famous for the extreme care with which they arranged breeding contracts and for their success in all kinds of far-into-the-future planning. All through the south people said, “This is a lineage that understands cause and effect!” In modern times, they have become one of the most powerful families on the planet. Is this because of Haik’s ideas? Who can say? Though they are old-fashioned in many ways, they’ve had little trouble dealing with new ideas. “Times change,” the Ettin say. “Ideas change. We are not the same as our ancestors, nor should we be. The Goddess shows no fondness for staying put, nor for getting stuck like a cart in spring rain.
“Those willing to learn from her are likely to go forward. If they don’t, at least t
hey have shown the Great Mother respect; and she—in return—has given them a universe full of things that interest and amaze.”
The Whisper of Disks
JOHN MEANY
John Meaney works as a consultant for a well-known software house, is ranked black belt by the Japan Karate Association, and is an enthusiastic weight lifter. He’s sold a number of stories to Interzone. His first novel, To Hold Infinity, was published in 1998, followed by a second, Paradox, in 2000. His most recent book is a new novel, Context. He lives in Tumbridge Wells, England.
Here he gives us a fascinating look at some of the eccentric ancestors of a young girl—and at her own eccentric and dazzling future.
OXFORD, 2102
So this is the city: millennium-old spires encased in clear ice, enwrapped by winter’s gloom. There, the Bodleian Library, its elegant domed Radcliffe Camera gleaming beneath a transparent shell; there, the Ashmolean’s stately grandeur, white snow banked at the stone columns’ feet. The streets form ice-chasms where occasional bug-cars slide through softly falling flakes, navigating the whiteout by radar.
I should never have left. Or never returned.
Augusta’s vantage point is high: a curlicued smartglass tower, the ellipsoid hotel complex sitting at its apex. She is in the most expensive suite, with floor-to-ceiling convex windows. In the glass, her reflection, like a saddened ghost, overlays the icebound, moribund city.
Her long white hair is bound with platinum wire. Her shining pale-blue gown is high-collared—it keeps her warm—and falls in long straight elegant lines. Straight-backed, she stands, though her left hand holds a slender cane.
Unseen, within the formal garments, a slender exoskeleton provides the real support for her tired, narrow, pain-racked body.
You’ve been here longer than I, she tells the ice-locked buildings silently. But we’re both near the end.
The Year's Best Science Fiction: Twentieth Annual Collection Page 92