Red as Blood and White as Bone

by Theodora Goss

  At last I fell asleep, and dreamed those images over and over, all night long.

  In the morning, there was breakfast to prepare. As I fried sausages and potatoes, I heard Greta tell Agneta what had happened. She had heard it from Frau Hoffman herself: A foreign spy had infiltrated the castle. At least, she was presumed to be a foreign spy, although no one knew where she came from. Was she Slovakian? Yugoslavian? Bulgarian? Why had she wanted the prince dead?

  She would not speak, although she would be made to speak. The baron had already telephoned the Royal Palace, and guards had been dispatched to take her, and the body of the prince, to Karelstad. They would arrive sometime that afternoon. In the meantime, she was locked in the dungeon, which had not held prisoners for a hundred years.

  After breakfast, the baron himself came down to question us. The servants had been shown a sketch of a small, pale woman with long black hair, made by Father Ilvan. Katrina had identified her as one of the village women who had helped in the kitchen, in preparation for the ball. Why had she been engaged?

  Because Father Ilvan had sent her, said Greta. But Father Ilvan had no knowledge of such a woman. Greta and Agneta were told to pack their bags. What had they been thinking, allowing a strange woman to work in the castle, particularly when the crown prince was present? If they did not leave that day, they would be put in the dungeon as well. And no, they would not be given references. I was too frightened to speak, to tell the baron that I had been the one to let her in. No one paid attention to me—I was too lowly even to blame.

  By that afternoon, Marta, the baker’s daughter, was the new cook, and I was her kitchen maid. In two days, I had caused the death of the prince and gotten promoted.

  “Klara,” Marta said to me, “I have no idea how we are to feed so many people, just the two of us. And Frau Hoffman says the royal guards will be here by dinnertime! Can you imagine?”

  Then it was now or never. In an hour or two, I would be too busy preparing dinner, and by nightfall my princess—my spy?—would be gone, taken back to the capital for trial. I was frightened of what I was about to do, but felt that I must do it. In my life, I have often remembered that moment of fear and courage, when I took off my apron and sneaked out the door into the kitchen garden. It was the first moment I chose courage over fear, and I have always made the same choice since.

  The castle had, of course, been built in the days before electric lights. Even the dungeon had windows. Once, Josef had shown them to me, when I was picking raspberries for a charlotte russe. Holding back the raspberry canes, he had said, “There, little mouse, is the deep, dark dungeon of the castle!” Although as far as I could tell it was just a bare stone room, with metal staples in the walls for chains. From the outside, the windows were set low into the castle wall, but from the inside they were high up in the wall of the dungeon—high enough that a tall man could not reach them. And they were barred.

  It was late afternoon. Josef and the gardener’s boy who helped him were nowhere in sight. I crawled behind the raspberry canes, getting scratched in the process, and looked through one of barred windows.

  She was there, my princess. Sitting on the stone floor, her black dress pooled around her, black hair hanging down, still clutching something black in her arms. She was staring straight ahead of her, as though simply waiting.

  “Princess!” I said, low in case anyone should hear. There must be guards? But I could not see them. The dungeon door was barred as well. There was no way out.

  She looked around, then up. “Klara,” she said, and smiled. It was a strange, sad smile. She rose and walked over to the window, then stood beneath it, looking up at me, her face pale and tired in the dim light. Then I could see what she had been clutching: a wolf pelt, with the four paws and eyeless head hanging down.

  “Why?” I asked. And then, for the first time, I began to cry. Not for Prince Radomir, but for the story. Because it had not been true, because she had allowed me to believe a lie. Because when Greta said she was a foreign spy, suddenly I had seen life as uglier and more ordinary than I had imagined, and the realization had made me sick inside.

  “Klara,” she said, putting one hand on the wall, as far up as she could reach. It was still several feet below the window. “Little one, don’t cry. Listen, I’m going to tell you a story. Quietly, so the guards won’t hear. They are around the corner, having their dinners. I can smell the meat. Once upon a time—that’s how your stories start, isn’t it? Once upon a time, there were two wolves who lived on the Karhegy. They were black wolves, of the tribe that has lived on the mountain since time out of mind. The forest was their home, dark and peaceful and secure. There they lived, there they hoped to someday raise their children. But one day, a prince came with his gun, and he shot one of the wolves, who was carried away by the prince’s men for his fine pelt. The other wolf, who was his mate, swore that she would kill the prince.”

  I listened intently, drying my face with my apron.

  “So she went to the Old Woman of the Forest and said, ‘Grandmother, you make bargains that are hard but fair. I will give you anything for my revenge.’ And the Old Woman said, ‘You shall have it. But you must give me your beautiful black pelt, and your dangerous white teeth, and the blood that runs in your body. For such a revenge, you must give up everything.’ And the wolf agreed. All these things she gave the Old Woman, who fashioned out of them a dress as black as night, and a necklace as red as blood, and a comb as white as bone. The old woman gave them to the wolf and said, ‘Now our bargain is complete.’ The wolf took the bag the Old Woman had given her and stumbled out of the forest, for it was difficult walking on only two legs. On a rainy night, she made her way to the castle where the prince was staying. And the rest of the story, you know.”

  I stared down at her, not knowing what to say. Should I believe it? Or her? Common sense told me that she was lying, that she was a foreign spy and I was a fool. But then, I have never had much common sense. And that, too, has stood me in good stead.

  “Klara, put your hand through the bars,” she said.

  I hesitated, then did as I was told.

  She put the pelt down on the floor beside her—carefully, as though it were a child—then unclasped the necklace of red beads. “Catch!” she said, and threw it up to me. I caught it—and then I heard boots echoing down the corridor. “Go now!” she said. “They’re coming for me.” I drew back my hand with the necklace in it and crawled away from the window. The sun was setting. It was time for me to return to the kitchen and prepare dinner. No doubt Marta was already wondering where I was.

  When I got back to the kitchen, I learned that the royal guards had arrived. But they were too late—using the metal staples on the walls, my princess had hanged herself by her long black hair.

  When I was sixteen, I left the baron’s household. By that time, I was as good a cook as Marta could teach me to be. I knew how to prepare the seven courses of a formal dinner, and I was particularly skilled in what Marta did best: pastry. I think my pâte à choux was as good as hers.

  In a small suitcase, I packed my clothes, and my fairy tale book, and the necklace that my wolf-princess had given me, which I had kept under my mattress for many years.

  Perhaps it was not wise, moving to Karelstad in the middle of the German occupation. But as I have said, I am deficient in common sense—the sense that keeps most people safe and out of trouble. I let bedraggled princesses in out of the rain. I pack my suitcase and move to the capital with only a fortnight’s wages and a reference from the baroness. I join the Resistance.

  Although I did not know it, the café where I worked was a meeting place for the Resistance. One of the young men who would come to the café, to drink coffee and read the newspapers, was a member. He had long hair that he did not wash often enough, and eyes of a startling blue, like evening in the mountains. His name was Antal Odon, and he was a descendent of the nineteenth-century poet Amadeo Odon. He would flirt with me, until we became friends. Then he
did not flirt with me any longer, but spoke with me solemnly, about Sylvanian poetry and politics. He had been at the university until the Germans came. Then, it no longer seemed worthwhile becoming a literature professor, so he had left. What was he doing with himself now, I asked him?

  It was he who first brought me to a meeting of the Resistance, in the cellar of the café where I worked. The owner, a motherly woman named Malina who had given me both a job and a room above the café, told us about Sylvanians who had been taken that week—both Jews and political prisoners. The next day, I went to a jeweler on Morek Stras, with my necklace as red as blood. How much for this? I asked him. Are these beads worth anything?

  He looked at them through a small glass, then told me they would be worth more individually. Indeed, in these times, he did not know if he could find a purchaser for the entire necklace. He had never seen such fine rubies in his life.

  One by one, he sold them off for me, often to the wives of German officers. Little did they know that they were funding the Resistance. I kept only one of the beads for myself, the smallest. I wear it now on a chain around my neck. So you can see, Grandmother, that my story is true.

  As a member of the Resistance, I traveled to France and Belgium and Denmark. I carried messages sewn into my brassiere. No one suspects a young girl, if she wears high heels and red lipstick, and laughs with the German officers, and looks down modestly when they light her cigarette. Once, I even carried a message to a small town in the Swiss mountains, to a man who was introduced to me as Monsieur Reynard. He looked like his father, as far as one can tell from the official portraits—one had hung in the nunnery schoolroom. I was told not to curtsy, simply to shake his hand as though he were an ordinary Sylvanian. I did not tell him, I saw your older brother die. I hope that someday you will once again return to Sylvania, as its king.

  With my friend Antal, I smuggled political refugees out of the country. By then, we were more than friends … We hoped someday to be married, when the war was over. But he was caught and tortured. He never revealed names, so he died a hero, you see. The man I loved died a hero.

  When the war ended and the Russian occupation began, I did not know what to do with myself. I had imagined a life with Antal, and he was dead. But there were free classes at the university, for those who had been peasants, if you could pass the exams. I was no longer a peasant, exactly, but I told the examiners that my father had been a woodcutter on the Karhegy, and I passed with high marks, so I was admitted. I threw myself into work, and took my degree in three years—in Sylvanian literature, as Antal would have, if he had lived. I thought I would find work in the capital, but the Ministry of Education said that teachers were needed in Karberg and the surrounding areas, so I was sent here, to a school in the village of Orsolavilag, high in the mountains. There I teach students whose parents work in the lumber industry, or at one of the hotels for Russian and Austrian tourists.

  When I first returned, I tried to find my father. But I learned that he had died long ago. He had been cutting wood, drunk, and had struck his own leg with an axe. The wound had become infected. A simple, brutal story. So I have no one left in the world. All I have left is my work.

  I teach literature and history to the children of Orsolavilag … or such literature and history as I am allowed. We do not teach fairy tales, which the Ministry of Education thinks are decadent. We teach stories of good Sylvanian boys and girls who learn to serve the state. In them, there are no frogs who turn into princes, no princesses going to balls in dresses like the sun, moon, and stars. No firebirds. There are no black wolves of the Karhegy, or Fair Ladies who live in trees, or White Stag that will, if you are lost, lead you home. There is no mention even of you, Grandmother. Can you imagine? No stories about the Old Woman of the Forest, from whom all the stories come.

  Within a generation, those stories will be lost.

  So I have come to you, whose bargains are hard but fair. Give me stories. Give me all the stories of Sylvania, so I can write them down, and so our underground press in Karberg, for which we could all be sent to a prison camp, can publish them. We will pass them from hand to hand, household to household. For this, Grandmother, I will give you what my princess gave so long ago: whatever you ask. I have little left, anyhow. My only possession of value is a single red bead on a chain, like a drop of blood.

  I am a daughter of these mountains, and of the tales. Once, I wanted to be in the tales themselves. When I was young, I had my part in one—a small part, but important. When I grew older, I had my part in another kind of story. But now I want to become a teller of tales. So I will sit here, in your hut on goose legs, which sways a bit like a boat on the water. Tell me your stories, Grandmother. I am listening.

  About the Author

  Theodora Goss’s publications include the short story collection In the Forest of Forgetting; Interfictions, a short story anthology co-edited with Delia Sherman; Voices from Fairyland, a poetry anthology with critical essays and a selection of her own poems; The Thorn and the Blossom, a novella in a two-sided accordion format; and the poetry collection Songs for Ophelia. She has been a finalist for the Nebula, Locus, Crawford, Seiun, and Mythopoeic Awards, as well as on the Tiptree Award Honor List, and has won the World Fantasy Award. She teaches literature and writing at Boston University and in the Stonecoast MFA Program. You can sign up for email updates here.

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  Contents

  Title Page

  Copyright Notice

  Begin Reading

  About the Author

  Copyright

  Copyright © 2016 by Theodora Goss

  Art copyright © 2016 by Anna & Elena Balbusso