When he stopped to offer awkward sympathies, well larded with thanks, Prince Valarr blinked cool blue eyes at him and said, “My father was only nine-and-thirty. He had it in him to be a great king, the greatest since Aegon the Dragon. Why would the gods take him, and leave you?” He shook his head. “Begone with you, Ser Duncan. Begone.”
Wordless, Dunk limped from the castle, down to the camp by the green pool. He had no answer for Valarr. Nor for the questions he asked himself. The maesters and the boiling wine had done their work, and his wound was healing cleanly, though there would be a deep puckered scar between his left arm and his nipple. He could not see the wound without thinking of Baelor. He saved me once with his sword, and once with a word, even though he was a dead man as he stood there. The world made no sense when a great prince died so a hedge knight might live. Dunk sat beneath his elm and stared morosely at his foot.
When four guardsmen in the royal livery appeared in his camp late one day, he was sure they had come to kill him after all. Too weak and weary to reach for a sword, he sat with his back to the elm, waiting.
“Our prince begs the favor of a private word.”
“Which prince?” asked Dunk, wary.
“This prince,” a brusque voice said before the captain could answer. Maekar Targaryen walked out from behind the elm.
Dunk got slowly to his feet. What would he have of me now?
Maekar motioned, and the guards vanished as suddenly as they had appeared. The prince studied him a long moment, then turned and paced away from him to stand beside the pool, gazing down at his reflection in the water. “I have sent Aerion to Lys,” he announced abruptly. “A few years in the Free Cities may change him for the better.”
Dunk had never been to the Free Cities, so he did not know what to say to that. He was pleased that Aerion was gone from the Seven Kingdoms, and hoped he never came back, but that was not a thing you told a father of his son. He stood silent.
Prince Maekar turned to face him. “Some men will say I meant to kill my brother. The gods know it is a lie, but I will hear the whispers till the day I die. And it was my mace that dealt the fatal blow, I have no doubt. The only other foes he faced in the melee were three Kingsguard, whose vows forbade them to do any more than defend themselves. So it was me. Strange to say, I do not recall the blow that broke his skull. Is that a mercy or a curse? Some of both, I think.”
From the way he looked at Dunk, it seemed the prince wanted an answer. “I could not say, Your Grace.” Perhaps he should have hated Maekar, but instead he felt a queer sympathy for the man. “You swung the mace, m’lord, but it was for me Prince Baelor died. So I killed him too, as much as you.”
“Yes,” the prince admitted. “You’ll hear them whisper as well. The king is old. When he dies, Valarr will climb the Iron Throne in place of his father. Each time a battle is lost or a crop fails, the fools will say, ‘Baelor would not have let it happen, but the hedge knight killed him.’ ”
Dunk could see the truth in that. “If I had not fought, you would have had my hand off. And my foot. Sometimes I sit under that tree there and look at my feet and ask if I couldn’t have spared one. How could my foot be worth a prince’s life? And the other two as well, the Humfreys, they were good men too.” Ser Humfrey Hardyng had succumbed to his wounds only last night.
“And what answer does your tree give you?”
“None that I can hear. But the old man, Ser Arlan, every day at evenfall he’d say, ‘I wonder what the morrow will bring.’ He never knew, no more than we do. Well, mighten it be that some morrow will come when I’ll have need of that foot? When the realm will need that foot, even more than a prince’s life?”
Maekar chewed on that a time, mouth clenched beneath the silvery-pale beard that made his face seem so square. “It’s not bloody likely,” he said harshly. “The realm has as many hedge knights as hedges, and all of them have feet.”
“If Your Grace has a better answer, I’d want to hear it.”
Maekar frowned. “It may be that the gods have a taste for cruel japes. Or perhaps there are no gods. Perhaps none of this had any meaning. I’d ask the High Septon, but the last time I went to him he told me that no man can truly understand the workings of the gods. Perhaps he should try sleeping under a tree.” He grimaced. “My youngest son seems to have grown fond of you, ser. It is time he was a squire, but he tells me he will serve no knight but you. He is an unruly boy, as you will have noticed. Will you have him?”
“Me?” Dunk’s mouth opened and closed and opened again. “Egg … Aegon, I mean … he is a good lad, but, Your Grace, I know you honor me, but … I am only a hedge knight.”
“That can be changed,” said Maekar. “Aegon is to return to my castle at Summerhall. There is a place there for you, if you wish. A knight of my household. You’ll swear your sword to me, and Aegon can squire for you. While you train him, my master-at-arms will finish your own training.” The prince gave him a shrewd look. “Your Ser Arlan did all he could for you, I have no doubt, but you still have much to learn.”
“I know, m’lord.” Dunk looked about him. At the green grass and the reeds, the tall elm, the ripples dancing across the surface of the sunlit pool. Another dragonfly was moving across the water, or perhaps it was the same one. What shall it be, Dunk? he asked himself. Dragonflies or dragons? A few days ago he would have answered at once. It was all he had ever dreamed, but now that the prospect was at hand it frightened him. “Just before Prince Baelor died, I swore to be his man.”
“Presumptuous of you,” said Maekar. “What did he say?”
“That the realm needed good men.”
“That’s true enough. What of it?”
“I will take your son as squire, Your Grace, but not at Summerhall. Not for a year or two. He’s seen sufficient of castles, I would judge. I’ll have him only if I can take him on the road with me.” He pointed to old Chestnut. “He’ll ride my steed, wear my old cloak, and he’ll keep my sword sharp and my mail scoured. We’ll sleep in inns and stables, and now and again in the halls of some landed knight or lesser lordling, and maybe under trees when we must.”
Prince Maekar gave him an incredulous look. “Did the trial addle your wits, man? Aegon is a prince of the realm. The blood of the dragon. Princes are not made for sleeping in ditches and eating hard salt beef.” He saw Dunk hesitate. “What is it you’re afraid to tell me? Say what you will, ser.”
“Daeron never slept in a ditch, I’ll wager,” Dunk said, very quietly, “and all the beef that Aerion ever ate was thick and rare and bloody, like as not.”
Maekar Targaryen, Prince of Summerhall, regarded Dunk of Flea Bottom for a long time, his jaw working silently beneath his silvery beard. Finally he turned and walked away, never speaking a word. Dunk heard him riding off with his men. When they were gone, there was no sound but the faint thrum of the dragonfly’s wings as it skimmed across the water.
The boy came the next morning, just as the sun was coming up. He wore old boots, brown breeches, a brown wool tunic, and an old traveler’s cloak. “My lord father says I am to serve you.”
“Serve you, ser,” Dunk reminded him. “You can start by saddling the horses. Chestnut is yours, treat her kindly. I don’t want to find you on Thunder unless I put you there.”
Egg went to get the saddles. “Where are we going, ser?”
Dunk thought for a moment. “I have never been over the Red Mountains. Would you like to have a look at Dorne?”
Egg grinned. “I hear they have good puppet shows,” he said.
PORTRAITS OF HIS CHILDREN
Richard Cantling found the package leaning up against his front door, one evening in late October when he was setting out for his walk. It annoyed him. He had told his postman repeatedly to ring the bell when delivering anything too big to fit through the mail slot, yet the man persisted in abandoning the packages on the porch, where any passerby could simply walk off with them. Although, to be fair, Cantling’s house was rather isolated,
sitting on the river bluffs at the end of a cul-desac, and the trees effectively screened it off from the street. Still, there was always the possibility of damage from rain or wind or snow.
Cantling’s displeasure lasted only an instant. Wrapped in heavy brown paper and carefully sealed with tape, the package had a shape that told all. Obviously a painting. And the hand that had block-printed his address in heavy green marker was unmistakably Michelle’s. Another self-portrait then. She must be feeling repentant.
He was more surprised than he cared to admit, even to himself. He had always been a stubborn man. He could hold grudges for years, even decades, and he had the greatest difficulty admitting any wrong. And Michelle, being his only child, seemed to take after him in all of that. He hadn’t expected this kind of gesture from her. It was … well, sweet.
He set aside his walking stick to lug the package inside, where he could unwrap it out of the damp and the blustery October wind. It was about three feet tall, and unexpectedly heavy. He carried it awkwardly, shutting the door with his foot and struggling down the long foyer toward his den. The brown drapes were tightly closed; the room was dark and heavy with the smell of dust. Cantling had to set down the package to fumble for the light.
He hadn’t used his den much since that night, two months ago, when Michelle had gone storming out. Her self-portrait was still sitting up above the wide slate mantel. Below, the fireplace badly wanted cleaning, and on the built-in bookshelves his novels, all bound in handsome dark leather, stood dusty and disarrayed. Cantling looked at the old painting and felt a brief wash of anger return to him, followed by depression. It had been such a nasty thing for her to do. The portrait had been quite good, really. Much more to his taste than the tortured abstractions that Michelle liked to paint for her own pleasure, or the trite paperback covers she did to make her living. She had done it when she was twenty, as a birthday gift for him. He’d always been fond of it. It captured her as no photograph had ever done, not just the lines of her face, the high angular cheekbones and blue eyes and tangled ash-blonde hair, but the personality inside. She looked so young and fresh and confident, and her smile reminded him so much of Helen and the way she had smiled on their wedding day. He’d told Michelle more than once how much he’d liked that smile.
And so, of course, it had been the smile that she’d started on. She used an antique dagger from his collection, chopped out the mouth with four jagged slashes. She’d gouged out the wide blue eyes next, as if intent on blinding the portrait, and when he came bursting in after her, she’d been slicing the canvas into ribbons with long angry crooked cuts. Cantling couldn’t forget that moment. So ugly. And to do something like that to her own work, he couldn’t imagine it. He had tried to picture himself mutilating one of his books, tried to comprehend what might drive one to such an act, and he had failed utterly. It was unthinkable, beyond even imagination.
The mutilated portrait still hung in its place. He’d been too stubborn to take it down, and yet he could not bear to look at it. So he had taken to avoiding his den. It wasn’t hard. The old house was a huge, rambling place, with more rooms than he could possibly need or want, living alone as he did. It had been built a century ago, when Perrot had been a thriving river town, and they said that a succession of steamer captains had lived there. Certainly the steamboat gothic architecture and all the gingerbread called up visions of the glory days of the river, and he had a fine view of the Mississippi from the third-story windows and the widow’s walk. After the incident, Cantling had moved his desk and his typewriter to one of the unused bedrooms and settled in there, determined to let the den remain as Michelle had left it until she came back with an apology.
He had not expected that apology quite so soon, however, nor in quite this form. A tearful phone call, yes—but not another portrait. Still, this was nicer somehow, more personal. And it was a gesture, the first step toward a reconciliation. Richard Cantling knew too well that he was incapable of taking that step himself, no matter how lonely he might become. He had left all his New York friends behind when he moved out to this Iowa river town, and had formed no local friendships to replace them. That was nothing new. He had never been an outgoing sort. He had a certain shyness that kept him apart, even from those few friends he did make. Even from his family, really. Helen had often accused him of caring more for his characters than for real people, an accusation that Michelle had picked up on by the time she was in her teens. Helen was gone too. They’d divorced ten years ago, and she’d been dead for five. Michelle, infuriating as she could be, was really all he had left. He had missed her, missed even the arguments.
He thought about Michelle as he tore open the plain brown paper. He would call her, of course. He would call her and tell her how good the new portrait was, how much he liked it. He would tell her that he’d missed her, invite her to come out for Thanksgiving. Yes, that would be the way to handle it. No mention of their argument, he didn’t want to start it all up again, and neither he nor Michelle was the kind to back down gracefully. A family trait, that stubborn willful pride, as ingrained as the high cheekbones and squarish jaw. The Cantling heritage.
It was an antique frame, he saw. Wooden, elaborately carved, very heavy, just the sort of thing he liked. It would mesh with his Victorian decor much better than the thin brass frame on the old portrait. Cantling pulled the wrapping paper away, eager to see what his daughter had done. She was nearly thirty now—or was she past thirty already? He never could keep track of her age, or even her birthdays. Anyway, she was a much better painter than she’d been at twenty. The new portrait ought to be striking. He ripped away the last of the wrappings and turned it around.
His first reaction was that it was a fine, fine piece of work, maybe the best thing that Michelle Cantling had ever done.
Then, belatedly, the admiration washed away, and was replaced by anger. It wasn’t her. It wasn’t Michelle. Which meant it wasn’t a replacement for the portrait she had so willfully vandalized. It was … something else.
Someone else.
It was a face he had never before laid eyes on. But it was a face he recognized as readily as if he had looked on it a thousand times. Oh yes.
The man in the portrait was young. Twenty, maybe even younger, though his curly brown hair was already well-streaked with gray. It was unruly hair, disarrayed as if the man had just come from sleep, falling forward into his eyes. Those eyes were a bright green, lazy eyes somehow, shining with some secret amusement. He had high Cantling cheekbones, but the jawline was all wrong for a relative. Beneath a wide, flat nose, he wore a sardonic smile; his whole posture was somehow insolent. The portrait showed him dressed in faded dungarees and a raveled YMCA Good Guy sweatshirt, with a half-eaten raw onion in one hand. The background was a brick wall covered with graffiti.
Cantling had created him.
Edward Donohue. Dunnahoo, that’s what they’d called him, his friends and peers. The other characters in Richard Cantling’s first novel, Hangin’ Out. Dunnahoo had been the protagonist. A wise guy, a smart mouth, too damn bright for his own good. Looking down at the portrait, Cantling felt as if he’d known him for half his life. As indeed he had, in a way. Known him and, yes, cherished him, in the peculiar way a writer can cherish one of his characters.
Michelle had captured him true. Cantling stared at the painting and it all came back to him, all the events he had bled over so long ago, all the people he had fashioned and described with such loving care. He remembered Jocko, and the Squid, and Nancy, and Ricci’s Pizzeria where so much of the book’s action had taken place (he could see it vividly in his mind’s eye), and the business with Arthur and the motorcycle, and the climactic pizza fight. And Dunnahoo. Dunnahoo especially. Smarting off, fooling around, hanging out, coming of age. “Fuck ’em if they can’t take a joke,” he said. A dozen times or so. It was the book’s closing line.
For a moment, Richard Cantling felt a vast, strange affection well up inside him, as if he had just been reunited w
ith an old, lost friend.
And then, almost as an afterthought, he remembered all the ugly words that he and Michelle had flung at each other that night, and suddenly it made sense. Cantling’s face went hard. “Bitch,” he said aloud. He turned away in fury, helpless without a target for his anger. “Bitch,” he said again, as he slammed the door of the den behind him.
“Bitch,” he had called her.
She turned around with the knife in her hand. Her eyes were raw and red from crying. She had the smile in her hand. She balled it up and threw it at him. “Here, you bastard, you like the damned smile so much, here it is.”
It bounced off his cheek. His face was reddening. “You’re just like your mother,” he said. “She was always breaking things too.”
“You gave her good reason, didn’t you?”
Cantling ignored that. “What the hell is wrong with you? What the hell do you think you’re going to accomplish with this stupid melodramatic gesture? That’s all it is, you know. Bad melodrama. Who the hell do you think you are, some character in a Tennessee Williams play? Come off it, Michelle. If I wrote a scene like this in one of my books, they’d laugh at me.”
“This isn’t one of your goddamned books!” she screamed. “This is real life. My life. I’m a real person, you son of a bitch, not a character in some damned book.” She whirled, raised the knife, slashed and slashed again.
Cantling folded his arms against his chest as he stood watching. “I hope you’re enjoying this pointless exercise.”
“I’m enjoying the hell out of it,” Michelle yelled back.
“Good. I’d hate to think it was for nothing. This is all very revealing, you know. That’s your own face you’re working on. I didn’t think you had that much self-hate in you.”
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