Little, Big

Book Six - THE FAIRIES' PARLIAMENT

I.

High on the hilltop

The old King sits;

He is now so old and gray

He's nigh lost his wits.

—Allingham, The Fairies

The first years after what Russell Eigenblick thought of as his accession were the hardest anyone then alive would live to see—so it would seem to them, looking back. Sudden snowstorms raged on the November day when against token opposition he was elected President, and seemed scarcely to abate thereafter. It could not have been always winter in those years, summer must have come around duly as ever, yet universally people remembered winters: the longest, coldest, deepest winters ever known; one continuous winter. Every hardship the Tyrant regretfully imposed or his opponents wilfully inflicted in their uprisings against him was made worse by winter, by months of frozen mud and sleety rain that continually mired every enterprise. Winter made ghastly and hopeless the movements of trucks, traffic, brown-clad troops; everywhere, deeply marking the memory, were the huddled clots and queues of refugees, rag-bound against the cold; the stalled trains, grounded planes; the new frontiers at which lines of slush-bound cars, tailpipes breathing cold clouds, waited to be examined by muffled guards; the shortages of everything, the awful struggle, the difficulties and uncertainties made more awful by the isolating endless cold. And the blood of martyrs and reactionaries frozen on the dirty snow of city squares.

At Edgewood, the old house submitted to indignities: antique plumbing froze; a whole floor was closed up, cold dust collecting in its disused rooms; glum black stoves were set to squat in front of marble fireplaces; and, worst, sheets of plastic for the first time were stapled up over dozens of windows, making every day a foggy day. One night, Smoky, hearing noises in the wilderness of the kitchen-garden, went out and surprised with his flashlight a starveling, an animal long, gray, red-eyed and slavering, mad with cold and hunger. A stray dog, the others said, or something; but only Smoky had seen it, and Smoky wondered.


Winters

There was a pan of water on the stove which sat in the old music room, to help keep the plaster of the ceiling from cracking further from the dryness. A big wooden box roughly carpentered by Smoky held logs to feed the stove, and the two together, stove and woodbox, gave a Klondike air to the pretty room. Rudy Flood had cut the logs, and been felled himself doing so; had pitched face forward, chain saw still gripped in his hands, dead before he struck the ground, which (so Robin said, who was much changed by witnessing it) shook when he met it. Sophie, whenever she rose from her place at the drum-table to feed the insatiable Moloch, had an unpleasant or at least odd sensation that it was pieces of Rudy and not of his woodlot that she thrust into its maw.


Fifty-Two

Work consumed men. It hadn't been so in Sophie's youth. Not only Robin, but Sonny Noon and many others who in the old expansive days might have given up the farms their parents had worked, now drew in, thinking that if they had not these acres, and this labor, they'd have nothing. Rudy had after all been an exception; the older generation's experience had mostly been with endless possibility, sudden change for the better, vistas of freedom and ease. The younger saw things differently. Their motto was, perforce had to be, the old one about Use it up, wear it out and so on. That applied all around: doing his part, Smoky had decided that rents would be reduced or in abeyance indefinitely. And the house showed it: it was, or seemed to be, wearing out. Sophie, pulling her thick shawl more closely around her, looked up at the skeleton's hand and arm drawn in cracks across the ceiling, and then returned to her cards.

Being used up, worn out, and not replaced. Could that be it? She looked at the fall she had made.

Nora Cloud had left Sophie not only her cards, but her sense that every fall made with them was Somehow contiguous with every other, that they made only one geography, or told only one story, though it could be read or viewed differently to different purposes, which made it seem discontinuous. Sophie, taking up Cloud's view at the point where she had left it, had taken it further: if it were all one thing, then one question continually proposed to it should come eventually to have a whole answer, however lengthy and encyclopaedic; should come to have the whole thing for an answer. If only she could concentrate hard enough, continue to formulate the question properly and with the right variations and qualifications, and not be distracted by the shadow answers to unasked small questions which lurked within the falls—yes, Smoky's angina will worsen, Lily's baby will be a boy—then perhaps she could reach it.

The question she had was not exactly the one that Ariel Hawksquill had come to have answered, though that lady's sudden appearance and importunity had jolted Sophie into beginning to try and ask it. Hawksquill had had no trouble locating in the cards the huge events that had lately been taking place in the world, and the reasons for them, and her own part in them too, cutting them from the trivia and puzzlements like a surgeon finding and excising a tumor. Sophie's difficulty in doing such a thing had been that, ever since her search for Lilac, question and answer with these cards had seemed to her to be one; all answers seemed to her to be only questions about the question, every question only a form of the answer it sought. Hawksquill's long training had allowed her to overcome this difficulty, and any Gypsy fortune-teller could have explained to Sophie how to ignore it or evade it: but perhaps if one had, Sophie wouldn't have struggled so with the question, through years, through long winters, and would not now be as close as she felt herself to be to a sort of great dictionary or guidebook or almanac of answers to her (strictly speaking unaskable) single question.

Being used up, one by one, and not being replaced; dying, in fact, though they couldn't die, or anyway Sophie had always supposed they couldn't, she didn't know why. . . . Could it be so? Or was it just a winter thought in a time of hardship and shortage?

Cloud had said: it only seems as though the world is getting old and worn out, just as you are yourself. Its life is far too long for you to feel it age during your own. What you learn as you get older is that the world is old, and has been old for a long time.

Well: all right. But what Sophie felt to be aging wasn't a world, but only its inhabitants: if there were such a thing as a world which they inhabited, distinct from them, which Sophie couldn't imagine really—but anyway, suppose there was such a world, old or young didn't matter, what Sophie knew for sure was that however densely populated those lands may have' been in Dr. Bramble's time or in Paracelsus's, they weren't populated at all any longer in any large sense, Sophie thought it would be possible eventually— soon!—if not to name at least to number all of them, and that the total number wouldn't be a large one; two digits only, possibly, probably. Which (since everyone without exception quoted in the Architecture, and everyone else for that matter who had considered the question at all, supposed there to be uncounted milliards of them, one for every harebell and thorn-bush at least) might mean that Somehow lately they were being one by one consumed, like the split muscled logs Sophie fed into the fire, or worn down to ravelings by grief and care and age, and blown away.

Or reduced by war. War was what Ariel Hawksquill had determined to be the relation at work, the thing that had made the world or this Tale (if there was a difference) turn so sad and puzzling and uncertain. Like all wars, an unchosen thing, however inevitable, with awful losses on their side at least, Sophie couldn't imagine what losses they might themselves have inflicted, or how . . . War: could it be then that all that remained of them was one last forlorn hope, a brave band caught in a desperate rearguard action and going down to the last man?

No! It was too awful to think of: dying. Dying out. Sophie knew (none better) that they had not ever thought of her with love, didn't in any human sense care about her at all, or any being like her. They had stolen Lilac from her, and though that had not been for any intention of hurting Sophie, it hadn't been for any love they bore Lilac either, presumably, but only for reasons of their own. No, Sophie had no reason to love them; but the thought of their passing away utterly was unbearable: like thinking of a winter with no end.

And yet she thought she could soon count out the few remaining.

She assembled her deck, and spread it all in a fan before her; then she drew out court cards one by one to represent the ones she already knew of, laying them in groups with low cards for their courts or children or agents, insofar as she could guess at them.

One for sleep, and four for seasons; three to tell fates, two to be Prince and Princess; one to go messages, no, two to go messages, one to go and one to come back again . . . It was a matter of discriminating between functions, and learning which were whose, and how many were needed for it. One to bring gifts; three to bear gifts away. Queen of Swords and King of Swords and Knight of Swords; Queen of Coins and King of Coins and ten low cards for their children . . .

Fifty-two?

Or was it only that at that number (with only the Least Trumps, the plot which they acted out, left uncounted) her deck ran out?

There was a sudden clanging noise above her head, and Sophie ducked; it sounded as though a full and heavy set of fire-irons had tumbled over in the attic. Smoky, at work in the orrery. She glanced up. The crack in the ceiling seemed to have lengthened, but she doubted that it really had.

Three for labor, two to make music, one to dream dreams . . .

She thrust her hands into her sleeves. Few, anyway; not hosts. The taut plastic over the window was a drumskin, tapped on by wind. It seemed—it was hard to tell—that it had begun to snow again. Sophie, abandoning the count (she still didn't know enough; it was wrong, and more than wrong on an afternoon like this, to speculate when you knew so little) gathered up the cards and put them away in their bag in their box.

She sat for a while, listening to the taps of Smoky's hammer, hesitant at first, then more insistent, then ringing as though he struck a gong. Then they fell silent, and the afternoon returned.


Carrying a Torch

"Summer," Mrs. MacReynolds said, lifting her head slightly from the pillow, "is a myth."

The nieces and nephews and children around her looked at each other in thoughtful doubt or doubtful thought.

"In winter," the dying old woman went on, "summer is a myth; a report, a rumor, not to be believed. . . ."

The others drew closer to her, watching her fine face, her fluttering blue lids. Her head lay so lightly on its pillow that her blue-rinsed coiffure was unmussed, but this was for sure her last gasp; her contract had run out, and would not be renewed.

"Never," she said, and then paused a long time in limbo while Auberon thought further: never forget me? Never break faith, never say die, never never never? "Never long," she said. "Only wait; only have patience. Longing is fatal. It will come." They had begun to weep around her, though they hid it, for the old lady would have been impatient with tears. "Be happy," she said, even more faintly. "For the things . . ." Yes. There she goes. Bye, Mrs. MacR. "The things, children—the things that make us happy—make us wise,"

One last look around. Lock glances with Frankie MacR., the black sheep: he won't forget this, a new leaf turns for him. Music up. And dead. Auberon skipped two spaces and made three memorial asterisks across the page, and drew it out.

"Okay," he said.

"Okay?" said Fred Savage. "Done?"

"Done," Auberon said. He shuffled the twenty or so pages together, his hands clumsy in gloves from which the ends of the fingers had been cut off, and jammed them in an envelope. "G'ahead."

Fred took the envelope, thrust it smartly beneath his arm, and with a mocking suggestion of salute, made to leave the Folding Bedroom. "'M I spose to wait?" he asked, hand on the door. "While they reads over this?"

"Ah, don't bother," Auberon said. "It's too late now. They'll have to just do it."

"Oookay," Fred said. "Later, m'man."

Auberon built up the fire, pleased with himself. Mrs. MacReynolds was among the last of the characters whom he had inherited from the creators of "A World Elsewhere." A young divorcée thirty years ago, she had tenaciously and cleverly held on to her part, through alcoholism, remarriage, religious conversion, grief, age and illness. Done now though. Contract terminated. Frankie was about to go off on a long trip, too; he would return—his contract had years to run, and he was the producer's boyfriend as well—but he would return a changed man.

A missionary? well, yes, in a sense; perhaps a missionary . . .

More ought to happen, Sylvie had said once on a certain day to Fred Savage; and in the long interpenetration of Auberon's vision of "A World Elsewhere" and the show as he had found it, a lot had. He couldn't believe it at first to be so, but it seemed that the turgid, long-drawn-out pointlessness of its plot had been due simply to a lack of inventiveness on the writers' parts. Auberon, in the beginning anyway, suffered from no such lack, and besides, there were all those tedious and unlikable people who had to be disposed of, whose passions and jealousies Auberon had a hard time understanding. The death rate had therefore been high for a while; the shriek of tires on rainy roads, the horrid crunch of steel on steel, the shout of sirens had been nearly continuous. One young woman, a drug-addicted Lesbian with an idiot child, he could not contractually eliminate; so he magicked her away in favor of her identical twin sister, long-lost and a very different character. That had taken a few weeks to accomplish.

The producers blanched at the speed with which crises came and passed in those days; the audience, they said, couldn't bear such storms, they were used to tedium. But the audience seemed to disagree, and while eventually it came to he a somewhat different audience, it was no smaller, or not measurably so, and more fiercely devoted than ever. Besides, there were few enough writers who could produce the amounts of work Auberon could, at the new and sharply reduced salaries being offered, and so the producers, struggling for the first time in their profession with tight budgets, flirting with bankruptcy, counting assets and debits late into the night, gave Auberon his head.

So the actors spoke the lines which Fred Savage carried to them from Old Law Farm every day, meekly trying to infuse some reality and humanity into the strange hopes, intimations of high events, and secret expectancy (calm, sad, impatient, or resolved) which had come to infect characters they had played for years. There were not the many secure berths for actors that there had been in the days of the old affluence, and for every character released from the box of Auberon's foreknowledge there were scores of applicants, even at fees that would have been scoffed at in the now-lost Golden Age. They were grateful to be embodying these peculiar lives, working toward or away from whatever huge thing it was which seemed always in preparation, yet never revealed, and which had kept their audience on gentle tenterhooks now for years.

Auberon laughed, staring into the fire and already fcrmulating new gins and defeats, embroglios and breakthroughs. What a form! Why hadn't anyone before caught the secret of it? A simple plot was required, a single enterprise which concerned all the characters deeply, and which had a grand sweet simple single resolution: a resolution, however, that would never be reached. Always approached, keeping hopes high, making disappointments bitter, shaping lives and loves by its inexorable slow progress toward the present: but never, never reached.

In the good old days, when polls were as common as house-to-house searches were now, pollsters asked viewers why they liked the bizarre torments of the soap operas, what kept them watching. The commonest answer was that they liked soap operas because soap operas were like life.

Like life. Auberon thought "A World Elsewhere," under his hands, was coming to be like a lot of things: like truth, like dreams; like childhood, his own anyway; like a deck of cards or an old album of pictures. He didn't think it was like life—not anyway like his own. On "A World Elsewhere," when a character's greatest hopes were dashed, or his task all accomplished, or his children or friends saved by his sacrifice, he was free to die or at least to pass away; or he changed utterly, and reappeared with a new task, new troubles, new children. Except for those whose embodying actors were on vacation or ill, none simply came to a stop, all their important actions over, haunting the edges of the plot with their final scripts (so to speak) still in their hands.

That was like life, though: like Auberon's.

Not like a plot, but like a fable, a story with a point, which had already been made. The fable was Sylvie; Sylvie was the sharply-pointed, unenigmatic yet brimful and undepletable allegory or tale that underlay his life. Sometimes he was conscious that this view robbed Sylvie of the intense and irreducible reality which she had had, and no doubt somewhere went on having, and when he saw that he felt a sudden shame and horror, as though he had been told or had told a shocking and defaming lie about her; but those times grew less frequent as the story, the fable, grew more perfect, took on other and more intricately refracting facets even as it grew shorter and more tellable; underlying, explaining, criticizing and defining his life even as it grew less something that had actually happened to him.

"Carrying a torch," George Mouse called it, and Auberon, who had never heard the old phrase, thought it just, because he thought of the torch he carried not as a penitential or devotional one, but as Sylvie. He carried a torch: her. She flared brightly sometimes, sank low other times; he saw by her, though he had no path in particular he wanted to see. He lived in the Folding Bedroom, he helped out on the Farm; one year was not different from the next. Like a long-time cripple, he put aside the better part of the world, not always aware he did so, as not being for the use of such as he: he was not any longer someone to whom things happened.

He suffered from some odd disorders, living as he did in his most vigorous years. He couldn't sleep much beyond dawn on any but the deepest of winter mornings. He grew able to see faces in the chance arrangements of his room's fixtures and furnishings, or rather unable not to see them: faces wicked, wise or foolish, figures gesturing to him, weirdly distorted or wounded, able to express emotions that affected him without themselves having them, animated without being alive, which he found faintly disgusting. He pitied, against his will, the ceiling light fixture, two blank Phillips-head screws the eyes, and a light bulb stuck in its stupid, gaping ceramic mouth. The flowered curtains were a crowd a congress, or rather two: the flower people, and the people made of background, outlined by flowers, peering through flowers. When the whole room had become unrelievably populated, he actually visited a psychiatrist, though he told no one about it. The man said he suffered from man-in-the-moon syndrome, not uncommon, and suggested that he get out more; a cure, though, he said, would take years.

Years.

Get out more: George, a constant and a choosy philanderer, not much less successful now than he had been in youth, introduced him to many women, and the Seventh Saint provided others. But talk about ghosts. Now and then two of these real women rolled into one (when on occasion he could persuade them to be so rolled) gave him a rude bliss, if he concentrated, that was intense. But his imaginings, working on the sturdy though desperately fine stuff of memory, were of a different order of intensity altogether.

He would not have had it so; he honestly believed that. He even knew, in moments of great clarity, that it would not have been so had he not been who he was, that his disability didn't lie in what had happened to him at all, but in his flawed nature, that not everyone, perhaps no one but he, would have ended up thus becalmed after being touched only by Sylvie as though in passing— what a stupid and antique disease that was, and one that had been all but eliminated from the modern world, he resented deeply at times that he should be, apparently, the last victim of it and thus excluded, as though by some rule of common hygiene, from the broad banquet that the City, even in decline, could still show. He wished, he wished he could do as Sylvie had done: say F*ck destiny, and escape. And so he could, too, he just wasn't trying very hard; he knew that, too, but there it was: flawed. And it was no comfort to think that perhaps to have such a flaw, to be thus inadequate to the world, was just what it was to be in the Tale he could no longer deny that he was in: that perhaps the Tale was the flaw, that the flaw and the Tale were the same thing; that being in the Tale meant nothing more than being suited to your role in it and good for nothing else, like having a cast in your eye, by which you saw always something elsewhere, but which to everyone else (even most of the time to yourself) seemed only a disfigurement.

He rose, annoyed with his thoughts for having fallen into that old bag. There was work to do; that should be enough; most of the time it was, and he was grateful. The amount he accomplished, and the pittance he was paid, would have astonished the mild and affable man (dead now of an accidental overdose) to whom Auberon had first shown scripts. Life had been easy then. . . . He poured himself a small whiskey (gin was verboten, but his adventure had left him with a persistent small habit, more like a sweet tooth than an addiction) and addressed himself to the mail which Fred had brought from uptown. Fred, his old guide, was his associate now, and so described to Auberon's employers. He was farmhand as well, and memento mori or at least an object-lesson of some kind for Auberon; he could not now any longer get along without him, or so it seemed to him. He tore open an envelope.

"Tell Frankie he's going to break his mother's HEART carrying on like that. Doesn't he see that, how can he be so BLIND. Why doesn't he get a good woman and settle down." Auberon never got used to the suspension of disbelief his viewers were capable of, it always gave him a guilty thrill. Sometimes he felt the MacReynolds's were real, and it was the viewers, like this lady, who were imaginary; pale fictions hungering after the flesh-and-blood life Auberon created. He tossed the letter into the woodbox. Settle down, huh; a good woman. Not a chance. Lot of blood under the bridge before Frankie settles down.

He saved for the last a letter from Edgewood, some weeks in transit, a good long one from his mother, and settled to it like a squirrel to a large nut, hoping to find something within he could use for next month's episodes.


Something He Could Steal

"You asked what happened to the Mr. Cloud that Great-aunt Cloud was married to," she wrote. "Well, that's really sort of a sad story. It happened a long time before I was horn. Momdy sort of remembers. His name was Harvey Cloud. His father was Henry Cloud, the inventor and astronomer. Henry used to spend his summers up here, he had that pretty little cottage where the Junipers later lived. I think he had a lot of patents he lived on. Old John had put some money into his inventions—engines, I think, or astronomical things, I guess; I don't know what. One of his things though was the old orrery at the top of the house—you know. That was an invention of Henry's—I mean not orreries in general, they were invented by a Lord Orrery believe it or not (Smoky told me that). But Henry died before it was finished (it cost a lot of money I think) and about that time Nora, Great-aunt Cloud, married Harvey. Harvey was working on it too. His father's son. I saw a picture of him once that Auberon took, in his shirtsleeves and a stiff collar and tie (I guess he wore them even when he was working), looking very fierce and thoughtful, standing next to the engine of the orrery before they installed it. It was HUGE and complicated and took up most of the picture. And then when they were done installing it (John was long dead by then) there was an accident, and poor Harvey fell off the very tip-top of the house and was killed. I guess then everybody forgot about the orrery, or didn't want to think about it. I know Cloud never talked about it. You used to hide out up there, I remember. Now, you know, Smoky's up there all the time, trying to see if it will ever run, and studying books on machinery and clockwork—I don't know how he's doing.

"So he used to just live here, Harvey I mean, with Nora, in her room; and go up and work on the orrery; and then he fell off. So there you are.

"Sophie says to tell you to be careful of your throat because of bronchitis, in March.

"Lucy's baby's going to be a boy.

"Isn't the winter dragging on!

"Your loving mother."

Well. Still further dark or at least odd corners in his family's life he hadn't known about. He remembered saying once to Sylvie that nothing terrible had ever happened in his family. That was before he had learned much about the true and false Lilacs, of course; and here now was poor Harvey Cloud, a young husband, tumbling off the roof at the moment of his greatest triumph.

He could work that in. There was nothing, he had begun to think, that he couldn't work in. He had a gift for such work: a real gift. Everybody said so.

But meanwhile, his scene switched back to the City. This was the easy part, a rest from the other, more complex scenes; it was all simple in the City—predation, chase, escape, triumph and defeat; the weak to the wall, and only the strong survive. He chose, from a long row of them which had replaced George's anonymous paperbacks on the shelf, one of Doc's old books. He had sent to Edgewood for them when he had become a writer, and they had proved very useful, as he had thought they might. The one he had was one of the Gray Wolf's adventures; and, sipping his whiskey, he began to thumb through it, looking for some material he could steal.


Escapements

The moon was silver. The sun was gold, or at least goldplated. Mercury was a mirrored globe—mirrored with mercury, of course. Saturn was heavy enough to be lead. Smoky remembered something from the Architecture that associated various metals with various planets; but those weren't these planets, they were the dream-planets of magic and astrology. The orrery, brass-bound and oak-cased, was one of those turn-of-the-century scientific instruments that couldn't have been more solidly rational, material, engineered: a patented universe, made of rods and balls, meshing gears and electroplated springs.

Then why couldn't Smoky understand it?

He stared hard again at the mechanism, a sort of detached escapement, which he was about to disassemble. If he disassembled it before he understood its function, though, he doubted whether he could put it back together. On the floor, on tables in the hall below, there were several such, all cleaned and wrapped in oily rags, and wrapped too in mystery; this escapement was the last. He supposed (not for the first time) that he should never have begun this. He looked again at the diagram in the Cyclopedia of Mechanics which most resembled the dusty, rusted thing before him.

"Let E be a four-leaved scape-wheel, the teeth of which as they come around rest against the bent pall GFL at G. The pall is prevented from flying too far back by a pin H and kept up to position by a very delicate spring K." God it was cold in here. Very delicate spring: this thing? Why did it seem to be in here backwards? "The pall B engages the arm FL, liberating the scape-wheel, a tooth of which, M . . . ." Oh dear. As soon as the letters got past the middle of the alphabet, Smoky began to feel helpless and bound, as though tangled in a net. He picked up a pliers, and put it down again.

The ingenuity of engineers was appalling. Smoky had come to understand the basic principle of clockwork, upon which all those ingenuities were based: that a motive force—a falling weight, a wound spring—was prevented by an escapement from expending all its energy at once, and made to pay it out in ticks and tocks, which moved hands or planets around evenly until the force was all expended. Then you wound it up. All the foliots, verges, pallets, stackfreeds and going-barrels were only ingenuities, to keep the motion regular. The difficulty, the maddening difficulty, about Edgewood's orrery was that Smoky couldn't discover a motive force that made it go around—or rather he had discovered where it was, in that huge circular case, as black and thick as an old-time safe, and he had examined it, but still couldn't conceive how it was supposed to drive anything; it looked like something meant itself to be driven.

There was just no end to it. He sat back on his heels and clutched his knees. He was eye-level now to the plane of the solar system, looking at the sun from the position of a man on Saturn. No end to it: the thought stirred in him a mixture of itchy resentment and pure deep pleasure he had never felt before, except faintly, when as a boy he had been presented with the Latin language. The task of that language, when he had begun to grasp its immensity, had seemed likely to fill up his life and all the blank interstices of his anonymity; he had felt at once invaded and comforted. Well, he had abandoned it somewhere along in the middle of it, after having mostly licked off its magic, like icing; but now his old age would have this task: and it was a language too,

The screws, the balls, the rods, the springs were a syntax, not a picture. The orrery didn't model the Solar System in any visual or spatial way, if it had the pretty green-and-blue enameled Earth would have been a crumb and the whole machine would have needed to be ten times the size it was at least. No, what was expressed here, as by the inflections and predicates of a tongue, was a set of relations: and while the dimensions were fictional, the relations obtained all through, very neatly: for the language was number, and it meshed here as it did in the heavens: exactly as.

It had taken him a long time to figure that out, being unmathematical as well as unmechanical, but he had its vocabulary now, and its grammar was coming clear to him. And he thought that, not soon perhaps but eventually, he would be able to read its huge brass and glass sentences with some comprehension, and that they would not he as Caesar's and Cicero's had turned out to be, mostly dull, hollow and without mystery, but that something would be revealed equal to the terrific encoding it had received, something he very much needed to know.

There were quick footsteps on the stairs outside the orrery door, and his grandson Bud put his red head in. "Grampa," he said, looking over the mystery there, "Gramma sent you a sandwich."

"Oh, great," Smoky said. "Come on in."

He entered slowly, with the sandwich and a mug of tea, his eyes on the machine, better and more splendid than any Christmas-window train set. "Is it done?" he asked.

"No," Smoky said, eating.

"When will it be?" He touched one sphere, and then quickly drew his hand away when, with the smooth ease of heavy counterweighting, it moved.

"Oh," Smoky said, "about the time the world ends."

Bud looked at him in awe, and then laughed. "Aw come on."

"Well, I don't know," Smoky said. "Because I don't know yet what makes it go around."

"That thing," Bud said, pointing to the black case like a safe.

"Okay," Smoky said, and went to it, cup in hand, "but then the question is what makes this go around?"

He pushed up the lever that opened the gasketed door (dust-proof, but why?) and swung the case open. Inside, cleaned and oiled and ready to go if it could, which it couldn't, was the impossible heart of Harvey Cloud's machine: the impossible heart, so Smoky sometimes thought, of Edgewood itself.

"A wheel," Bud said. "A bent wheel. Wow."

"I think," Smoky said, "it's supposed to go by electricity. Down under the floor, if you lift up that door, there's a big old electric motor. Only—"

"What?"

"Well, it's backwards. It's in there backwards, and not by mistake."

Bud looked over the arrangement, thinking hard. "Well," he said, "maybe this makes this go around, and this makes this go around, and this makes that go around."

"A good theory," Smoky said, "only you've just come full circle. Everything's making everything else go around. Taking in each other's washing."

"Well," Bud said. "If it went fast enough. If it was smooth enough."

Fast, and smooth, and heavy it certainly was. Smoky studied it, his mind crossing in paradox. If this made that go around, as it was obviously meant to do; and that made this go around, which wasn't unreasonable; and this and that powered that and this. . . . Almost he saw it, jointed and levered, its sentences reading backwards and forwards at once, and couldn't just for a moment think why it was impossible, except that the world is as it is and not different. . . .

"And if it ever slowed down," Bud said, "you could come up once in a while and give it a push."

Smoky laughed. "Should we make that your job?" he asked.

"Yours," Bud said.

A push, Smoky thought, one constant small push from somewhere; but whosoever that push was, it couldn't be Smoky's, he had nothing like the strength, he would Somehow have to inveigle the whole universe to look away for a moment from the endless task of itself and reach out an enormous finger to touch these wheels and gears. And Smoky had no reason to think that such a special mercy would be his, or Harvey Cloud's, or even Edgewood's.

He said, "Well, anyway. Back to work." He pushed gently on the leaden sphere of Saturn, and it moved, ticking a few degrees, and as it moved all the other parts, wheels, gears, rods, spheres, moved too.


Caravans

"But perhaps," Ariel Hawksquill said, "perhaps there's no war on at all."

"What do you mean?" asked the Emperor Frederick Barbarossa, after a moment's startled thought.

"I mean," Hawksquill said, "that perhaps what we think of as a war is in fact not one. I mean that perhaps there is no war on at all, after all; and perhaps there never was one."

"Don't be absurd," the President said. "Of course there'sa war on. We're winning."

The Emperor sat sunk in a broad armchair, chin resting on his breast. Hawksquill was at the grand piano which took up much of the far end of the room. She had had this piano altered to make quarter-tones, and on it she liked to play plangent old hymn-tunes harmonized according to a system of her own devising, rendered oddly, sweetly discordant by the altered piano. They made the Tyrant sad. Outside, snow was falling.

"I don't mean," Hawksquill said, "that you have no enemies. Of course you have. I was speaking of the other, the long war: the Great War. Perhaps that's not a war at all."

The Noisy Bridge Rod and Gun Club, though exposed (their drawn cold faces and dark overcoats appearing in every newspaper) had not fallen easily, as Hawksquill had known they would not. Their resources were great; for whatever they were charged with they had countercharges, and they had the best legal counsel; but (they hadn't listened when Hawksquill had warned them it might be so) their part in the story was over. Struggle only prolonged the end, it was never in doubt. Money gathered at junctures of the case and went off like bombs sometimes, causing temporary outlandish reversals of members' fortunes, but these firebreaks never seemed to give the Club time to recoup. Petty, Smilodon & Ruth, after accruing enormous fees all around, withdrew from their defense amid mysterious circumstances and bitter recriminations; shortly thereafter, masses of paper came to light whose provenance couldn't successfully be denied. Men once made of power and cold blood were seen on every television screen to weep tears of frustration and despair as they were led away to trial by the gloved hands of marshals and indifferent plainclothesmen. The end of the story was not widely known, for it was in the winter of its most shocking revelations that the universal grid of communications which had for a glorious seventy-five years or so lit up the nation like the strung lights of a Christmas tree was for the most part roughly cut: by Eigenblick himself, to forestall its takeover by his enemies; elsewhere, by his enemies, to forestall its takeover by the Tyrant.

That war—the war of the People against the Beast who had seized power and trodden on the institutions of democracy, and of the Emperor-President against the Interests on the people's behalf—was real enough. The blood shed in it was real. The fractures that had run through the society when it had been struck thus hard were deep. But: "If," Hawksquill said, "if those whom we have thought to be at war with men came here to this new world in the first place at about the same time the Europeans did—at about the time, that is, that your latter Empire began to be predicted; and if they came for the same reasons, freedom and space and scope; then they must have eventually been disappointed, just as the men were. . . ."

"Yes," said Barbarossa.

"The virgin forests where they hid themselves gradually logged, cities built on the river-banks and lake shores, the mountains mined, and with no old European regard for wood-sprites and kobolds either. . . ."

"Yes."

"And, if they are in fact as long-sighted as they seem to be, then they must have themselves seen this result, known about it, long ago."

"Yes."

"Before the migration even began. As long ago, in fact, as your Majesty's first reign. And, since they could see it, they prepared for it: they begged your long sleep of him who keeps the years; they sharpened their own weapons; they waited. . . ."

"Yes, yes," Barbarossa said. "And now at last, though much reduced, having been patient for centuries, they strike! Issue from their old strongholds! The robbed dragon stirs in his sleep, and wakes!" He was on his feet; flimsy sheets of computer printout, strategies, plans, figures, slid from his lap to the floor.

"And the bargain made with you," Hawksquill said. "Help them in this enterprise, distract the nation's attention, reduce it to warring fragments (much like your old Empire, they counted on you to do that part well), and, when the old woods and bogs had crept back, when the traffic stopped, when they had recouped as much of their losses as would satisfy them, you could have the rest as your Empire."

"Forever," Eigenblick said, stirred. "That was the promise."

"Fine," Hawksquill said thoughtfully. "That's fine." She stroked the keys; something like Jerusalem came from beneath her ringed fingers. "Only none of it's true," she said.

"What?"

"None of it's true; it's false, a lie, not in fact the case."

"What . . ."

"It's not odd enough, for one thing." She struck a twanging chord, grimaced, tried it again a different way. "No, I think something quite different is occurring, some motion, some general shift that is no one's choice, no one's . . ." She thought of the dome of the Terminus, its Zodiac reversed, and how she had at the time blamed that on the Emperor who stood before her. Foolish! And yet . . . "Something," she said, "something like the shuffling together of two decks of cards."

"Speaking of cards," he said.

"Or one cut deck," she said, ignoring him. "You know the way small children will sometimes, in trying to shuffle, get one-half the deck upside down? And then there they all are, shuffled together, inextricably mixed backs and faces."

"I want my cards," he said.

"I don't have them."

"You know where they are."

"Yes. And if you were meant to have them, so would you."

"I need their counsel! I need it!"

"Those who have the cards," Hawksquill said, "prepared the way for all this, for your victory such as it is or will be, as well or better than you could have yourself. Long before you appeared, they were a fifth column for that army." She struck a chord, sweet-sour, tart as lemonade. "I wonder," she said, "if they regret that; if they feel bad, or traitorous to their own kind. Or if they ever knew they were taking sides against men."

"I don't know why you say there's no war," the President said, "and then talk like that."

"Not a war," Hawksquill said; "but something like a war." Something like a storm, perhaps; yes, like the advancing front of a weather system, which alters the world from warm to cold, gray to blue, spring to winter. Or a collision: mysterium coniunctionis, but of what with what? "Or," she said—the thought suddenly struck her— "something like two caravans, two caravans that meet at a single gate, coming from different far places, going toward different far places; mixing it up, jostling through that gate, for a time one caravan only, and then, on the far side, unwinding again toward their destinations, though perhaps with some few having changed places; a saddle bag or two stolen; a kiss exchanged. . . ."

"What," Barbarossa said, "are you talking about?"

She turned her stool to face him. "The question is," she said, "just what kingdom it is you've come into,"

"My own."

"Yes. The Chinese, you know, believe that deep within each of us, no larger than the ball of your thumb, is the garden of the immortals, the great valley where we are all king forever."

He turned on her, suddenly angry. "Now listen," he said.

"I know," she said, smiling. "It would be a damned shame if you ended up ruling, not the Republic that fell in love with you, but some other place entirely."

"No."

"Someplace very small."

"I want those cards," he said.

"Can't have 'em. Not mine to give."

"You'll get them for me."

"Won't."

"How would you like it," Barbarossa said, "if I got the secret out of you? I do have power, you know. Power."

"Are you threatening me?"

"I could have you—I could have you killed. Secretly. No one would be the wiser."

"No," Hawksquill said calmly. "Killed you could not have me. Not that."

The Tyrant laughed, his eyes catching lurid fire. "You think not?" he said. "Oh ho, you think not?"

"I know not," Hawksquill said. "For a strange reason which you couldn't guess. I've hidden my soul."

"What?"

"Hidden my soul. An old trick, one which every village witch knows how to do. And is wise to do: you never know when those you serve may turn resentful, and fall on you."

"Hidden? Where? How?"

"Hidden. Elsewhere. Exactly where, or in what, I won't of course tell you; but you see that unless you knew, it would be useless trying to kill me."

"Torture." His eyes narrowed. "Torture."

"Yes." Hawksquill rose from her stool. Enough of this. "Yes, torture might work. I'll say goodnight now. There's much to do."

She turned back, at the door, and saw him standing as though stuck in his threatening pose, glaring at her but not seeing her. Had he heard, or understood, anything she had tried to tell him? A thought took hold of her, a strange and fearful thought, and for a moment she only looked at him as he looked at her, as though they were both trying to remember where, or whether, they had ever met before; and then, alarmed, Hawksquill said, "Goodnight, your Majesty," and left him.


New-Found-Land

Later that night, in the Capital, the episode of Mrs. MacReynolds' death appeared on "A World Elsewhere." In other places the time of its showing varied; it was no longer in many places a daytime drama, often it was a post-midnight one. But shown it was, broadcast or cabled or—where that wasn't possible, where lines had been cut or transmission interdicted—smuggled into small local stations, or copied and carried overland by hand to hidden transmitters, the precious tapes beamed feebly to far small snowy towns. A walker on this night through such a town could pass along its single street and glimpse, in every living room, the bluish glow of it; might see, in one house, Mrs. MacReynolds carried to her bed, in the next, her children gathered, in the next, her parting words spoken; in the last house before the town ran out and the silent prairie began, her dead.

In the Capital, the Emperor-President watched too, his eagle-browed but soft brown eyes dimmed. Never long; longing is fatal. A cloud of pity, of self-pity, rose in him, and took (as clouds can do) a form: the form of Ariel Hawksquill's aloof, amused and unyielding face.

Why me? he thought, raising his hands as though to exhibit shackles. What had he ever done that this awful bargain should have been struck with him? He had been earnest and hard-working, had written a few cutting letters to the Pope, had married his children well. Little else. Why not his grandson, Frederick II, now there was a leader; why not him? Had not the same story after all been told of him, that he was not dead but slept, and would awake to lead his people?

But that was legend only. No, he was here, it was his to suffer this, insufferable though it seemed.

A king in Fairyland: Arthur's fate. Could it be true? A realm no larger than the ball of his thumb, his earthly kingdom nothing but wind, the wind of his passage from here to there, from sleep to sleep.

No! He drew himself up. If there had been no war so far, or only a phony war, well, that time was over. He would fight; he would extract from them every jot of the promises so long ago made to him. For eight hundred years he had slept, doing battle with dreams, laying siege to dreams, conquering dream Holy Lands, wearing dream crowns. He had hungered eight hundred years for the real world, the world he could just sense but not see beyond all the dissolving kingdoms of dream. Hawksquill might be right, that they had never intended him to have it. She might (might well, oh yes, it was all coming quite, quite clear to him) have been in league with them from the beginning to deprive him of it. He almost laughed, a dreadful laugh, to think that there had been a time when he had trusted her, leaned on her even. No more. He would fight. He would get those cards from her by whatever means, yes, though she unleashed her terrible powers on him, he would. Alone, helpless it might be, he would fight, fight for his great, dark, snow-burdened new-found-land.

"Only hope," Mrs. MacReynolds said, dying; "only have patience." The lone walker (refugee? salesman? police spy?) passed the last house on the outskirts, and stepped out along the empty highway. In the houses behind, one by one the bluish eyes of sets were closed; a news broadcast had begun, but there was no news any longer. They went to bed; the night was long; they dreamed of a life that wasn't theirs, a life that could fill theirs, a family elsewhere and a house that could make the dark earth once again a world.

It was still snowing in the Capital. The snow whitened the night, obscuring the far monuments that could be seen through the President's mullioned windows, piling up at the feet of heroes, choking the entrances to underground garages. Somewhere a stuck car was crying rhythmically and helplessly to escape a drift.

Barbarossa wept.


Just About Over

"What do you mean," Smoky asked, "just about over?"

"I mean I think it's just about over," Alice said. "Not over, not yet; but just about."

They had gone to bed early—they did that often nowadays, since their big bed with its high-piled quilts and comforters was the only place in the house they could be truly warm. Smoky wore a nightcap: draughts were draughts, and no one could see how foolish he looked. And they talked. A lot of old knots were untangled in those long nights: or at least shown to be for sure unentanglable, which Smoky supposed was more or less the same thing.

"But how can you say that?" Smoky said, rolling over toward her, lifting as on a big wave the cats who sailed the foot of the bed.

"Well, good heavens," Alice said, "it's been long enough, hasn't it?"

He looked at her, her pale face and nearly white hair just distinguishable in the dark against the white pillowcase. How did she always come up with these un-answers, these remarks struck off with such an air of logical consequence, that meant nothing, or as good as nothing? It never ceased to amaze him. "That's not what I meant, exactly. I guess I meant how do you know it's just about over? Whatever it is."

"I'm not sure," she said, after a long pause. "Except that after all it's happening to me, partly anyway; and I feel about over, some ways; and . . ."

"Don't say that," he said. "Don't even joke about it."

"No," she said. "I don't mean dying. Is that what you thought I meant?"

He had; he saw now that he didn't understand at all, and rolled over again. "Well, hell," he said. "It never really had anything to do with me anyway."

"Aw," she said, and moved closer to him, putting an arm around him. "Aw, Smoky, don't be that way." She placed her knees up behind his, so that they lay together like a double S.

"What way."

She said nothing for a long time. Then: "It's a Tale, is all," she said; "and tales have beginnings and middles and ends. I don't know when the beginning was, but I know the middle. . . ."

"What was the middle?"

"You were in it! What was it? It was you!"

He drew her familiar hand around him closer. "What about the end?" he said.

"Well that's what I mean," she said. "The end."

Quick, before a looming something he saw darkly huge in her words could steal over him, he said, "No no no no. Things don't have ends like that, Alice. Any more than they have beginnings. Things are all middles in life. Like Auheron's show. Like history. One damn thing after another, that's all."

"Tales have ends."

"Well, so you say, so you say, but . . ."

"And the house," she said.

"What about the house?"

"Couldn't it have an end? It seems like it will, not long from now; if it did . . ."

"No. It'll just get older."

"Fall apart . . ."

He thought of its cracked walls, its vacant rooms, the seep of water in its basements; its paintless clapboards growing warped, masonry rotting; termites. "Well, it's not its fault," he said.

"No, sure."

"It's supposed to have electricity. Lots of it. That's how it was made. Pumps. Hot water in the pipes, hot water in the heaters. Lights. Ventilators. Things freeze and crack, because there's no heat, because there's no electricity."

"I know."

"But that's not its fault. Not our fault either. Things have gotten so bad. Russell Eigenblick. How can you get things fixed when there's a war on? His domestic policy. Crazy. And so things run out, and there's no electricity, and so . . ."

"And whose fault," she said, "do you think Russell Eigenblick is?"

For a moment, just for a moment, Smoky allowed himself to feel the Tale closing around him, and around all of them; around everything that was. "Oh, come on," he said, a charm to banish the idea, but it persisted. A Tale: a monstrous joke was more like it: the Tyrant installed, after God knows how many years' preparation, amid bloodshed and division and vast suffering, just so that one old house could be deprived of what it needed to live on, so that the end of some convoluted history, which coincided with the house's end, could be brought about, or maybe only hastened; and he inheriting that house, maybe lured there in the first place by love only so that eventually he could inherit it, and inheriting it only so that (though he struggled against it, tools were never far from his hapless hands, all to no good) he could preside over—maybe even, through some clumsiness or inadequacy he could easily imagine himself capable of, insure—its dissolution; and that dissolution in turn bringing about . . . "Well, what then?" he asked. "If we couldn't live here any more."

She didn't answer, but her hand sought his and held it.

Diaspora. He could read it in her hand's touch.

No! Maybe the rest of them could imagine such a thing (though how, when it had always been more their house than his?), maybe Alice could, or Sophie, or the girls; imagine some impossible imaginary destination, some place so far . . . But he could not. He remembered a cold night long ago, and a promise: the night they had first been in the same bed, he and Alice, bedclothes drawn up, lying together like a double S, when he saw that in order to go where she would go, and not be left behind, he would have to find within himself a child's will to believe that had never been much exercised in him and was even then long in disuse; and he found himself no more ready to follow now than he had ever been. "Would you leave?" he asked.

"I think," she said.

"When."

"When I know where it is I'm supposed to go." She drew even closer to him, as though in apology. "Whenever that is." Silence. He felt her breath tickle his neck. "Not soon, maybe." She rubbed her cheek against his shoulder. "And maybe not leave; I mean leave-leave; maybe not ever."

But that was just to placate him, he knew. He had after all never been more than a minor character in that destiny, he had always expected to be left in some sense behind: but that fate had been for so long in abeyance, causing him no grief, that (without ever quite forgetting it) he had chosen to ignore it; had even sometimes allowed himself to believe that he had made it, by his goodness and acquiescence and fidelity, go away. But he had not. Here it was: and, as gently as she could consonant with there being no mistake about it, Alice was telling him so.

"Okay, okay," he said. "Okay." That was a code-word between them, meaning I don't understand but I have come to the limit of my strength to try to understand, and I trust you to this point anyway, and let's talk of something else. But—.

"Okay," he said again, and this time meant a different thing by it: because he saw just then that there was one way, an impossible unfollowable way but the only way there was, for him to fight this—yes! Fight!—and that Somehow he would have to find it.

It was his damn house now, damn it, and he would have to keep it alive, that's all. For if it lived, if it could, then the Tale couldn't end, could it? No one would have to leave, maybe no one could leave (what did he know about it?) if the house held together, if there was some way to halt its decline, or reverse it. So he would have to do that. Strength alone wouldn't be enough, not anyway his strength; cunning would be needed. Some huge thought would have to be thought (did he feel it, down deep, trying to be born, or was that just blind hope?) and nerve would be necessary, and application, and tenacity like grim death's. But it was the way; the only way.

Access of energy and resolve spun him in the bed, the tassel of his nightcap flying. "Okay, Alice, okay," he said again. He kissed her fiercely—his too!—and then again firmly; and she laughed, embracing him, not knowing (he thought) that he had just resolved to spend his substance subverting her; and she kissed him back.

How could it be, Daily Alice wondered as they kissed, that to say such things as she had said to the husband she loved, on this darkest night of the year, made her not sad but glad, filled in fact with happy expectation? The end: to have the Tale end meant to her to have it all forever, no part left out, complete and seamless at last—certainly Smoky couldn't be left out, not as deeply woven into its stuff as he had become. It would be good, so good to have it all at last, start to finish, like some long, long piece of work that has been executed in dribs and dabs, in the hope and faith that the last nail, the last stitch, the last tug at the strings, will make it all suddenly make sense: what a relief! It didn't, quite, not yet; but now in this winter Alice could at last believe, with no reservations, that it would: they were that close. "Or maybe," she said to Smoky, who paused in his attentions to her, "maybe just beginning." Smoky groaned, shaking his head, and she laughed and clasped him to her.

When there was no more talk from the bed, the girl who had for some time been watching the bedclothes heave and listening to their words turned to go. She had come in through the door (left open for the cats to go in and out) silently, on bare feet, and then stood in the shadows watching and listening, a small smile on her lips. Because a mountain-range of quilts and coverlets rose between their heads and the room, Smoky and Alice hadn't seen her there, and the incurious cats, who had opened big eyes when she had entered, had returned to fitful sleep, only now and then regarding her through narrowed lids. She paused a moment now at the door, for the bed had begun to make noises again, but she couldn't make anything of these, mere low sounds, not words, and she slipped through the door and into the hall.

There was no light there but a faint snowlight coming in through the casement at the haIl's end, and slowly, like someone blind, she went with small silent steps, arms extended, past closed doors. She considered each dark blank door as she passed it, but shook her blond head at each in turn, thinking; until, rounding a corner, she came to an arched one, and smiled, and with her small hand turned its glass knob and pushed it open.