Daughter of Smoke & Bone

4





POISON KITCHEN



The rest of the school day was uneventful. A double period of chemistry and color lab, followed by master drawing and lunch, after which Zuzana went to puppetry and Karou to painting, both three-hour studio classes that released them into the same full winter dark by which they’d arrived that morning.

“Poison?” inquired Zuzana as they stepped out the door.

“You have to ask?” said Karou. “I’m starved.”

They bent their heads against the icy wind and headed toward the river.

The streets of Prague were a fantasia scarcely touched by the twenty-first century—or the twentieth or nineteenth, for that matter. It was a city of alchemists and dreamers, its medieval cobbles once trod by golems, mystics, invading armies. Tall houses glowed goldenrod and carmine and eggshell blue, embellished with Rococo plasterwork and capped in roofs of uniform red. Baroque cupolas were the soft green of antique copper, and Gothic steeples stood ready to impale fallen angels. The wind carried the memory of magic, revolution, violins, and the cobbled lanes meandered like creeks. Thugs wore Mozart wigs and pushed chamber music on street corners, and marionettes hung in windows, making the whole city seem like a theater with unseen puppeteers crouched behind velvet.

Above it all loomed the castle on the hill, its silhouette as sharp as thorns. By night it was floodlit, bathed in eerie light, and this evening the sky hung low, full-bellied with snow, making gauzy halos around the street lamps.

Down by the Devil’s Stream, Poison Kitchen was a place rarely stumbled upon by chance; you had to know it was there, and duck under an unmarked stone arch into a walled graveyard, beyond which glowed the lamp-lit windowpanes of the cafe.

Unfortunately, tourists no longer had to rely on chance to discover the place; the latest edition of the Lonely Planet guide had outed it to the world—



The church once attached to this medieval priory burned down some three hundred years ago, but the monks’ quarters remain, and have been converted to the strangest cafe you’ll find anywhere, crowded with classical statues all sporting the owner’s collection of WWI gas masks. Legend has it that back in the Middle Ages, the cook lost his mind and murdered the whole priory with a poisoned vat of goulash, hence the cafe’s ghoulish name and signature dish: goulash, of course. Sit on a velvet sofa and prop your feet up on a coffin. The skulls behind the bar may or may not belong to the murdered monks….





—and for the past half year backpackers had been poking their heads through the arch, looking for some morbid Prague to write postcards about.

This evening, though, the girls found it quiet. In the corner a foreign couple was taking pictures of their children wearing gas masks, and a few men hunched at the bar, but most of the tables—coffins, flanked by low velvet settees—were unoccupied. Roman statues were everywhere, life-size gods and nymphs with missing arms and wings, and in the middle of the room stood a copy of the huge equestrian Marcus Aurelius from Capitoline Hill.

“Oh, good, Pestilence is free,” said Karou, heading toward the sculpture. Massive emperor and horse both wore gas masks, like every other statue in the place, and it had always put Karou in mind of the first horseman of the Apocalypse, Pestilence, sowing plague with one outstretched arm. The girls’ preferred table was in its shadow, having the benefit of both privacy and a view of the bar—through the horse’s legs—so they could see if anyone interesting came in.

They dropped their portfolios and hung their coats from Marcus Aurelius’s stone fingertips. The one-eyed owner raised his hand from behind the bar, and they waved back.

They’d been coming here for two and a half years, since they were fifteen and in their first year at the Lyceum. Karou had been new to Prague and had known no one. Her Czech was freshly acquired (by wish, not study; Karou collected languages, and that’s what Brimstone always gave her for her birthday) and it had still tasted strange on her tongue, like a new spice.

She’d been at a boarding school in England before that, and though she was capable of a flawless British accent, she had stuck with the American one she’d developed as a child, so that was what her classmates had thought she was. In truth, she had claim to no nationality. Her papers were all forgeries, and her accents—all except one, in her first language, which was not of human origin—were all fakes.

Zuzana was Czech, from a long line of marionette artisans in Cˇ eský Krumlov, the little jewel box of a city in southern Bohemia. Her older brother had shocked the family by going into the army, but Zuzana had puppets in the blood and was carrying on the family tradition. Like Karou, she’d known no one else at school and, as fortune would have it, early in the first term they’d been paired up to paint a mural for a local primary school. That had entailed a week of evenings spent up ladders, and they’d taken to going to Poison Kitchen afterward. This was where their friendship had taken root, and when the mural was finished, the owner had hired them to paint a scene of skeletons on toilets in the cafe’s bathroom. He’d paid them a month of suppers for their labor, ensuring they would keep coming back, and a couple of years later, they still were.

They ordered bowls of goulash, which they ate while discussing Kaz’s stunt, their chemistry teacher’s nose hair—which Zuzana asserted was braidable—and ideas for their semester projects. Soon, talk shifted to the handsome new violinist in the orchestra of the Marionette Theatre of Prague.

“He has a girlfriend,” lamented Zuzana.

“What? How do you know?”

“He’s always texting on his breaks.”

“That’s your evidence? Flimsy. Maybe he secretly fights crime, and he’s texting infuriating riddles to his nemesis,” suggested Karou.

“Yes, I’m sure that’s it. Thank you.”

“I’m just saying, there could be other explanations than a girlfriend. Anyway, since when are you shy? Just talk to him already!”

“And say what? Nice fiddling, handsome man?”

“Absolutely.”

Zuzana snorted. She worked as an assistant to the theater’s puppeteers on the weekends and had developed a crush on the violinist some weeks before Christmas. Though not usually bashful, she had yet to even speak to him. “He probably thinks I’m a kid,” she said. “You don’t know what it’s like, being child-size.”

“Marionette-size,” said Karou, who felt no pity whatsoever. She thought Zuzana’s tininess was perfect, like a fairy you found in the woods and wanted to put in your pocket. Though in Zuzana’s case the fairy was likely to be rabid, and bite.

“Yeah, Zuzana the marvelous human marionette. Watch her dance.” Zuzana did a jerky, puppetlike version of ballet arms.

Inspired, Karou said, “Hey! That’s what you should do for your project. Make a giant puppeteer, and you be the marionette. You know? You could make it so that when you move, it’s like, I don’t know, reverse puppetry. Has anyone done that before? You’re the puppet, dancing from strings, but really it’s your movements that are making the puppeteer’s hands move?”

Zuzana had been lifting a piece of bread to her mouth, and she paused. Karou knew by the way her friend’s eyes went dreamy that she was envisioning it. She said, “That would be a really big puppet.”

“I could do your makeup, like a little marionette ballerina.”

“Are you sure you want to give it to me? It’s your idea.”

“What, like I’m going to make a giant marionette? It’s all yours.”

“Well, thanks. Do you have any ideas for yours yet?”

Karou didn’t. Last semester when she’d taken costuming she had constructed angel wings that she could wear on a harness, rigged to operate by a pulley system so she could lift and lower them. Fully unfolded, they gave her a wingspan of twelve magnificent feet. She’d worn them to show Brimstone, but had never even made it in to see him. Issa had stopped her in the vestibule and—gentle Issa!—had actually hissed at her, cobra hood flaring open in a way Karou had seen only a couple of times in her whole life. “An angel, of all abominations! Get them off! Oh, sweet girl, I can’t stand the sight of you like that.” It was all very odd. The wings hung above the bed now in Karou’s tiny flat, taking up one entire wall.

This semester she needed to come up with a theme for a series of paintings, but so far nothing had set her mind on fire. As she was pondering ideas, she heard the tinkle of bells on the door. A few men came in, and a darting shadow behind them caught Karou’s eye. It was the size and shape of a crow, but it was nothing so mundane.

It was Kishmish.

She straightened up and cast a quick glance at her friend. Zuzana was sketching puppet ideas in her notebook and barely responded when Karou excused herself. She went into the bathroom and the shadow followed, low and unseen.

Brimstone’s messenger had the body and beak of a crow but the membranous wings of a bat, and his tongue, when it flicked out, was forked. He looked like an escapee from a Hieronymus Bosch painting, and he was clutching a note with his feet. When Karou took it, she saw that his little knifelike talons had pierced the paper through.

She unfolded it and read the message, which took all of two seconds, as it said only, Errand requiring immediate attention. Come.

“He never says please,” she remarked to Kishmish.

The creature cocked his head to one side, crow-style, as if to inquire, Are you coming?

“I’m coming, I’m coming,” said Karou. “Don’t I always?”

To Zuzana, a moment later, she said, “I have to go.”

“What?” Zuzana looked up from her sketchbook. “But, dessert.” It was there on the coffin: two plates of apple strudel, along with tea.

“Oh, damn,” said Karou. “I can’t. I have an errand.”

“You and your errands. What do you have to do, so all of a sudden?” She glanced at Karou’s phone, sitting on the coffin, and knew she had gotten no phone call.

“Just things,” said Karou, and Zuzana let it drop, knowing from experience that she’d get no specifics.

Karou had things to do. Sometimes they took a few hours; other times, she was gone for days and returned weary and disheveled, maybe pale, maybe sunburned, or with a limp, or possibly a bite mark, and once with an unshakable fever that had turned out to be malaria.

“Just where did you happen to pick up a tropical disease?” Zuzana had demanded, to which Karou had replied, “Oh, I don’t know. On the tram, maybe? This old woman did sneeze right in my face the other day.”

“That is not how you get malaria.”

“I know. It was gross, though. I’m thinking of getting a moped so I don’t have to take the tram anymore.”

And that was the end of that discussion. Part of being friends with Karou was resignation to never really knowing her. Now Zuzana sighed and said, “Fine. Two strudels for me. Any resulting fat is your fault,” and Karou left Poison Kitchen, the shadow of an almost-crow darting out the door before her.