“What are you doing?” I ask, coming in.
She turns, surprised. And well she might be. I am not sure that I have ever sought her out before. “My people had wings once,” she says, the longing clear in her voice. “And though I’ve never had a pair of my own, sometimes I feel the lack of them.”
I wonder if, when she imagines having wings, she pictures herself flying up into the sky and away from all this.
“Have you seen Taryn?” Vines curl around the posts of Oriana’s bed, their stems a vivid green. Blue flowers hang down in clumps over where she sleeps, making for a richly perfumed bower. There is nowhere to sit that doesn’t seem crawling with plants. It’s hard for me to picture Madoc comfortable here.
“She’s gone to the house of her betrothed, but they’ll be at the High King Balekin’s manor tomorrow. You will be there, too. He’s throwing a feast for your father and some of the Seelie and Unseelie rulers. You’ll be expected to be less hostile to each other.”
I cannot even imagine the horror, the awkwardness, of being dressed in gossamer, the smell of faerie fruit heavy in the air, while I am supposed to pretend that Balekin is anything but a murdering monster.
“Will Oak go?” I ask her, and feel the first real pang of regret. If I leave, I won’t get to see Oak grow up.
Oriana clasps her hands together and walks over to her dressing table. Her jewelry hangs there—slices of agate on long chains of raw crystal beads, collars set with moonstones, deep green bloodstones strung together, and an opal pendant, bright as fire in the sunlight. And on a silver tray, beside a pair of ruby earrings in the shape of stars, is a golden acorn.
A golden acorn, twin to the one I found in the pocket of the gown that Locke gave me. The dress that had belonged to his mother. Liriope. Locke’s mother. I think of her madcap, joyful dresses, of her dust-covered bedroom. Of how the acorn in her pocket opened to show a bird inside.
“I tried to convince Madoc that Oak was too young and that this dinner will be too dull, but Madoc insisted that he come. Perhaps you can sit beside him and keep him amused.”
I think about the story of Liriope, of how Oriana told it to me when she believed I was getting too close to Prince Dain. Of how Oriana had been a consort to the High King Eldred before she was Madoc’s wife. I think about why she might have needed to make a swift marriage, what she might have had to hide.
I think about the note I found on Balekin’s desk, the one in Dain’s hand, a sonnet to a lady with sunrise hair and starlit eyes.
I think about what the bird said: My dearest friend, these are the last words of Liriope. I have three golden birds to scatter. Three attempts to get one into your hand. I am too far gone for any antidote, and so if you hear this, I leave you with the burden of my secrets and the last act of my heart. Protect him. Take him far from the dangers of this Court. Keep him safe, and never, ever tell him the truth of what happened to me.
I think again about strategy, about Dain and Oriana and Madoc. I recall when Oriana first came to us. How quickly Oak was born and how we weren’t allowed to see him for months because he was so sickly. About how she has always been protective of him around us, but maybe that was for one reason, when I had assumed another.
Just as I’d assumed the child Liriope wanted her friend to take was Locke. But what if the baby she had been carrying didn’t die with her?
I feel as though I’ve been robbed of breath, as if getting out words is a struggle against the very air in my lungs. I cannot quite believe what I am about to say, even as I know it’s the conclusion that makes sense. “Oak isn’t Madoc’s child, is he? Or, at least, no more Madoc’s than I am.”
If the boy is born, Prince Dain will never be king.
Oriana claps a hand over my mouth. Her skin smells like the air after a snowfall. “Don’t say that.” She speaks close to my face, voice trembling. “Do not ever say that again. If you ever loved Oak, do not say those words.”
I push her hand away. “Prince Dain was his father and Liriope his mother. Oak is the reason Madoc backed Balekin, the reason he wanted Dain dead. And now he’s the key to the crown.”
Her eyes widen, and she takes my chilly hand in hers. She has never not seemed strange to me, like a creature from a fairy tale, pale as a ghost. “How could you know that? How could you know any of this, human child?”
I had thought Prince Cardan was the most valuable individual in all of Faerie. I had no idea.
Swiftly, I shut the door and close up her balcony. She watches me and doesn’t protest. “Where is he now?” I ask her.
“Oak? With his nurse,” she whispers, drawing me toward the little divan in one corner, patterned with a snake brocade and covered in a fur. “Talk quickly.”
“First, tell me what happened seven years ago.”
Oriana takes a deep breath. “You might think that I would have been jealous of Liriope for being another of Eldred’s consorts, but I wasn’t. I loved her. She was always laughing, impossible not to love—even though her son has come between you and Taryn, I cannot help loving him a little, for her sake.”
I wonder what it was like for Locke to have his mother be the lover of the High King. I am torn between sympathy and a desire for his life to have been as miserable as possible.
“We were confidantes,” Oriana says. “She told me when she began her affair with Prince Dain. She didn’t seem to take any of it seriously. She had loved Locke’s father very much, I think. Dain and Eldred were dalliances, distractions. Our kind do not worry overmuch about children, as you know. Faerie blood is thin. I don’t think it occurred to her that she might have a second son, a mere decade after she bore Locke. Some of us have centuries between children. Some of us never carry any at all.”
I nod. That’s why human men and women are the unacknowledged necessity they are. Without their strengthening the bloodline, Faerie would die out, despite the endless span of their lives.
“Blusher mushroom is a terrible way to die,” Oriana says, hand to her throat. “You begin to slow, your limbs tremble until you can move no more. But you are still conscious until everything inside you stops, like frozen clockwork. Imagine the horror of that, imagine hoping that you might yet move, imagine straining to move. By the time she got me the message, she was dead. I cut…” Her voice falters. I know what the rest of the sentence must be. She must have cut the child out of Liriope’s belly. I cannot picture prim Oriana doing such a brutal, brave thing—pressing the point of her knife into flesh, finding the right spot and slicing. Prizing a child from a womb, holding its wet body against her. And yet who else could have done it?
“You saved him,” I say, because if she doesn’t want to talk about that part, she doesn’t have to.