Advertisement
Of course the house is haunted. If a door is closed on the first floor, another on the second floor will squeal open out of contrariness. If wine is spilled on the living room carpet and scrubbed at furiously and quickly so that a stain does not set, another stain, possibly darker, will appear somewhere else in the house. A favorite room in which malevolence quietly happens is the bathroom.
Everything we crocodiles taste in the water has meaning. It tells us about the people who live here: who does the washing, who harvests the water crops, what they are growing in their fields and belukar. We even know littler details: who is pregnant, who is dying, what couple has been frolicking in the river, heedless of the risks we pose to them.
I went to the window of my half-empty apartment that morning expecting to see the usual foggy San Francisco summer street, but instead, there was a volcano: looming over the city taller than the skyscrapers in the financial district, rising from the depths of Golden Gate Park, casting a long shadow to the west. The steep slopes, visible above the rooftops of my neighbors across the street, were gray and rocky.
The day the dragons came, Neal kissed a boy. This span of months would later be remembered as the Awakening and condensed to precisely three pages in a tenth-cycle history text. Those three pages would lie nestled between twelve pages on the War of the Sea (when the merfolk rose up and attacked the trade ships in retaliation for an attack against their king) and twenty-four pages on the Reconstruction Age.
Among my University colleagues, I have a reputation for calm. Whatever the emotional upheaval around me, I can be counted on to keep my head, to make plans, to calculate the cost and consequences, and then to act. If they also say that I live too much in my head, that I lack passion and, perhaps, compassion, that is the price I must pay for being one of those still waters that runs much deeper than it appears.
The world’s greatest assassin lives on a private island. That’s so much a given that you must have known it already. You’ve seen all those movies about master thieves, brilliant scammers, unflappable secret agents, dangerous people who live on their own tropical islands and must be lured into one last job. He was the source of the cliché.
He huddled under the bridge and hid from the world outside, as he had done for as long as he could remember . . . No, he could remember a time before that, but he didn’t like those thoughts, and he buried them away whenever they appeared.The bridge was old and unimpressive, long ago marred by spray-painted graffiti, mostly faded now.
Cromdor the Calderian, thrice-cursed, thrice-condemned, (I’ve forgotten the rest, but believe you me, there is thrice-more) had nearly finished his tale when the traveler slipped in. As he had for the last ten days and ten before that, Cromdor had a packed house. ’Course, “packed house” is relative—last winter a mudslide tore away half the common room, and Yargin had been rebuilding when he fell through the thatch and died on that floor.
Once upon a time, there was a man who was born, who lived, and who died. We could leave the whole story at that, except that it would be misleading to write the sentence only once. He was born, he lived, and he died, was born, lived, died, bornliveddied. The first few words of a story are a promise. We will have this kind of experience, not that one. Here is a genre, here is a setting, here is a conflict, here is a character. We don’t know what is coming next, but we do know what is coming next.
Advertisement
Advertisement
Advertisement
Advertisement
Advertisement
Advertisement
Advertisement