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In this house, it is very easy to change. Yesterday, the cat was a cat, but today it is a dark shadow under the kitchen sink. Yesterday, my father was alive, but today he’s on the floor, eyes open but unseeing, laying in a small pool of his own blood. In my hand, there is a bloodstained knife. Yesterday, it was a wand. Today, it has forgotten the name of all spells, except one. Kill. It is very easy for a thing to change. I know this because I am a thing, too.
His rival appraises him with a measured stare, but he is used to such scrutiny, insults half-whispered through gritted teeth. He stands his ground, here among the windswept ruins of broken pillars and half-buried busts, before the vine-choked temple in the thin mountain air. He stands his ground, and the woman studying him smirks. He has not come all this way to be defeated by that. His rival leans against a sunken marble building, curls spilling down her back and muscles rippling under her sleeves. She’s beautiful in the winter sun, brown and freckled, with reddish hair and the thick, fine furs of the northern kingdoms.
The story of Chef Buzzati’s sudden and horrifying fall from the heights of fine dining is well known. However, given that the culinary innovations and legal ramifications are still being debated today, a recap may be in order. Elena Buzzati was born to owners of an unremarkable Italian diner in the suburbs of New Jersey in 2024. She grew up surrounded by the scents of roasting meats and the hot gurgle of the deep frier. It sickened her. The headstrong Buzzati declared herself a vegetarian at age six. She had a strong bond with animals and is reported to have spent much of he childhood behind the diner befriending stray squirrels and pigeons.
Dear Next, You’ve seen the original picture. If you’re anything like me, you know it by heart. The image that came out of the first (and at the time of this writing, only) discovered white hole was a flower. It was gray and pixelated, but it was beautiful. When it was finished, I was invited to the vault to view the flower. Not because I was anyone important. I mean, I had millions of followers on social media, my content regularly went viral, and I had written a dozen best-selling books. But to the scientific community, I was a personality. An influencer. Not serious. Not like Yxa.
When she melts, it’s like a balloon collapsing, but fast. Her body turns to an inky puddle, a pool of shadow. Then, in a snap, she goes clear. Shimmering. When all the other children are asleep, when the guard is looking at something else, when the camera eye is on something else. That’s when this happens. When she becomes a shadow, then a shimmer, and slithers out from under her thin silver blanket, onto the ground. She can slide, fast fast, between gray sleep mats with kids snoring, gray sleep mats with kids crying, she can slide past a gray sleep mat where one boy pulls up the corner to bang his head on the concrete floor.
Hark, ye traveller who wanders from the west, to the tragic tale of O-Rashad: Once, the city of O-Rashad stood beautiful above the steppelands, her towers clad in careful alloys, her neon banners streaming plasticine in the steppe-winds, her elevators reaching up into the darkness of the sky. O-Rashad, the city of banners! O-Rashad, whose delicate elevators knew no equal! Mighty were her walls and mightier still her citizens. On the streets of O-Rashad were the people of a hundred nations, in her markets the goods of ten thousand worlds. Even travelers from the furthest nebulae, even aliens in their encounter suits, came to bow before the greatness of the Princess of Cities.
The first book is always a new and shiny hardback. It smells freshly cut and bound, with satisfyingly thick cotton pages, beautifully type-faced, each word aglow with the unshifting present. It has a fixed number of pages, though exactly what that number is no one has quite figured out. The second book usually settles itself into a worn out, dog-eared paperback. The number of its pages fluctuate—the quality and material of the pages are inconsistent as if the book is made of several editions. Some pages seem ripped out, others are no longer there, and the typeface changes intermittently throughout.
Like their battleship, Maddox was born for war. They emerged from the nursery with one purpose alone: to expand the Consortium’s borders, a bloody mission that had lasted generations, and would last generations to come. Any civilian raised in the Consortium would know a few things about Maddox: That Maddox goes into battle unafraid. That they believe the Consortium’s cause is a just one. And that they are blindingly in love with their ship. Like all captains, Maddox raised Olivia—that was what they named their ship, a soft name for a dangerous thing—from a seed.
It never was a love story. Or perhaps it was, but I was too blind to see it. I kissed him because I had to—because the castle demanded it and the servants needed it—and frankly, the dead are talkative bastards. He transformed, and in his place was a man dressed in green and gold with hair that needed trimming and hands instead of paws. And I smiled, because it was expected, and I said “Yes” because it was expected. And then, I married him for his library.
The first time Reema disappeared was in the middle of an argument with her husband Dean. No, not an argument. Let’s not be euphemistic about it. It was a full-blown battle with words flung like knives during a circus act. It ended with Dean hurling a lava lamp at Reema. That was the moment she vanished. The lamp sailed through a Reema-shaped hole in the air and smashed to pieces against the wall.
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