Nebula Awards Showcase 2012 (31 page)

~ * ~

[Fourth Hand: cursive, right-slanted; high quality ink, smooth and fine]

Strange, how it will not burn, how its pages won’t tear. Strange that there is such pleasure in streaking ink along the cream of it; this paper makes me want to touch my lips. Pretty thing, you have been tricksy, tempting my little Sisters into spilling secrets.

There is strong magic here. Perhaps Master Leuwin in his tower would appreciate such a curiosity. Strange that I write in it, then—strange magic. Leuwin, you have my leave to laugh when you read this. Perhaps you will write to me anon of its history before that unfortunate girl and my wayward Sister scribbled in it.

That is, if I send it to you. Its charm is powerful—I may wish to study it further, see if we mightn’t steep it in elderflower wine and discover what tincture results.

~ * ~

[Fifth Hand: ink is strange; no evidence of implement; style resembles Second Hand very closely]

hello?

w
here am I?

please, someone speak to me

oh

oh no

~ * ~

[Sixth Hand: Master Leuwin Orrerel]

I will speak to you. Hello.

I think I see what happened, and I see that you see. I am sorry for you. But I think it would be best if you tried to sleep. I will shut the green over the black and you must think of sinking into sweetness, think of dreaming to fly. Think of echoes, and songs. Think of fragrant tea and the stars. No one can harm you now, little one. I will hide you between two great leather tomes—

~ * ~

[Fifth Hand—alternating with Leuwin
’
s hereafter]

Do you know Lady Aster?

Yes, of course.

Could you put me next to her, please? I love her plays.

I always preferred her poetry.

Her plays ARE poetry!

Of course, you’re right. Next to her, then. What is your name?

Cynthia.

I am Master Leuwin.

I know. It
’
s very kind of you to talk to me.

You’re—[ink blot] forgive the ink blot, please. Does that hurt?

No more than poor penmanship ever does.

~ * ~

Leuwin? are you there?

Yes. What can I do for you?

Speak to me, a little. Do you live alone?

Yes—well, except for Dominic, my student and apprentice. It is my intention to leave him this library one day—it is a library, you see, in a tower on a small hill, seven miles from the city of Leech—do you know it?

No. I
’
ve heard of it, though. Vicious monarchy, I heard.

I do not concern myself overmuch with politics. I keep records, that is all.

How lucky for you, to not have to concern yourself with politics. Records of what?

Everything I can. Knowledge. Learning. Curiosities. History and philosophy. Scientific advances, musical compositions and theory—some things I seek out, most are given to me by people who would have a thing preserved.

How ironic.

. . .
Yes. Yes, I suppose it is, in your case.

[[DECAY, SEVERAL LEAVES LOST]
]

Were you very beautiful, as a woman?

What woman would answer no, in my position?
An honest one.

I doubt I could have appeared more beautiful to you as a woman than as a book. . .
. Too honest.

[
[DECAY, SEVERAL LEAVES LOST]]

What else is in your library?

Easier to ask what isn’t! I am in pursuit of a book inlaid with mirrors—the text is so potent that it was written in reverse, and can only be read in reflection to prevent unwelcome effects.

Fascinating. Who wrote it?

I have a theory it was commissioned by a disgruntled professor, with a pun on “reflection” designed to shame his students into closer analyses of texts.

Hah! I hope that
’
s the case. What else?

Oh, there is a history of the Elephant War written by a captain on the losing side, a codex from the Chrysanthemum Year (Bold Did it Bloom) about the seven uses of bone that the Sisterhood would like me to find, and—

Cynthia I’m so sorry. Please, forgive me.

No matter. It isn
’
t as if I
’
ve forgotten how I came to you in the first place, though you seem to quite frequently.

Why

Think VERY carefully about whether you want to ask this question, Leuwin.

Why did they kill you? . . . How did they?

Forbidden questions from their pet librarian? The world does turn. Do you really want to know?

Yes.

So do I. Perhaps you could ask them for me.

[[DECAY, SEVERAL LEAVES LOST]]

If I could find a way to get you out . . .

You and your ellipses. Was that supposed to be a question?

I might make it a quest.

I am dead, Leuwin. I have no body but this.

You have a voice. A mind.

I
am a voice, a mind. I have nothing else.

Cynthia . . . What happens when we reach the end of this? When we run out of pages?

Endings do not differ overmuch from each other, I expect. Happy or sad, they are still endings.

Your ending had a rather surprising sequel.

True. Though I see it more as intermission—an interminable intermission, which the actors have wandered home to get drunk.

[[
DECAY, SEVERAL LEAVES LOST]]

Cynthia, I think I love you.

Cynthia?

Why don’t you answer me?

Please, speak to me.

I
’
m tired, Leuwin.

I love you.

You love ink on a page. You don
’
t lack for that here.

I love
you.

Only because I speak to you. Only because no one but you reads these words. Only because
I
am the only book to be written to you, for you. Only because I allow you, in this small way, to be a book yourself.

I love you.

Stop.

Don’t you love me?

Cynthia.

You can’t lie, can you?

You can’t lie, so you refuse to speak the truth.

I hate you.

Because you love me.

I hate you. leave me alone.

I will write out Lady Aster’s plays for you to read. I will write you her poetry. I will fill this with all that is beautiful in the world, for you, that you might live it.

Leuwin. No.

I will stop a few pages from the end, and you can read it over and over again, all the loveliest things . . .

Leuwin. No.

But I

STOP. I WANT TO LIVE. I WANT TO HOLD YOU AND FUCK YOU AND MAKE YOU TEA AND READ YOU PLAYS. I WANT YOU TO TOUCH MY CHEEK AND MY HAIR AND LOOK ME IN THE EYES WHEN YOU SAY YOU LOVE ME. I WANT TO LIVE
!

And you, you want a woman in a book. You want to tremble over my binding and ruffle my pages and spill ink into me. No, I can
’
t lie. Only the living can lie. I am dead. I am dead trees and dead horses boiled to glue. I hate you. Leave me alone.

[FI
NIS. Several blank pages remain]

~ * ~

You see he is mad.

I know he is looking for ways to extricate her from the book. I fear for him, in so deep with the Sisters—I fear for what he will ask them—

Sweet Stars, there’s more. I see it appearing as I write this—unnatural, chanty thing! I shall not reply. I must not reply, lest I fall into her trap as he did! But I will write this for you—I am committed to completeness.

Following immediately after the last, then:

~ * ~

Dominic, why are you doing this?

You won
’
t answer me? Fair enough.

I can feel when I am being read, Dominic. It
’
s a beautiful feeling, in some ways
—
have you ever felt beautiful? Sometimes I think only people who are not beautiful can feel so, can feel the shape of the exception settling on them like a mantle, like a morning mist.

Being read is like feeling beautiful, knowing your hair to be just-so and your
clothing to be well-put-together and your color to be high and bright, and to feel, in the moment of beauty, that you are being observed.

The world shifts. You pretend not to see that you are being admired, desired. You think about whether or not to play the game of glances, and you smile to yourself, and you know the person has seen your smile, and it was beautiful, too. Slowly, you become aware of how they see you, and without looking, quite, you know that they are playing the ga
me
too, that they imagine you seeing them as beautiful, and it is a splendid game, truly.

Leuwin reads me quite often, without saying anything further to me. I ache when he does, to answer, to speak, but ours is a silence I cannot be the one to break. So he reads, and I am read, and this is all our love now.

I feel this troubles you. I do not feel particularly beautiful when you read me, Dominic. But I know it is happening.

Will you truly not answer? Only write me down into your own little book? Oh, Dominic. And you think you will run away? Find him help? You
’
re sweet enough to rot teeth.

You know, I always wanted someone to write me poetry.

If I weren
’
t dead, the irony woul
d
kill me.

I wonder who the Mistress of the Crossroads was. Hello, I suppose, if you ever read this—if Dominic ever shares.

I am going to try and sleep. Sorry my handwriting isn
’
t prettier. I never really was, myself

I suppose Leuwin must have guessed, at some point, just as he would have guessed you
’
d disobey him eventually. I am sorry he will find out about both, now. It isn
’
t as if I can cross things out. No doubt he will be terribly angry. No doubt the Sisters will find out you know something more of them than they would permit, as I did.

It
’
s been a while since I
’
ve felt sorry for someone who wasn
’
t Leuwin, but I do feel sorry for you.

Good night.

~ * ~

That is all. Nothing else appears. Please, you must help him. I don’t know what to do. I cannot destroy the book—I cannot hide it from him, he seeks it every hour he is here—

I shall write more to you anon. He returns. I hear his feet upon the stair.

~ * ~

ABOUT THE AUTHOR

Amal El-Mohtar is the author of
The Honey Month,
a collection of poetry and prose written to the taste of twenty-eight different kinds of honey, and is a two-time winner of the Rhysling Award for Best Short Poem. Her work has appeared in
Apex, Strange Horizons, The Thackery T. Lambshead Cabi
net of Curiosities, Welcome to B
ordertown,
and
The Mammoth Book of Steampunk.
She also coedits
Goblin Fruit,
an online quarterly dedicated to fantastical poetry, with Jessica P. Wick, and keeps a blog somewhat tidy at
http://tithenai.livejournal.com
.

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>

~ * ~

AUTHOR
’
S INTRODUCTION

One of my earliest memories is of seeing an Apollo launch on television and my parents telling me the rocket was going to the moon, so I’ve been interested in space travel for almost my entire life. I’ve been reading science fiction since shortly after I learned to read, and my dad had a wonderful collection of anthologies and novels that captivated my interest.

While I dabbled in creative writing while studying political science at Brigham Young University, I gave up on it for about a decade until one day I found myself with an overpowering urge to write a novel. I decided that if I was going to get serious about creative writing, I needed to study it. Since then, I’ve attended various creative writing workshops and classes in order to improve my craft.

In 2008, I went to a weekend workshop taught by Dean Wesley Smith, Kristine Katherine Rusch, and Sheila Williams. While there, I was supposed to write an entire short story based on the prompt “You are in the center of the sun and can’t get a date.” I failed. What I came up with was incomplete; it just stopped because I ran out of time before the deadline, rather than having a real ending—or a real middle, for that matter. But those who read it encouraged me to finish it, so after I went home I wrote a middle and an end to “That Leviathan, Whom Thou Hast Made.”