Borislav and his various allies weren't charged with those many crimes. On the contrary; since he himself had been so loudly and publicly apprehended, those crimes of the others were quietly overlooked.
While sitting inside his prison cell, which was not entirely unlike a kiosk, Borislav discovered the true meaning of the old term "penitentiary." The original intention of prisons was that people inside them should be penitent people. Penitent people were supposed to meditate and contemplate their way out of their own moral failings. That was the original idea.
Of course, any real, modern "penitentiary" consisted mostly of frantic business dealings. Nobody "owned" much of anything inside the prison, other than a steel bunk and a chance at a shower, so simple goods such as talcum powder loomed very large in the local imagination. Borislav, who fully understood street-trading, naturally did very well at this. At least, he did much better than the vengeful, mentally limited people who were doomed to inhabit most jails.
Borislav thought a lot about the people in the jails. They, too, were the people, and many of those people were getting into jail because of him. In any Transition, people lost their jobs. They were broke, they lacked prospects. So they did something desperate.
Borislav did not much regret the turmoil he had caused the world, but he often thought about what it meant and how it must feel. Somewhere, inside some prison, was some rather nice young guy, with a wife and kids, whose job was gone because the fabs took it away. This guy had a shaven head, an ugly orange jumpsuit, and appalling food, just like Borislav himself. But that young guy was in the jail with less good reason. And with much less hope. And with much more regret.
That guy was suffering. Nobody gave a damn about him. If there was any justice, someone should mindfully suffer, and be penitent, because of the harsh wrong done that guy.
Borislav's mother came to visit him in the jail. She brought printouts from many self-appointed sympathizers. The world seemed to be full of strange foreign people who had nothing better to do with their time than to e-mail tender, supportive screeds to political prisoners. Ivana, something of a mixed comfort to him in their days of real life, did not visit the jail or see him. Ivana knew how to cut her losses when her men deliberately left her to do something stupid, such as volunteering for a prison.
These strangers and foreigners expressed odd, truncated, malformed ideas of what he had been doing. Because they were the Voice of History.
He himself had no such voice to give to history. He came from a small place under unique circumstances. People who hadn't lived there would never understand it. Those who had lived there were too close to understand it. There was just no understanding for it. There were just . . .the events. Events, transitions, new things. Things like the black kiosks.
These new kiosks. . . . No matter where they were scattered in the world, they all had the sinister, strange, overly dignified look of his own original black kiosk. Because the people had seen those kiosks. The people knew well what a black fabbing kiosk was supposed to look like. Those frills, those fringes, that peak on top, that was just how you knew one. That was their proper look. You went there to make your kid's baby shoes indestructible. The kiosks did what they did, and they were what they were. They were everywhere, and that was that.
After twenty-two months, a decent interval, the new regime pardoned him as part of a general amnesty. He was told to keep his nose clean and his mouth shut. Borislav did this. He didn't have much to say, anyway.
X
Time passed. Borislav went back to the older kind of kiosk. Unlike the fancy new black fabbing kiosk, these older ones sold things that couldn't be fabbed: foodstuffs, mostly.
Now that fabs were everywhere and in public, fabbing technology was advancing by leaps and bounds. Surfaces were roughened so they shone with pastel colors. Technicians learned how to make the fibers fluffier, for bendable, flexible parts. The world was in a Transition, but no transition ended the world. A revolution just turned a layer in the compost heap of history, compressing that which now lay buried, bringing air and light to something hidden.
On a whim, Borislav went into surgery and had his shinbone fabbed. His new right shinbone was the identical, mirror-reversed copy of his left shinbone. After a boring recuperation, for he was an older man now and the flesh didn't heal as it once had, he found himself able to walk on an even keel for the first time in twenty-five years.
Now he could walk. So he walked a great deal. He didn't skip and jump for joy, but he rather enjoyed walking properly. He strolled the boulevards, he saw some sights, he wore much nicer shoes.
Then his right knee gave out, mostly from all that walking on an indestructible artificial bone. So he had to go back to the cane once again. No cure was a miracle panacea: but thanks to technology, the trouble had crept closer to his heart.
That made a difference. The shattered leg had oppressed him during most of his lifetime. That wound had squeezed his soul into its own shape. The bad knee would never have a chance to do that, because he simply wouldn't live that long. So the leg was a tragedy. The knee was an episode.
It was no great effort to walk the modest distance from his apartment block to his mother's grave. The city kept threatening to demolish his old apartments. They were ugly and increasingly old-fashioned, and they frankly needed to go. But the government's threats of improvement were generally empty, and the rents would see him through. He was a landlord. That was never a popular job, but someone was always going to take it. It might as well be someone who understood the plumbing.
It gave him great satisfaction that his mother had the last true granite headstone in the local graveyard. All the rest of them were fabbed.
Dr. Grootjans was no longer working in a government. Dr. Grootjans was remarkably well-preserved. If anything, this female functionary from an alien system looked younger than she had looked, years before. She had two prim Nordic braids. She wore a dainty little off-pink sweater. She had high heels.
Dr. Grootjans was writing about her experiences in the transition. This was her personal, confessional text, on the Net of course, accompanied by photographs, sound recordings, links to other sites, and much supportive reader commentary.
"Her gravestone has a handsome Cyrillic font," said Dr. Grootjans.
Borislav touched a handkerchief to his lips. "Tradition does not mean that the living are dead. Tradition means that the dead are living."
Dr. Grootjans happily wrote this down. This customary action of hers had irritated him at first. However, her strange habits were growing on him. Would it kill him that this overeducated foreign woman subjected him to her academic study? Nobody else was bothering. To the neighborhood, to the people, he was a crippled, short-tempered old landlord. To her, the scholar-bureaucrat, he was a mysterious figure of international significance. Her version of events was hopelessly distorted and self-serving. But it was a version of events.
"Tell me about this grave," she said. "What are we doing here?"
"You wanted to see what I do these days. Well, this is what I do." Borislav set a pretty funeral bouquet against the headstone. Then he lit candles.
"Why do you do this?"
"Why do you ask?"
"You're a rational man. You can't believe in religious rituals."
"No," he told her, "I don't believe. I know they are just rituals."
"Why do it, then?"
He knew why, but he did not know how to give her that sermon. He did it because it was a gift. It was a liberating gift for him, because it was given with no thought of any profit or return. A deliberate gift with no possibility of return.
Those gifts were the stuff of history and futurity. Because gifts of that kind were also the gifts that the living received from the dead.
The gifts we received from the dead: those were the world's only genuine gifts. All the other things in the world were commodities. The dead were, by definition, those who gave to us without reward. And, especially: our dead gave to us, the liv
ing, within a dead context. Their gifts to us were not just abjectly generous, but archaic and profoundly confusing.
Whenever we disciplined ourselves, and sacrificed ourselves, in some vague hope of benefiting posterity, in some ambition to create a better future beyond our own moment in time, then we were doing something beyond a rational analysis. Those in that future could never see us with our own eyes: they would only see us with the eyes that we ourselves gave to them. Never with our own eyes: always with their own. And the future's eyes always saw the truths of the past as blinkered, backward, halting. Superstition.
"Why?" she said.
Borislav knocked the snow from his elegant shoes. "I have a big heart."
Singing of Mount Abora
Theodora Goss
Theodora Goss (www.theodoragoss.com) was born in Hungary and now lives in Boston with her husband, daughter, and three cats in an apartment that contains the history of English literature, from Beowulf to Octavia Butler. She is currently completing a Ph.D. in English literature, learning Hungarian, and looking for dragons. Her fiction, which has been nominated for the Nebula and World Fantasy awards, has been collected in In the Forest of Forgetting. Her most recent book is Interfictions, an anthology co-edited with Delia Sherman.
The charming fantasy that follows takes a classic fairy tale trope, the hero faced with impossible tasks, and combines it with Coleridge's poem "Kublai Khan," which spoke of a damsel with a dulcimer, an Abyssinian maid who sang of Mount Abora with wonderful results.
A hundred years ago, the blind instrument-maker known as Alem Das, or Alem the Master, made a dulcimer whose sound was sweeter, more passionate, and more filled with longing than any instrument that had ever been made. It was carved entirely from the wood of an almond tree that had grown in the garden of Al Meseret, that palace with a thousand rooms where the Empress Nasren had chosen to spend her widowhood. The doors of the palace were shaped like moons, its windows like stars. It was a palace of night, and every night the Empress walked through its thousand rooms, wearing the veil she had worn for her wedding to the Great Khan. If the cooks, who sometimes saw her wandering through the kitchen, had not known who she was, they would have mistaken her for a ghost. The dulcimer was strung with the whiskers of the Cloud Dragon, who wreaths his body around the slopes of Mount Abora. He can always be found there in the early morning, and that is when Alem Das approached him, walking up the path on the arm of his niece Kamora.
"What do you want?" asked the dragon.
"Your whiskers, luminous one," said Alem Das.
"My whiskers! You must be that instrument maker. I've heard of you. You're the reason my cousin, the River Dragon, no longer has spines along his back, and why my other cousin, the Phoenix, no longer has tail-feathers. Why should I give you my whiskers?"
"Because when I have made my dulcimer, my niece Kamora will come and play for you, and sing to you the secrets of your soul," said Alem Das.
"We dragons have no souls," said the Cloud Dragon, wreathing himself around and around, like a cat.
"You dragons are souls," said Alem Das, and he asked his niece to sing one of the songs that she sang at night, to sooth the Empress Nasren. Kamora sang, and the Cloud Dragon stopped wreathing himself around and around. Instead, he lay at her feet, which disappeared into mist. When she was done, he said, "All right, instrument maker. You may have my whiskers, but on one condition. First, your niece Kamora must marry me. And when you have made your dulcimer, she must sing to me every night the secrets of my soul."
Kamora knew how the Cloud Dragon looked at night, when he took the form of a man, so she said, "I will marry you, if my Empress allows it." And that is my first song.
You can't imagine how cold Boston is in winter, not for someone from a considerably warmer climate. In my apartment, I sat as close as I could to the radiator, sometimes with my back against it. The library at the university was warmer, but the chairs were wooden and hard, so it was a compromise: the comforts of my apartment, where I had to wrap my fingers around incessant cups of chamomile tea to warm them, or the warmth and discomfort of the library. I had been born in Abyssinia, which is now Ethiopia, and had been brought up in so many places that they seemed no place at all, Italy and France and Spain. Finally, I had come to cold, shining North America, where the universities, I told my mother, were the best in the world. And the best of the best universities were in Boston.
My mother was beautiful. I should say rather that she was a beauty, for to her, beauty was not a quality but a state of being. Beauty was her art, her profession. I don't mean that she was anything as vulgar as a model, or even an actress. No, she was simply beautiful, and so life gave her what it gives the beautiful: apartments in Italy, France, and Spain, and an airplane to travel between them, and a diamond called the Robin's Egg, because it was as big as a robin's egg, and as blue.
"Oh, Sabra," she would say to me, "what will we do about you? You look exactly like your father." And it was true. In old photographs, I saw my nose, the bones of my cheeks and jaws on a man who had not needed to be handsome, because he was rich. But his riches had not saved his life. Although he could have bought his way out of the revolution, he had remained loyal to the Emperor. He had died when his airplane was shot down, with the Emperor in it, just before crossing the border. This was after the Generals had taken power and the border had been closed. My mother and I were already on our way to Italy, with the Robin's Egg in her brassier. "Loyalty is nothing," my mother would say. "If your father had been more sensible, he would still be with us. Loyalty is a breath. It is not worth the ring on my finger."
"But he had courage," I said. "Did he not have courage?"
"Courage, of course. He was, after all, my husband. But it is better to have diamonds."
Her beauty gave her ruthless practicality an indescribable charm.
"You are like him, Sabra. Always with your head in the clouds. When are you going to get married? When are you going to live properly?" She thought it was foolish that I insisted on living on my stipend, but she approved of my studying literature, which was a decorative discipline. "That Samuel Coleridge whose poem you to read me," she would say, "I am convinced he must have been a handsome man."
I insisted on providing for myself, and living in a city that was too cold for her, because it kept me from feeling the enchantment that she threw over everything around her. She was an enchantress without intention, as a spider gathers flies by instinct. One longed to be in her web. In her presence, one could not help loving her, without judgment. And I was proud of my independence, if of nothing else.
Let me sing about the marriage of Kamora and the Cloud Dragon. Among all the maidens of the Empress Nasren, there was none so clever as Kamora. She knew every song that had ever been sung, since the world was made. When she sang, she could draw the nightingales into the Empress' garden, where they would sit on the branches of the almond trees and sing accompaniment. Each night she followed the Empress through the thousand rooms of the palace, singing her songs. Only Kamora could soothe the Empress when Nasren sank down on the courtyard stones and wept into her hands with the wild abandon of a storm.
On the night after Alem Das had visited the Cloud Dragon, Kamora said to the Empress, "Lady, whose face is as bright as the moon, there is nothing more wonderful in the world than serving you, except for marrying the one I love. And you know this is true, because you have known the delights of such a marriage."
The Empress, who sat in a chair that Alem Das had carved for her from the horns of Leviathan, stood suddenly, so that the chair fell back, and a figure of Noah broke off from one corner. "Kamora, would you too leave me, as the Great Khan left me to wander among the stars? Some night, it may be this night, he will come back to me. But until that night, you must not leave me!" And she stared at Kamora with eyes that were apprehensive, and a little mad.
"Lady, whose eyes are as dark as the night," said Kamora, in her most soothing voice, "you know that the Great Khan lies in hi
s tomb on Mount Abora. You built it yourself of white marble, stone on stone, and before you placed the last stone, you kissed his lips. Do you think that your husband would leave the bed you made for him? You would not keep me from marrying the one I love."
The Empress turned and walked, out of that room and into another, and another, and through all the thousand rooms of the palace. Kamora followed her, not singing tonight, but silent. When the Empress had reached the last room of the palace, a pantry in which the head cook kept her rose-petal jam, she said, "Very well. You may marry your Cloud Dragon. Do not look surprised that I know whom you love. I am not so insensible as all that. But first, you must complete one task for me. When you have completed it, then you may marry whom you please."
"What is that task?" asked Kamora.
"You must find me someone who amuses me more than you do."
It was Michael who introduced me to Coleridge. "Listen to this," he said.
"'In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.'
"I can't believe you've never read it before. I mean, I learned that in high school."
"Who is this Michael Cavuto you keep talking about?" asked my mother over the telephone. "Where does he come from?"
"Ohio," I said.
She was as silent as though I had said, "The surface of the moon."
We were teaching assistants together, for a class on the Romantics. We read sentences to each other from our students' papers. "A nightingale is a bird that comes out at night to which Keats has written an ode." "William and his wife Dorothy lived together for many years until she died and left him lamenting." "Coleridge smoked a lot of opium, which explains a lot." We laughed, and marked our papers together, and one day, when we were both sitting in the library, making up essay questions for the final exam, we started talking about our families.
The Best Science Fiction and Fantasy of the Year-II Page 36
