The Big Book of Modern Fantasy

by The Big Book of Modern Fantasy (retail) (epub)

  The two hired out as bodyguards and occasionally fell in with short-lived mercenary bands that roamed freely over the countryside, and their adventures gave rise to many local legends. The song “Jenna at the Ford” (Came Ballad 17) is one, as is “Bold Skada and the Merchant’s Lament” (Came Ballad 4:6) and the bawdy “Lord Kalas’ Hole” (Came Ballad 69). The recently revived passion play “Sister Light and Sister Dark” contains many folk motifs that have only tangential connection with the history of Jo-an-enna.

  By accident or design (Burke-Senda’s account suggests graphically that serendipity was at work, while Calla-ap-Jones writes convincingly of a Great Matriarchal Plan), the two women rescued the soldier of fortune Carum Longbow from prison. Longbow, later known in the low tongue as Broad-breaker, became the first King of the Low Countries and was famous for bringing down the First Matriarchy and expunging the armies of all female fighters. Whether this was from economic need (Burke-Senda cites the failing birthrates due to the practice of salting soldiers’ food with pant, a common anti-ovulent) or passion (Calla-ap-Jones offers striking evidence that Longbow won Jo-an-enna from Skader in a ritual trial by arms, and in revenge Shader killed Sister Light, throwing Longbow into a bloody genocidal frenzy which was levied against every fighting woman in the forces) is not clear. It is ironic, however, that the famous Dark and Light Sisters of the songs, stories, and myths should have been the ones to bring down, all unwittingly, the generous, enlightened, art-centered rule of the first great queens of Alta.

  M. John Harrison (1945– ) is an English writer and critic who was closely associated with Michael Moorcock’s New Worlds magazine and the British New Wave of science fiction in the 1960s. His second novel, The Pastel City (1971), began the Viriconium series of novels and stories, telling the story of a far-future city in decline, with the subsequent novels A Storm of Wings and In Viriconium adjusting and abstracting the material of the first. The city of Viriconium seems real and unreal, its identity (and sometimes name) shifting and slipping like a legend only partially remembered, or maybe a dream. The Viriconium sequence uses fantasy tropes and props, sometimes seeming to parody sword and sorcery, Arthurian tales, and other subgenres of fantasy, but parody soon begins to feel like evisceration, the models hollowed out and left for dust. The Viriconium short stories, including “The Luck in the Head,” were first collected in Viriconium Nights (1985) and later in omnibus editions of the stories and novels as Viriconium (2000, 2005). Much of the best of Harrison’s other short fiction has appeared in the collections Travel Arrangements (2000), Things That Never Happen (2002), and You Should Come with Me Now (2017).

  THE LUCK IN THE HEAD

  M. John Harrison

  UROCONIUM, ARDWICK Crome said, was for all its beauty an indifferent city. Its people loved the arena; they were burning or quartering somebody every night for political or religious crimes. They hadn’t much time for anything else. From where he lived, at the top of a tenement on the outskirts of Montrouge, you could often see the fireworks in the dark, or hear the shouts on the wind.

  He had two rooms. In one of them was an iron-framed bed with a few blankets on it, pushed up against a washstand he rarely used. Generally he ate his meals cold, though he had once tried to cook an egg by lighting a newspaper under it. He had a chair, and a tall white ewer with a picture of the courtyard of an inn on it. The other room, a small north-light studio once occupied—so tradition in the Artists’ Quarter had it—by Kristodulos Fleece the painter, he kept shut. It had some of his books in it, also the clothes in which he had first come to Uroconium and which he had thought then were fashionable.

  He was not a well-known poet, although he had his following.

  Every morning he would write for perhaps two hours, first restricting himself to the bed by means of three broad leather straps which his father had given him and to which he fastened himself, at the ankles, the hips, and finally across his chest. The sense of unfair confinement or punishment induced by this, he found, helped him to think.

  Sometimes he called out or struggled; often he lay quite inert and looked dumbly up at the ceiling. He had been born in those vast dull ploughlands which roll east from Soubridge into the Midland Levels like a chocolate-coloured sea, and his most consistent work came from the attempt to retrieve and order the customs and events of his childhood there: the burial of the “Holly Man” on Plough Monday, the sound of the hard black lupin seeds popping and tapping against the window in August while his mother sang quietly in the kitchen the ancient carols of the Oei’l Voirrey. He remembered the meadows and reeds beside the Yser Canal, the fishes that moved within it. When his straps chafed, the old bridges were in front of him, made of warm red brick and curved protectively over their own image in the water!

  Thus Crome lived in Uroconium, remembering, working, publishing. He sometimes spent an evening in the Bistro Californium or the Luitpold Café. Several of the Luitpold critics (notably Barzelletta Angst, who in L’Espace Cromien ignored entirely the conventional chronology—expressed in the idea of “recherche”—of Crome’s long poem Bream into Man) tried to represent his work as a series of narrativeless images, glued together only by his artistic persona. Crome refuted them in a pamphlet. He was content.

  Despite his sedentary habit he was a sound sleeper. But before it blows at night over the pointed roofs of Montrouge, the southwest wind must first pass between the abandoned towers of the Old City, as silent as burnt logs, full of birds, scraps of machinery, and broken-up philosophies: and Crome had hardly been there three years when he began to have a dream in which he was watching the ceremony called “the Luck in the Head.”

  For its proper performance this ceremony requires the construction on a seashore, between the low and high tide marks at the Eve of Assumption, of two fences or “hedges.” These are made by weaving osiers—usually cut at first light on the same day—through split hawthorn uprights upon which the foliage has been left. The men of the town stand at one end of the corridor thus formed; the women, their thumbs tied together behind their backs, at the other. At a signal the men release between the hedges a lamb decorated with medallions, paper ribbons, and strips of rag. The women race after, catch it, and scramble to keep it from one another, the winner being the one who can seize the back of the animal’s neck with her teeth. In Dunham Massey, Lymm, and Iron Chine, the lamb is paraded for three days on a pole before being made into pies; and it is good luck to obtain the pie made from the head.

  In his dream Crome found himself standing on some sand dunes, looking out over the wastes of marram grass at the osier fences and the tide. The women, with their small heads and long grey garments, stood breathing heavily like horses, or walked nervously in circles avoiding one another’s eyes as they tested with surreptitious tugs the red cord which bound their thumbs. Crome could see no one there he knew. Somebody said, “A hundred eggs and a calf’s tail,” and laughed. Ribbons fluttered in the cold air: they had introduced the lamb. It stood quite still until the women, who had been lined up and settled down after a certain amount of jostling, rushed at it. Their shrieks rose up like those of herring gulls, and a fine rain came in from the sea.

  “They’re killing one another!” Crome heard himself say.

  Without any warning one of them burst out of the mêlée with the lamb in her teeth. She ran up the dunes with a floundering, splay-footed gait and dropped it at his feet. He stared down at it.

  “It’s not mine,” he said. But everyone else had walked away.

  He woke up listening to the wind and staring at the washstand, got out of bed and walked round the room to quieten himself down. Fireworks, greenish and queasy with the hour of the night, lit up the air intermittently above the distant arena. Some of this illumination, entering through the skylight, fell as a pale wash on his thin arms and legs, fixing them in attitudes of despair.

  If he went to sleep again he often found, in a second lobe or episode of th
e dream, that he had already accepted the dead lamb and was himself running with it, at a steady premeditated trot, down the landward side of the dunes towards the town. (This he recognised by its slate roofs as Lowick, a place he had once visited in childhood. In its streets some men made tiny by distance were banging on the doors with sticks, as they had done then. He remembered very clearly the piece of singed sheepskin they had been making people smell.) Empty ground stretched away on either side of him under a motionless sky; everything—the clumps of thistles, the frieze of small thorn trees deformed by the wind, the sky itself—had a brownish cast, as if seen through an atmosphere of tars. He could hear the woman behind him to begin with, but soon he was left alone. In the end Lowick vanished too, though he began to run as quickly as he could, and left him in a mist or smoke through which a bright light struck, only to be diffused immediately.

  By then the lamb had become something that produced a thick buzzing noise, a vibration which, percolating up the bones of his arm and into his shoulder, then into the right side of his neck and face where it reduced the muscles to water, made him feel nauseated, weak, and deeply afraid. Whatever it was he couldn’t shake it off his hand.

  * * *

  —

  Clearly—in that city and at that age of the world—it would have been safer for Crome to look inside himself for the source of this dream. Instead, after he had woken one day with the early light coming through the shutters like sour milk and a vague rheumatic ache in his neck, he went out into Uroconium to pursue it. He was sure he would recognise the woman if he saw her, or the lamb.

  She was not in the Bistro Californium when he went there by way of the Via Varese, or in Mecklenburgh Square. He looked for her in Proton Alley, where the beggars gaze back at you emptily and the pavement artists offer to draw for you, in that curious mixture of powdered chalk and condensed milk they favour, pictures of the Lamia, without clothes or without skin, with fewer limbs or organs than normal, or more. They couldn’t draw the woman he wanted. On the Unter-Main-Kai (it was eight in the morning and the naphtha flares had grown smoky and dim) a boy spun and tottered among the crowds from the arena, declaiming in a language no one knew. He bared his shaven skull, turned his bony face upwards, mouth open. Suddenly he drove a long thorn into his own neck: at this the women rushed up to him and thrust upon him cakes, cosmetic emeralds, coins. Crome studied their faces: nothing. In the Luitpold Café he found Ansel Verdigris and some others eating gooseberries steeped in gin.

  “I’m sick,” said Verdigris, clutching Crome’s hand.

  He spooned up a few more gooseberries and then, letting the spoon fall back into the dish with a clatter, rested his head on the tablecloth beside it. From this position he was forced to stare up sideways at Crome and talk with one side of his mouth. The skin beneath his eyes had the shine of wet pipe clay; his coxcomb of reddish-yellow hair hung damp and awry; the electric light, falling oblique and bluish across his white triangular face, lent it an expression of astonishment.

  “My brain’s poisoned, Crome,” he said. “Let’s go up into the hills and run about in the snow.”

  He looked round with contempt at his friends, Gunter Verlac and the Baron de V—, who grinned sheepishly back.

  “Look at them!” he said. “Crome, we’re the only human beings here. Let’s renew our purity! We’ll dance on the lips of the icy gorges!”

  “It’s the wrong season for snow,” said Crome.

  “Well, then,” Verdigris whispered, “let’s go where the old machines leak and flicker, and you can hear the calls of the madmen from the asylum up at Wergs. Listen—”

  “No!” said Crome. He wrenched his hand away.

  “Listen, proctors are out after me from Cheminor to Mynned! Lend me some money, Crome, I’m sick of my crimes. Last night they shadowed me along the cinder paths among the poplar trees by the isolation hospital.”

  He laughed, and began to eat gooseberries as fast as he could.

  “The dead remember only the streets, never the numbers of the houses!”

  Verdigris lived with his mother, a woman of some means and education who called herself Madam “L,” in Delpine Square. She was always as concerned about the state of his health as he was about hers. They lay ill with shallow fevers and deep cafards, in rooms that joined, so that they could buoy one another up through the afternoons of insomnia. As soon as they felt recovered enough they would let themselves be taken from salon to salon by wheelchair, telling one another amusing little stories as they went. Once a month Verdigris would leave her and spend all night at the arena with some prostitute; fall unconscious in the Luitpold or the Californium; and wake up distraught a few hours later in his own bed. His greatest fear was that he would catch syphilis. Crome looked down at him.

  “You’ve never been to Cheminor, Verdigris,” he said. “Neither of us has.”

  Verdigris stared at the tablecloth. Suddenly he stuffed it into his mouth—his empty dish fell onto the floor where it rolled about for a moment, faster and faster, and was smashed—only to throw back his head and pull it out again, inch by inch, like a medium pulling out ectoplasm in Margery Fry Court.

  “You won’t be so pleased with yourself,” he said, “when you’ve read this.”

  And he gave Crome a sheet of thick green paper, folded three times, on which someone had written

  A man may have many kinds of dreams. There are dreams he wishes to continue and others he does not. At one hour of the night men may have dreams in which everything is veiled in violet; at others, unpalatable truths may be conveyed. If a certain man wants certain dreams he may be having to cease, he will wait by the Aqualate Pond at night, and speak to whoever he finds there.

  “This means nothing to me,” lied Crome. “Where did you get it?

  “A woman thrust it into my hand two days ago as I came down the Ghibbeline Stair. She spoke your name, or one like it. I saw nothing.”

  Crome stared at the sheet of paper in his hand. Leaving the Luitpold Café a few minutes later, he heard someone say: “In Aachen, by the Haunted Gate—do you remember?—a woman on the pavement stuffing cakes into her mouth? Sugar cakes into her mouth?”

  * * *

  —

  That night, as Crome made his way reluctantly towards the Aqualate Pond, the moonlight rose in a lemon-yellow tide over the empty cat-infested towers of the city; in the Artists’ Quarter the violin and cor anglais pronounced their fitful whine; while from the distant arena—from twenty-five-thousand faces underlit by the flames of the auto-da-fé—issued an interminable whisper of laughter.

  It was the anniversary of the liberation of Uroconium from the Analeptic Kings.

  Householders lined the steep hill up at Alves. Great velvet banners, featuring black crosses on a red and white ground, hung down the balconies above their naked heads. Their eyes were patiently fixed on the cracked copper dome of the observatory at its summit. (There, as the text sometimes called The Earl of Rone remembers, the Kings handed over to Mammy Vooley and her fighters their weapons of appalling power; there they were made to bend the knee.) A single bell rang out, then stopped—a hundred children carrying candles swept silently down towards them and were gone! Others came on behind, shuffling to the rhythms of the “Ou lou lou,” that ancient song. In the middle of it all, the night and the banners and the lights, swaying precariously to and fro fifteen feet above the procession like a doll nailed on a gilded chair, came Mammy Vooley herself.

  Sometimes as it blows across the Great Brown Waste in summer, the wind will uncover a bit of petrified wood. What oak or mountain ash this wood has come from, alive immeasurably long ago, what secret treaties were made beneath it during the Afternoon of the world only to be broken by the Evening, we do not know. We will never know. It is a kind of wood full of contradictory grains and lines: studded with functionless knots: hard.

  Mammy Vooley’s head had t
he shape and the shiny grey look of wood like that. It was provided with one good eye, as if at some time it had grown round a glass marble streaked with milky blue. She bobbed it stiffly right and left to the crowds, who stood to watch her approach, knelt as she passed, and stood up again behind her. Her bearers grunted patiently under the weight of the pole that bore her up. As they brought her slowly closer it could be seen that her dress—so curved between her bony, strangely articulated knees that dead leaves, lumps of plaster, and crusts of whole-meal bread had gathered in her lap—was russet-orange, and that she wore askew on the top of her head a hank of faded purple hair, wispy and fine like a very old woman’s. Mammy Vooley, celebrating with black banners and young women chanting; Mammy Vooley, Queen of Uroconium, Moderator of the city, as silent as a log of wood.

  Crome got up on tiptoe to watch; he had never seen her before. As she drew level with him she seemed to float in the air, her shadow projected on a cloud of candle smoke by the lemon-yellow moon. That afternoon, for the ceremony, in her salle or retiring room (where at night she might be heard singing to herself in different voices), they had painted on her face another one—approximate, like a doll’s, with pink cheeks.

  All round Crome’s feet the householders of Alves knelt in the gutter. He stared at them. Mammy Vooley caught him standing.

  She waved down at her bearers.

  “Stop!” she whispered.

  “I bless all my subjects,” she told the kneeling crowd. “Even this one.”

  And she allowed her head to fall exhaustedly on one side.

  In a moment she had passed by. The remains of the procession followed her, trailing its smell of candle fat and sweating feet, and vanished round a corner towards Montrouge. (Young men and women fought for the privilege of carrying the Queen. As the new bearers tried to take it from the old ones, Mammy Vooley’s pole swung backwards and forwards in uncontrollable arcs so that she flopped about in her chair at the top of it like the head of a mop. Wrestling silently, the small figures carried her away.) In the streets below Alves there was a sense of relief: smiling and chattering and remarking how well the Mammy had looked that day, the householders took down the banners and folded them in tissue paper.