Dragons!

by Various

  Even knowing that such measures were a waste of time, he limped across the hall as fast as his useless leg permitted and slammed the bedroom door behind him.

  It was here. It had to be. He remembered it quite clearly now, like a moment spotlighted in time. He had taken the dragon off and thrown it against the window; and heard the tiny clink as it hit the glass and bounced off into the cushioning draperies. He felt along the edge of the windowsill, ran his hand along the baseboard below—he even shook

  the drapes several times. No dragon . . . And he was running out of time.

  "Richie! What is going on?" Carol was standing in the doorway. And the dragon was right behind her. Its terrible mouth opened, exposing a lash of bright red tongue. He watched her turn to follow his gaze, shrug, and turn around again.

  "You don't see it, do you?" he asked almost calmly. "Richie, what are you talking about?" She took a few steps into the room. Jason was right behind her.

  "The dragon," he said, moving to interpose himself between them and the creature.

  "This?" she asked, holding a small carved dragon on her outstretched palm. Gingerly, he reached out to touch it and felt its vitality like a spark running through his fingers. He took it in his hand. Instantly, he felt its power surging through him, easing his pain and lifting the clouds from his mind.

  But the dragon was still there in the hallway, and now it was starting to move toward the bedroom door. Richie brushed past Carol and Jason out into the hallway and shut the door behind him, ignoring Carol's questions, her worried tears.

  The dragon was walking toward him, its hot breath burning through his body. He looked toward the stairs on one side, the doorway to Jason's room on the other. He backed into Jason's doorway and laid the child's carving down on the dark gray carpet. His own dragon he kissed once for luck and laid it down too, facing the other. Then, like a miracle, he noticed a cloud of steam on the stairs, billowing and growing until it solidified into a creature very much like the first one.

  The hallway was tiny, but walls seemed to be no problem for them. They circled each other tentatively. Two great paws raised, they probed at each other. And then they lunged. Two impossible creatures locked in battle, their bodies rearing on hind legs until he could no longer see their heads. And then they fell, rolling over through the banister,

  rolling down the stairs. He followed, unable to tear his eyes away.

  They rolled, two distinct forms, across the living room floor. Then, suddenly, an even stranger thing happened. They stood, facing each other, paws raised and flailing, and yet, Richard realized, they were no longer fighting. They began to merge, sinking each into the other like one creature falling into a mirror. They slowly came together until there was only one great white dragon that thinned and faded even as he watched, until there was nothing left but a thin white mist . . . and then even that was gone.

  He turned and saw Carol standing at the top of the stairs, her face a tortured mask of worry. He climbed the stairs and placed a comforting arm around her shoulder. "Carol, there's something I have to tell you," he said softly. He knew he would have to hurry because his child was waiting outside, and it was starting to rain.

  Paper Dragons

  by

  James P. Blaylock

  Here's one of the strangest and most strangely beautiful stories you are ever likely to read: as evocative, melancholy, and mysterious as a paper dragon soaring against the darkening sky of evening. . . .

  James P. Blaylock was born in Long Beach, California, and now lives in Orange, California. He made his first sale to the now-defunct semi-prozine Unearth, and subsequently became one of the most popular, literate, and wildly eclectic fantasists of the '80s and '90s. His critically acclaimed novels include The Last Coin, Land of Dreams, The Digging Leviathan, Homunculus, The Elfin Ship, The Disappearing Dwarf, and The Stone Giant. His most recent book is The Paper Grail.

  Strange things are said to have happened in this world—some are said to be happening still—but half of them, if I'm any judge, are lies. There's no way to tell sometimes. The sky above the north coast has been flat gray for weeks—clouds thick overhead like carded wool not fifty feet above the ground, impaled on the treetops, on redwoods and alders and hemlocks. The air is heavy with mist that lies out over the harbor and the open ocean, drifting across the tip of the pier and breakwater now and again, both of them vanishing into the gray so that there's not a nickel's worth of difference between the sky and the sea. And when the tide drops, and the reefs running out toward the point appear through the fog, covered in the brown bladders and rubber leaves of kelp, the pink lace of algae, and the slippery sheets of sea lettuce and eel grass, it's a simple thing to imagine the dark bulk of the fish that lie in deepwater gardens and angle up toward the pale green of shallows to feed at dawn.

  There's the possibility, of course, that winged things,

  their counterparts if you will, inhabit dens in the clouds, that in the valleys and caverns of the heavy, low skies live unguessed beasts. It occurs to me sometimes that if without warning a man could draw back that veil of cloud that obscures the heavens, snatch it back in an instant, he'd startle a world of oddities aloft in the skies: balloon things with hovering little wings like the fins of pufferfish, and spiny, leathery creatures, nothing but bones and teeth and with beaks half again as long as their ribby bodies.

  There have been nights when I was certain I heard them, when the clouds hung in the treetops and foghorns moaned off the point and water dripped from the needles of hemlocks beyond the window onto the tin roof of Filby' s garage. There were muffled shrieks and the airy flapping of distant wings. On one such night when I was out walking along the bluffs, the clouds parted for an instant and a spray of stars like a reeling carnival shone beyond, until, like a curtain slowly drawing shut, the clouds drifted up against each other and parted no more. I'm certain I glimpsed something—a shadow, the promise of a shadow—dimming the stars. It was the next morning that the business with the crabs began.

  I awoke, late in the day, to the sound of Filby hammering at something in his garage—talons, I think it was, copper talons. Not that it makes much difference. It woke me up. I don't sleep until an hour or so before dawn. There's a certain bird, Lord knows what sort, that sings through the last hour of the night and shuts right up when the sun rises. Don't ask me why. Anyway, there was Filby smashing away some time before noon. I opened my left eye, and there atop the pillow was a bloodred hermit crab with eyes on stalks, giving me a look as if he were proud of himself, waving pincers like that. I leaped up. There was another, creeping into my shoe, and two more making away with my pocket watch, dragging it along on its fob toward the bedroom door.

  The window was open and the screen was torn. The beasts were clambering up onto the woodpile and hoisting themselves in through the open window to rummage

  through my personal effects while I slept. I pitched them out, but that evening there were more—dozens of them, bent beneath the weight of seashells, dragging toward the house with an eye to my pocket watch.

  It was a migration. Once every hundred years, Dr. Jensen tells me, every hermit crab in creation gets the wanderlust and hurries ashore. Jensen camped on the beach in the cove to study the things. They were all heading south like migratory birds. By the end of the week there was a tiresome lot of them afoot—millions of them to hear Jensen carry on—but they left my house alone. They dwindled as the next week wore out, and seemed to be straggling in from deeper water and were bigger and bigger. The size of a man's fist at first, then of his head, and then a giant, vast as a pig, chased Jensen into the lower branches of an oak. On Friday there were only two crabs, both of them bigger than cars. Jensen went home gibbering and drank himself into a stupor. He was there on Saturday though; you've got to give him credit for that. But nothing appeared. He speculates that somewhere off the coast, in a deepwater chasm a hundred fathoms below the last faded colors is a monumental beast, blind and gnarled from spectacular press
ures and wearing a seashell overcoat, feeling his way toward shore.

  At night sometimes I hear the random echoes of far-off clacking, just the misty and muted suggestion of it, and I brace myself and stare into the pages of an open book, firelight glinting off the cut crystal of my glass, countless noises out in the foggy night among which is the occasional clack clack clack of what might be Jensen's impossible crab, creeping up to cast a shadow in the front porch lamplight, to demand my pocket watch. It was the night after the sighting of the pig-sized crabs that one got into Filby's garage—forced the door apparently—and made a hash out of his dragon. I know what you're thinking. I thought it was a lie too. But things have since fallen out that make me suppose otherwise. He did, apparently, know Augustus Silver. Filby was an acolyte; Silver was his master. But the dragon business, they tell me, isn't merely a matter of mechanics. It's a matter of perspective. That was Filby's downfall.

  There was a gypsy who came round in a cart last year. He couldn't speak, apparently. For a dollar he'd do the most amazing feats. He tore out his tongue, when he first arrived, and tossed it onto the road. Then he danced on it and shoved it back into his mouth, good as new. Then he pulled out his entrails—yards and yards of them like sausage out of a machine—then jammed them all back in and nipped shut the hole he'd torn in his abdomen. It made half the town sick, mind you, but they paid to see it. That's pretty much how I've always felt about dragons. I don't half believe in them, but I'd give a bit to see one fly, even if it were no more than a clever illusion.

  But Filby's dragon, the one he was keeping for Silver, was a ruin. The crab—I suppose it was a crab—had shredded it, knocked the wadding out of it. It reminded me of one of those stuffed alligators that turns up in curiosity shops, all eaten to bits by bugs and looking sad and tired, with its tail bent sidewise and a clump of cotton stuffing shoved through a tear in its neck.

  Filby was beside himself. It's not good for a grown man to carry on so. He picked up the shredded remnant of a dissected wing and flagellated himself with it. He scourged himself, called himself names. I didn't know him well at the time, and so watched the whole weird scene from my kitchen window: His garage door banging open and shut in the wind, Filby weeping and howling through the open door, storming back and forth, starting and stopping theatrically, the door slamming shut and slicing off the whole embarrassing business for thirty seconds or so and then sweeping open to betray a wailing Filby scrabbling among the debris on the garage floor—the remnants of what had once been a flesh and blood dragon, as it were, built by the ubiquitous Augustus Silver years before. Of course I had no idea at the time. Augustus Silver, after all. It almost justifies Filby's carrying on. And I've done a bit of carrying on myself since, although as I said, most of what prompted the whole business has begun to seem suspiciously like lies, and the whispers in the foggy night, the clacking and whirring and rush of wings, has begun to sound like thinly disguised laughter, growing fainter by the months and emanating from nowhere, from the clouds, from the wind and fog. Even the occasional letters from Silver himself have become suspect.

  Filby is an eccentric. I could see that straightaway. How he finances his endeavors is beyond me. Little odd jobs, I don't doubt—repairs and such. He has the hands of an archetypal mechanic: spatulate fingers, grime under the nails, nicks and cuts and scrapes that he can't identify. He has only to touch a heap of parts, wave his hands over them, and the faint rhythmic stirrings of order and pattern seem to shudder through the crossmembers of his workbench. And here an enormous crab had gotten in, and in a single night had clipped apart a masterpiece, a wonder, a thing that couldn't be tacked back together. Even Silver would have pitched it out. The cat wouldn't want it.

  Filby was morose for days, but I knew he'd come out of it. He'd be mooning around the house in a slump, poking at yesterday's newspapers, and a glint of light off a copper wire would catch his eye. The wire would suggest something. That's how it works. He not only has the irritating ability to coexist with mechanical refuse; it speaks to him too, whispers possibilities.

  He'd be hammering away some morning soon—damn all crabs—piecing together the ten thousand silver scales of a wing, assembling the jeweled bits of a faceted eye, peering through a glass at a spray of fine wire spun into a braid that would run up along the spinal column of a creature which, when released some misty night, might disappear within moments into the clouds and be gone. Or so Filby dreamed. And I'll admit it: I had complete faith in him, in the dragon that he dreamed of building.

  In the early spring, such as it is, some few weeks after the hermit crab business, I was hoeing along out in the garden. Another frost was unlikely. My tomatoes had been in for a week, and an enormous green worm with spines had eaten the leaves off the plants. There was nothing left but stems, and they were smeared up with a sort of slime. Once when

  I was a child I was digging in the dirt a few days after a rain, and I unearthed a finger-sized worm with the face of a human being. I buried it. But this tomato worm had no such face. He was pleasant, in fact, with little piggy eyes and a smashed-in sort of nose, as worm noses go. So I pitched him over the fence into Filby's yard. He'd climb back over—there was no doubting it. But he'd creep back from anywhere, from the moon. And since that was the case—if it was inevitable—then there seemed to be no reason to put him too far out of his way, if you follow me. But the plants were a wreck. I yanked them out by the roots and threw them into Filby's yard too, which is up in weeds anyway, but Filby himself had wandered up to the fence like a grinning gargoyle, and the clump of a half-dozen gnawed vines flew into his face like a squid. That's not the sort of thing to bother Filby though. He didn't mind. He had a letter from Silver mailed a month before from points south.

  I was barely acquainted with the man's reputation then. I'd heard of him—who hasn't? And I could barely remember seeing photographs of a big, bearded man with wild hair and a look of passion in his eye, taken when Silver was involved in the mechano-vivisectionist's league in the days when they first learned the truth about the mutability of matter. He and three others at the university were responsible for the brief spate of unicorns, some few of which are said to roam the hills hereabouts, interesting mutants, certainly, but not the sort of wonder that would satisfy Augustus Silver. He appeared in the photograph to be the sort who would leap headlong into a cold pool at dawn and eat bulgar wheat and honey with a spoon.

  And here was Filby, ridding himself of the remains of ravaged tomato plants, holding a letter in his hand, transported. A letter from the master! He'd been years in the tropics and had seen a thing or two. In the hills of the eastern jungles he'd sighted a dragon with what was quite apparently a bamboo ribcage. It flew with the xylophone clacking of windchimes, and had the head of an enormous lizard, the pronged tail of a devilfish, and clockwork wings built of silver and string and the skins of carp. It had given him

  certain ideas. The best dragons, he was sure, would come from the sea. He was setting sail for San Francisco. Things could be purchased in Chinatown—certain "necessaries," as he put it in his letter to Filby. There was mention of perpetual motion, of the building of an immortal creature knitted together from parts of a dozen beasts.

  I was still waiting for the issuance of that last crab, and so was Jensen. He wrote a monograph, a paper of grave scientific accuracy in which he postulated the correlation between the dwindling number of the creatures and the enormity of their size. He camped on the cliffs above the sea with his son Bumby, squinting through the fog, his eye screwed to the lens of a special telescope—one that saw things, as he put it, particularly clearly—and waiting for the first quivering claw of the behemoth to thrust up out of the gray swells, cascading water, draped with weeds, and the bearded face of the crab to follow, drawn along south by a sort of migratory magnet toward heaven alone knows what. Either the crab passed away down the coast hidden by mists, or Jensen was wrong—there hasn't been any last crab.

  The letter from Augustus Silve
r gave Filby wings, as they say, and he flew into the construction of his dragon, sending off a letter east in which he enclosed forty dollars, his unpaid dues in the Dragon Society. The tomato worm, itself a wingless dragon, crept back into the garden four days later and had a go at a half-dozen fresh plants, nibbling lacy arabesques across the leaves. Flinging it back into Filby's yard would accomplish nothing. It was a worm of monumental determination. I put him into a jar—a big, gallon pickle jar, empty of pickles, of course—and I screwed onto it a lid with holes punched in. He lived happily in a little garden of leaves and dirt and sticks and polished stones, nibbling on the occasional tomato leaf.

  I spent more and more time with Filby, watching, in those days after the arrival of the first letter, the mechanical bones and joints and organs of the dragon drawing together. Unlike his mentor, Filby had almost no knowledge of vivisection. He had an aversion to it, I believe, and as a

  consequence his creations were almost wholly mechanical—and almost wholly unlikely. But he had such an aura of certainty about him, such utter and uncompromising conviction, that even the most unlikely project seemed inexplicably credible.

  I remember one Saturday afternoon with particular clarity. The sun had shone for the first time in weeks. The grass hadn't been alive with slugs and snails the previous night—a sign, I supposed, that the weather was changing for the drier. But I was only half right. Saturday dawned clear. The sky was invisibly blue, dotted with the dark specks of what might have been sparrows or crows flying just above the treetops, or just as easily something else, something more vast—dragons, let's say, or the peculiar denizens of some very distant cloud world. Sunlight poured through the diamond panes of my bedroom window, and I swear I could hear the tomato plants and onions and snow peas in my garden unfurling, hastening skyward. But around noon great dark clouds roiled in over the Coast Range, their shadows creeping across the meadows and redwoods, picket fences, and chaparral. A spray of rain sailed on the freshening offshore breeze, and the sweet smell of ozone rose from the pavement of Filby's driveway, carrying on its first thin ghost an unidentifiable sort of promise and regret: the promise of wonders pending, regret for the bits and pieces of lost time that go trooping away like migratory hermit crabs, inexorably, irretrievably into the mists.