The Year's Best Science Fiction & Fantasy, 2012 Edition

by Fowler, Karen Joy

  He sighed. “You’re not drinking,” he said.

  “I think I’ve got the start of an ulcer,” I said.

  He shook his head sadly. “I really am genuinely pleased,” he said. “About your music. You know what? I always used to despise you; all that knowledge, all that skill and technique, and no wings. You couldn’t soar, so you spent your life trying to invent a flying machine. I learned to fly by jumping off cliffs.” He yawned, and scratched the back of his neck. “Of course, most people who try it that way end up splattered all over the place, but it worked just fine for me.”

  “I didn’t jump,” I said. “I was pushed.”

  A big, wide grin spread slowly over his face, like oil on water. “And now you want to tell me how grateful you are.”

  “Not really, no.”

  “Oh come on.” He wasn’t the least bit angry, just amused. Probably just as well the sword was in the trunk. “What the hell did I ever do to you? Look at what I’ve given you, over the years. The prestige and reflected glory of being my teacher. The symphony. And now you can write music almost as good, all on your own. And what did I get in return? A hundred angels.”

  “Two hundred,” I said coldly. “You’ve forgotten the previous loan.”

  He laughed, and dug a hand in his pocket. “Actually, no,” he said. “The other reason I’m here.” He took out a fat, fist-sized purse and put it on the table. “A hundred and ten angels. I’m guessing at the interest, since we didn’t agree a specific rate at the time.”

  Neither of us said a word for quite some time. Then I stood up, leaned across the table and took the purse.

  “Aren’t you going to count it?”

  “You’re a gentleman,” I said. “I trust you.”

  He nodded, like a fencer admitting a good hit. “I think,” he said, “that makes us all square, don’t you? Unless there’s anything else I’ve forgotten about.”

  “All square,” I said. “Except for one thing.”

  That took him by surprise. “What?”

  “You shouldn’t have given up music,” I said.

  “Don’t be ridiculous,” he snapped at me. “I’d have been arrested and hung.”

  I shrugged. “Small price to pay,” I said. Which is what he’d said, when he first told me he’d killed a man; a small price to pay for genius. And what I’d said, when I heard all the details. “Don’t glower at me like that,” I went on. “You were a genius. You wrote music that’ll still be played when Perimadeia’s just a grassy hill. The Grand Mass, the Third symphony, that’s probably all that’ll survive of the empire in a thousand years. What was the life of one layabout and one prison warder, against that? Nothing.”

  “I’d have agreed with you once,” he replied. “Now, I’m not so sure.”

  “Oh, I am. Absolutely certain of it. And if it was worth their lives, it’s worth the life of an olive oil merchant, if there was to be just one more concerto. As it is—” I shrugged. “Not up to me, of course, I was just your teacher. That’s all I’ll ever be, in a thousand years’ time. I guess I should count myself lucky for that.”

  He looked at me for a long time. “Bullshit,” he said. “You and I only ever wrote for money. And you don’t mean a word of what you’ve just said.” He stood up. “It was nice to see you again. Keep writing. At this rate, one of these days you’ll produce something worth listening to.”

  He left, and I bolted the door; too late by then, of course. That’s me all over, of course; I always leave things too late, until they no longer matter.

  When I got back to the university, I paid a visit to a colleague of mine in the natural philosophy department. I took with me a little bottle, into which I’d poured the contents of a wineglass. A few days later he called on me and said, “You were right.”

  I nodded. “I thought so.”

  “Archer’s root,” he said. “Enough of it to kill a dozen men. Where in God’s name did you come by it?”

  “Long story,” I told him. “Thank you. Please don’t mention it to anybody, there’s a good fellow.”

  He shrugged, and gave me back the bottle. I took it outside and poured it away in a flower bed. Later that day I made a donation—one hundred and ten angels—to the Poor Brothers, for their orphanage in Lower Town; the first, last and only charitable donation of my life. The Father recognised me, of course, and asked if I wanted it to be anonymous.

  “Not likely,” I said. “I want my name up on a wall somewhere, where people can see it. Otherwise, where’s the point?”

  I think I may have mentioned my elder brother, Segibert; the one I rescued from the cart on the mountainside, along with my father. I remember him with fondness, though I realised at a comparatively early age that he was a stupid man, bone idle and a coward. My father knew it too, and my mother, so when Segibert was nineteen he left home. Nobody was sorry to see him go. He made a sort of a living doing the best he could, and even his best was never much good. When he was thirty-five he drifted into Perimadeia, married a retired prostitute (her retirement didn’t last very long, apparently) and made a valiant attempt at running a tavern, which lasted for a really quite creditable eight months. By the time the bailiffs went in, his wife was pregnant, the money was long gone, and Segibert could best be described as a series of brief intervals between drinks. I’d just been elected to my chair, the youngest ever professor of music; the last thing I wanted was any contact whatsoever with my disastrous brother. In the end I gave him thirty angels, all the money I had, on condition that he went away and I never saw him again. He fulfilled his end of the deal by dying a few months later. By then, however, he’d acquired a son as well as a widow. She had her vocation to fall back on, which was doubtless a great comfort to her. When he came of age, or somewhat before, my nephew followed his father’s old profession. I got a scribbled note from him when he was nineteen, asking me for bail money, which I neglected to answer, and that was all the contact there was between us. I never met him. He died young.

  My second visit to a condemned cell. Essentially the same as the first one; walls, ceiling, floor, a tiny barred window, a stone ledge for sitting and sleeping. A steel door with a small sliding hatch in the top.

  “I didn’t think there was an extradition treaty between us and Baudoin,” I said.

  He lifted his head out of his hands. “There isn’t,” he said. “So they snatched me off the street, shoved me into a closed carriage and drove me across the border. Three days before my wedding,” he added. “Syrisca will be half dead with worry about me.”

  “Surely that was illegal.”

  He nodded. “Yes,” he said. “I believe there’s been a brisk exchange of notes between the embassies, and the marquis has lodged an official complaint. Strangely enough, I’m still here.”

  I looked at him. It was dark in the cell, so I couldn’t see much. “You’ve got a beard,” I said. “That’s new.”

  “Syrisca thought I’d look good in a beard.”

  I held back, postponing the moment. “I suppose you feel hard done by,” I said.

  “Yes, actually.” He swung his legs up onto the ledge and crouched, hugging his knees to his chin. “Fair enough, I did some stupid things when I was a kid. But I did some pretty good things too. And then I gave both of them up, settled down and turned into a regular citizen. It’s been a long time. I really thought I was free and clear.”

  Surreptitiously I looked round the cell. What I was looking for didn’t seem to be there, but it was pretty dark. “How did they find you?” I asked.

  He shrugged. “No idea,” he said. “I can only assume someone from the old days must’ve recognised me, but I can’t imagine who it could’ve been. I gave up music,” he added bitterly. “Surely that ought to have counted for something.”

  He’d taken care not to tell me his new name, that night in the inn, but a rising young star in the Baudoin olive oil trade wasn’t hard to find. Maybe he shouldn’t have given me that much information. But he hadn’t expected
me to live long enough to make use of it.

  “You tried to poison me,” I said.

  He looked at me, and his eyes were like glass. “Yes,” he said. “Sorry about that. I’m glad you survived, if that means anything to you.”

  “Why?”

  “Why did I do it?” He gave me a bemused look. “Surely that’s obvious. You recognised me. I knew you’d realised who I was, as soon as our eyes met at the recital. That was really stupid of me,” he went on, looking away. “I should’ve guessed you’d never have turned me in.”

  “So it was nearly three murders,” I said. “That tends to undercut your assertion that you’ve turned over a new leaf.”

  “Yes,” he said. “And my theory that it was somehow connected to writing music, since I’d given up by the time I tried to kill you. I really am sorry about that, by the way.”

  I gave him a weak smile. “I forgive you,” I said.

  “Thanks.”

  “Also,” I went on, “I’ve been to see the duke. He’s a great admirer of my work, you know.”

  “Is that right?”

  “Oh yes. And to think you once called him a savage.”

  “He’s not the man his father was,” he replied. “I think the old duke might have pardoned me. You know, for services to music.”

  “Sighvat didn’t put it quite like that,” I replied. “It was more as a personal favour to me.”

  There was quite a long silence; just like—I’m sorry, but I really can’t resist the comparison—a rest at a crucial moment in a piece of music. “He’s letting me go?”

  “Not quite,” I said, as gently as I could. “He reckons he’s got to consider the feelings of the victim’s family. Fifteen years. With luck and good behaviour, you’ll be out in ten.”

  He took it in two distinct stages; first the shudder, the understandable horror at the thought of an impossibly long time in hell; then, slowly but successfully pulling himself out of despair, as he considered the alternative. “I can live with that,” he said.

  “I’m afraid you’ll have to,” I replied. “I’m sorry. It was the best I could do.”

  He shook his head. “I’m the one who should apologise,” he said. “I tried to kill you, and you just saved my life.” He looked up, and even in the dim light I could see an expression on his face I don’t think I’d ever seen before. “You always were better than me,” he said. “I didn’t deserve that.”

  I shrugged. “We’re quits, then,” I said. “For the symphony. But there’s one condition.”

  He made a vague sort of gesture to signify capitulation. “Whatever,” he said.

  “You’ve got to start writing music again.”

  For a moment, I think he was too bewildered to speak. Then he burst out laughing. “That’s ridiculous,” he said. “It’s been so long, I haven’t even thought about it.”

  “It’ll come back to you, I bet. Not my condition, by the way,” I added, lying. “The duke’s. So unless you want a short walk and an even shorter drop, I suggest you look to it. Did you get the paper I had sent up, by the way?”

  “Oh, that was you, was it?” He looked at me a bit sideways. “Yes, thanks. I wiped my arse with it.”

  “In future, use your left hand, it’s what it’s for. It’s a serious condition, Aimeric. It’s Sighvat’s idea of making restitution. I think it’s a good one.”

  There was another moment of silence. “Did you tell him?”

  “Tell him what?”

  “That I wrote the symphony. Was that what decided him?”

  “I didn’t, actually,” I said. “But the thought had crossed my mind. Luckily, I didn’t have to.”

  He nodded. “That’s all right, then.” He sighed, as though he was glad some long and tedious chore was over. “I guess it’s like the people who put caged birds out on windowledges in the sun,” he said. “Lock ’em up and torture them to make them sing. I never approved of that. Cruel, I call it.”

  “A small price to pay for birdsong,” I said.

  Most of what I told him was true. I did go to Duke Sighvat to intercede for him. Sighvat was mildly surprised, given that I’d been the one who informed on him in the first place. I didn’t tell the duke about the attempt to poison me. The condition was my idea, but Sighvat approved of it. He has rather fanciful notions about poetic justice, which if you ask me is a downright contradiction in terms.

  I did bend the truth a little. To begin with, Sighvat was all for giving Subtilius a clear pardon. It was me who said no, he should go to prison instead; and when I explained why I wanted that, he agreed, so I was telling the truth when I told Subtilius it was because of the wishes of the victim’s family.

  Quite. The young waste-of-space Subtilius murdered was my nephew, Segibert’s boy. I didn’t find that out until after I helped Subtilius escape, and looking back, I wonder what I’d have done if I’d known at the time. I’m really not sure—which is probably just as well, since I have the misfortune to live with myself, and knowing how I’d have chosen, had I been in full possession of the facts, could quite possibly make that relationship unbearable. Fortunately, it’s an academic question.

  Subtilius is quite prolific, in his prison cell. Actually, it’s not at all bad. I got him moved from the old castle to the barbican tower, and it’s really quite comfortable there. In fact, his cell is more or less identical in terms of furnishings and facilities to my rooms in college, and I pay the warders to give him decent food and the occasional bottle of wine. He doesn’t have to worry about money, either. Unfortunately, the quantity of his output these days isn’t matched by the quality. It’s good stuff, highly accomplished, technically proficient and very agreeable to listen to, but no spark of genius, none whatsoever. I don’t know. Maybe he still has the wings, but in his cage, on the windowsill, where I put him, he can’t really make much use of them.

  Woman Leaves Room

  Robert Reed

  She wears a smile. I like her smile, nervous and maybe a little scared, sweet and somewhat lonely. She wears jeans and a sheer green blouse and comfortable sandals and rings on two fingers and a glass patch across one eye. Standing at her end of the room, she asks how I feel. I feel fine. I tell her so and I tell her my name, and she puts her hands together and says that’s a nice name. I ask to hear hers, but she says no. Then she laughs and says that she wants to be a creature of secrets. Both of us laugh and watch each other. Her smile changes as she makes herself ready for what happens next. I read her face, her body. She wants me to speak. The perfect words offer themselves to me, and I open my mouth. But there comes a sound—an important urgent note—and the glass patch turns opaque, hiding one of those pretty brown eyes.

  She takes a quick deep breath, watching what I can’t see. Seconds pass. Her shoulders drop and she widens her stance, absorbing some burden. Then the patch clears, and she tells me what I have already guessed. Something has happened; something needs her immediate attention. Please be patient, please, she says. Then she promises to be right back.

  I watch her turn away. I watch her legs and long back and the dark brown hair pushed into a sloppy, temporary bun. A purse waits in the chair. She picks it up and hangs it on her shoulder. Her next two steps are quick but then she slows. Doubt and regret take hold as she reaches the open door. Entering the hallway, she almost looks back at me. She wants to and doesn’t want to, and her face keeps changing. She feels sad and I’m sure that she is scared. But whatever the problem, she wants to smile, not quite meeting my eyes with her final expression, and I wave a hand and wish her well, but she has already vanished down the hallway.

  The room is my room. The chairs and long sofa are familiar and look comfortable, and I know how each would feel if I sat. But I don’t sit. Standing is most natural, and it takes no energy. The carpet beneath me is soft and deep and wonderfully warm on bare feet. I stand where I am and wait and wait. The walls are white and decorated with framed paintings of haystacks, and there is a switch beside the door and a fan and li
ght on the ceiling. The light burns blue. The fan turns, clicking and wobbling slightly with each rotation. A window is on my right, but its blinds are drawn and dark. Behind me is another door. I could turn and see what it offers, but I don’t. I am waiting. She is gone but will return, and she has to appear inside the first door, and I spend nothing, not even time, waiting for what I remember best, which is her pretty face.

  A similar face appears. But this is a man wearing white trousers and a black shirt and glove-like shoes and no jewelry and no eye patch. He stands on the other side of the door, in the hallway, holding his hands in front of himself much as she did. He stares at me and says nothing. I ask who he is. He blinks and steps back and asks who I am. I tell him. And he laughs nervously. I don’t know why I like the sound of laughter so much. He repeats my name and asks new questions, and I answer what I can answer while smiling at him, wondering how to make this man laugh again.

  Do I know what I am meant to be, he asks. Which is a very different question than asking who I am.

  I have no answer to give.

  Then he lists names, one after another, waiting for me to recognize any of them. I don’t. That’s not surprising, he says. I was only begun and then left, which is too bad. Which is sad. I nod and smile politely. Then he asks if I have ever seen anybody else, and I describe the woman who just left the room. That’s how I get him to laugh again. But it is a nervous little laugh dissolving into sharp, confused emotions.

  That woman was my mother, he says. He claims that thirty-one years have passed and she barely started me before something happened to her, but he doesn’t explain. This is all unexpected. I am not expected.

  I nod and smile, watching him cry.

  He wants to hear about the woman.