That night, lying in Dapple’s arms, Haik had a dream. The old woman came to her, dirty-footed, in a ragged tunic. "What have you learned?"
"I don’t know," said Haik.
"Excellent!" said the old woman. "This is the beginning of comprehension. But I’ll warn you again. You may gain nothing, except comprehension and my approval, which is worth little in the towns where people dwell."
"I thought you ruled the world."
"Rule is a large, heavy word," said the old woman. "I made the world and enjoy it, but rule? Does a tree rule the shoots that rise at its base? Matriarchs may rule their families. I don’t claim so much for myself."
When spring came, the company went north. Their ship stopped at Tulwar to let off Haik and take on potted trees. There were so many plants that some had to be stored on deck, lashed down against bad weather. As the ship left, it seemed like a floating grove. Dapple stood among the trees, crown-of-fire mostly, none in bloom. Haik, on the shore, watched till she could no longer see her lover or the ship. Then she walked home to Rakai’s pottery. Everything was as Haik had left it, though covered with dust. She unpacked her strange animals and set them on a table. Then she got a broom and began to sweep.
After a while, her senior relatives arrived. "Did you enjoy your adventures?"
"Yes."
"Are you back to stay?"
"Maybe."
Great-aunts and uncles glanced at one another. Haik kept sweeping.
"It’s good to have you back," said a senior male cousin.
"We need more pots," said an aunt.
Once the house was clean, Haik began potting: simple forms at first, with no decoration except a monochrome glaze. Then she added texture: a cord pattern at the rim, crisscross scratches on the body. The handles were twists of clay, put on carelessly. Sometimes she left her hand print like a shadow. Her glazes, applied in splashes, hid most of what she’d drawn or printed. When her shelves were full of new pots, she went to the cliffs, climbing up steep ravines and walking narrow ledges, a hammer in hand. Erosion had uncovered new fossils: bugs and fish, mostly, though she found one skull that was either a bird or a small land animal. When cleaned, it turned out to be intact and wonderfully delicate. The small teeth, still in the jaw or close to it, were like nothing she had seen. She made a copy in grey-green clay, larger than the original, with all the teeth in place. This became the handle for a large covered pot. The body of the pot was decorated with drawings of birds and animals, all strange. The glaze was thin and colorless and cracked in firing, so it seemed as if a film of ice covered the pot.
"Who will buy that?" asked her relatives. "You can’t put a tree in it, not with that cover."
"My lover Dapple," said Haik in reply. "Or the famous war captain of Ettin."
At midsummer, there was a hot period. The wind off the ocean stopped. People moved when they had to, mouths open, panting. During this time, Haik was troubled with dreams. Most made no sense. A number involved the Goddess. In one, the old woman ate an agala. This was a southern fruit, unknown in Tulwar, which consisted of layers wrapped around a central pit. The outermost layer was red and sweet; each layer going in was paler and more bitter, till one reached the innermost layer, bone-white and tongue-curling. Some people would unfold the fruit as if it were a present in a wrapping and eat only certain layers. Others, like Haik, bit through to the pit, enjoying the combination of sweetness and bitterness. The Goddess did as she did, Haik discovered with interest. Juice squirted out of the old woman’s mouth and ran down her lower face, matting the sparse white hair. There was no more to the dream, just the Goddess eating messily.
In another dream, the old woman was with a female bital. The shaggy beast had two young, both covered with downy yellow fur. "They are twins," the Goddess said. "But not identical. One is larger and stronger, as you can see. That twin will live. The other will die."
"Is this surprising?" asked Haik.
The Goddess looked peeved. "I’m trying to explain how I breed!"
"Through death?" asked Haik.
"Yes." The Goddess caressed the mother animal’s shaggy flank. "And beauty. That’s why your father had a child in Tulwar. He was alive in spite of adversity. He was beautiful. The matrons of Tulwar looked at him and said, ‘We want these qualities for our family.’
"That’s why tame sulinare furry. People have selected for that trait, which wild sulinconsider less important than size, sharp teeth, a crest of stiff hair along the spine, glittering patches of scales on the sides and belly, and a disposition inclined toward violence. Therefore, among wild sulin,these qualities grow more evident and extreme, while tame sulinacquire traits that enable them to live with people. The peshaonce lived on land; the bitalclimbed among branches. In time, all life changes, shaped by beauty and death.
"Of all my creatures, only people have the ability to shape themselves and other kinds of life, using comprehension and judgment. This is the gift I have given you: to know what you are doing and what I do." The old woman touched the smaller bitalcalf. It collapsed. Haik woke.
A disturbing dream, she thought, lying in darkness. The house, as always, smelled of clay, both wet and dry. Small animals, her fellow residents, made quiet noises. She rose and dressed, going to the nearest beach. A slight breeze came off the ocean, barely moving the hot air. Combers rolled gently in, lit by the stars. Haik walked along the beach, water touching her feet now and then. The things she knew came together, interlocking; she achieved what we could call the Theory of Evolution. Hah! The Goddess thought in large ways! What a method to use in shaping life! One could not call it quick or economical, but the Goddess was–it seemed by looking at the world–inclined toward abundance; and there was little evidence that she was in a hurry.
Death made sense; without it change was impossible. Beauty made sense; without it, there couldn’t be improvement or at least variety. Everything was explained, it seemed to Haik: the pesha’s flipper, the claw-handed bird, all the animals she’d found in the Tulwar cliffs. They were not mineral formations. They had lived. Most likely, they lived no longer, except in her mind and art.
She looked at the cloudless sky. So many stars, past all counting! So much time, receding into distance! So much death! And so much beauty!
She noticed at last that she was tired, went home and went to bed. In the morning, after a bad night’s sleep, the Theory of Evolution still seemed good. But there was no one to discuss it with. Her relatives had turned their backs on most of existence after the Drowning. Don’t think badly of them for this. They provided potted beauty to many places; many lineages in many towns praised the Tulwar trees and pots. But their family was small, its future uncertain. They didn’t have the resources to take long journeys or think about large ideas. So Haik made more pots and collected more fossils, saying nothing about her theory, till Dapple arrived late in fall. They made love passionately for several days. Then Dapple looked around at the largely empty town, guarded by dark grey cliffs. "This doesn’t seem like a good place to winter, dear one. Come south with me! Bring pots, and the Ettin will make you very welcome."
"Let me think," said Haik.
"You have ten days at most," Dapple said. "A captain I know is heading south; I asked her to stop in Tulwar, in case your native town was as depressing as I expected."
Haik hit her lover lightly on the shoulder and went off to think.
She went with Dapple, taking pots, a potter’s wheel, and bags of clay. On the trip south–through rolling ocean, rain and snow beating against the ship–Haik told Dapple about evolution.
"Does this mean we started out as bugs?" the actor asked.
"The Goddess told me the process extended to people, though I’ve never found the bones of people in my cliffs."
"I’ve spent much of my life pretending to be one kind of animal or another. Interesting to think that animals may be inside me and in my past!"
On the same trip, Haik said, "My family wants to breed me again. There are too few
of us; I’m strong and intelligent and have already had two healthy children."
"They are certainly right in doing this," said Dapple. "Have you picked a father?"
"Not yet. But they’ve told me this must be my last trip for a while."
"Then we’d better make the most of it," Dapple said.
There had been a family argument about the trip; and Haik had gotten permission to go only by saying she would not agree to a mating otherwise. But she didn’t tell Dapple any of this. Family quarrels should be kept in the family.
They spent the winter in Hu. It was mild with little snow. Dapple wrote, and Haik made pots. Toward spring they went to Ettin, taking pots.
Ettin Taiin’s mother was still alive, over a hundred and almost entirely blind with snow-white fur. But still upright, as Taiin pointed out. "I think she’ll go to the crematorium upright and remain upright amid the flames."
He said this in the presence of the old lady, who smiled grimly, revealing that she’d kept almost all her teeth.
The Ettin bought all the pots Haik had, Taiin picking out one with special care. It was small and plain, with flower-predators for handles, a cover and a pure white glaze. "For my mother’s ashes," the captain said quietly. "The day will come, though I dread it and make jokes about it."
Through late winter, Haik sat with the matriarch, who was obviously interested in her. They talked about pottery, their two families and the Theory of Evolution.
"I find it hard to believe we are descended from bugs and fish," Ettin Hattali said. "But your dreams have the sound of truth; and I certainly know that many of my distant ancestors were disgusting people. The Ettin have been improving, due to the wise decisions of my more recent ancestors, especially the women. Maybe if we followed this process far enough back, we’d get to bugs. Though you ought to consider the possibility that the Goddess is playing a joke on you. She does not always speak directly, and she dearly loves a joke."
"I have considered this," said Haik. "I may be a fool or crazy, but the idea seems good. It explains so much that has puzzled me."
Spring came finally. The hills of Ettin turned pale blue and orange. In the valley-fields, bitalinand tsinaproduced calves and foals.
"I have come to a decision," the blind old woman told Haik.
"Yes?"
"I want Ettin to interbreed with your family. To that end, I will send two junior members of my family to Tulwar with you. The lad is more like my son Taiin than any other male in the younger generation. The girl is a fine, intelligent, healthy young woman. If your senior female relatives agree, I want the boy–his name is Galhin–to impregnate you, while a Tulwar male impregnates Sai."
"It may be a wasted journey," said Haik in warning.
"Of course," said the matriarch. "They’re young. They have time to spare. Dapple’s family decided not to breed her, since they have plenty of children; and she is definitely odd. It’s too late now. Her traits have been lost. But yours will not be; and we want the Ettin to have a share in what your line becomes."
"I will let my senior female relatives decide," said Haik.
"Of course you will," said Ettin Hattali.
The lad, as Hattali called him, turned out to be a man of thirty-five, shoulder high to Haik and steel grey. He had two eyes and no limp. Nonetheless, his resemblance to Taiin was remarkable: a fierce, direct man, full of good humor. Haik liked him at once. His half-sister Sai was thirty, a solid woman with grey-brown fur and an excellent, even temperament. No reasonable person could dislike her.
Dapple, laughing, said, "This is Ettin in action! They live to defeat their enemies and interbreed with any family that seems likely to prove useful."
Death and beauty, Haik thought.
The four of them went east together. Haik put her potter’s tools in storage at the Hu Town inn; Dapple took leave of many old friends; and the four found passage on a ship going north.
After much discussion, Haik’s senior relatives agreed to the two matings, impressed by Galhin’s vigor and his sister’s calm solidity, by the rich gifts the Ettin kin had brought, and Haik’s description of the southern family.
Nowadays, with artificial insemination, we don’t have to endure what happened next. But it was made tolerable to Haik by Ettin Galhin’s excellent manners and the good humor with which he handled every embarrassment. He lacked, as he admitted, Taiin’s extreme energy and violence. "But this is not a situation that requires my uncle’s abilities; and he’s really too old for mating; and it would be unkind to take him from Hattali. Who can say how long she will survive? Their love for each other has been a light for the Ettin for years. We can hardly separate them now."
The two foreigners were in Tulwar till fall. Then, both women pregnant, the Ettin departed. Haik returned to her pottery. In late spring, she bore twins, a boy and a girl. The boy died soon after birth, but the girl was large and healthy.
"She took strength from her brother in the womb," said the Tulwar matriarchs. "This happens; and the important child, the female, has survived."
Haik named the girl Ahl. She was dun like her older sisters, but her fur had more of a ruddy tint. In sunlight, her pelt shone red-gold; and her nickname became Gold.
It was two years before Dapple came back, her silver-grey fur beginning to show frost on the broad shoulders and lean upper arms. She admired the baby and the new pots, then gave information. Ettin Sai had produced a daughter, a strong child, obviously intelligent. The Ettin had named the child Haik, in hope that some of Tulwar Haik’s ability would appear in their family. "They are greedy folk," said Dapple. "They want all their own strength, energy, solidity and violence. In addition, they want the beauty you make and are.
"Can you leave your daughter for a while? Come south and sell pots, while I perform my plays. Believe me, people in Hu and Ettin ask about you."
"I can," said Haik.
Gold went to a female cousin. In addition to being lovely, she had a fine disposition, and many were willing to care for her. Haik and Dapple took passage. This time, the voyage was easy, the winds mild and steady, the sky clear except for high, thin clouds called "tangled banners" and "schools of fish."
"What happened to your Theory of Evolution?" Dapple asked.
"Nothing."
"Why?"
"What could be done? Who would have believed me, if I said the world is old beyond comprehension; and many kinds of life have come into existence; and most, as far as I can determine, no longer exist?"
"It does sound unlikely," Dapple admitted.
"And impious."
"Maybe not that. The Goddess has an odd sense of humor, as almost everyone knows."
"I put strange animals on my pots and make them into toys for Gold and other children. But I will not begin an ugly family argument over religion."
You may think that Haik lacked courage. Remember that she lived in an era before modern science. Yes, there were places where scholars gathered, but none in her part of the world. She’d have to travel long distances and learn a new language, then talk to strangers about concepts of time and change unfamiliar to everyone. Her proof was in the cliffs of Tulwar, which she could not take with her. Do you really think those scholars–people devoted to the study of history, mathematics, literature, chemistry, and medicine–would have believed her? Hardly likely! She had children, a dear lover, a craft, and friends. Why should she cast away all of this? For what? A truth no one was likely to see? Better to stay home or travel along the coast. Better to make pots on her own and love with Dapple.
They reached Hu Town in early summer. The inn’s potted trees bloomed scarlet and sky-blue.
"The Potter of Strange Animals!" cried the innkeeper. "I have bought five of your pots for my trees."
Indeed, the woman had. Haik wandered around the courtyard, admiring her own work. Four were the kind she’d made when she first returned from the south, decorated with scratches and glazed white or black. The fifth had an underwater scene, done in low relief. Beaked
fish swam around the top. Below them, rising from the bottom of the pot, were long sinuous plants. Haik had named them "ocean whips." It was possible that they were animals; once or twice she had found shadows that might be mouths with teeth. Between the plants (or animals) were segmented bugs. The glaze was dark blue with touches of white.
"This is more recent," Haik said.
"I bought it because you are the Potter of Strange Animals. But I prefer the other pots. They set off my trees."
Who can argue opinions about art, especially with someone who has bought five large pots?
Dapple’s company was at the inn, having arrived several days before. Haik knew all of them, except the apprentices. For a while, they traveled through the little coastal towns of Hu, Tesh, and Ta-tesh, performing comedies and now and then a tragedy. These last were a surprise to Haik, especially the tragedies about women. They were so subdued! Instead of tumbling and rude jokes, there were small gestures, turned heads, a few words spoken quietly. The actors wore plain robes in sober colors; their faces were unmasked; most of the time, the music came from a single flute. Its sound reminded Haik of a thread floating on moving water, coiling and uncoiling in the current.
"It’s my observation that women suffer as much as men," said Dapple in explanation. "But we are expected to be solid and enduring. As a result, our suffering is quiet. I’m trying to show it in the way it happens. Hah! I am tired of loud, rude comedies! And loud, sad plays about the suffering of men!"
At last, in far southern Tesh, they turned inland, traveling without merchants. The borders between Ettin and its eastern neighbors were all quiet. The various families had been allies and breeding partners for generations; and none tolerated criminal behavior. By now, it was late summer. The plain baked under a sun like polished brass. The Ettin hills were hot and dusty. When they reached Hattali’s house, it was with relief. Household women greeted them. Men took their tsinaand the packs of props and costumes. Their rooms opened on a courtyard with two bathing pools. The water in one was colorless and cold. The other bubbled, bright green. The entire acting company stripped and climbed in. What a pleasure! Though both pools were crowded. Well, thought Haik, she’d take a slow bath later, soaking the travel aches from her muscles and bones.
The Potter of Bones h-11 Page 5
