by Amy Thomson
In return, the three enkar and Moki performed traditional quarbirri, and improvised with musicians. Naratonen was dazzled by the lights, the sound system, the special effects, and the sheer range and variety of performing arts. He was especially impressed by Chinese opera, and spent hours backstage with the actors and actresses, learning to copy their masklike makeup. The actors in turn were fascinated by his ability to instantly change from one face to another. By the time Ukatonen bodily hauled him off to a diplomatic reception with the Chinese Minister of Ecology, he had formed a fast friendship with the troupe’s director, Li Liu, and they were spinning out ideas for a new opera that would utilize his ability to change his skin color.
Anitonen focused on learning human diplomacy. She spent hours closeted with members of the protocol staff, learning the ins and outs of a diplomat’s life. She also spent a lot of time with Analin, trying to comprehend the chaos and violence of human history. Anitonen kept coming to Ukatonen with questions about what motivated humans to do various things. Occasionally, he or Moki could enlighten her, but mostly they all turned to Eerin, whose explanations were often as confusing as the questions they brought to her. But once in a while some revelation would blossom.
The two enkar kept Moki busy, answering their endless questions, and looking after them. Moki blossomed under the enkar’s demands. Ukatonen had forgotten how much of a bami’s role revolved around serving the elders around him. It was how a bami learned to be a Tendu. He and Eerin were much too self-sufficient to keep Moki occupied.
After the diplomatic tour was over, they returned for a month to Berry Station. The two enkar were fascinated by the Fortunati family, especially Mariam, who was delighted to have two more Tendu to play with.
The enkar spent alternate months on Berry, studying intently; then they would spend a month traveling and meeting people. Naratonen and Li Liu actually managed to create a Chinese/Tendu opera, using both Chinese and Tendu music, though finding a common theme proved difficult. It was a huge success– over a billion people downloaded it. Naratonen’s share of the royalties was enough to make him moderately wealthy by Earth standards. Eerin helped him set up a fund to defray the costs of Tendu traveling to Earth. Li Liu gave Naratonen a copy of the score and a chip of the performance to take back to Tiangi. It would require violating the Contact Protocols to show it to any of the Tendu back home, but Naratonen watched the performance so many times that he could reproduce the entire performance on his skin.
As the date for their departure loomed, Anitonen and Naratonen redoubled their efforts to get Ukatonen to come with them. He continued to refuse. At one point, Naratonen even threatened to render a judgment that Ukatonen must go back with them. Before Naratonen could formally phrase his judgment, Anitonen stopped him by rendering a judgment that her life would be forfeit if he created a judgment about this matter. After that, the subject of Uka-tonen returning to Tiangi was not spoken of, though it hung in the air like a persistent fragrance.
The enkar’s final days in human space were spent in frenetic planning, trying to decide which six enkar would come and study with Ukatonen. They needed to be flexible enough to cope with the humans’ radically different culture, and understanding enough to work with Ukatonen, despite his injury.
Then suddenly, it was time for Naratonen and Anitonen to return to Tiangi.
Dread weighed heavily in Ukatonen’s stomach on the trip back to Broumas to see them off. It would be more than a year before the next group of enkar arrived. He had grown used to the company of his own people again. It was going to be hard, being only one of two Tendu among all these humans. It was still possible to change his mind and go home, Ukatonen realized. He closed his eyes against the sudden surge of longing as he thought of Tiangi.
Then the shuttle docked, and there were bags to carry, and trains to catch, and then they were standing at the starship gate.
Ukatonen held out his hands, asking for a link. Moki, Eerin, Anitonen and Naratonen found a quiet corner and plunged into a final allu-a. They reached a sad, subdued equilibrium. As the link was breaking apart, Naratonen and Anitonen drew him back into a separate link with just the two of them. They opened themselves completely to Ukatonen. He was startled and touched by the honor they did him. He opened himself to them, sharing his longing for home. He was surprised to see how much this leaving grieved them as well.
Naratonen brushed his shoulder affectionately. “You could still come with us,” he offered.
Ukatonen was silent for a moment as he struggled with his longing for Tiangi. “I know, but I am needed here,” he replied.
Naratonen nodded. He had not expected Ukatonen to change his mind.
“You have taught us so much. I think we will be better at working with the humans,” Anitonen admitted. “But it will be a long time before harmony can be achieved.”
“I know,” Ukatonen said. “First we must understand each other. Then we can work toward harmony.” He looked over at Eerin and Moki. “They are part of the bridge we must build.”
Anitonen touched his arm. “As are you, en,” she said. “As are you.”
The two enkar scooped up their bags and walked through the gate and up the long, spiraling ramp to the starship’s passenger airlock. Ukatonen watched until the curve of the ramp blocked them from view. He stood there for a long moment after they were gone, wanting desperately to run after them. Then he turned back to Moki and Eerin.
“Let’s go home,” he said.
Glossary
Allu n. Fleshy red spurs located on the inside of the forearm and their associated organs, used by the Tendu for allu-a.
Allu-a n. vb. The communion between two or more Tendu that involves a deep sharing of physiological state.
Ang-ar-gora n. vb. The art of stealth, of listening without being seen. Usually practiced exclusively by the enkar.
Atwa n. The ecological grouping that comes under the care of a Tendu elder.
Bai n. Diminutive-informal form of bami, usually used by a sitik to his or her bami.
Bami n. A sub-adult who is apprenticed/parented by an elder Tendu. They have the capacity to speak.
Enkar n. A class of Tendu who travel from village to village giving advice and settling disputes.
Ganuna n. A small lizard with a venomous but rarely fatal bite. It warns off attackers with a loud hissing sound.
Gauware n. A rain forest fruit tree.
Girra n. A vine bearing extremely fragrant, night-blooming flowers, and edible fruit.
Gudda n. An arborial, marsupial lizard, about the size of a medium-sized dog. It is very prolific.
Koirah n. Large raptor that preys on animals in the uppermost canopy. One of the most dreaded predators of the Tendu.
Lyali-Tendu n. Sea Tendu. Those Tendu who live year-round in coastal waters.
Mitamit n. A large predatory insect. The female builds intricately layered webs in which to trap males in order to mate with them. She then lays her eggs inside the male, and the developing young feed’on their father.
Na tree n. The giant hollow trees that are the preferred living quarters for land dwelling Tendu.
Pika n. A starchy fermented dough made from the root of a water plant. It is often flattened and used to wrap around other foods.
Pooo-eet n. A fishing bird that lives near the river. During their mating season (also known as the month or “pida” of Pooo-eet) the canopy echoes with their “poooeet” calls, prompting many Tendu to go hunting for a little peace and quiet.
Purra n. A mollusc with a thick, hard, difficult-to-open shell. It is prized as a delicacy by the Lyali-Tendu.
Qu arbirri n. vb. Traditional Tendu dance/narrative art form, involving music, dance, and skin speech.
Ruwar-a n. A system or process in which the elements work together synergetically so that the whole is greater than the sum of its parts. Considered auspicious and harmonious.
Siti n. Informal, intimate form of sitik, usually used by a bami to his or her sitik.
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Sitik n. An elder Tendu who is the mentor/parent of a sub-adult bami.
Tinka n. Juvenile form of Tendu, imprinted on a village. Usually six years and older. A tinka can live as long as fifty years before beginning to age and die.
Weedah n. A bird that builds a tangled, tightly woven nest. Old nests are often disassembled by the Tendu for the fiber they contain.
Yetilye n. A burrowing orange worm roughly equivalent to a Terran earthworm.
Non-Tendu Glossary
Greensickness n. A debilitating psychosomatic depression found in the Tendu. It is caused by isolation from a natural ecosystem.
Isi n. Finnish for father (informal).
Isoisi n. Finnish for grandfather (informal).
Isukki n. Finnish: Informal, intimate term for father.
Osento n. Japanese term for public baths.
Pikkuinnen n. Finnish for little one. Used of children in a family.
Tati n. Finnish term for aunt.
Tytar n. Finnish for daughter.
Tytarenpoika n. Finnish for grandson. Literally means daughter’s son.
Veljentytar n. Finnish term for niece. Literally means brother’s daughter.
An Ace Book / published by arrangement with the author
PRINTING HISTORY
Ace trade paperback edition / July 1999 Ace mass-market edition / June 2000
All rights reserved.
Copyright © 1999 by Amy Thomson.
Cover art by Danilo Ducak.
ISBN: 0-441-00739-2
