by Garth Nix
GARTH NIX
ACROSS THE WALL
A TALE OF THE ABHORSEN AND OTHER STORIES
To Anna, Thomas, and Edward
and
all my family and friends
CONTENTS
Preface
Nicholas Sayre and the Creature in the Case
Under the Lake
Charlie Rabbit
From the Lighthouse
The Hill
Lightning Bringer
Down to the Scum Quarter
Heart’s Desire
Hansel’s Eyes
Hope Chest
My New Really Epic Fantasy Series
Three Roses
Endings
About the Author
Other books by Garth Nix
Credits
Copyright
About the Publisher
PREFACE
four years ago, after a Christmas lunch, my younger brother passed around a very small “book” of four stapled together pages that he said he’d found while helping my mother clean out a storage area under the family home. The book contained four stories written in shaky capital letters, with a couple of half-hearted illustrations done with colored pencils. On the front, it had “Stories” and “Garth Nix” in the handwriting one would expect from someone aged around six.
The stories included such gems as “The Coin Shower,” which was very short and went something like:
a boy went outside
it started raining coins
he picked them up
I had no memory of this story or the little booklet, and at first I thought it had been fabricated by my brother as a joke, but my parents remembered me writing the stories and engaging in this bit of self-publishing at an early age.
I wrote “The Coin Shower” and the other stories in that collection about thirty-five years ago, and I’ve been writing ever since. Not always fiction, though. In my varied writing career I’ve written all kinds of things, from speeches for CEOs to brochures about brickworks to briefing papers on new Internet technologies.
I first got into print writing articles and scenarios for the role-playing games “Dungeons and Dragons” and “Traveler” when I was sixteen or seventeen. I wrote for magazines like Multiverse and Breakout! in Australia and White Dwarf in the United Kingdom. I tried to crack Dragon magazine in the United States, but never quite managed to sell them anything.
This minor success in getting role-playing game articles or scenarios into print led me to try my hand at getting some of my fiction published. I’d written quite a few stories here and there without success, but when I was nineteen years old, I wrote a whole lot more while I was traveling around the U.K. and Europe, broadening my horizons. I drove all over the place in a beat-up Austin 1600 with a small metal Silver-Reed typewriter in the backseat, a couple of notebooks, and lots of other people’s books. Every day I’d write something in longhand in my note-book, and then that night or perhaps the next morning I’d type up what I’d written. (That established a writing practice that has continued for more than twenty years: I write most of my novels in longhand, typing up each chapter on the computer after I’ve got the first draft done in the latest black-and-red notebook. I now have more than twenty of these notebooks, plus one very out-of-place blue-and-white-striped notebook that I turned to during the stationery drought of 1996.)
I don’t write everything in longhand first, though; sometimes I just take to the keyboard. Most of my short fiction begins with handwritten notes, and perhaps a few key sentences put down with my trusty Waterman fountain pen, but then I start typing. The pen comes into its own again later, when I print out the story, make my changes and corrections, and then go back to the computer. This process often occurs when I have only part of the story written. I quite often revise the first third or some small part of a story six or seven times before I’ve written the rest of it. Often the revision occurs because I have left the story incomplete for a long time, and I need to revisit the existing part in order to feel my way into the story again.
Both my short and long fiction works usually begin with a thinly sketched scene, character, situation, or some combination of all three, which just appears in my head. For example, I might suddenly visualize a huge old mill by a broad river, the wheel slowly turning, with the sound of the grinding stones underlaid by the burble of the river. Or I might think of a character, say a middle-aged man who has turned away from the sorcery of his youth because he is afraid of it, but who will be forced to embrace it again. Or a situation might emerge from my subconscious, in which a man, or something that was once a man, is looking down on a group of travelers from a rocky perch, wondering whether he/it should rob them.
All these beginnings might come together into the story of a miller, once a sorcerer, who is transformed into a creature as the result of a magical compact he thought he had evaded. So he must leave his settled life and become a brigand, in the hope of finding, on one of the magicians or priests he robs on the road, the one item of magical apparatus that can return his human shape.
Or they might not come together. I have numerous notes for stories, and many partly begun stories, that have progressed no further. Some of these fragments might be used in my novels, or at least be the seeds of some elements in one. A few ideas will progress and grow and become stories, complete in themselves. The great majority of my jotted-down ideas, images, and scraps of writing will never become anything more than a few lines in a black-and-red notebook.
The stories in this collection are the ones that got past the notes stage, that became a few paragraphs, then a few pages, and somehow charged on downhill to become complete. They represent a kind of core sample taken through more than fifteen years of writing, from the callow author of twenty-five who wrote “Down to the Scum Quarter” to the possibly more polished forty-one-year-old writer of “Nicholas Sayre and the Creature in the Case.”
Fortunately, you have been spared some even earlier efforts, including the heavily T. H. White–influenced short story I published in my school magazine at fifteen, and even my very first professional short story sale, which felt like a great triumph for me at nineteen years old but now looks rather out of place with my later works.
I hope you find some stories here that you will enjoy, or wonder about, or that linger uncomfortably in the mind when you wish they didn’t. But if your favorite story is “The Coin Shower,” please do not write and tell me that my writing has been going downhill ever since I was six.
GARTH NIX
December 1, 2004
Sydney, Australia
INTRODUCTION TO NICHOLAS SAYRE AND THE CREATURE IN THE CASE
I have explored Ancelstierre and the Old Kingdom a little in my novels Sabriel, Lirael, and Abhorsen, and in the process I have found out (for that’s often what it feels like, even though I’m the one making it up) quite a lot about these lands, the people and creatures that inhabit them, and their stories.
But there is much, much more that I don’t know about, and will never know about unless I need it for a story. Unlike many fantasy writers, I don’t spend a lot of time working out and recording tons of background detail about the worlds that I make up. What I do is write the story, pausing every now and then to puzzle out the details or information that I need to know to make the story work. Some of that background material will end up in the story, though it might be veiled, mysterious, or tangential. Much more will sit in my head or roughly jotted down in my note-books, until I need it next time or until I connect it with something else.
Every time I reenter the world of the Old Kingdom and Ancelstierre, I find myself stitching together leftover bits and pieces that I already knew ab
out, as well as inventing some more that seem to go with what is already there.
“Nicholas Sayre and the Creature in the Case” was particularly interesting for me to write, because in it I connect various bits and pieces of information about Ancelstierre, rather than the Old Kingdom. As always, the story is the most important thing to me, but this novella also gives a glimpse of the people, customs, government, technology, and landscape of Ancelstierre.
Like nearly everything I write, this is a fantasy adventure story, this time with a dash of country-house mystery, a twist of 1920s-style espionage, and a humorous little umbrella on the side that may be safely ignored by those who don’t like it (or don’t get it). Some readers may detect the influence of some of the authors outside the fantasy genre (as it is usually defined today) whom I admire, including Dorothy Sayers and P. G. Wodehouse.
Planned to be a longish short story, “Nicholas Sayre and the Creature in the Case” grew and grew till it became a novella and ended up taking many more months to write than I had anticipated. It started with these notes:
Nicholas and Uncle to country house
Full of debs and stupid young men
Thing in the Case, eyes follow Nick
Autumn haymaking
thing gets some of Nick’s blood?
refuge in river, thing closes sluice
hay fires in a circle
it is powerful, but poisoned
how far are we from the Wall?
That was the kernel, from which a novella grew over about ten months. I don’t know why I wrote it rather than something else. It wasn’t sold to a publisher, I didn’t have a deadline for it, and I had plenty of other things to do. But only a week or so after writing those notes, I sat down and wrote the first three or four pages in one sitting. I kept coming back to it thereafter, caught up (as I often am as both writer and reader) simply by the desire to see what happened next.
NICHOLAS SAYRE AND THE CREATURE IN THE CASE
“i am going back to the Old Kingdom, Uncle,” said Nicholas Sayre. “Whatever Father may have told you. So there is no point in your trying to fix me up with a suitable Sayre job or a suitable Sayre marriage. I am coming with you to what will undoubtedly be a horrendous house party only because it will get me a few hundred miles closer to the Wall.”
Nicholas’s uncle Edward, more generally known as The Most Honorable Edward Sayre, Chief Minister of Ancelstierre, shut the red-bound letter book he was reading with more emphasis than he intended, as their heavily armored car lurched over a hump in the road. The sudden clap of the book made the bodyguard in front look around, but the driver kept his eyes on the narrow country lane.
“Have I said anything about a job or a marriage?” Edward enquired, gazing down his long, patrician nose at his nineteen-year-old nephew. “Besides, you won’t even get within a mile of the Perimeter without a pass signed by me, let alone across the Wall.”
“I could get a pass from Lewis,” said Nicholas moodily, referring to the newly anointed Hereditary Arbiter. The previous Arbiter, Lewis’s grandfather, had died of a heart attack during Corolini’s attempted coup d’état half a year before.
“No, you couldn’t, and you know it,” said Edward.
“Lewis has more sense than to involve himself in any aspect of government other than the ceremonial.”
“Then I’ll have to cross over without a pass,” declared Nicholas angrily, not even trying to hide the frustration that had built up in him over the past six months, during which he’d been forced to stay in Ancelstierre. Most of that time spent wishing he’d left with Lirael and Sam in the immediate aftermath of the Destroyer’s defeat, instead of deciding to recuperate in Ancelstierre. It had been weakness and fear that had driven his decision, combined with a desire to put the terrible past behind him. But he now knew that was impossible. He could not ignore the legacy of his involvement with Hedge and the Destroyer, nor his return to Life at the hands—or paws—of the Disreputable Dog. He had become someone else, and he could only find out who that was in the Old Kingdom.
“You would almost certainly be shot if you try to cross illegally,” said Edward. “A fate you would richly deserve. Particularly since you are not giving me the opportunity to help you. I do not know why you or anyone else would want to go to the Old Kingdom—my year on the Perimeter as General Hort’s ADC certainly taught me the place is best avoided. Nor do I wish to annoy your father and hurt your mother, but there are certain circumstances in which I might grant you permission to cross the Perimeter.”
“What! Really?”
“Yes, really. Have I ever taken you or any other of my nephews or nieces to a house party before?”
“Not that I know—”
“Do I usually make a habit of attending parties given by someone like Alastor Dorrance in the middle of nowhere?”
“I suppose not….”
“Then you might exercise your intelligence to wonder why you are here with me now.”
“Gatehouse ahead, sir,” interrupted the bodyguard as the car rounded a sweeping corner and slowed down. “Recognition signal is correct.”
Edward and Nicholas leaned forward to look through the open partition and the windscreen beyond. A few hundred yards in front, a squat stone gatehouse lurked just off the road, with its two wooden gates swung back. Two slate-gray Heddon-Hare roadsters were parked, one on either side of the gate, with several mackintosh-clad, weapon-toting men standing around them. One of the men waved a yellow flag in a series of complicated movements that Edward clearly understood and Nicholas presumed meant all was well.
“Proceed!” snapped the Chief Minister. Their car slowed more, the driver shifting down through the gears with practiced double-clutching. The mackintosh-clad men saluted as the car swung off the road and through the gate, dropping their salute as the rest of the motorcade followed. Six motorcycle policemen were immediately behind, then another two cars identical to the one that carried Nicholas and his uncle, then another half dozen police motorcyclists, and finally four trucks that were carrying a company of fully armed soldiery. Corolini’s attempted putsch had failed, and there had surprisingly been no further trouble from the Our Country Party since, but the government continued to be nervous about the safety of the nation’s Chief Minister.
“So, what is going on?” asked Nicholas. “Why are you here? And why am I here? Is there something you want me to do?”
“At last, a glimmer of thought. Have you ever wondered what Alastor Dorrance actually does, other than come to Corvere three or four times a year and exercise his eccentricities in public?”
“Isn’t that enough?” asked Nick with a shudder. He remembered the newspaper stories from the last time Dorrance had been in the city, only a few weeks before. He’d hosted a picnic on Holyoak Hill for every apprentice in Corvere and supplied them with fatty roast beef, copious amounts of beer, and a particularly cheap and nasty red wine, with predictable results.
“Dorrance’s eccentricities are all show,” said Edward.
“Misdirection. He is in fact the head of Department Thirteen. Dorrance Hall is the Department’s main research facility.”
“But Department Thirteen is just a made-up thing, for the moving pictures. It doesn’t really exist…um…does it?”
“Officially, no. In actuality, yes. Every state has need of spies. Department Thirteen trains and manages ours, and carries out various tasks ill suited to the more regular branches of government. It is watched over quite carefully, I assure you.”
“But what has that got to do with me?”
“Department Thirteen observes all our neighbors very successfully, and has detailed files on everyone and everything important within those countries. With one notable exception. The Old Kingdom.”
“I’m not going to spy on my friends!”
Edward sighed and looked out the window. The drive beyond the gatehouse curved through freshly mown fields, the hay already gathered into hillocks ready to be pitch-forked into cart
s and taken to the stacks. Past the fields, the chimneys of a large country house peered above the fringe of old oaks that lined the drive.
“I’m not going to be a spy, Uncle,” repeated Nicholas.
“I haven’t asked you to be one,” said Edward as he looked back at his nephew. Nicholas’s face had paled, and he was clutching his chest. Whatever had happened to him in the Old Kingdom had left him in a very run-down state, and he was still recovering. Though the Ancelstierran doctors had found no external signs of significant injury, his X-rays had come out strangely fogged and all the medical reports said Nick was in the same sort of shape as a man who had suffered serious wounds in battle.
“All I want you to do is to spend the weekend here with some of the Department’s technical people,” continued Edward. “Answer their questions about your experiences in the Old Kingdom, that sort of thing. I doubt anything will come of it, and as you know, I strictly adhere to the wisdom of my predecessors, which is to leave the place alone. But that said, they haven’t exactly left us alone over the past twenty years. Dorrance has always had a bit of a bee in his bonnet about the Old Kingdom, greatly exacerbated by the…mmm…event at Forwin Mill. It is possible that he might discover something useful from talking to you. So if you answer his questions, you shall have your Perimeter pass on Monday morning. If you’re still set on going, that is.”
“I’ll cross the Wall,” said Nick forcefully. “One way or another.”
“Then I suggest it be my way. You know, your father wanted to be a painter when he was your age. He had talent too, according to old Menree. But our parents wouldn’t hear of it. A grave error, I think. Not that he hasn’t been a useful politician, and a great help to me. But his heart is elsewhere, and it is not possible to achieve greatness without a whole heart.”
