The Silver Witch (8 page)

‘Sorry about the color,' Tilda tells her, ‘but that must be a bit more comfortable, at least.'

Thistle regards her new mistress with a quizzical expression, her ears cocked and her head a little to one side, but otherwise keeps her opinion to herself. Together, they head for home.

SEREN

It is restful here, inside the single room that is my house. I do not have ornately carved chairs, nor costly tapestries, nor silver goblets. Mine is a simple existence, but I have all I need, and I am content. No man tells me what I should do or how I should be. I choose to live alone. To live separate. Some wonder that I do not crave the protection or the company life on the crannog offers, but what need have I of protection? True, there are those who wish me gone, but they are too afraid of me to act upon those wishes. And if they were to conquer their fear, still they would hold back, for in their hearts they know they need me to be here. For am I not, after all, their protector?

And as for company … I do not crave the companionship of other women, for I have never found one who did not judge me against herself and find me either to be envied or pitied. As for the friendship of men … well, when the day comes when one is man enough to treat me as his equal, then, only then, will I allow desire to be my guide.

And beyond all this, I have the company of my visions. When I see, when I travel to those places others cannot, I am surrounded by all manner of wondrous beings, from times past and yet to come. They welcome me, and offer me their friendship and their counsel. How then, could I be lonely? How could I feel a lack of solace and kinship? What use have I for love? I have witnessed the foolishness it engenders in the most steadfast of people. I have seen sensible women lose their wits to a handsome stranger. I have marveled at good men debased by their passion for an unsuitable woman. I would rather keep my own company than permit myself to be so unraveled by another.

My little house is cozy on these cold nights. The walls are thick wattle and daub, darkened by woodsmoke inside and weather outside. The roof is a dense thatch of reeds with low eaves to keep off rain and snow. There is a single doorway, closed by a rug in summer and a wooden door in winter, and a hole in the roof for the fire to smoke through. The floor is earth, packed and trodden to a hard, smooth surface, which I cover in rushes on one side beneath my bed of wood pallet and wool sack, covered in sheepskins. I keep a small fire in the center of the space, ringed by stones. I like to burn sweet wood or herbs to fill the room with soothing scents, and tonight an apple bough crackles in front of me, while sprigs of thyme singe slowly above it. I have a wooden stool, two padded bolsters, and a simple rug upon which to sit or recline. Above my fire stands a slender spit so that I might roast fowl or a piece of deer meat, or suspend a pot for stew, or to simmer my infusions. A roughly hewn chest to one side keeps my precious items clean and dry: my ceremonial robes, my braids, my blood letting blades, my bones for telling, my ground spices and preserved tinctures. Nearby sit two stout jars, one empty, one filled with honey, and a shallow bowl in case I have need of warm water to bathe wounds or otherwise offer treatments. All else I hang upon the walls: my wolf headdress, my staff, my drum, my axe, my hazel basket, an animal skin for water. My boots stand by the door—one soft leather pair, another sturdier against the cold. Next to them on a high peg I keep my hooded cloak of fine, dark red wool, a gift from the prince to show the gratitude of the community after a foretelling saved them from the worst of a storm. Tonight, alone and at my ease, I wear a plain woolen tunic, tied loosely at the waist with a broad twist of hide, a string of painted clay beads, and a bracelet of polished ram's horn. When I am alone I leave my hair to hang free. I do not adorn my body greatly unless I am presenting my visions as shaman. When I am at rest, I am content to let simple jewelry and the ancient patterns worked onto my skin be my only decoration.

I am soon for my bed, but I become aware of footfalls along the path outside. I listen, head cocked. Three people. One striding bold and loud as only a young man can, rudely waking everything he passes. The others are softer. Women, I believe. I slip on my cape and step out of the hut. As I do so I am hailed by my visitors to warn me of their proximity, as if I were unaware of their approach! The youth I recognize as Si
ō
n, the son of the princess's brother, the family likeness marked with his green eyes and dark complexion, who is evidently accompanying his elders to afford them the enormous benefit of his protection. He steps to one side and stands feet apart, arms folded. His stance is arrogant, but his body is that of a boy, not yet hardened by years or the grit of manhood. The women come forward. Both wear deep hoods in some small effort to mask their identities, but the ruse is pointless, given the expensive fabric of the taller woman's garb, and the stout girth of her companion. A simpleton in his cups would know them.

I stand tall. ‘Princess Wenna, good evening to you.'

‘Forgive us for disturbing you so late, Seren Arianaidd.' Her use of my full name—not her habit—suggests she is eager to win my favor. She wants something from me, that much is plain. Her maid, Nesta—for it can be no other—stomps her feet against the cold and her mistress takes the point. ‘I would speak with you,' the princess goes on. ‘Perhaps your house would afford us more privacy?'

And more warmth. I nod, holding open the door so that they may enter, but shaking my head when Rhodri's boy attempts to join us. ‘We would all feel so much safer with you standing guard,' I tell him, and he smiles happily, having not the wit to hear the mockery in my voice.

The room feels crowded with the three of us standing. I indicate the stool and bolsters and we arrange ourselves at comfortable distances from each other. The two women look about them, Nesta with her perpetual sneer, Princess Wenna with practiced blankness. She lowers her hood to reveal her hair coiled sleekly upon her head, a band of silver-threaded braid across her brow. She is beautiful, yet the prince does not love her. Does it gnaw at her heart, I wonder? Or does she care only for his affection because it makes her position more secure? Why has she come? Why has her maid agreed to accompany her? Nesta's contempt for me is widely known. She is a wise woman of sorts, offering herbal remedies and assisting at births. All for a price, of course. Nesta sees the value of everything measured in silver. To her I am a rival in the business of cures, and she is jealous, both of my magic, and of my standing. And there is more besides, for she is the keeper of a knowledge of dark spells. Witchery of a dangerous kind, little known or practiced now. She has no call to use any of her talents, and she should be thankful for that. Such poisons and hexes as she has inherited would not endear her to anyone. Yet I know she resents my position of trust. She is envious of the respect afforded me. And she is no servant, in truth, but her mistress's cousin, and, as such, is not given to unquestioning service. But still, the princess trusts her. What has compelled them to visit me? For does not Princess Wenna, too, have her own reason to despise me?

I push another stout log onto the fire, sending up a small shower of sparks. There is a moment of smoke before the bark begins to burn and new flames lick hungrily at the wood. I turn to the princess, waiting for her to speak. She meets my gaze—one of the few who will—and keeps her voice level.

‘I will not insult you by talking of trifles, Seren Arianaidd. I have come here to ask for your help because no other can give it.'

At this, Nesta fidgets and her sour face sours further.

‘How can I be of service, Princess?' I ask.

She hesitates, the slightest in-breath, yet her composure does not falter.

‘Prince Brynach and I were wed four years past, but our union has not been blessed with children.'

Nesta can remain silent no longer. ‘I have said, my lady, 'tis not a question of time. Were you to follow my advice—'

‘I have had sufficient of your vile concoctions and undignified instructions!' Princess Wenna cuts off her maid. ‘No more.' She turns back to me. ‘The prince requires an heir, that is the fact of the matter. It is I who must provide him with one.'

So, she has come to me on this! This most personal of all business. And yet, of course, for a princess there is more than what is private to be considered. And nobody knows this better than Wenna. For if there is not love to bind her to her prince, and no child, then all that is left is the fickle bond of politics. Should it suit our leader to no longer be allied to his wife's kin, what price for her slender crown then? How much has it cost her to seek
my
help? Pride might have stopped her. Or the desire not to admit her failing to me. But I am being foolish, for her barrenness is not a secret.

‘Can you help me?' she asks. ‘Are you able to serve your prince in this way?'

Now I understand. Clever woman indeed! By placing her malady in my hands she has ensured that any failure to produce an heir could be laid at my door. At the same time, she knows that, should I succeed and she give her husband his longed-for child, she will take the credit. She will be lauded and revered, her position secured. Perhaps she will even earn his love. But should I fail, should no babe appear, then the shortcoming will be mine, even if it must be put about
secretly
that she sought my assistance. She will no longer be seen as the sole reason for a childless marriage. It could even happen that in such a case Prince Brynach would cease to find my company so desirable. Could that be her hidden motive? Clever woman indeed, for I cannot refuse her.

I stand up and take my knife from its hook on the wall. Both women start, their eyes wide, their bodies taut. Quickly, I turn the knife in my hand so that the blade points toward me, and offer the handle to the princess.

‘Cut me a lock of your hair,' I tell her.

She takes the knife, and Nesta fumbles with the pins securing her twisted hair. At last, some falls free.

‘You must cut it yourself,' I explain.

She does so, with purpose, not taking some tiny wisp, but a bold hank. She means my magic to work, then, that much is plain.

I take the hair from her, coiling it tightly. In my wooden trunk I find a small leather pouch to keep the precious lock. Tying the drawstring firmly, I slide the pouch into the pocket of my tunic.

I remain standing and the others get to their feet.

‘Have you any instructions for me?' Princess Wenna asks. ‘Is there any action I should take, anything…'

She casts her eyes down, and for the first, the only time, I see the vulnerable young woman beneath the mask of privilege and position.

I shake my head. ‘I will do what needs to be done,' I tell her.

Outside we find Si
ō
n blowing into his hands and stamping his feet against the cold. He is making so much noise all by himself I doubt he would have heard an approaching army. At the sight of us he becomes brisk and arrogant, taking his place beside the princess importantly.

The women pull up their hoods. Princess Wenna takes a velvet purse from her robe and offers it to me.

‘Your payment,' she says, ‘for your trouble.'

It is as well that the darkness shades the expression on my face. There is a silence charged with my own anger and the expectation of the three who stand before me. When I speak, I am aware my ire colors the sound of my words. The princess knows well how to insult me, and chooses to do so with her nephew as witness, so that the slight will be reported back to Rhodri.

‘I work for Prince Brynach's betterment,' I tell her. ‘For his safety, for his favor. I require no pieces of silver. A seer cannot be hired for coin. My gifts are not for sale.' As if to give weight to my sentiment, a heavy cloud swallows up the bright moon so that the blackness about us deepens. There is no more to be said. The princess gathers her pride and her followers and turns for the crannog. I stand and watch as the three figures melt into the night.

 

5

TILDA

A steady drizzle has rendered the landscape gray and blurred, so that Tilda is happy to be shut in her studio, turning her attention to her work. The feeble sunlight has compounded her lighting problems, however, so that she has resorted to candles and a storm lantern to light the space. She put a match to the fire in the wood-burning stove more than an hour ago, so that now the room is warm enough. Thistle, who has become her gray shadow, settles herself on the rag rug in front of the stove. The studio already has a familiar, cozy feel to it. Tilda sits in a dusty, glaze-stained chair by the patio doors, sketch book on her knee, attempting to reproduce the shapes and patterns she saw among the twisted branches of the crannog trees. She works with quick, confident strokes, her stub of soft pencil creating thick marks on the paper. She tries to recall the way the limbs of the trees entwined and crossed through and over one another.

As if winter winds have tied them in knots.

Her intention is to fashion her trademark large, bulbous pots, and to work onto them these intricate, flowing designs. She has not yet decided on colors. Should she use mottled, natural finishes, or opt for deep, rich glazes? As she chews her pencil in thought, her eyes look up from the page, so that she is unable to avoid staring directly at her cold, inert kiln. The sight of it brings home an inescapable fact. Without a reliable power supply, she cannot switch the kiln on or, should it work long enough to reach the needed temperature, risk firing her work inside it.

No power equals no firing. No firing, no pots. No pots, no money.

She frowns, biting hard on the wood of the pencil, resisting the voice in her head that is telling her that drawing anything is pointless because she cannot, as things stand, translate her designs into ceramic objects. With a sigh she turns and squints out of the window. The rain is lessening, and the grubby cloud is beginning to lift. She can barely see the lake, but there is a glimmer on the tops of the hills beyond that suggests the weather is, slowly, improving. Remembering her binoculars, she leaves her sketch pad on the floor and goes in search of them. There is a stack of boxes in the corner of the studio, which seems as good a place as any to begin. She opens and closes several packing cases, bracing herself for photographs of Mat, or momentos of their time together. Mercifully, she finds what she is looking for within minutes. Standing at the picture window, she adjusts the glasses to her eyes and scans the lake. The church is easy enough to find, its tower a dark gray shape amidst the almost monochrome landscape. Even the water of the lake itself has lost all vestige of color, leaving it a pool of liquid metal dotted with smudged birds of indiscernible type. The crannog is similarly drab today, and even the powerful lenses do not reveal any helpful detail.