The World Turned Upside Down (101 page)

"And this I can do," said a hooded figure in a black cape sprinkled with silver circles. He brought forth a small tray, laid it on the table and sprinkled therein a pinch of ashes from the hearth. He brought forth a whistle and blew a clear tone, and up from the tray came glittering motes, flashing the prismatic colors red, blue, green, yellow. They floated up a foot and burst in coruscations of brilliant colors, each a beautiful star-shaped pattern, and each burst sounded a tiny repetition of the original tone—the clearest, purest sound in the world. The motes became fewer, the magician blew a different tone, and again the motes floated up to burst in glorious ornamental spangles. Another time—another swarm of motes. At last the magician replaced his whistle, wiped off the tray, tucked it inside his cloak and lapsed back to silence.

Now the other wizards surged forward, and soon the air above the table swarmed with visions, quivered with spells. One showed the group nine new colors of ineffable charm and radiance; another caused a mouth to form on the landlord's forehead and revile the crowd, much to the landlord's discomfiture, since it was his own voice. Another displayed a green glass bottle from which the face of a demon peered and grimaced; another a ball of pure crystal which rolled back and forward to the command of the sorcerer who owned it, and who claimed it to be an earring of the fabled master Sankaferrin.

Liane had attentively watched all, crowing in delight at the bottled imp, and trying to cozen the obedient crystal from its owner, without success.

And Liane became pettish, complaining that the world was full of rock-hearted men, but the sorcerer with the crystal earring remained indifferent, and even when Liane spread out twelve packets of rare spice he refused to part with his toy.

Liane pleaded, "I wish only to please with witch Lith."

"Please her with the spice, then."

Liane said ingenuously, "Indeed, she has but one wish, a bit of tapestry which I must steal from Chun the Unavoidable."

And he looked from face to suddenly silent face.

"What causes such immediate sobriety? Ho, Landlord, more wine!"

The sorcerer with the earring said, "If the floor swam ankle-deep with wine—the rich red wine of Tanvilkat—the leaden print of that name would still ride the air."

"Ha," laughed Liane, "let only a taste of that wine pass your lips, and the fumes would erase all memory."

"See his eyes," came a whisper. "Great and golden."

"And quick to see," spoke Liane. "And these legs—quick to run, fleet as starlight on the waves. And this arm—quick to stab with steel. And my magic—which will set me to a refuge that is out of all cognizance." He gulped wine from a beaker. "Now behold. This is magic from antique days." He set the bronze band over his head, stepped through, brought it up inside the darkness. When he deemed that sufficient time had elapsed, he stepped through once more.

The fire glowed, the landlord stood in his alcove, Liane's wine was at hand. But of the assembled magicians, there was no trace.

Liane looked about in puzzlement. "And where are my wizardly friends?"

The landlord turned his head. "They took to their chambers; the name you spoke weighed on their souls."

And Liane drank his wine in frowning silence.

* * *

Next morning he left the inn and picked a roundabout way to the Old Town—a gray wilderness of tumbled pillars, weathered blocks of sandstone, slumped pediments with crumbled inscriptions, flagged terraces overgrown with rusty moss. Lizards, snakes, insects crawled the ruins; no other life did he see.

Threading a way through the rubble, he almost stumbled on a corpse—the body of a youth, one who stared at the sky with empty eye-sockets.

Liane felt a presence. He leapt back, rapier half-bared. A stooped old man stood watching him. He spoke in a feeble, quavering voice: "And what will you have in the Old Town?"

Liane replaced his rapier. "I seek the Place of Whispers. Perhaps you will direct me."

The old man made a croaking sound at the back of his throat. "Another? Another? When will it cease? . . ." He motioned to the corpse. "This one came yesterday seeking the Place of Whispers. He would steal from Chun the Unavoidable. See him now." He turned away. "Come with me." He disappeared over a tumble of rock.

Liane followed. The old man stood by another corpse with eye-sockets bereft and bloody. "This one came four days ago, and he met Chun the Unavoidable . . . And over there behind the arch is still, a great warrior in cloison armor. And there—and there—" he pointed, pointed. "And there—and there—like crushed flies."

He turned his watery blue gaze back to Liane. "Return, young man, return—lest your body lie here in its green cloak to rot on the flagstones."

Liane drew his rapier and flourished it. "I am Liane the Wayfarer; let them who offend me have fear. And where is the Place of Whispers?"

"If you must know," said the old man, "it is beyond that broken obelisk. But you go to your peril."

"I am Liane the Wayfarer. Peril goes with me."

The old man stood like a piece of weathered statuary as Liane strode off.

And Liane asked himself, suppose this old man were an agent of Chun, and at this minute were on his way to warn him? . . . Best to take all precautions. He leapt up on a high entablature and ran crouching back to where he had left the ancient.

Here he came, muttering to himself, leaning on his staff. Liane dropped a block of granite as large as his head. A thud, a croak, a gasp—and Liane went his way.

He strode past the broken obelisk, into a wide court—the Place of Whispers. Directly opposite was a long wide hall, marked by a leaning column with a big black medallion, the sign of a phoenix and a two-headed lizard.

Liane merged himself with the shadow of a wall, and stood watching like a wolf, alert for any flicker of motion.

All was quiet. The sunlight invested the ruins with dreary splendor. To all sides, as far as the eye could reach, was broken stone, a wasteland leached by a thousand rains, until now the sense of man had departed and the stone was one with the natural earth.

The sun moved across the dark-blue sky. Liane presently stole from his vantage-point and circled the hall. No sight nor sign did he see.

He approached the building from the rear and pressed his ear to the stone. It was dead, without vibration. Around the side—watching up, down, to all sides; a breach in the wall. Liane peered inside. At the back hung half a golden tapestry. Otherwise the hall was empty.

Liane looked up, down, this side, that. There was nothing in sight. He continued around the hall.

He came to another broken place. He looked within. To the rear hung the golden tapestry. Nothing else, to right or left, no sight or sound.

Liane continued to the front of the hall and sought into the eaves; dead as dust.

He had a clear view of the room. Bare, barren, except for the bit of golden tapestry.

Liane entered, striding with long soft steps. He halted in the middle of the floor. Light came to him from all sides except the rear wall. There were a dozen openings from which to flee and no sound except the dull thudding of his heart.

He took two steps forward. The tapestry was almost at his fingertips.

He stepped forward and swiftly jerked the tapestry down from the wall.

And behind was Chun the Unavoidable.

Liane screamed. He turned on paralyzed legs and they were leaden, like legs in a dream which refused to run.

Chun dropped out of the wall and advanced. Over his shiny black back he wore a robe of eyeballs threaded on silk.

Liane was running, fleetly now. He sprang, he soared. The tips of his toes scarcely touched the ground. Out the hall, across the square, into the wilderness of broken statues and fallen columns. And behind came Chun, running like a dog.

Liane sped along the crest of a wall and sprang a great gap to a shattered fountain. Behind came Chun.

Liane darted up a narrow alley, climbed over a pile of refuse, over a roof, down into a court. Behind came Chun.

Liane sped down a wide avenue lined with a few stunted old cypress trees, and he heard Chun close at his heels. He turned into an archway, pulled his bronze ring over his head, down to his feet. He stepped through, brought the ring up inside the darkness. Sanctuary. He was alone in a dark magic space, vanished from earthly gaze and knowledge. Brooding silence, dead space . . .

He felt a stir behind him, a breath of air. At his elbow a voice said, "I am Chun the Unavoidable."

* * *

Lith sat on her couch near the candles, weaving a cap from frogskins. The door to her hut was barred, the windows shuttered. Outside, Thamber Meadow dwelled in darkness.

A scrape at her door, a creak as the lock was tested. Lith became rigid and stared at the door.

A voice said, "Tonight, O Lith, tonight it is two long bright threads for you. Two because the eyes were so great, so large, so golden . . ."

Lith sat quiet. She waited an hour; then, creeping to the door, she listened. The sense of presence was absent. A frog croaked nearby.

She eased the door ajar, found the threads and closed the door. She ran to her golden tapestry and fitted the threads into the raveled warp.

And she stared at the golden valley, sick with longing for Ariventa, and tears blurred out the peaceful river, the quiet golden forest. "The cloth slowly grows wider . . . One day it will be done, and I will come home . . ."

Afterword by Dave Drake

Eric and I were both sure that there had to be a Jack Vance story in this anthology, but I'm the one whom Vance had most affected. I even wrote a paper on Vance in my 11
^th
grade American Lit class. (He is, after all, an American who writes literature.)
The slight glitch was that
The Dragon Masters
, the piece that made me a fierce and lifelong Vance fan, was a short novel and too long for this use. We'd run into this before. Both Eric and Jim would've liked to use the novel
Have Spacesuit—Will Travel
for Heinlein; in its place we put a novelette of similar tone, written at about the same time as the novel.
For Vance I picked "Liane the Wayfarer" without a second thought. It contains all the traits that attract me to Vance, and it also tells a satisfying story in a brief compass.
Vance's prose is remarkably colorful and inventive. His plots are complex, he creates neologisms which must be understood from context, and he better than any other writer I'm familiar with makes figments of his imagination concrete on the page.
Also—and this is a big one for me—he writes with a flat affect. Neither the narrator nor the internal dialogue of characters in a Jack Vance story explains how the reader should feel about what's being described. Liane, the viewpoint character in this story, is a sociopath, but Vance to a greater or lesser extent uses the same technique in all his fiction.

I was drawn to that tendency in the first Vance story I read ("The Moon Moth"). I didn't copy Vance when I began to write: I
naturally
wrote in a similar fashion. And because of that, I know that some people believe that because a writer doesn't tell readers how to feel, the writer himself feels nothing about the horrors he describes. That's not true of me; I very much doubt it's true of Vance.
So "Liane the Wayfarer" was in many ways the perfect choice for this volume. It's one of the first half dozen stories of Vance's long and productive career; it appeared in his first book,
The Dying Earth
. And to a great degree, it's a paradigm for all his work.
The Dying Earth
was published in a very small edition in 1950. "Liane the Wayfarer" itself had appeared in an even smaller magazine at about the same time and wasn't seen again till the 1962 republication of
The Dying Earth
. That's where I first read it, a few months after I'd read
The Dragon Masters
. Not even
Revolt in 2100
had the impact on me that
The Dragon Masters
paired with
The Dying Earth
did.

Preface by Eric Flint

I'd never read this story until Dave told me he wanted it for the anthology. After I did, I understood why. He'll explain his view of it in an afterword, but what I'll say about it for the moment is . . .
This story really, really, really shouldn't work. If there's any "rule of writing" that P. Schuyler Miller doesn't violate somewhere in the course of it, I don't know what it is. The plot is . . .
Absurd. The characters are . . .
Preposterous. The prose is . . .
"Purple" doesn't begin to capture the color.
So much for the rules of writing. In its own completely over-the-top style, this story is a masterpiece.
Okay, a madman's masterpiece, maybe, and certainly one of a kind. It still qualifies for the term because it fulfills the ultimate criterion for a great story—and, ultimately, the only criterion worth talking about.
It works. It really, really, really works.

Pedants spout glibly of probability, quibble and hedge, gulp at imagined gnats. Nothing is impossible to mathematics. Only improbable. Only
very
improbable.

Only impossibly improbable.

Earth, for example, is improbable. Planets should not logically exist, nor on existing planets life. Balances of forces are too impossibly delicate; origins too complexly coincidental. But Earth does exist—and on Earth life.

We see Earth and we see life, or we see something, however improbable, and call it Earth and life. We forget probabilities and mathematics and live by our senses, by our common sense. Our common sense sees Earth and it sees life, and in a kind of darkened mirror it sees men—but men are utterly improbable!

Ooze to worms and worms to fishes. Fishes to frogs and frogs to lizards. Lizards to rats and rats to men, and men at last to bloated, futuristic Brains. Brains are improbable: brains and senses, and above all, common sense. Not impossible—because nothing is impossible—but so improbable that nowhere in all the improbable stars, nowhere in all the improbably empty space between the stars, is there room for other Earths and other rats and men.