To the storytellers
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In the course of a single life, a man can be many things: a beloved child in a brightly embroidered gown, a street tough with a band of knifemen walking at his side, lover to a beautiful girl, husband to an honest woman, father to a child, grain sweeper in a brewery, widower, musician, and mendicant coughing his lungs up outside the city walls. The only thing they have in common is that they are the same man.
These are the mysteries, and there is a beauty in them. In this way, Kithamar is a beautiful city.
All through its streets, Kithamar shows the signs and remnants of the cities that the city has been. Walls that defended the border of a younger town stand a dumbfounded, useless guard between the noble compounds of Green Hill and the fountain square at Stonemarket. The great battlements of Oldgate glower out over the river, its arrow-slits and murder holes used for candle niches now, and the enemy races who stormed or manned it sleep side by side in its armories because the rents are cheap. The six-bridged Khahon was the border between a great Hansch kingdom and savage near-nomad Inlisc to hear it one way, or the first place that the frightened, violent, sharp-faced Hansch had come from the west if you told the story from the other bank. Now the river is the heart of the city, dividing and uniting it.
The ancient races killed one another and swore eternal hatred, only to bury their enmity and pretend to be a single people, citizens of one city. Kithamar has declared itself the subject of the one true god. Or the three. Or the numberless. For three hundred years and longer, it has been a free city, independent and proud and ruled by princes of its own rather than any distant king.
Only today, its prince is dead.
The reign of Byrn a Sal had been brief.
Less than a year before, the streets had filled with revelers and wine, music and joy, and more than a little imprudent sex to celebrate the great man’s coronation. The months between then and now were turbulent, marked by ill omens and violence. A winter of troubled sleep.
Now, as the first light of the coming dawn touches the highest reaches of the palace towering at the top of its hill, the red gates open on his funeral procession. Two old women dressed in rags step out and strike drums. Black, blindered horses follow, their steps echoing against the stone. And all along the route, the men and women and children who are Kithamar wait.
They have been there since nightfall, some of them. They love the spectacle of death and the performance of grief. And, though few of them say the words aloud, they hope that the season of darkness will end and something new begin. Only a few of them ask their questions aloud: How did it happen? Was it illness or accident, murder or the vengeance of God?
How did Byrn a Sal die?
The black lacquered cart passes among the gardens and mansions of Green Hill. The heads of the high families stand at their entrances as if ready to make the dead man welcome if he should stand up. Servants and children and ill-dignified cousins gawk from the bushes and corners. Only the burned-out shell of the Daris Brotherhood ignores the funeral. And then the body passes into the city proper, heading first for Stonemarket and then south through the soot-dark streets of the Smoke.
Those lucky enough to have buildings along the route have rented space at their windows and on their roofs. As the death cart shifts and judders across the cobblestones, people jockey to look at the corpse: a little less than six feet of iron-stinking clay that had been a man. Behind the cart follow the highest dignified of the city.
The dead man’s daughter—soon prince herself—Elaine a Sal, rides behind her father in a dark litter. She wears rags, but also a silver torc. Her chin is lifted, and her face is expressionless. The eyes of the city drink her in, trying to find some sign in the angle of her spine or the dryness of her eyes to tell whether she’s a girl hardly old enough to be called woman drowning in shock and despair, or else a murderess and patricide struggling to contain her triumph.
Either way, she will rule the city tomorrow, and all these same people will dance at her coronation.
Behind her, the favored of the old prince walk. Mikah Ell, the palace historian, in an ash-streaked robe. Old Karsen’s son, Halev, who had been Byrn a Sal’s confidant and advisor. Samal Kint, the head of the palace guard, carrying a blunted sword. Then more, all wearing grey, all with ashes on their hands. When they reach the bridge at the edge of the Smoke—yellow stone and black mortar—they stop. A priest walks out to meet them, chanting and shaking a censer of sweet incense. They perform the rites of protection to keep the river from washing away the dead man’s soul. Everyone knows that water is hungry.
The rite complete, the funeral procession passes through the wider streets of Seepwater, past the brewers’ houses and canals where the flatboats stand bow to stern, so thick that a girl could have walked from one side of the canal to the other and not gotten her hem wet. Midday comes, the early summer sun making its arc more slowly than it did a few weeks before, and the cart is only just turning northeast to make its way along the dividing line between Riverport and Newmarket. Flies as fat as thumbnails buzz around the cart, and the horses slap at them with their tails. Wherever the funeral procession is, the crowd thickens, only to evaporate when it has passed. Once the last of the honor guard rounds the corner, leaving Seepwater behind, the brewers’ houses reopen, the iron grates on their sides start accepting wagers again. Delivery men spin barrels down the streets on their edges with the practiced skill of jugglers.
It is almost sunset before the funeral procession reaches the Temple. The bloody western skyline is interrupted by the black hill of the palace. The colored windows of the Temple glow. Full dark takes the streets like spilling ink before the last song echoes in the heights above the great altar and the body of Byrn a Sal, purified by the mourning of his subjects and the prayers of his priesthood, comes out to the pyre. His daughter should light the oil-stinking wood, but she stays still until young Karsen, her father’s friend, comes and takes the torch from her hand.
The term for the night between the funeral of the old prince and the coronation of the new one is gautanna. It is an ancient Inlisc word that means, roughly, the pause at the top of a breath when the lungs are most full. Literally, it translates as the moment of hollowness.
For one night, Kithamar is a city between worlds and between ages. It falls out of its own history, at once the end of something and the beginning of something else. The skeptical among the citizens—and Kithamar has more than its share of the amiably godless—call it tradition and merely a story that says something about the character of the city, its hopes and aspirations, the fears and uncertainties that come in moments of change. That may be true, but there is something profound and eerie about the streets. The rush of the river seems to have words in it. The small magics of Kithamar go as quiet as mice scenting a cat. The clatter of horseshoes against stone echoes differently. The city guard in their blue cloaks make their rounds quietly, or decide that for one night they might as well not make them at all.
Outside the city, the southern track where by daylight teams of oxen haul boats against the current is quiet and deserted apart from one lone, bearded man. He sits at the base of a white birch, his back against the bark. The small glass bead in his hand would be red if there were light enough to see it.