Kitabı oku: «The Book of Magic: Part 1»

Contents

Cover

Title Page

Copyright

Copyright Acknowledgements

Dedication

About Gardner Dozois

Introduction by Gardner Dozois

The Return of the Pig by K.J. Parker

Community Service by Megan Lindholm

Flint and Mirror by John Crowley

The Friends of Masquelayne the Incomparable by Matthew Hughes

Biography of a Bouncing Boy Terror: Chapter II: Jumping Jack in Love by Ysabeau S. Wilce

Song of Fire by Rachel Pollack

Loft the Sorcerer by Eleanor Arnason

The Governor by Tim Powers

About the Publisher

Introduction by Gardner Dozois

Sorcerer, witch, shaman, wizard, seer, root woman, conjure man … the origins of the magic-user, the-one-who-intercedes-with-the-spirits, the one who knows the ancient secrets and can call upon the hidden powers, the one who can see both the spirit world and the physical world, and who can mediate between them, go back to the beginning of human history—and beyond. Fascinating traces of ritual magic have been unearthed at various Neanderthal sites: the ritual burial of the dead, laid to rest with their favorite tools and food, and sometimes covered with flowers; a low-walled stone enclosure containing seven bear heads, all facing forward; a human skull on a stake in a ring of stones … Neanderthal magic.

A few tens of thousands of years later, in the deep caves of Lascaux and Pech Merle and Rouffignac, the Cro-Magnons were practicing magic too, perhaps learned from their vanishing Neanderthal cousins. Deep in the darkest hidden depths of the caves at La Mouthe and Les Combarelles and Altamira, in the most remote and isolate galleries, the Cro-Magnons filled wall after wall with vivid, emblematic paintings of Ice Age animals. There’s little doubt that these cave paintings—and their associational phenomena: realistic clay sculptures of bison, carved ivory horses, the enigmatic “Venus” figurines, and the abstract and interlacing paint-outlined human handprints known as “Macaronis”—were magic, designed to be used in sorcerous rites, although how they were meant to be employed may remain forever unknown. These ancient walls also give us what may be the very first representation of a wizard in human history, a hulking, shaggy, mysterious, deer-headed figure watching over the bright, flat, painted animals as they caper across the stone.

So Magic predates Art. In fact, Art may have been invented as a tool to express Magic, to give Magic a practical means of execution—to make it work. So that if you go back far enough, artist and sorcerer are indistinguishable, one and the same—a claim that can still be made with a good deal of validity to this very day.

Stories about magic go back a similar distance, probably all the way back to when Ice Age hunters huddled around a fire at night, listening to the beasts who howled in the inky blackness around them. By the time that Homer was telling stories to fireside audiences in Bronze Age Greece, the tales he was telling contained recognizable fantasy elements—man-eating giants, spells and counterspells, enchantresses who turned men into swine—that were probably recognized as fantasy elements and responded to as such by at least the more sophisticated members of his audience. By the end of the eighteenth century, something recognizably akin to modern literary fantasy was beginning to precipitate out from the millennia-old body of oral tradition—folk tales, fairy tales, mythology, songs and ballads, wonder tales, travelers’ tales, rural traditions about the Good Folk and haunted standing stones and the giants who slept under the countryside—first in the form of Gothic stories, ghost stories, and Arabesques, and later, by the middle of the next century, in a more self-conscious literary form in the work of writers such as William Morris and George MacDonald, who reworked the subject matter of the oral traditions to create new fantasy worlds for an audience sophisticated enough to respond to the fantasy elements as literary tropes rather than as fearfully regarded, half-remembered elements of folk beliefs—people who were more likely to be entertained by the idea of putting a saucer of milk out for the fairies than to actually do such a thing.

K.J. Parker

One of the most inventive and imaginative writers working in fantasy today, K.J. Parker is the author of the bestselling Engineer trilogy (Devices and Desires, Evil for Evil, The Escapement) as well as the previous Fencer (Colours in the Steel, The Belly of the Bow, The Proof House) and Scavenger (Shadow, Pattern, Memory) trilogies. His short fiction has been collected in Academic Exercises and The Father of Lies, and he has twice won the World Fantasy Award for Best Novella, for “Let Maps to Others” and “A Small Price to Pay for Birdsong.” His other novels include Sharps, The Company, The Folding Knife, and The Hammer. His most recent novels are Savages and The Two of Swords. K. J. Parker also writes under his real name, Tom Holt. As Holt, he has published Expecting Someone Taller, Who’s Afraid of Beowulf, Ye Gods!, and many other novels.

In the sly story that follows, he takes us to the Studium, an elite academy for wizards, and shows us that a competition for an important position among three highly powerful sorcerers can soon become dark, devious, and dangerous—and quite likely deadly as well.

The Return of the Pig

[NOSTALGIA; from the Greek, νοστουάλγεα, the pain of returning home]

It was one of those mechanical traps they use for bears and other dangerous pests—flattering, in a way, since I’m not what you’d call physically imposing. It caught me slightly off square, crunching my heel and ankle until the steel teeth met inside me. My mind went white with pain, and for the first time in my life I couldn’t think.

Smart move on his part. When I’ve got my wits about me, I’m afraid of nothing on Earth, with good reason; nothing on Earth can hurt me, because I’m stronger, though you wouldn’t think it to look at me. But pain clouds the mind, interrupts the concentration. When it hurts so much that you can’t think, trying to do anything is like bailing water with a sieve. It all just slips through and runs away, like kneading smoke.

Ah well. We all make enemies. However meek and mild we try to be, sooner or later, we all—excuse the pun—put our foot in it, and then anger and resentment cloud the judgment, and we do things and have things done to us that make no logical sense. An eloquent indictment of the folly of ambition; one supremely learned and clever intellectual does for another by snapping him in a gadget designed to trap bears. You’d take the broad view and laugh, if it didn’t hurt so very, very much.

What is strength? Excuse me if this sounds like an exam question. But seriously, what is it? I would define it as the quality that enables one to do work and exert influence. The stronger you are, the more you can do, the bigger and more intransigent the objects you can influence. My father could lift a three-hundredweight anvil. So, of course, can I, but in a very different way. So: here comes the paradox. I couldn’t follow my father’s trade because I was and still am a weakling. So instead I was sent away to school, where what little muscle I had soon atrophied into fat, and where I became incomparably strong. The hell with anvils. I can lift mountains. There is no mountain so heavy that I can’t lift it. Not bad going, for a man who has to call the porter to take the lids off jars.

The mistake we all make is to confuse strength with security. You think: because I’m so very strong, I need fear nothing. They actually tell you that, in fourth year: once you’ve completed this part of the course you should never be afraid of anything ever again, because nothing will have the power to hurt you. It sounds marvelous, and you write home: dear Mother and Father, this term we’ll be doing absolute strength, so when I see you next I’ll be invincible and invulnerable, just fancy, your loving son, etc. We believe it, because it’s so very plausible. Then you get field assignments and practicals, where you levitate heavy objects and battle with demons and divert the course of rivers and turn back the tides of the sea—heady stuff for a nineteen-year-old—and at the end of it you believe. I’m a graduate of the Studium, armed with strictoense and protected by lorica; I shall fear no evil. And then they pack you off to your first posting, and you start the slow, humiliating business of learning something useful, the hard way.

They mention pain, in passing. Pain, they tell you, is one of the things that can screw up your concentration, so avoid it if you can. You nod sagely and jot it down in your lecture notes: avoid pain. But it never comes up in the exam, so you forget about it.

All my life I’ve tried to avoid pain, with indifferent success.

My head was still spinning when the murderers came along. I call them that for convenience, the way you do. When you know what a man does for a living, you look at him and see the trade, not the human being. You there, blacksmith, shoe my horse; tapster, fetch me a pint of beer. And you see me and you fall on your knees and ask my blessing, in the hope I won’t turn you into a frog.

Actually they were just two typical Mesoge farmhands—thin, spare, and strong, with big hands, frayed cuffs, and good, strong teeth uncorrupted by sugar. One of them had a mattock (where I come from, they call them biscays), the other a lump of rock pulled out of the bank. One good thing about the murderer’s trade—no great outlay on specialist equipment.

They looked at me dispassionately, sizing up the extent to which pain had rendered me harmless. My guess is, they hadn’t been told what I was, my trade, though the scholar’s gown should have put them on notice. They figured I’d be no bother, but they separated anyway, to come at me from two directions. They hadn’t brought a cart, so I imagine their orders were to sling me in a ditch when they were all done. One of them was chewing on something, probably bacon rind.

The thing about strictoense—it’s actually a very simple Form. They could easily teach it in first year, except you wouldn’t trust a sixteen-year-old freshman with it, any more than you’d leave him alone with a jar of brandy and your daughter. All you do is concentrate very hard, imagine what you’d like to happen, and say the little jingle: strictoenseruit in hostem. Personally, I always imagine a man who’s just been kicked by a carthorse, for the simple reason that I saw it happen to my elder brother when I was six. One moment he was going about his business, lifting the offside rear hoof to trim it with his knife. His concentration must have wandered because, quick as a thought, the horse slipped his hold and hit him. I saw him in the split second before he fell, with a sort of semicircular dent a fingernail deep directly above his eyebrows. His eyes were wide open—surprise, nothing more—and then he fell backward and blood started to ooze and his face never moved again. It’s useful when you have a nice, sharp memory to draw on.

If they’d come along a minute earlier, I’d have been in no fit state. But a minute was long enough, and strictoense is such an easy Form, and I’ve done it so often; and that particular memory is so very clear, and always with me, near at hand, like a dagger under your pillow. I tore myself away from the pain just long enough to speculate what those two would look like with hoofprints on their foreheads. Then I heard the smack—actually, it’s duller, like trying to split endgrain, when the axe just sinks in, thud, rather than cleaving, crack—and I left them to it and gave my full attention to the pain, for a very long time.