Vengeance, page 70
Tobry’s eyes blazed and he tried to tear free.
“Get him over, quick,” rapped the chancellor.
Three guards took hold of Tobry, dragged him to the wall and tried to heave him into the air. He punched one in the throat, jammed an elbow into the eye of another, then convulsed and Tali saw his nails lengthen, his back arch. He was trying to shift, but it was going too slowly. Tali’s breath thickened in her throat. Could he do it? Not with so many guards swarming after him.
Rix kicked one of his opponents in the knee, the other in the belly, snatched a falling sword out of the air and attacked. His first blow, with the side of the blade, hurled one of Tobry’s captors ten feet, into the wall. A bone-breaking left hook to the jaw took down the next man. Rix was thrusting at the third when the captain kicked his feet from under him, stretching him prone on the flagstones.
“Take his right hand,” said the chancellor.
“With Maloch.” Rix must have been dazed, for he did not move. This could not be happening. Tali brought her knee up into one guard’s groin and he doubled over. The other man, knowing she had to be protected at all cost, hesitated. She chopped him across the larynx with the side of her hand, evaded a third guard and ran at the captain.
But before she could reach him, the captain raised Maloch and, with a savage blow, severed Rix’s right hand at the wrist. His hand shot into the air, struck her on the knee then flopped onto her foot like a bloody spider. Tali jumped, instinctively flicked it aside, shuddered and had to look away.
Rix let out a roar and staggered to his feet, his wrist pouring blood. The captain struck him on the back of the head with the sword hilt and he collapsed.
Tali ran for Tobry, but before she could reach him, and before Tobry could shift, the guards raised him high and hurled him head-first from the top of the tower.
Rannilt woke, screaming and spraying golden light in all directions, and it took three soldiers to hold her while another wound layers of cloth across her mouth. Only on the fifth winding could they block out the dreadful sound.
Tali stared at the wall where Tobry had gone over. Could he survive such a fall—more than a hundred feet? Surely it would even kill a shifter, and Tobry had not fully shifted, had he? She did not see how he could have completed it in time. Her healing blood had doomed him.
She stumbled to the nearest wall and drove the top of her head into the stone, trying to smash the cursed pearl that had robbed her of every good thing in her life and brought her nothing but despair. But the pain, terrible though it was, could not mask the agony that would never end.
A guard stopped her. Others held her while her bloody head was bandaged and her wrists bound. Tali did not struggle. It felt as though her heart had been cut out. She stared at the wall until the soldiers led her away, then went with them, indifferent to her fate, weeping until her burning tear ducts ran dry.
She was alone again. Every friend she made, every bond she formed, ended in a disaster of her own making. She had failed them all when they most needed her. Iusia had been right, back at the beginning—but for the wrong reason.
You’ll never be hurt if you trust no one.
CHAPTER 109
Lyf stood on crutches at the top of Rix’s tower, brooding. Had he done the right thing by his people? The urge for vengeance had carried them to their first victory but, even if the rest of Hightspall fell as quickly, could they ever regain the gentle, harmonious society they’d had before the First Fleet came? Or had he fatally corrupted them, alienated them forever from their own land?
Now was not the time for self-doubt. He addressed the officers and soldiers gathered outside the front entrance of Palace Ricinus.
“You have done well. The city is ours. Identify all the Herovians, separate them out and march them to the special place. Then, take the rest of the Hightspallers into slavery. Gather their provisions and carry them to the warehouses on the lakefront. Collect all the enemy’s weapons. Lock them in the four designated armouries and make sure they are well guarded.”
“My king, these things are already being done,” called the squat, muscle-bound General Hillish, “and will be done as you order. And then?”
“Sift the rubble of Lord Rixium’s salon and find the iron book.”
“At once, my king.” Hillish gave the orders. “And then?”
“Scour the city for a vicious little tome called the Immortal Text. If it is found, or any copies of it, bring every page to me for destruction.”
“It will be done.” Hillish looked at Lyf, expectantly. “And finally?”
“Do unto Hightspall as Hightspall did unto us,” said Lyf.
“My king?”
“Visit an equal ruin on Caulderon as its Five Heroes did to our city of Lucidand, which stood here until the invaders came. See where Lucidand’s foundations have been exposed by the great tidal wave?”
Lyf gestured towards the ravines carved through the lower grounds, and the stonework visible there. “Burn Caulderon’s libraries and raze its temples. Leave not one stone laid by Hightspall standing on another.”
“Even this palace?” said the general. “My king, it’s a creation of unsurpassed beauty. Perhaps there’s more to the enemy than we know. I would not have thought them capable of it.”
“Especially this palace,” snapped Lyf. “It was once home to the brute Axil Grandys, who murdered me and plotted Cythe’s ruin. When Caulderon is grit and ashes we will rebuild Lucidand according to the ways of old Cythe. Begin with Palace Ricinus. Leave nothing save this tower, which will stand in its cracked ruin as a monument to our victory, and a warning to the enemy that all their works are doomed to fall.”
Their bombasts had toppled twenty-two of the palace towers when a young female soldier came panting up to Lyf, hauling an enormous rectangle wrapped in cloth. She dragged it across, avoiding a puddle of congealed blood.
“My king,” she said, bowing to the ground and blushing, “I found this out the back. General Rochlis told me to bring it to you for assessment.”
When she took off the covering, Lyf caught his breath. The painting was mesmerising—a defeated wyverin pretending to be dead while a dissipated warrior posed before it. It was magnificent, yet terrible—the noble creature secretly waiting for the moment to strike at the strutting, deluded warrior whose life’s failures were etched deep into his face. Clearly, the painting was a metaphor for the two races and their forever war, and a warning—to both sides.
“It’s a masterpiece.” He knew at a glance who had painted the portrait, and what it had cost him. “The finest work of theirs I’ve ever seen.”
“Even the common soldiers think so,” the girl said, shivering. Every child in Cython knew how to paint and carve; every Cythonian could tell the difference between good art and bad.
Lyf closed his eyes, reliving the pain of long ago as Cythe’s treasures had been smashed and torched by the barbarian enemy, and remembering his own despair at the loss of everything he cared about. Was Rix’s painting evidence that even the despised Herovians had changed? It portrayed a cultured and creative side Lyf neither wanted to see nor admit to.
Yet had he not grown over the centuries? Could he not rise above the urge to slake his grief in vengeance? He wanted to. A truly great king would have, knowing that was the way to end the war.
He tried, but the bitterness of two thousand years could not be overcome. Far better that the enemy be seen as brutes without any redeeming features. It would make it easier to deliver them to the final resolution when the time came. That was the other way to end the war.
He opened his eyes. The painting was magnificent but, as Errek, First-King had once pointed out, Posterity is rife with oblivion.
“Burn it.”
CHAPTER 110
In a passage far below Rix’s demolished salon, Wil the Sump hugged the iron book to his hollow chest and howled at the stones. No one loved books the way he did, and he had believed the iron book to be perfect, but it wasn’t. His life had been robbed of meaning.
“Scribe got it wrong,” he sobbed. “Scribe’s story untrue. Ruined the iron book.”
But Wil could not believe in the one, either, because the shilillar about her had also gone off track. How could he find the true story, the right ending?
It had to be right, for Wil now knew about the creeping ice. If it was not stopped, it would wipe Cythe clean, as it had already erased life on the island of Suden.
There was only one thing to do. He must erase every glyph from the iron book, recast the pages and rewrite it himself. If he used enough of the magical alkoyl, the pure weepings that could only be found deep down, surely he could make the story go right. He had to. No one else could be trusted to do it.
Wil crept down and down, cradling the book in his right arm as if it were his own child. With his free hand he sniffed his alkoyl tube until blood dripped from his ruined nose and his liver bulged like a grapefruit, but he felt no pain.
“Down the Hellish Conduit, yes, yes. All way down to the Engine. Engine must be beating too slowly. Yes, Engine cold, that why ice coming. How can Wil fix?”
He thought for a minute, an hour, perhaps a day. Time no longer had any meaning to him. Wil took a deep sniff, mad images danced in his head and he lurched on.
“Heat! Heat melt ice. Engine fuelled by great cauldron, down at heart of world. Wil must open stopcocks, flood Engine with cauldron fire. Make Engine race and melt ice away.”
He stopped for a moment, troubled by an elusive thought that the cauldron might be unstable, even dangerous. But Wil did not like to think about such things, so he took a huge sniff and the worry went away.
“This the true story, the right ending. Wil going to write it.”
He made what he thought to be an elegant sweeping motion with his alkoyl tube, practising the calligraphy he must master before he could write the book anew. This time the iron book was going to be perfect.
“Wil really special now. Wil the Scribe, and the one.”
The End of Book One
The story continues in book two of
The Tainted Realm Trilogy
Rebellion
ACKNOWLEDGEMENTS
I would like to thank my publisher, Bernadette Foley, my editors in the US, DongWon Song; the UK, Bella Pagan; and in Australia, Abigail Nathan; plus everyone else at Orbit Books who had worked so hard and so long on this series. I would also like to thank my agent, Selwa Anthony, for her support, encouragement and assistance over the past fifteen years and many, many books.
extras
meet the author
Mike Benveniste
IAN IRVINE, a marine scientist who has developed some of Australia’s national guidelines for protection of the marine environment, has also written twenty-seven novels. These include the internationally bestselling Three Worlds fantasy sequence (The View from the Mirror, The Well of Echoes and Song of the Tears), which has sold over a million copies, a trilogy of thrillers set in a world undergoing catastrophic climate change, Human Rites, and twelve books for younger readers, the latest being the humorous fantasy quartet Grim and Grimmer. Ian is currently working on the second book of The Tainted Realm, Rebellion.
Email Ian: ianirvine@ozemail.com.au
Ian’s website: www.ian-irvine.com
Ian’s Facebook page:
http://www.facebook.com/ianirvine.author
interview
Why did you write Vengeance?
I’ve long been fascinated by the fragility of political power, and in particular how the means of seizing or maintaining power can undermine the legitimacy of a nation. It happens all the time in history, and we’ve seen it recently in Australia, where I live. The current government is constantly undermined by the way the prime minister’s predecessor was overthrown in a backroom plot. In the US, Nixon’s presidency was fatally damaged, then destroyed, by the Watergate affair.
Musing on such events gave me the germ of the idea behind The Tainted Realm. The once great nation of Hightspall has been so stricken by earthquakes, eruptions and plagues that it’s in danger of collapse. Its people are burdened by a growing sense of national guilt about the nation’s brutal origins, and they feel that the stolen land is rising up to cast them out.
Then, at the worst possible time, they’re about to face a resurgent enemy they have no idea how to fight. This idea has all the elements I’m looking for in a story.
Who/what would you consider to be your influences?
My influences… tricky.
I read a huge amount of SF when I was growing up and at uni, though I wouldn’t say my writing was influenced by any of those writers—apart from fostering a love of grand adventures set in exotic lands.
I didn’t discover fantasy until my early twenties and switched almost instantly from SF to fantasy. I particularly loved The Lord of the Rings at that age, and I dare say my love of epic fantasy has been influenced by it and other massive tomes (such as Mervyn Peake’s Gormenghast trilogy, which I read on a two-month Greyhound bus odyssey around North America in the early seventies). Though later, when I formed the ambition of writing fantasy, I deliberately avoided rereading Tolkien and my other favourite authors so I wouldn’t be influenced by them.
When I began writing, in the late eighties, most popular fantasy seemed heavily influenced by Tolkien—all those struggles of good versus evil, frequently where the villain was evil for the sake of it, set in imaginary lands that often resembled Western Europe in the Middle Ages. I read dozens of such books, and enjoyed them, too, but I didn’t want to write fantasy like that. A story can develop from any of hundreds of possible themes; why restrict it to just good and evil?
Also, I wanted to take my readers to places they had never been before, to plausible worlds and environments they could never see on our world, and show them sights that no one had ever seen—like the Dry Sea (an environment that hasn’t existed on Earth for five million years) in The View from the Mirror.
But you haven’t answered the question.
Sorry, got carried away there. I also loved Fritz Leiber’s Fafhrd and the Gray Mouser books, and everything by Jack Vance, and the exotic stories of Clark Ashton Smith, though not for a microsecond did I think of imitating their work or attempting to write in a similar style. Rather, if I notice another writer’s influence in my own work, I rewrite to get rid of it.
So, my influences. Essentially I write the kinds of books I would have loved to read when I was younger—great, action-packed adventures roaming over vast and unusual canvases.
But I’ve also been influenced by my own working life. I’m a marine scientist, an expert in contaminated sediments, and for the past thirty years I’ve investigated pollution problems in Australia and around the world. My scientific background gives me a different way of looking at things and I often realise that I’m using scientific imagery to describe the things that happen in my books.
Perhaps that’s why I called my first epic fantasy quartet—The View from the Mirror—a Darwinian fantasy. It’s not about the battle of good versus evil but rather a struggle for existence between four different kinds of humans, all of them great, none of them evil, and each with a burning desire for survival.
Do you have a favorite character? If so, why?
I do, though it changes all the time.
Often it’s Karan, the heroine from The View from the Mirror quartet, because she’s strong and brave, sharp-tongued yet gentle and kind. She’s my sentimental favourite because she was the first character I ever fully created and I spent twelve years trying to understand her while writing and rewriting that series, over and over.
Sometimes it’s the scrutator and sorcerer Xervish Flydd, a scrawny, scarred, ugly yet charming little man who dominates large parts of The Well of Echoes quartet, and parts of the Song of the Tears trilogy that follows. Flydd emerged on the page fully formed; I didn’t know he was coming and didn’t have to work at him at all. Perhaps he’s unconsciously based on the author!
A few months ago I would have said my favourite character was Useless Ike, the protagonist of my humorous children’s series Grim and Grimmer, because Ike posed a particular challenge. I’d never written a series before about a character who was useless at everything, bottom of the class, got everything wrong and was so clumsy that he was constantly falling over his own feet. It’s not easy to convincingly turn such a character into a genuine hero. And yet, by the last book of the quartet, Ike is a genuine hero, and I’ll always love him for the way he did it.
But at the moment my favourite has to be Tali, from Vengeance, because she starts out a pitiful slave, her ancestors have been enslaved for the past thousand years, and at the beginning of Vengeance she’s lost everything, yet she never gives up.
How much of you is in your characters?
The good ones or the evil, lol?
A well-travelled writer will, in a lifetime, meet thousands of interesting, unusual and often quirky people from different cultures. And writers often have long-time partners and lifelong friends, yet ultimately the only person any writer can truly know, from the inside, is himself or herself.
Every character I write about is based in some way on my own life, thoughts, feelings, emotions and experiences. For example, when I’m writing about Tali being very afraid, I’m thinking about times in my life when I’ve been uneasy, frightened or even terrified. Then I stretch or twist or invert my own remembered feelings until I have something that fits her character in her present situation. It’s much the same process for every character I write about, and every situation—the writer’s challenge is to make the character’s feelings real, yet different each time.
