buildings are her skirt. A slender causeway that joins the castle to the mainland, stretches out like a bridal train spreading out to make the rest of her city, which lies in the folds of the hills and along the mainland edge of the bay. This ancient stronghold is a place of mortal men now, but it has an air of something else, of something that has come to know these mortals and even deigns to shelter them, but does not entirely love them. Still, there is more than a little beauty in this stark place that many call Shadowmarch, in its proud, wind-tattered flags and its streets splashed by down-stabbing sunlight. But although this hilly fortress is the last bright and welcoming thing you will see before entering the land of silence and fog, and although what you are shortly to experience will have dire consequence here, your journey will not stop at Southmarch—not yet. Today you are called elsewhere.
You seek this castle’s mirror-twin, far in the haunted north, the great fortress of the immortal Qar.
And now, as suddenly as stepping across a threshold, you cross into their twilight lands. Although the afternoon sun still illumines Southmarch Castle, only a short ride back across the Shadowline, all that dwells on this side of that invisible wall is in perpetual quiet evening. The meadows are deep and dark, the grass shiny with dew. Couched on the wind, you observe that the roads below you gleam pale as eel’s flesh and seem to form subtle patterns, as though some god had written a secret journal upon the face of the misty earth. You fly on over high, storm-haloed mountains and across forests vast as nations. Bright eyes gleam from the dark places beneath the trees, and voices whisper in the empty dells.
And now at last you see your destination, standing high and pure and proud beside a wild, dark, inland sea. If there was something otherworldly about Southmarch Castle, there is very little that is worldly at all about this other: a million, million stones in a thousand shades of darkness have been piled high, onyx on jasper, obsidian on slate, and although there is a fine symmetry to these towers, it is a type of symmetry that would make ordinary mortals sick at the stomach.
You descend now, dismounting from the wind at last so that you may hurry through the mazy and often narrow halls, but keep to the widest and most brightly lit passages it is not good to wander carelessly in Qul-na- Qar, this eldest of buildings (whose stones some say were quarried so many aeons ago that the oceans of the young earth were still warm) and in any case, you have little time to spare.
The shadow-dwelling Qar have a saying which signifies, in rough translation: “Even the Book of Regret starts with a single word.” It means that even the most important matters have a unique and simple beginning, although sometimes it cannot be described until long afterward—a first stroke, a seed, a nearly silent intake of breath before a song is sung. That is why you are hurrying now the sequence of events that in days ahead will shake not just Southmarch but the entire world to its roots is commencing here and now, and you shall be witness.
In the deeps of Qul-na-Qar there is a hall In truth there are many halls in Qul-na-Qar, as many as there are twigs on an ancient, leafless tree—even on an entire bone-dead orchard of such trees—but even those who have only seen Qul-na-Qar during the unsettled sleep of a bad night would know what hall this is. It is your destination. Come along. The time is growing short.
The great hall is an hour’s walk from end to end, or at least it appears that way. It is lit by many torches, as well as by other less familiar lights that shimmer like fireflies beneath dark rafters carved in the likeness of holly bough and blackthorn branch. Mirrors line both long walls, each oval powdered so thick with dust that it seems odd the sparkling lights and the torches can be seen even in dull reflection, odder still that other, darker shapes can also be glimpsed moving in the murky glass. Those shapes are present even when the hall is empty.
The hall is not empty now, but full of figures both beautiful and terrible. Were you to speed back across the Shadowline in this very instant to one of the great markets of the southern harbor kingdoms, and there saw humanity in all its shapes and sizes and colors drawn together from all over the wide world, still you would marvel at their sameness after having seen the Qar, the Twilight People, gathered here in their high, dark hall. Some are as stunningly fair as young gods, tall and shapely as the most graceful kings and queens of men. Some are small as mice. Others are figures from mortal nightmares, claw-fingered, serpent-eyed, covered with feathers or scales or oily fur. They fill the hall from one end to the other, ranked according to intricate primordial hierarchies, a thousand different forms sharing only a keen dislike of humankind and, for this moment, a vast silence.
At the head of the long, mirror-hung room two figures sit on tall stone chairs. Both have the semblance of humanity, but with an unearthly twist that means not even a drunken blind man could actually mistake them for mortals. Both are still, but one is so motionless that it is hard to believe she is not a statue carved from pale marble, as stony as the chair on which she sits. Her eyes are open, but they are empty as the painted eyes of a doll, as though her spirit has flown far from her seemingly youthful, white-robed figure and cannot find its way back. Her hands lie in her lap like dead birds. She has not moved in years. Only the tiniest stirring, her breast rising and falling at achingly separated intervals beneath her robe, tells that she breathes.
The one who sits beside her is taller by two hands’ breadth than most mortals, and that is the most human thing about him. His pale face, which was once startlingly fair, has aged over the centuries into something hard and sharp as the peak of a windswept crag. He has about him still a kind of terrible beauty, as dangerously beguiling as the grandeur of a storm rushing across the sea. His eyes, you feel sure would be clear and deep as night sky, would seem infinitely, coldly wise, but they are hidden behind a rag knotted at the back of his head, most of it hidden in his long moon-silver hair.
He is Ynnir the Blind King, and the blindness is not all his own. Few mortal eyes have seen him, and no living mortal man or woman has gazed on him outside of dreams.
The lord of the Twilight People raises his hand. The hall was already silent, but now the stillness becomes something deeper Ynnir whispers, but every thing in that room hears him.
“Bring the child.”
Four hooded, manlike shapes carry a litter out of the shadows behind the twin thrones and place it at the king’s feet On it lies curled what seems to be a mortal manchild, his fine, straw-colored hair pressed into damp ringlets around his sleeping face. The king leans over, for all the world as though he is looking at the child despite his blindness, memorizing his features. He reaches into his own gray garments, sumptuous once, but now weirdly threadbare and almost as dusty as the hall’s mirrors, and lifts out a small bag on a length of black cord, the sort of simple object in which a mortal might carry a charm or healing simple Ynnir’s long fingers carefully lower the cord over the boy’s head, then tuck the bag under the coarse shirt and against the child’s narrow chest. The king is singing all the while, his voice a drowsy murmur Only the last words are loud enough to hear.
Ynnir pauses for a long moment before he speaks again, with a hesitation that might almost be mortal, but when he speaks, his words are clear and sure. “Take him.” The four figures raise the litter. “Let no one see you in the sunlight lands. Ride swiftly, there and back.”
The hooded leader bows his head once, then they are gone with their sleeping burden.The king turns for a moment toward the pale woman beside him, almost as if he expected her to break her long silence, but she does not move and she most certainly does not speak. He turns to the rest of those watching, to the avid eyes and the thousand restless shapes—and to you, too, dreamer. Nothing that Fate has already woven is invisible toYnnir.
“It begins,” he says. Now the stillness of the hall is broken. A rising murmur fills the mirrored room, a wash of voices that grows until it echoes in the dark, thorn-carved rafters. As the din of singing and shouting spills out through the endless halls of Qul-na-Qar, it is hard to say whether the terrible noise is a chant of triumph or mourning.
The blind king nods slowly. “Now, at last, it begins.”
Remember this, dreamer, when you see what is to follow. As the blind king said, this is a beginning. What he did notsay, but which is nonetheless true, is that what begins here is the ending of the world.
Part One
BLOOD
