well.
Before he rallies, hope sluices from Javier's face, and after it washes anger, fear, desperation, all the sentiments of a man who has been deluded by hope in the past. Tomas, lying so close, can feel the change in Javier's body, the staunch clenching of muscle that precedes an onslaught of will, as though domination of his physical aspect can lend strength to his desires.
And perhaps it can, for though Tomas whispers “Don't” it's too late. The gentle assurance of God's love fails beneath mortal demand. He reaches for it, scrabbles in the confines of his own mind and arches his body to remain close, but Javier's determination cascades into its place. Under that princely power, the arch of his body becomes something else entirely, a sensual act, and now, only now, does Javier catch Tomas in his arms after all. He is hot, his heart crashing through his shirt as his chest presses against Tomas's, and there is fire where they touch, wanton liquid flame.
Nothing should soften in Tomas, nothing should acquiesce, and yet his will bends beneath Javier's. He feels Javier's breath on his lips as the king whispers a benediction that is also a damnation: “I will not see you come to harm, priest, but I cannot let your tongue run loose, for my own sake, for my people's sake, for the sake of my sweet murdered mother. You must be mine, and may God have mercy on us both.”
God, for the first time in Tomas's life, is very far away.
IVANOVA, THE IMPERATOR'S HEIR
25 January 1588 † Khazan, capital of Khazar, north and east of Echon
A pigeon arrived in the night.
Ivanova knows this almost before she's awake: there are sounds of bustle and hurry in the palace that only come when dire news has arrived. The last time was Gregori Kapnist's death, but only a coach had been sent then, not pigeons. Lying quietly amongst blankets, she wonders what it is that makes her certain of the birds. It's something in the rise and fall of voices, or perhaps she caught a word or two while still asleep.
The palace courtiers consider her too young to be regarded with much import. They're wrong, of course: Ivanova is fourteen, and heir to the vast Khazarian empire. Whatever news has come in the night, she'll be apprised of it, either by her mother, the beautiful imperatrix, or by the hawk-nosed priest who is her mother's closest advisor. Ivanova likes Dmitri: he is cool and cutting and spares her none of his wit, and he seems to look on her with expectation and respect. He appears tremendously aware that she'll hold the throne, and so regards each day and every decision as a test for her to pass or fail.
Ivanova is quite proud of the fact that she rarely fails. Her mother is even prouder. Dmitri, though, shows no pride, only a sort of innate satisfaction, as if she does precisely as he imagines she will, nothing more or less.
There are moments when she is so pleased by this that she considers sharing her secrets with the priest, but of course she never does. She is young, not stupid.
“My lady.” The door opens with a rush of cooler air from the hall, and a fussed maid scurries in, throwing back covers and stoking the fire and laying Ivanova's clothes out all in a mad dash of energy that leaves Ivanova hiding her giggles behind the blanket. She's been told tales of whirlwinds, gusts of twisting air, some so powerful as to pick up beasts of burden and throw them elsewhere. Ivanova thinks this woman must be a whirlwind personified. Even when the day is calm and steady, she believes everything must be done now, or better yet, the half hour past. She's Ivanova's favourite maid, and someday this whirlwind of a woman will become one of her ladies-in- waiting, the circle of women who advise an imperatrix whether the men around them realise it or not.
So Ivanova is dressed and out the door with a piece of bread to tide her until the morning meal, having been told for certain that there was a pigeon, that the maid doesn't know its business for surely it's none of hers, and that the imperatrix would see her at the counsel chamber with all due haste.
Truthfully, Irina doesn't expect to see her at all. Bread fisted in her hand as if she were a child, Ivanova scoops up her skirts and goes flying pell-mell through the palace halls, skidding around corners and shooting breathless smiles toward those she nearly overruns. There's a reason they think her unworthy, but her appearance as a knowledgeable player within the court will come as that much more of a surprise, take that many more people off-guard, and will allow both herself and her mother to see who adapts, who resists, and who becomes sycophantic. Ivanova's fifteen birthday is six months away, and she expects to enter the court a woman that day. Until then, she will make full advantage of sliding down banisters and taking corners like a racing hound.
A few minutes later she nestles herself into the listening nook above the counsel chamber. Tapestries hide her from view, which is just as well: the cosy little space isn't supposed to be there, and is reachable only through Irina's own rooms. The imperatrix has long since given Ivanova a key, so she might learn the ways of court in a more subtle way than Irina herself did. She was married young to ferocious bearded Feodor, Ivanova's unlamented father; she learned the tricks and manners of politics in a public forum, finding herself holding the reins of the empire while Feodor raced off on horseback to expand it.
Ivanova knows his portraits, paintings of a big barrel-chested man with little fierce black eyes and wild black hair. She thinks she resembles him more than she does her stunning mother, though Irina's delicacy has blunted the worst of Feodor's roughness. Ivanova's eyes are larger, and green instead of black, but she has the same impossible hair, always out of control, and she imagines that, bearded, she would be her father's slighter ghost. She is grateful the thickness of Feodor's nose had been tempered by Irina's fine features, and is too aware that the tempering has left more hawkishness to her face than she might have liked.
On the other hand, she's seen portraits of herself, too, painted in anticipation of marriage negotiations, and if she grows into the girl the artists portrayed, she will count herself well-satisfied. It is not vanity, but practicality: her mother is beautiful, and Ivanova sees how men and women alike respond to that. Irina has held her throne for over a decade; a plain woman would have a harder time reigning unchallenged.
Ivanova, of course, will marry, whether she wishes to or not. Lorraine, on Aulun's throne far to the west, makes example of why a monarch must wed: the woman called the Titian Bitch is old now, without an heir, and ravens circle her throne, waiting for her death and a chance to pick away at her kingdom. Ivanova has no intention of allowing the same to happen in Khazar.
Voices lift in the room below, muffled by the tapestries that hide her, but Ivanova is accustomed to deciphering what's said through the heavy woven cloth. After a moment her mother cuts in, not so much loud as very firm, and male arguments fade away.
“There is no treaty,” Irina says, calmly. Wonderfully calm: her unflappability as much as her beauty, helps keep her court in rein. “It was negotiated with Sandalia, and Sandalia is dead. There will be new negotiations with Javier.”
“If he'll listen,” a man snaps. “The second pigeon says Akilina was found with Sandalia's body. He may well think her the murderer.”
Ivanova's heart seizes and she realises she's crushing the unfortunate bread in her hand. She puts it aside and leans toward the chamber below, as though a few scant inches of closeness might fill in all the details she's missed so far.
Sandalia is dead, murdered in Lutetia. Ivanova knows that Irina has offered cautious treaties to Gallin and Aulun alike, and that she negotiates with Rodrigo in Essandia through slow-carried missives and hints of flirtatiousness. Neither Rodrigo nor Irina wishes to marry, but a nod toward conventionality must be made to keep the people happy and in gossip, if nothing else. It's a lesson Ivanova intends to take to heart.
If she's given the chance. Eyes closed, she listens to the discussion below; to Irina's dismissal of Akilina's potential hand in the Gallic queen's death; to the weight of what it means that there are papers missing, papers negotiated in Irina's name and signed by Sandalia and Irina's emissary Akilina Pankejeff. Those papers are a breath away from committing Khazarian troops to a war against Aulun, but that breath is what's important: Irina's hand has not signed them, and she is too astute a statesman to do other than express surprise should those papers come to light. It is well-known, after all, that Irina looks favourably on Aulun and its navy-
It is not well-known, someone protests; barely a six-month ago Irina dismissed Robert Drake with apologies for fearing Cordula's strength and a refusal to ally herself with Aulun and its heathen Reformation church.
A silence fills the chambers below, even Irina quieting at the reminder. Ivanova remembers the day; she
