Songs of Love and Death

mother just twice, once when they went to tell her they’d run off and got married—she hadn’t been best pleased, Mrs. Wakefield, but she’d put a good face on it, even if the face had a lemon-sucking look to it.

The second time had been when he signed up with the RAF; he’d gone alone to tell her, to ask her to look after Dolly while he was gone. Dolly’s mother had gone white. She knew as well as he did what the life expectancy was for fliers. But she’d told him she was proud of him, and held his hand tight for a long moment before she let him leave, saying only, “Come back, Jeremiah. She needs you.”

He soldiered on, skirting craters in the street, asking his way. It was nearly full dark now; he couldn’t be on the streets much longer. His anxiety began to ease a little as he started to see things he knew, though. Close, he was getting close.

And then the sirens began, and people began to pour out of the houses.

He was being buffeted by the crowd, borne down the street as much by their barely controlled panic as by their physical impact. There was shouting, people calling for separated family members, wardens bellowing directions, waving their torches, their flat white helmets pale as mushrooms in the gloom. Above it, through it, the air-raid siren pierced him like a sharpened wire, thrust him down the street on its spike, ramming him into others likewise skewered by fright.

The tide of it swept round the next corner and he saw the red circle with its blue line over the entrance to the Tube station, lit up by a warden’s flashlight. He was sucked in, propelled through sudden bright lights, hurtling down the stair, the next, onto a platform, deep into the earth, into safety. And all the time the whoop and moan of the sirens still filling the air, barely muffled by the dirt above.

There were wardens moving among the crowd, pushing people back against the walls, into the tunnels, away from the edge of the track. He brushed up against a woman with two toddlers, picked one—a little girl with round eyes and a blue teddy bear—out of her arms and turned his shoulder into the crowd, making a way for them. He found a small space in a tunnel mouth, pushed the woman into it and gave her back the little girl. Her mouth moved in thanks, but he couldn’t hear her above the noise of the crowd, the sirens, the creaking, the—

There was a sudden monstrous thud from above that shook the station, and the whole crowd was struck silent, every eye on the high arched ceiling above them.

The tiles were white, and as they looked, a dark crack appeared suddenly between two rows of them. A gasp rose from the crowd, louder than the sirens. The crack seemed to stop, to hesitate—and then it zigzagged suddenly, parting the tiles, in different directions.

He looked down from the growing crack, to see who was below it—the people still on the stair. The crowd at the bottom was too thick to move, everyone stopped still by horror. And then he saw her, partway up the stair.

Dolly. She’s cut her hair, he thought. It was short and curly, black as soot—black as the hair of the little boy she held in her arms, close against her, sheltering him. Her face was set, jaw clenched. And then she turned a bit, and saw him.

Her face went blank for an instant and then flared like a lit match, with a radiant joy that struck him in the heart and flamed through his being.

There was a much louder thud! from above, and a scream of terror rose from the crowd, louder, much louder than the sirens. Despite the shrieking, he could hear the fine rattle, like rain, as dirt began to pour from the crack above. He shoved with all his might, but couldn’t get past, couldn’t reach them. Dolly looked up, and he saw her jaw set hard again, her eyes blaze with determination. She shoved the man in front of her, who stumbled and fell down a step, squashing into the people in front of him. She swung Roger down into the little space she’d made, and with a twist of shoulders and the heave of her whole body, hurled the little boy up, over the rail—toward Jerry.

He saw what she was doing and was already leaning, pushing forward, straining to reach… the boy struck him high in the chest like a lump of concrete, little head smashing painfully into Jerry’s face, knocking his head back. He had one arm round the child, falling back on the people behind him, struggling to find his footing, get a firmer hold—and then something gave way in the crowd around him, he staggered into an open space, and then his knee gave way and he plunged over the lip of the track.

He didn’t hear the crack of his head against the rail or the screams of the people above; it was all lost in a roar like the end of the world as the roof over the stair fell in.

THE LITTLE BOY was still as death, but he wasn’t dead; Jerry could feel his heart beat, thumping fast against his own chest. It was all he could feel. Poor little bugger must have had his wind knocked out.

People had stopped screaming, but there was still shouting, calling out. There was a strange silence underneath all the racket. His blood had stopped pounding through his head, his own heart no longer hammering. Perhaps that was it.

The silence underneath felt alive, somehow. Peaceful, but like sunlight on water, moving, glittering. He could still hear the noises above the silence, feet running, anxious voices, bangs and creakings—but he was sinking gently into the silence, the noises grew distant, though he could still hear voices.

“Is that one—?”

“Nay, he’s gone—look at his head, poor chap, caved in something horrid. The boy’s well enough, I think, just bumps and scratches. Here, lad, come up… no, no, let go now. It’s all right, just let go. Let me pick you up, yes, that’s good, it’s all right now, hush, hush, there’s a good boy…”

“What a look on that bloke’s face—I never saw anything like—”

“Here, take the little chap. I’ll see if the bloke’s got any identification.”

“Come on, big man, yeah, that’s it, that’s it, come with me. Hush now, it’s all right. It’s all right… Is that your daddy, then?”

“No tags, no service book. Funny, that. He’s RAF, though, isn’t he? AWOL, d’ye think?”

He could hear Dolly laughing at that, felt her hand stroke his hair. He smiled and turned his head to see her smiling back, the radiant joy spreading round her like rings in shining water…

“Rafe! The rest of it’s going! Run! Run!”

AUTHOR’S NOTE

Before y’all get tangled up in your underwear about it being All Hallow’s Eve when Jeremiah leaves, and “nearly Samhain (aka All Hallow’s Eve)” when he returns—bear in mind that Great Britain changed from the Julian to the Gregorian calendar in 1752, this resulting in a “loss” of twelve days. And for those of you who’d like to know more about the two men who rescue him, more of their story can be found in An Echo in the Bone.

About the Editors

GEORGE R. R. MARTIN has been called “the American Tolkien,” and his books, including the volumes on his landmark A Song of Ice and Fire fantasy series, have been on bestseller lists around the world. He’s won four Hugo Awards, two Nebula Awards, the World Fantasy Award, and the Bram Stoker Award. As editor, he’s produced the long-running Wild Cards anthology series as well as the New Voices series and others. He’s also worked for Hollywood and television and was part of the creative team behind such shows as Beauty and the Beast and the revival of The Twilight Zone.

GARDNER DOZOIS has won fifteen Hugo Awards and thirty-four Locus Awards for his own writing. He was the editor of the leading science fiction magazine, Asimov’s Science Fiction, foe eighteen years, and is also the editor of the annual anthology series