to be planned. A plan approaching as far as possible to the spirit of the original conception, and taking the same amount of time. Sourdust scoured the new route shakily on the tablecloth with the point of a fork. His lordship nodded.
The day’s duties being clear, and with only a minute to run before ten, Sourdust relaxed in his chair and dribbled into his black-and-white beard. Every few seconds he glanced at the clock.
A long sigh came from his lordship. For a moment a light appeared in his eyes and then dulled. The line of his mouth seemed for a moment to have softened.
‘Sourdust,’ he said, ‘have you heard about my son?’
Sourdust, with his eyes on the clock, had not heard his lordship’s question. He was making noises in his throat and chest, his mouth working at the corners.
Lord Groan looked at him quickly and his face whitened under the olive. Taking a spoon he bent it into three- quarters of a circle.
The door opened suddenly in the wall behind the dais and Flay entered.
‘T’s time,’ he said, when he reached the table.
Lord Sepulchrave rose and moved to the door.
Flay nodded sullenly at the man in crimson sacking, and after filling his pockets with peaches followed his lordship between the pillars of the Stone Hall.
PRUNESQUALLOR’S KNEE-CAP
Fuchsia’s bedroom was stacked at its four corners with her discarded toys, books and lengths of coloured cloth. It lay in the centre of the western wing and upon the second floor. A walnut bed monopolized the inner wall in which stood the doorway. The two triangular windows in the opposite wall gave upon the battlements where the master sculptors from the mud huts moved in silhouette across the sunset at the full moon of alternate months. Beyond the battlements the flat pastures spread and beyond the pastures were the Twisted Woods of thorn that climbed the ever steepening sides of Gormenghast Mountain.
Fuchsia had covered the walls of her room with impetuous drawings in charcoal. There had been no attempt to create a design of any kind upon the coral plaster at either end of the bedroom. The drawings had been done at many an odd moment of loathing or excitement and although lacking in subtlety or proportion were filled with an extraordinary energy. These violent devices gave the two walls of her bedroom such an appearance of riot that the huddled heaps of toys and books in the four corners looked, by comparison, compact.
The attic, her kingdom, could be approached only through this bedchamber. The door of the spiral staircase that ascended into the darkness was immediately behind the bedstead, so that to open this door which resembled the door of a cupboard, the bed had to be pulled forward into the room.
Fuchsia never failed to return the bed to its position as a precaution against her sanctum being invaded. It was unnecessary, for no one saving Mrs Slagg ever entered her bedroom and the old nurse in any case could never have manoeuvred herself up the hundred or so narrow, darkened steps that gave eventually on the attic, which since the earliest days Fuchsia could remember had been for her a world undesecrate.
Through succeeding generations a portion of the lumber of Gormenghast had found its way into this zone of moted half-light, this warm, breathless, timeless region where the great rafters moved across the air, clouded with moths. Where the dust was like pollen and lay softly on all things.
The attic was composed of two main galleries and a cock loft, the second gallery leading at right angles from the first after a descent of three rickety steps. At its far end a wooden ladder rose to a balcony resembling a narrow verandah. At the left extremity of this balcony a doorway, with its door hanging mutely by one hinge, led to the third of the three rooms that composed the attic. This was the loft which was for Fuchsia a very secret place, a kind of pagan chapel, an eyrie, a citadel, a kingdom never mentioned, for that would have been a breach of faith – a kind of blasphemy.
On the day of her brother’s birth, while the castle beneath her, reaching in room below room, gallery below gallery, down, down to the very cellars, was alive with rumour, Fuchsia, like Rottcodd, in his Hall of the Bright Carvings was unaware of the excitement that filled it.
She had pulled at the long black pigtail of a chord which hung from the ceiling in one corner of her bedroom and had set a bell jangling in the remote apartment which Mrs Slagg had inhabited for two decades.
The sunlight was streaming through the eastern turrets and was lighting the Carvers’ Battlement and touching the sides of the mountain beyond. As the sun rose, thorn tree after thorn tree on Gormenghast Mountain emerged in the pale light and became a spectre, one following another, now here, now there, over the huge mass until the whole shape was flattened into a radiant jagged triangle against the darkness. Seven clouds like a group of naked cherubs or sucking-pigs, floated their plump pink bodies across a sky of slate. Fuchsia watched them through her window sullenly. Then she thrust her lower lip forward. Her hands were on her hips. Her bare feet were quite still on the floorboards.
‘Seven’, she said, scowling at each. ‘There’s seven of them. One, two, three, four, five, six, seven. Seven clouds.’
She drew a yellow shawl more tightly around her shoulders for she was shivering in her nightdress, and pulled the pigtail again for Mrs Slagg. Rummaging in a drawer, she found a stick of black chalk and approaching an area of wall that was comparatively vacant she chalked a vicious 7 and drew a circle round it with the word ‘CLOWDS’ written beneath in heavy, uncompromising letters.
As Fuchsia turned away from the wall she took an awkward shuffling step towards the bed. Her jet black hair hung loosely across her shoulders. Her eyes, that were always smouldering, were fixed on the door. Thus she remained with one foot forward as the doorknob turned and Mrs Slagg entered.
Seeing her, Fuchsia continued her walk from where she had left off, but instead of going towards the bed, she approached Mrs Slagg with five strides, and putting her arms quickly around the old woman’s neck, kissed her savagely, broke away, and then beckoning her to the window, pointed towards the sky. Mrs Slagg peered along Fuchsia’s outstretched arm and finger and inquired what there was to look at.
‘Fat clouds,’ said Fuchsia. ‘There’s seven of them.’
The old woman screwed up her eyes and peered once more but only for a moment. Then she made a little noise which seemed to indicate that she was not impressed.
‘Why seven?’ said Fuchsia. ‘Seven is for something. What’s seven for? One for a glorious golden grave – two for a terrible torch of tin; three for a hundred hollow horses; four for a knight with a spur of speargrass; five for a fish with fortunate fins, six – I’ve forgotten six, and seven – what’s seven for? Eight for a frog with eyes like marbles,
