As this is a sober history, it follows that nothing is recorded in these pages which cannot happen in your own life, or at least in your own lifetime. The Empress Justina is not the first person to struggle valiantly to secure the liberties of her kingdom against the oppressions of a foreign empire; and the fact that her best efforts ended in general disaster merely indicates a principle well known to all historians, which is that might is might and right is easily forgotten.
One final comment.
Great differences will be found between this history and others now extant.
The greatest difference is that of treatment; for this is a singularly intimate history.
It is intimate largely because of the very special advantages enjoyed by the historian. Personal experience is one of these; for the historian was actually on Untunchilamon when the events herein recorded took place. Furthermore, since the historian writes late and last, he has access to the documents of all those who have written earlier.
But the historian’s greatest advantage is that he was for long a confidante of Shabble; and Shabble was everywhere, and saw everything, or at least learnt of it thereafter by way of confession or hearsay.
Shabble was in the kitchen attached to the Analytical Institute when Pelagius Zozimus was preparing that platter of tolfrigdalakaptiko. Shabble was there listening to one kitchen slave telling another about the delinquencies of her grandmother’s neighbour’s daughter’s son, who had run away from home and was living on the streets as a drummer.
Later, Chegory Guy came into the kitchen to collect that tolfrigdalakaptiko, and Shabble went with Guy to the cave where the Hermit Crab lived, and watched as that formidable monster ate its way though its meal with a pair of chopsticks which its huge claws handled with the most exquisite delicacy imaginable.
Olivia Qasaba was present at that same meal, for she had made herself the Crab’s servant. This she had done in order to have an excuse to associate with Chegory on a regular basis.
In truth, the Crab needed no services apart from the regular provision of its meals. The Crab was a philosopher of a singularly unambitious kind, and did very little apart from sitting still, thinking, and waiting for the inevitable onslaughts of those human beings who from time to time (for selfish reasons of their own) would try to kill it.
However, Olivia had invented a great many jobs for herself to do. Early on in her service, she had taken to adorning the Crab with flowers. Daily, she brought fresh frangipani blooms for the Crab, and glued them to its carapace (the Crab being possessed of no human-style ears behind which such flowers might have been stuck). Later, thinking the Crab in need of some more permanent form of adornment, Olivia went to work with a stronger kind of glue, and began to cover the Crab with a mosaic of white marble, cowrie shells, chips of bloodstone, old fish-hooks, brass rings, worn-out cogs from the Analytical Engine, fragments of blue and yellow glass and rags of silk.
Thus festooned, the Crab looked more than a little ridiculous. Olivia was taking a fearful risk, for, had the Crab resented its transformation, it might have lost its temper; and in its incontinent rage it could easily have destroyed Injiltaprajura, if not Untunchilamon as a whole.
But Olivia Qasaba never worried her head about that, because it never occurred to her for even a moment that the Crab might not take kindly to the programme of beautification on which she had embarked. As for Chegory Guy, he never sought to restrain the hand of his beloved Olivia; though surely concern for the common good (if not for Olivia’s safety) should have led him to veto her artistic efforts.
Chegory’s dereliction of duty — the insouciant manner in which he allowed his true love’s whim to endanger his whole world — is easy to understand when we note that he was an Ebrell Islander. The Ebrell Islanders have never been noted for caution, reason or responsibility.
That explains Chegory’s actions; or, rather, his inaction. But how are we to account for the fact that Injiltaprajura allowed a feckless Ashdan Lass and a reckless Ebrell Islander to minister to the most powerful and most dangerous entity to be found anywhere west of Yestron and east of Argan?
In explanation of this incongruity, the historian has a duty to explain that everyone else on Untunchilamon was far too scared of the Crab to go anywhere near the thing. And with good reason! Among other things, the Crab had perfected a method for turning people inside out; and such topological rearrangement is compatible with neither sanity nor survival.
So Chegory and Olivia had the Crab to themselves.
Chegory regularly brought the Crab those meals cooked for it by the master chef Pelagius Zozimus, and Chegory relayed to the kitchen any demands the Crab might have with respect to its menu.
And Olivia adorned the Crab in the manner described above, polished the unadorned parts of the Crab’s carapace with coconut oil, and persuaded Shabble to act as a globular mirror so the Crab could admire its changed appearance.
For her own amusement, Olivia recovered the frail shells of lesser crabs from the shore, and arranged them in niches around the cave ‘so you can pretend they’re statues of your mummy and daddy and all your brother crabs and sister crabs’. Often she sat beside the Crab, comfortably embraced by Chegory’s arms, and made up stories about those lesser crabs, telling of their loves and lusts, their griefs and sorrows, their victories and triumphs, their counters with malicious seagulls and hungry octopuses, their heroic quests and territorial disputes, and their secret love for the great Crab of the island of Jod.
The Ashdan lass also made the Crab a set of wind-chimes out of coconut twine and cards of copper stolen from the Analytical Institute. She even got the Crab its own drum, in case it wanted to participate in the latest youth cult; and, since the Crab had no hands, Olivia got the thing its very own drumstick.
‘Or,’ she said, ‘you could beat it with your chopsticks.’
This should not be taken as implicating Olivia Qasaba herself in active participation in the ‘drumming’ cult, for there is no evidence that she herself ever beat upon a drum; though it is inevitable that she was sometimes in close proximity to adolescent youths who were ‘drumming’.
By now the reader may be getting restless, and may be wondering why the historian has chosen to adduce so many trivialities concerning the Crab and its servants.
The answer is that these trivialities are not trivialities at all. Rather, they are important items of evidence which help explain why the Crab, this Power of Powers, played such a slight role in the politics of Injiltaprajura.
The Crab was not one of your active Powers which daily demand homage and sacrifice; which lust for praise, and burn incense, and the flesh of virgins; which build palaces and organize empires; which like to get drunk and be jolly; which collect gold and diamonds and all things rare and precious.
No, the Crab was not like that at all.
The Crab was a singularly retiring person, its demands being merely that it be fed at regular intervals and otherwise left in peace. While it was prepared to permit Olivia’s ministrations, it had never demanded them, nor did it praise or encourage them. And as for homage, or gold, or virgins, or palaces, or other such materialistic rubbish — why, the Crab had no use whatsoever for any such frivolities.
While this eremitic and philosophical Crab was loathe to take an active claw in Untunchilamon’s politics, it was nevertheless manipulated on occasion by the devious Justina Thrug and others — as we shall see in due course.
You will be assisted in seeing this if you will now clear from your field of vision all those distorted images and outright hallucinations practitioners of fiction and even other ‘historians’, so-called, have brought forward to gratify a debased public taste.
Pay no attention to the gross distortions of Greven Jing, the rambling inaccuracies of Thong Sai Stok, the pretentious pedantry of Morton Plum or the romantic mistiness of the anonymous author of Untunchilamon: An Account of the Isle of Many Splendours and the Unfortunate Contretemps which Occasioned Sundry Lapses of Public Order and Good Discipline in that Paradigm of Paradise.
This is the true history of the final days of the rule of Justina Thrug upon the island of Untunchilamon, and it is the only such history which is worth the price of the fooskin upon which it is written.
And remember: your historian was there!
Your historian will not, as a rule, intrude upon this narrative. I will not mention my arthritic fingers, for instance; or the outrageous price of fooskin; nor complain about the racket from the craftshop next door, where, from the sound of it, they are trying to reinvent the skavamareen.
