Magic and Loss

upgraded from analog to digital sound.”

As I turned away, a flash of bright yellow caught my attention. It was a length of police tape wrapped about a display case. “Is that the exhibit you mentioned earlier—?”

“Yes, it is,” she sighed sadly. “We lost an entire collection of authentic Witchfinder devices: finger-cutters, witch-hammers, spell-gags—that sort of thing. The finger-cutter was particularly valuable, as it is rumored to be the same one Lord Bexe used to take his own magic upon surrendering the throne of Arum.”

I grimaced in disgust. “Why on earth would anyone want to steal stuff like that?”

“There is a brisk business in antique witchbreaking devices, not unlike the underground trade in Nazi memorabilia,” she replied. “Although it was part of the Treaty of 1111 that all such devices be destroyed, a few have managed to survive the centuries in private collections.”

The Curator fell silent as the brace of horse-legged ipotanes came clattering into the hall, lugging the welding equipment and heavy crates as if they were made of balsa wood. The head drover, Fabio, set his burden down with a loud thud that resounded throughout the gallery.

“Here is your delivery, Master Canterbury,” the ipotane announced sarcastically. “Please sign at the bottom, to verify that the items have been delivered in satisfactory condition. And I will be filing a complaint with my shop steward regarding your use of a racial slur.”

“You go ahead and do that,” the centaur grunted as he scribbled his initials on the paperwork.

Once Fabio and his team were out of the way, Canterbury and I opened the crates and set about connecting leg bones to hip bones, wing bones to shoulder bones, tailbone to butt bone. When I finished the final weld connecting the head bone to the neck bone, I stood back and gazed upon the fully assembled clockwork dragon.

It stood ten feet high and fifteen feet long, about a third of the size of an actual adult battle-dragon, or so I have been told, and was all gleaming gears and escapements. The body itself was eight feet long, with the remainder being its tail, which tapered down to a barbed point, like the cracker on a bullwhip. It had a long, wide snout, flaring nostrils, and antlerlike horns that grew from its forehead like antenna. Its powerful legs resembled those of a Komodo dragon, and the wings attached to its shoulder joints were tightly folded while grounded. Once activated, the clockwork mechanism inside it was designed to move the head and tail in a realistic fashion and trigger a bellows attached to a resonator in its chest, which simulated the creature’s infamous war cry.

“You did amazing work, Canterbury,” the Curator said with an appreciative nod. “She’s a real beauty.”

I raised an eyebrow in surprise. “You mean this thing is supposed to be female?”

“All battle-dragons were female; the males didn’t have wings,” the Curator replied. “The one Lord Bexe flew against General Vlad was called Skysplitter. She was the last dragon to die in the Disarmament. Immediately after Lord Bexe put her down, he severed his sixth fingers and went into exile.”

“It seems like such a waste,” I sighed.

“Indeed it does,” the Curator agreed. “But Lord Bexe truly had no choice. I have studied this single moment in history my entire adult life, from every possible angle, and have found no other means of resolution. General Vlad’s decision to attack human settlements following the signing of the Truce—knowing that mankind dare not retaliate for fear of divine punishment—forced the Witch King to take extreme action. There were already rumors circulating amongst the human powers that the Divine Intervention had been nothing more than Kymeran trickery. The Treaty of 1111 was in danger of being destroyed, and the Sufferance rekindled. Lord Bexe had no choice but to side with the human race against his own brother.” The Curator shook her head, as if clearing it of visions only she could see. “Well, that’s enough waltzing through history,” she said with a wan smile. “It’s time we put the finishing touches on our friend here and make her presentable so she can meet her public.”

She briskly clapped her hands, like a school teacher summoning silence from her class, and a wooden trunk appeared before her. Reaching into the voluminous folds of her sleeves she retrieved a large ring of keys of various sizes and shapes, quickly flicking through them until she came to the one she sought. She opened the trunk, revealing what looked like folded cloth-of-gold. She gestured with her right hand, like an orchestra conductor calling four-four time, and the empty skin rose upward like a gilded ghost.

The fingers of the Curator’s right hand moved like those of a puppeteer manipulating a marionette, guiding the shed so that it once more assumed the shape of the proud beast that had once worn it. The empty skin hovered above the clockwork dragon for a moment, then gently lowered itself so that it draped the automaton from the nape of its neck to an inch short of the barbed tail. Once the shed was in place, the Curator began tapping her fingertips together, as if she was playing a pair of invisible castanets, while at the same time miming a seamstress fitting a garment on a dressmaker’s dummy, until the gleaming skin was securely bonded to the clockwork dragon.

“Look at you,” Canterbury smiled, addressing his handiwork as if it were a beloved pet. “Aren’t you gorgeous?” He then turned and nodded to me. “Okay, kid—time to do your stuff!”

Before I became Canterbury’s apprentice, my talent for animating the sculptures I created was entirely unconscious, and invariably a response to “fight-or-flight” scenarios. But under his tutelage, I had since learned how to make deliberate contact with the spark that resides in my creations and activate it through the force of my will. All artists put a little of themselves into their work—but in my case it’s literally true.

I took a deep breath and focused my attention on the clockwork dragon, rerunning how I had put it together, piece by piece, in my mind. As I slowed my heart rate and steadied my breathing, I felt the edges of my consciousness travel outward, like the ripples on a pond. Suddenly the clockwork dragon reared back onto its hind legs, its forelegs clawing at the air, and spread gold foil wings that shimmered like the sun. It opened its mighty jaws and a deep, reverberating growl, like that of a bull alligator, rumbled forth from its chest. For the briefest of moments it felt as if the thing was genuinely alive, and I was its master, holding it on the end of an invisible leash.

“Turn the head toward me a tad,” Canterbury instructed. “Now lift the wings a little higher—spread them out farther—no! Too much! Pull it back a bit! Yes, that’s it! Perfect! You can let go now, Tate.”

I sighed and retracted my concentration, leaving the automaton posed to my master’s specifications. As my will slipped free of the clockwork dragon, I felt the spark I had awakened within it retreat, as if the golden reptile had fallen into hibernation.

“Most impressive,” the Curator said, regarding me like a potential exhibit. “I have never seen the inanimate made animate without the ritual of the Unspoken Word. Are you certain you’re fully human?”

“Believe me, there is nothing magical about my parents,” I assured her. “So how are we supposed to suspend this thing from the ceiling? I don’t see any hooks or mounts up there. . . .”

Before I could finish my sentence, the golden dragon floated upward like a Macy’s parade balloon, positioning itself opposite its ebon foe.

“The remainder of your commission is waiting for you in the administrative office on the ground floor, Master Canterbury,” the Curator said, returning her hands to her voluminous sleeves. “And don’t forget the gift shop on your way out.”

Chapter 6

Every year since 1778, there has been a parade and street fair on the first day of April to commemorate both the founding of Golgotham and the end of the Revolutionary War. Much like St. Patrick’s Day and the Feast of San Gennaro, the Jubilee is a public celebration that attracts far more than the ethnic group that originally founded it. Just like you don’t have to be Irish to dance a jig and swig green beer or Italian to knock back the vino and stuff your face with zeppole, you don’t need six fingers or hooves to caper about Golgotham like a wine-soaked maenad.

The biggest crowd-pleaser of the Jubilee celebration is the Procession, where all of Golgotham’s major supernatural races, or ethnic groups, or whatever you want to call them, proudly strut their stuff. It’s also the official kickoff ceremony for the rest of the festival, which goes on all day and well into the night. Getting a curbside view of the Procession is very important if you actually want to see the parade itself, and not the back of