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Patreon Post: Gods and Magicians

Woodblock by Bertha Lum.
Woodblock by Bertha Lum.
This piece of fiction is brought to you by my awesome Patreon backers, who get bonuses like versions of new books, peeks at story drafts, and sundry other offerings. If backing me’s not in your budget, you can still sign up for my newsletter and get news of posts, classes, and publications as they appear.

This is a piece of flash fiction written last year – I just got around to going through the notebook it was in lately and transcribing the fictional bits. This didn’t take too much cleaning up. For context, think of the hills of southern California, and a writing retreat with no other human beings around, and thinking a great deal about fantasy and epic fantasy at the time.

Is this a Tabat story? Naw. Just a little flash piece.

On the Nature of Gods and Magicians

The magician gestured. Out of the pool came musicians, the very first thing the tip of a flute, sounding, so it was as though the music pulled the musician forth, accompanied by others: grave-faced singers and merry drummers; guitarists and mandolinists with great dark eyes in which all the secrets of the moon were written; and one great brassy instrument made of others interlocked, so it took six to play it, all puffing away at their appointed mouthpiece. All of them bowed down to the priestess who stood watching, her sand-colored eyes impersonal and face stone-smooth.

“Very pretty,” she said, and yawned with a feline grace, perhaps even accentuating the similarity in a knowing way with a head tilt.

The magician smiled, just as catlike, just as calm. “You can do better, I am sure,” he said.

She shrugged, her manner diffident, but rather than reply, she pursed her lips and whistled. Birds formed, swooping down, and wherever they flew, they erased a swathe of the musicians, left great arcs of nothingness hanging as the seemingly oblivious players continued, their music slowly diminishing as they vanished, the instruments going one by one. The last thing to hang, trembling in the air, was an unaccompanied hand, holding up a triangle that emitted not a sound.

Landing, the birds began to sing. Though the music was not particularly sweet, there was a naturalness about it that somehow rebuked the mechanical precision of the song theirs succeeded. As they sang, more and more birds appeared, and the music swelled, washing like a river over the pair where they stood.

The priestess patted the air with the flat of her hand and the birds winked out of existence, leaving the two of them in a great white room, the antechamber of her temple.

“Will you go further in, then?” she said, her voice still casual.

The magician’s eyes were green as new grass and the black beard on his chin, which grew to a double point, was oiled and smelled of attar-of-roses. He considered her as though this was the smallest of debates, and finally stepped forward.

“We are still evenly matched,” he said.

She inclined her head and replied, “But my strength will only swell as we go deeper, and we have far to go before we reach the center of My Lady’s temple.”

His grin spread, as though encouraged by her lack of smile. As though he had some secret hidden about himself and was unafraid to admit it. She forced an expression to match it, and they stood there smiling at each other in hostility for some moments before she stepped aside and gestured him on.

The tunnels were made of adamant and alabaster, concentric rings that shrank then grew larger, then shrank and grew again and again until it was as though they walked inside an immense, undulating worm.

As they walked, they cast spells at each other, dueling lightly, a magical clash and flicker of blades with a deadly energy at its heart. This was a long quarrel between them, the strength of his magic and the might of her goddess, from whom all her power was borrowed. He maintained that while they might be well-matched, the fact was that she, a conduit, could never resonate to the degree of cosmic energy that he, a producer of such energy, could.

She had at one point asked him why it mattered. They’d been drinking in a tavern, an ordinary tavern where adventurers came. They both liked to come and watch those parties, scarred by magic and monsters, assemble and spin stories a thousand times more dangerous than any foe they had to face.

“It matters because there must always be an answer to such questions,” he said with decisiveness, not pausing a moment to think. “If there are no answers, then all in life is random.”

“Could not some of it be random?” she asked, wistfully.

He shook his head. “Randomness is the refuge of the feebleminded who cannot handle answers.” He paused when he saw her flinch. “Not you of course.”

“Of course,” she echoed.

Now they paced along and she put that conversation from her mind.

In the end they came out in a vast courtyard, in a cavern that stretched so far overhead that it would have swallowed a cathedral. The image of the goddess was carved into that ceiling, her arms outstretched, seeming to encompass everything, her serene face beaming down.

The priestess stepped aside, looking to the magician, for he had defeated her every effort along the way. Now they had come to the confrontation he desired.

He stared upward, and for a moment his face seemed daunted. Then he sneered and tugged at the necklace around his throat.

“Face me in direct challenge, you sham,” he said. “The gods are nothing but those with more power than ourselves, and this artefact will amplify mine till I can throw you down unhindered.”

“Indeed you can,” the stone lips said, in a voice sweet and merry and powerful. “For I am less than my handmaiden, much less indeed.”

He frowned. “She is your channel.”

“Ah, no,” said the Goddess. One great hand stretched itself from the ceiling and began to descend towards him. “You have misunderstood the nature of gods entirely.”

Sparks danced from his fingers, formed shining columns all around him, but the massive fingers disregarded them.

“They are not our channels,” she said as the hand closed around him. “Rather, we are theirs.”

And across the world, every worshipper lifted their head, and every priestess stopped, as the Goddess swallowed the magician whole, and then gave him to them, disassembled into fuel for their own magic, and then smiled, and began the climb back towards the ceiling and her accustomed position there.

But the priestess sighed, looking at the spot where the magician had been, and only his shadow remained. He had been good company, now and again, and now he was only embers in her heart.

5 Responses

  1. What a great story, especially if it was off the cuff! I do read quite a bit of short stories and flash fiction or anthologies of some combination of both. Thank you again for another great read.

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Detail From a Sculpture Outside the Redmond Public Library
Description captures so much nuance, and the structure of the sentence can prove integral to its effect, as frequently happens in Dunnett's writing.
A series that I come back to repeatedly is Dorothy Dunnett’s marvelous six-volume series The Lymond Chronicles. Dunnett has two strengths: dialogue and its accompanying actions as well as a descriptive gift that I am bitterly envious of. Right now I’m working my way through the books for a third or fourth time, and I’m midway through Book 3, The Disorderly Knights.

In this chapter Lymond and Oonagh are escaping the Turkish camp, and it’s just marvelous.

At the edge of the still, dark pool that was the sea, at the brimming edge of freedom where no boat was to be seen, she spoke the first words of the few they were to exchange. ‘I cannot swim. You know it?”

The sea is the still dark pool, the brimming edge of freedom and we know that it’s still perilous and questionable because they can’t even see the boat. It’s a passage where words are scarce and breath is conserved, and Dunnett deftly raises the stakes here with that six word exchange.

In the dark she saw the flash of his smile. ‘Trust me.’ And he drew her with a strong hand until the green phosphorescence beaded her ankles, and deeper, and deeper, until the thick milk-warm water, almost unfelt, was up to her waist. She heard him swear feelingly to himself as the salt water searched out, discovered his burns. Then with a rustle she saw his pale head sink back into the quiet sea and at the same moment she was gripped and drawn after him, her face to the stars, drawn through the tides with the sea lapping like her lost hair at her cheeks, the drive of his body beneath her pulling them both from the shore. They were launched on the long journey towards the slim shape, black against glossy black, which was the brigantine, with Thompson on board.

Right off the bat, the first moment of the paragraph, the terse tense nature of the dialogue is maintained, along with a single detail reminding us of the lack of lighting. And because it’s Lymond, brilliant ephemeral Lymond, that detail backs up the dazzle of his character with its verb masquerading as a noun: flash. The moment where he draws her into the water, first to the lovely image of the phosphorescence around her ankles, then and deeper, and deeper, as though each comma was a wave, is one of those that bludgeons me with despair whenever I read Dunnett, because I don’t think I’ll ever come close to the precision and brilliant construction of that sentence, and she does it line after line after line for six fricking books, plus the eight book Niccolo series and the MacBeth one. HOLY COW. And then she delivers the final stroke with the temperature of the silky water combined with the information that now she’s up to her waist. We’re reminded that Lymond is not in the best physical shape because Dunnett never resists a chance to ratchet up the tension.

After that a long sentence conveys the sense of the journey, starting with the sound and visual of his pale head. Something about the way the sentence is constructed mimics the physical blocking of the scene, with Oonagh being drawn over and through the water with the drive of his body submerged beneath, pulling them both forward. Followed by more journey, and even more sense of the lighting, with the ship black against glossy black.

She never knew how long a swim that was, for she had one task: to make his work possible. Her body limp, her limbs brushing the surface of the sea, she took air at the top of his thrust; learned after the first gagging mistake to close every channel to the sudden dip, the molesting wave that slapped suddenly over one cheek. The hard grip under her armpits never altered, nor did Lymond’s own breathing for a long time vary at all.

That paragraph has a lot of sexual, physical terms (her body limp, her limbs brushing the surface of the sea, she took air at the top of his thrust) that turn violent (learned after the first gagging mistake to close every channel to the sudden dip, the molesting wave that slapped suddenly over her cheek), which echoes Oonagh’s experiences in the book, having been beaten many times by her former lover Cormac MacCarthy. But interestingly, the next sentence shows us that Lymond is steady where the violence is sporadic; he is drawing her forward through it. I’ve noticed Dunnett repeating figures like this over and over before — in Queens’ Play, it’s eyes, for example, so I’ll be curious to see whether this keeps getting repeated — or I may go back to earlier chapters to look at their interactions again.

I urge my writing students to copy out passages like this, to test them sentence by sentence, looking to see how the effects are created. Sometimes it’s just an exercise in angst, when you’re working with a writer that’s much better than you are, but I can’t help but think you always learn something from the practice.

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Snippet from Hearts of Tabat

Abstract drawing that vaguely resembles rain, or a portal, or something like that.
What did it mean? Because surely it must, happening three days in a row. It couldn't just be that she'd had the same dream randomly dropped into her head three times. She'd mulled it over, standing in her office staring out over the street steaming in the warm spring rain that pattered on the patterned paper umbrellas, printed with political slogans, that everyone carried.
I’m working on the sequel to recently-finished Beasts of Tabat, whose working title is Hearts of Tabat. Here’s a snippet I wrote this morning.

Adelina did something she’d mocked other people for doing. She consulted a Dream Reader.
Everyone sensible knew that Dream Readers were frauds, making up stories to suit the needs they could read in their clients. Everyone’s dreams were as individual as their minds, everyone had their own internal cartography leading to entirely different parts of their brains.

But the dream had come three mornings in a row. Three mornings when she woke up with a start, fear clamping its fingers, slender as reeds, strong as iron, around her throat, her hands clenched so hard that her nails bit into the heels of her hands.

She was walking along a bridge, which narrowed further and further, so much only a single person could walk across it, then crumbled away in the middle, leaving a two foot gap. She knew a wide enough step would take her across it, but when she looked down, she saw the water, seething with toothy eels, their lanterned eyes staring up at her, waiting for her to fall.

She saw Bella far, far away, down the long road on the other side, back turned as she walked away, too far to hear Adelina calling after her. Snowflakes were falling around her, as though a cloud echoed her progress overhead, and moonlight glinted on the snow, tinting it purple and red.


Finally she gathered her wits and went back a few steps. She crouched, then pushed herself forward and ran to jump and land on the other side. Far below, the eels ground their teeth, a sound that crawled up her spine and along her shoulders.

A headshake, like a dog cleaning itself of rain, chased the sensation away.

Bella had vanished over the horizon. Parks lay to either side, and she knew they were Tabatian parks, but ones she’d never discovered before. The notion delighted her: she’d investigate their histories, incorporate that into her long-time project, a complete history of the city.
But which one to enter first? She hesitated.

The left-hand one held a fabulous menagerie surrounded by a high, green-painted fence. She could hear the creatures roaring and whinnying, baying and moaning and a calliope’s wheedle. Fireworks arced and popped above it.

On the right was a more sedate water-park. But it held nooks and crannies as enticing as any brightly-colored booth: serene statues had placards waiting to be deciphered, and a massive fountain in the center roiled with carp colored white and purple and red.

It came to her that the righthand side would cost her no coins, but that the menagerie would require the price of admission, so she fumbled at her belt, thinking she’d let the lack or not determine which way she went. But the coins in her pouch were unfamiliar and she was uncertain whether or not the ticket seller would accept them.

She hesitated, torn between choices.

Something was coming padding down the road towards her. A Sphinx and a Manticore, unchained, unrestrained. They walked without hurry, placid and implacable and deadly. Their mouths moved as though they were talking to each other, but they were too far to hear.

Where had Bella gone?

She looked from side to side, but something in the way they walked told her they would follow, no matter where she went.

They came so close she could smell the stink of the Manticore, hear the sound of their steps on the road. They were silent now as they came towards her”¦

Then she’d wake.

What did it mean? Because surely it must, happening three days in a row. It couldn’t just be that she’d had the same dream randomly dropped into her head three times. She’d mulled it over, standing in her office staring out over the street steaming in the warm spring rain that pattered on the patterned paper umbrellas, printed with political slogans, that everyone carried.

***
Love the world of Tabat and want to spend longer in it? Check out Hearts of Tabat, the latest Tabat novel! Or get sneak peeks, behind the scenes looks, snippets of work in progres, and more via Cat’s Patreon.

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