Palimpsest

PALIMPSEST POSSESSES TWO CHURCHES They are identical in every way. They stand together, wrapping the street corner like a hinge. Seven white columns each, wound around with black characters that are not Cyrillic, but to the idle glance might seem so. Two peaked roofs of red lacquer and two stone horses with the heads of fork-tongued lizards stand guard on either side of each door. The ancient faithful built them with stones from the same quarry on the far eastern border of the city, pale green and dusty, each round and perfect as a ball. There is more mortar in the edifices than stones, mortar crushed from Casimira dragonflies donated by the vat, tufa dust, and mackerel tails. The pews are scrubbed and polished with lime oil, and each Thursday, parishioners share a communion of slivers of whale meat and cinnamon wine. The only difference between the two is in the basement-two great mausoleums with alabaster coffins lining the walls, cal-ligraphed with infinite care and delicacy in the blood of the departed beloved contained within. In the far north corners are raised platforms covered in offerings of cornskin, chocolate, tobacco.

In one church, the coffin contains a blind man. In the other, it contains a deaf woman. Both have narwhal s horns extending from their foreheads; both died young. The modern faithful visit these basement-saints and leave what they can at the feet of the one they love best.

Giustizia has been a devotee of the Unhearing since she was a girl-her yellow veil and turquoise-ringed thumbs are familiar to all in the Left-Hand Church; she brings the cornskins, regular as sunrise. When she dies, they will bury her here, in a coffin of her own.

She will plug your ears with wax when you enter and demand silence with a grand sweep of her forefinger. You may notice the long rattlesnake tail peeking from under her skirt and clattering on the mosaic floor, but it is not polite to mention it-when she says silence, you listen. It is the worst word she knows.

Ludovico chooses the Left-Hand Church. He cannot say why. It does not seem like much of a choice, but he makes it, with determination. If there is anything a Roman man knows, it is how to associate with a church, how to choose one in a city of churches and become loyal to it, to know its clerestory and its finials like the breasts of a wife. To predict the exact tone into which it will weave your voice with all its heights and rafters and soaring galleries.

The congregation is silent, though the pews are crowded with parishioners. Ludovico treads softly on the aisle, which is covered in chrysanthemums planted deep in the soil of the church's most secret parts. Far above, ravens line the clerestory, and between them some few folk with long black wings, dangling their feet in the air. He stares at them in horror and enthrallment there are no humans here. Each of the faithful is in part another thing: men with the heads of great serpents, women with shells like tortoises upon their backs. Children with long, hairy orangutan arms fidget and bent, scolding crones’ legs end in elephantine feet, or cheetah feet, or musk-ox soles, warted and blackened. A man with a giraffe neck grafted to his shoulders sits politely in the rear row, so as not to block anyone's view. Not a few have fins protruding painfully from their backs which their aunts and uncles keep solicitously wet with the help of small and sacred cups.

At the altar, a priest with the head of an ancient, worried lion holds out her arms in mute supplication, her mouth gaping, her feline face red with the effort of her silence, tears streaming through her whiskers. A few worshippers are crying, too, and nodding as though she spoke. A little girl in the front row holds out her long, mottled arms to the priest, an octopus's tentacles, their suckers opening and closing in mute pleas. The child opens her mouth and wails as children will do when they are grieved, but only a throttled gurgling emerges. Her parents gather her in and she buries her face in their scaly breasts.

Ludovico sinks to his knees in the flowers, overcome. Why should he care for these wretched animals? Perhaps because they are in church? He trembles-this is not like the Troposphere with its pounding mechanical horses. It is so quiet here.

Here begins the book of the nature of beasts, Ludo thinks. All the best bestiaries begin that way. If I were to write of this place, I could make a book longer than Isidore's, greater than the Etymologiae. Here there are creatures beyond any Spaniard's fever-dream and more, they are real. I have seen them. I will be able to write truly that I knelt among them, I prayed with them and saw them weep as though they were possessed of souls. No Pope will ever believe me, or beatify me, or sanctify my encyclopedia, but I will know it was true.

The silence lays hands on him and Ludovico is moved beyond himself. For this church of invalids he will bear mouse-women and eel-women and anything else. He will bear Lucia's abandonment, for this is the land of St. Isidore. Bee-crowned Isidore, who wrote the great compendium of wisdom and Christian magic, human behavior and the names of monsters that medievalists still pore over with glee-he must have seen this place. He only reported what he saw. Ludo's hands fly to his St. Isidores medal. The vision of the octopus-child compels him to his knees. In his life, Ludovico has never loved a thing that did not destroy him, and he goes gladly to this third thing in his small catalogue of loves which before now was comprised of a book and a woman alone.

He stretches out his arms, his skinny, human arms to the lion-priest and calls out to her, his voice ghastly in the echoing cathedral, a thing made for shattering.

“Ave Maria, gratia plena!”he cries. It is all he knows how to say, the most sacred thing. “Dominus tecum, benedicta tu in mulieribus, et benedictus fructus ventris tail”

He is laughing and weeping, and all stare at him. The octopus-girl pulls away from her parents as he begins again:

“Ave Maria!”

She walks toward him like a little bride, serious in her white dress, hair the color of a bruise hanging in two long, straight planks to her knees. Her pace is slow and she does not try to run-Ludo is sure she has been told not to run in church. She puts her cold, wet tentacles around his neck; they coil heavily on his shoulders. She fixes him with a solemn expression. Slowly she kisses his cheek.

“Ave Maria!” he sobs, and the congregation, as if released by the child's gestures, descends upon him, straining to put their paws and their hands on him, their fur and their slime.

“Ave! Ave! Ave!” he howls, and the ravens recoil, wheeling in the rarified air of the upper balconies, screaming in alarm and ecstasy.

A hundred hands and more cover his mouth, gently, like aunts tasked with the care of an unruly boy. He bellows grief into their embraces, and the Left-Hand Church is filled with the sound of him as he is rocked in the arms of the wretched and the plagued, rocked until he is quiet, and can bear their kind eyes and their grotesque kisses.

PART III:

THE PRINCESS OF PARALLELOGRAMS

SIX EXPRESS TRACKS and twelve locals pass through Palimpsest. The six Greater Lines are: Stylus, Sgraffito, Decretal, Foolscap, Bookhand, and Missal. Collectively, in the prayers of those gathered prostrate in the brass turnstiles of its hidden, voluptuous shrines, these are referred to as the Marginalia Line. They do not run on time: rather, the commuters of Palimpsest have learned their habits, the times of day and night when they prefer to eat and drink, their mating seasons, their gathering places. In days of old, great safaris were held to catch the great trains in their inexorable passage from place to place, and women grappled with them with hooks and tridents in order to arrive punctually at a desk in the depths of the city.

As if to impress a distracted parent on their birthday, the folk of Palimpsest built great edifices where the trains liked to congregate to drink oil from the earth and exchange gossip. They laid black track along the carriages’ migratory patterns. Trains are creatures of routine, though they are also peevish and curmudgeonly. Thus the transit system of Palimpsest was raised up around the huffing behemoths that traversed its heart, and the trains have not yet expressed displeasure.

To ride them is still an exercise in hunterly passion and exactitude, for they are unpredictable, and must be observed for many weeks before patterns can be discerned. The sport of commuting is attempted by only the bravest and the wildest of Palimpsest. Many have achieved such a level of aptitude that they are able to catch a train more mornings than they do not.

The wise arrive early with a neat coil of hooked rope at their waist, so that if a train is in a very great hurry they may catch it still, and ride behind on the paupers terrace with the rest of those who were not favored, or fast enough, or precise in their calculations. Woe betide them in the infrequent mating seasons! No train may be asked to make its regular stops when she is in heat! A man was once caught on board when an express caught the scent of a local. The poor banker was released to a platform only eight months later, when the two white leviathans had relinquished each other with regret and tears.

A great number of commuters witnessed the girl with blue hair and her now-famous leap into the waiting doors of the Marginalia. Their coats flapped in the hot wind of the station-bowels. Their lips went suddenly dry; their pulses quickened as one stream of blood through one heart. A few smiled, and all noted in their observances that a woman was taken from the platform on this date, at that time. It is important to know these things. They have happened before. Rarer than mating season is this one, and they must know when it begins and when it ends, in order to compare notes with their fellow enthusiasts so that they may predict when the contents of their prayers must change, and when they will shift to the Secondary Prime Schedule, which conforms to both the phases of the moon and the retrograde orbit of Mercury.

Three men were crushed beneath

the trains in order to prove the Second Prime, and their names are holy writ.

The space between carriages is a rollicking, noisy, dank place, nothing like the chrome interstices of the Shinkansen. Sei thinks briefly of Sato Kenji, and wishes for the fourth or fifth time that she had known when she held him shaking against her what manner of creature he was, possessed of what secrets. Her heart would have beat faster, would have leapt into him fully

The Third Rail regards her solemnly The two of them are pressed close together, and Sei does not think the red-faced woman s long cheeks and slitted eyes are entirely flesh, not entirely. They seem always wet and hard, like a lacquered mask. But it is so dark; the light is fitful and unkind. Sei does not think she hears her breathing. The Third Rail grazes her collarbone with long white fingers, hesitant and slow, as if unsure of permission to do so. Sei takes her hand and kisses her palm-the skin burns her, like medicine, like ice, but she does not flinch, and the Third Rail shivers in pleasure.

“We are so very eager for you to see us,” she says, and her scarlet face tilts towards the clattering carriage door. “We have dressed ourselves specially: we have had to guess the things you like.”