More than an hour passed in the telling, and by the time I reached the part where the Physiognomist butchers the young woman's face in a foolish attempt to make her more virtuous, Anotine was, to my relief, fast asleep. I went on telling the rest of it, aloud, to myself, as if it were a confession of sorts.

The images came out of my memory in single file—Aria's face covered by the veil because I had made it so ugly that to gaze upon it meant sudden death, my imprisonment on the island of Doralice, my return to the Weil-Built City. I saw the false paradise, an enormous crystal egg, that Below had built underground to house Aria and Ea, the Traveler from the wilderness of the Beyond. Then the Master bit into the white fruit, the city was destroyed through explosions, and we managed to escape. Again, I witnessed the birth of Cyn, Aria's daughter, whom I was forced to deliver one stormy night. Somehow, that birth had caused Aria's face to heal to its original beauty. She left the veil with me when she and Ea and their children had gone off to the Beyond. This last detail, my uncertainty as to whether her leaving it was to remind me of my guilt or a sign of forgiveness, was where I ended the story. The experience of giving voice to every memory left me feeling perfectly calm.

I had never felt so exquisitely comfortable in all my life as while lying there, but I had to fight my inclination to doze off. With great care, I rolled Anotine back onto her side of the bed and then slowly swung my feet around to sit up. After waiting some time to see if she was deeply asleep, I stood and went over to the brown rug. There, I sat down cross-legged as I had somewhere read the pagan holy men of the territory do to meditate. I concentrated and conjured a lit Hundred-To-One; then I turned my attention to materializing something else that the mnemonic world could not as yet provide.

In my mind's eye, I pictured a Lady Claw scalpel, the kind the old Physiognomists, like Kurst Scheffler and Muldabar Rei-ling had once used. These instruments were supposedly more difficult to handle than the modern, double-headed type, but it had been said that they could cut bone as if it were pudding. The instrument glinted in the light of my thoughts, and I saw it from every angle. Even the fine, three-finger inscription on the handle did not escape me.

My self-induced trance lasted for as long as my story had, and when I finally opened my eyes, I stood and walked down the hallway to that mysterious dark closet. It had come to me in my meditation that the instrument would be in there on one of the shelves.

Once inside, I discovered that it was perfectly black. I felt along the inner wall of the room, letting touch be my guide. Before too long I found where the shelves began and started tentatively feeling around. These shelves reminded me of Mis-rix's Museum of the Ruins, and I thought of the pride with which he had shown me his display. My fingers came in contact with fur, ceramic, linen, and glass, and then with lumps of a soft unformed gel, which I guessed might be the element of things waiting to become.

I was beginning to think that my theory about the closet and the materialization of objects might have been all wrong, when I slid my hand across the dusty surface of a shelf and felt a sting on the tip of my index finger. Even a retired Physiognomist knows the feel of a scalpel, though it be the slightest caress. I knew the nick had drawn blood, and I smiled as I closed my fist around the handle. As I lifted it, I was startled by the sound of heavy breathing behind me.

"Cley," said a voice that I was sure was not Anotine's.

"Misrix?" I asked, rapidly placing the speaker.

"Yes," he said with a hiss.

"How long have you been in here?" I asked, careful to keep my voice to a whisper.

"I'm not here," said the demon. "I'm only speaking to you. I could not enter the mnemonic world again. It was hard enough to get my voice to travel over."

"How long have we been connected in reality?" I asked.

"Almost an hour."

"An hour …" " I found the discrepancy in time impossible.

"You've got to hurry," he told me. "The chances of retrieving you grow slimmer by the minute."

"My plan is mad," I told him.

"I can see what you are thinking."

"Absurdity seems to be the order of the day, though," I said, hoping he might try to talk me out of it.

A minute passed, and I thought he was gone. I prepared to leave.

"Cley," he said, frightening me again, "you are going to use the woman, aren't you?"

"For her own good," I said.

A wheezing laughter broke out around me everywhere, echoing in the small room. As it diminished, I could hear him very faintly call, "I'll be watching."

I brought the Lady Claw out into the bedroom and laid it on the table alongside the signal gun that the Doctor had left with me. Seeing the gun, I thought it might be better to have a weapon more truly suited for self-defense. Until very early in the morning, I meditated upon the derringer I had at one time carried, but no matter how precisely I saw it or desired it, it never appeared in the closet. I realized in dejection that there were probably limits to the complexity of the objects that could be materialized. As the dawn began to show itself out beyond the field and wood, I crept back to bed.

17

After a late breakfast the next morning, as the sun climbed a final step toward noon, we returned, at my insistence, to the bed. With Anotine sighing, "Now," and myself wrapped in ecstatic concentration, like a child in a final round of split the mug-gen, together we discovered the present, a gift from the future and the past.

This event was meant to be the initiation of my plan, but when I rolled onto my back and was breathing heavily in unison with her, I forgot all about disturbing Below's mnemonic world. If anything, I wanted it to remain as it was forever. What I had found in her was not the fulfillment of lust, but the origin of love. All of those questions of reality and illusion had disintegrated more completely than the edge of the island.

"Did you feel the moment?" I asked her.

"Yes," she said, "it exploded inside me. I was transported to another place." She reached out and put her hand around my wilting member. "Cley, you're a genius. Who would have thought."

Her comment about having gone to another place reminded me of Bataldo's revelation that sexual union was a temporary fusion of memories. I pondered this notion, and found that it coincided with the feeling that I had finally, after all my errant wandering in thought and deed, come home to myself. There was nothing left but to tell her I loved her, and that is precisely when the Fetch arrived.

It slowly drifted backward in through the window opening above us, its hair alive, its expression a startling mask of ecstatic rage. Anotine sat up to take its gaze as the green light streamed toward her eyes.

I rolled out of the bed in a fit of jealousy and made my way to the table across the room. There, I lifted the signal gun and turned to aim, determined not to share our intimacy with the creature. As I was about to pull the trigger, I realized that I might hit Anotine. Lowering the gun, I walked cautiously up behind the Fetch, steeled myself as if on the verge of thrusting my hand into a fire, and reached out to grab a shock of serpentine hair.

The instant I closed my grip, it began to scream. The unnatural sound of its cry roused me to action, and I pivoted on my heels, swinging the disembodied head facefirst into the wall. There was a sickening crunch, and I thought I had broken its nose. Behind me I heard Anotine cry, "Cley, what are you doing?" as I let go of my victim. The Fetch wavered in midair, then dipped toward the ground but managed to stay aloft. As it turned to lunge at me, its shrieking mouth wide with pointed cat teeth, I lifted the gun, aimed, and pulled the trigger.