Martin Silenus twists and writhes in the pure poetry of pain.

A steel thorn two meters long enters his body between his shoulder blades and passes out through his chest, extending to a point a terrible, tapering meter beyond him. His nailing arms cannot touch the point. The thorn is frictionless, his sweaty palms and curling fingers can find no purchase there. Despite the thorn’s slickness to the touch, his body does not slide; he is as firmly impaled as a butterfly pinned for exhibition.

There is no blood.

In the hours after rationality returned through the mad haze of pain, Martin Silenus wondered about that. There is no blood. But there is pain. Oh yes, there is pain in abundance here—pain beyond the poet’s wildest imaginings of what pain was, pain beyond human endurance and the boundaries of suffering.

But Silenus endures. And Silenus suffers.

He screams for the thousandth time, a ragged sound, empty of content, free of language, even obscenities. Words fail to convey such agony. Silenus screams and writhes. After a while, he hangs limply, the long thorn bouncing slightly in response to his gyrations. Other people hang above, below, and behind him, but Silenus spends little time observing them. Each is separated by his or her own private cocoon of agony.

“Why this is hell,” thinks Silenus, quoting Marlowe, “nor am I out of it.”

But he knows it is not hell. Nor any afterlife. But he also knows that it is not some subbranch of reality; the thorn passes through his body. Eight centimeters of organic steel through his chest! But he has not died. He does not bleed. This place was somewhere and something, but it was not hell and it was not living.

Time was strange here. Silenus had known time to stretch and slow before—the agony of the exposed nerve in the dentist’s chair, the kidney-stone pain in the Med clinic waiting room—time could slow, seem not to move as the hands of an outraged biological clock stood still in shock. But time did move then. The root canal was finished. The ultramorph finally arrived, took effect. But here the very air is frozen in the absence of time. Pain is the curl and foam of a wave that does not break.

Silenus screams in anger and pain. And writhes upon his thorn.

“Goddamn!” he manages at last. “Goddamn motherfuck sonofa-bitch.” The words are relics of a different life, artifacts from the dream he had lived before the reality of the tree. Silenus only half remembers that life, as he only half remembers the Shrike carrying him here, impaling him here, leaving him here.

“Oh God!” screams the poet and clutches at the thorn with both hands, trying to lever himself up to relieve the great weight of his body which adds so immeasurably to the unmeasurable pain.

There is a landscape below. He can see for miles. It is a frozen, papier-mache diorama of the Valley of the Time Tombs and the desert beyond. Even the dead city and the distant mountains are reproduced in plasticized, sterile miniature. It does not matter. For Martin Silenus there is only the tree and the pain, and the two are indivisible. Silenus shows his teeth in a pain-cracked smile. When he was a child on Old Earth, he and Amalfi Schwartz, his best friend, had visited a commune of Christians in the North American Preserve, learned their crude theology, and afterward had made many jokes about crucifixion. Young Martin had spread his arms wide, crossed his legs, lifted his head, and said, “Gee, I can see the whole town from up here.” Amalfi had roared.

Silenus screams.

Time does not truly pass, but after a while Silenus’s mind returns to something resembling linear observation… something other than the scattered oases of clear, pure agony separated by the desert of mindlessly received agony… and in that linear perception of his own pain, Silenus begins to impose time on this timeless place.

First, the obscenities add clarity to his pain. Shouting hurts, but his anger clears and clarifies.

Then, in the exhausted times between shouting or pure spasms of pain, Silenus allows himself thought. At first it is merely an effort to sequence, to recite the times tables in his mind, anything to separate the agony of ten seconds ago from the agony yet to come. Silenus discovers that in the effort of concentrating, the agony is lessened slightly—still unbearable, still driving all true thought like wisps before a wind, but lessened some indefinable amount.

So Silenus concentrates. He screams and rails and writhes, but he concentrates. Since there is nothing else to concentrate on, he concentrates on the pain.

Pain, he discovers, has a structure. It has a floor plan. It has designs more intricate than a chambered nautilus, features more baroque than the most buttressed Gothic cathedral. Even as he screams, Martin Silenus studies the structure of this pain. He realizes that it is a poem.

Silenus arches his body and neck for the ten-thousandth time, seeking relief where no relief is possible, but this time he sees a familiar form five meters above him, hanging from a similar thorn, twisting in the unreal breeze of agony.

“Billy!” gasps Martin Silenus, his first true thought.

His former liege lord and patron stares across a sightless abyss, made blind with the pain that had blinded Silenus, but turning slightly as if in response to the call of his name in this place beyond names.

“Billy!” cries Silenus again and then loses vision and thought to the pain. He concentrates on the structure of pain, following its patterns as if he were tracing the trunk and branches and twigs and thorns of the tree itself. “My lord!”

Silenus hears a voice above the screams and is amazed to find that both the screams and the voice are his:

He knows the verse, not his, John Keats’s, and feels the words further structuring the seeming chaos of pain around him. Silenus understands that the pain has been with him since birth—the universe’s gift to a poet. It is a physical reflection of the pain he has felt and runlely tried to set to verse, to pin down with prose, all those useless years of life.

It is worse than pain; it is unhappiness because the universe offers pain to all.

Only the dreamer venoms all his days, Bearing more woe than all his sins deserve!

Silenus shouts it but does not scream. The roar of pain from the tree, more psychic than physical, abates for the barest fraction of a second.

There is an island of distraction amidst this ocean of singlemindedness.

“Martin!”

Silenus arches, lifts his head, tried to focus through the haze of pain.

Sad King Billy is looking at him. Looking.

Sad King Billy croaks a syllable which, after an endless moment, Silenus recognizes as “More!”

Silenus screams in agony, writhes in a palsied spasm of mindless physical response, but when he stops, dangling in exhaustion, the pain not lessened but driven from the motor areas of his brain by fatigue toxins, he allows the voice within him to shout and whisper its song: