IT BEGINS WHEN a lord of the island reads ambition’s reward in his stars, and rallies the strength of iron and wind to defeat his rivals, uniting all under one crown. He calls himself Lear, after the wizard who cleaved the island. In her honor, he raises a great fortress in the north, along the shores of a black lake so deep many call it the island’s navel. He crowns himself on the longest night, the holiest time for star prophecy; offers his blood and spit to the island’s roots, his breath to the birds and the wind, his seed to the iron, and his faith to the stars.
IT BEGINS FAR away from the furious island, in a place so different in name and air that the one could not recognize the other as being born both of the same earth. There, a young woman asks her grandmother for a ship with which to sail out past the edges of their empire, for she has a hunger to understand the world, to experience something not more broadly but more deeply, until that one thing becomes an entire universe. She says her curiosity is like sand in a storm, scouring bones smooth as glass. Her grandmother agrees, though suspects she’ll never see this daughter of her line again. “God will bring us back together,” the young woman says, and her grandmother replies to her with only an old desert prayer:
“Do not forget: you will be air, and you will be rain, and you will be dust, and you will be free.”
Perhaps that is an ending, too.
IT BEGINS ON the day two bright hearts are born to the island, one just past dawn as a crescent moon rises, and the other when the sun is brightest, obscuring the glow of stars. Their mothers knew they would be born together, as witches and best friends often do, and though it is the first child for one and the last for the other, such does not come between them. They sit beside each other, arms stretched to touch the other’s swollen belly as they grit their teeth and tell stories of what might become of their children.
IT BEGINS WHEN a queen sits in a pool of stars.
IT BEGINS WITH seven words with which to bind a crown, whispered in the language of trees: eat of our flower, and drink of your roots.
IT BEGINS AS the sun sets, the last time the final king of Innis Lear enters the cathedral at the heart of the island. This Lear has never been devoted to the roots, or paid much mind to well or wind. He is a man driven by the stars, by their motions and patterns, their singular purity and steadfastness, bold against the black reaches of night. To him, the cathedral is redundant; a person devoted to star prophecy has no need of rootwater or navel wells.
Two vast halls of carved limestone and blue-gray granite cross in the middle of the holy place, east-west arms aligned with the sky to trace the path of the sun at the summer solstice, so the Day Star rises precisely over the eastern spire; the other hall aims as true north as the ever-constant star Calpurlugh, the Eye of the Lion. In the center point where the halls cross, a well sinks deep into the core of the island, fresh and mossy, a dark channel from the womb of the earth. No ceiling caps the edifice, for what would the purpose be in closing away the sky?
When it rains, water scours the stone floor and soaks the wooden benches. It cleanses the quarter altars and fills tiny copper bowls, making simple music with only the natural touch of water to metal. On sunny days, shadows caress living vines and the poetry and icons etched into the walls, counting seasons and time of day. Clouds lower themselves in the spring to nest around the highest spires, curling soft and dewy and cool. Nothing separates sky from land here at the heart of Innis Lear.
Now it is night, and a heavy moon tips against that eastern spire. Another beginning, ready to burst.
The king walks on the soles of thin slippers, his embroidered robe dragging off his shoulders. He is old, though not old enough to look as ravaged as he does, his hair wild and damp, his eyes tight from grief. An undyed tunic falls to his knees, nearly the same pale gray as his lined face and those long fingers. Straight to the well goes this royal wraith, and he presses his hands to its stones, breathing deep of the moss, the metallic smell of the earth’s blood water. A shudder wrenches down his spine, and he grimaces.
“Now,” he commands, turning away.
Seven strong men come forward with a flat, round piece of granite. Carved off one of the massive standing stones that once marked this holy well, before the cathedral was erected around it, the granite glimmers bluish in the moonlight. The retainers roll and twist it awkwardly, straining against the ropes that bind it. Slowly they walk, turning it up the aisle. One of them is glad of this mission, two unmoved by the significance of their actions, three too worried to be quite as indifferent as they would prefer to be, and the last one alone wishing, with every ounce of his heart, that he’d been strong enough to stand against his king, to protest that this was wrong and unholy.
The men position the stone, and in a moment of desperate hesitation, the last retainer looks fearfully at the king’s expression, hoping for a reprieve. But the king’s brows are drawn as he glares at the well, as if the well itself is responsible for everything. The retainer lifts his eyes instead to the open sky above, consoling himself with the reminder that his king does nothing without permission from the stars. And so this must be fated. It must be.
Tears glimmer in the king’s lashes when the granite slab falls forward, the sound of stone on stone filling the sanctuary. With a final pull of ropes, the navel is eclipsed.
The smell of rootwater vanishes, as does a slight echo that the king had not even noticed, until it was silenced. He puts his hand atop the stone cover, caressing its roughness, and smiles grimly. With his fingers, he makes the shape of the tree of worms, a sorrowful, dangerous constellation.
IT BEGINS, TOO, with a star prophecy.
But there are so many prophecies read on the island of Lear that to say so is as good as saying it begins with every breath.
IN A QUIET, cool grove of chestnut trees, heart-leafed lindens, and straight-backed Aremore oaks, a fox knelt at the edge of a shallow spring.
Scars and fresh scratches marred the rich tan of his back and arms and thighs. He had already removed his uniform, weapons, and boots, piling them on a wide oak root. The Fox—who was also a man—poured clear water over himself, bathing and whispering a cleansing song that married well with the babble of spring water. He’d traced this source at the first light of dawn, glad for a forest heart from which to ask his questions.
A breeze came, tightening his skin with cold breath, and the canopy of leaves chattered welcome. Ban the Fox replied, That’s encouraging, in their tongue, shifting his vowels to match the cadence of this Aremore forest. The trees spoke wider and more graciously here than on the rocky island where he’d been born. On Innis Lear the trees tended toward hard and hearty, shaped by ocean winds and the challenge of growing against the bedrock; not green and radiant so much as gray and blue with the coolest brown barks, lush moss creeping around in hollows, and thin leaves and needles. They spoke softly, the spreading low mother oaks and thorned hedges, weaving their words into the wind so their king could not hear.
But in Aremoria there was room and soil, enough for loud trees more concerned with bearing fruit than surviving winter storms or heartless kings. They conversed with each other, sighing and singing to please themselves, to taunt colorful birds, to toy with the people’s dreams. It had taken Ban months to win the trust of the Aremore trees, for he’d arrived angry and corded over by bitter flavors, far too spicy at such a young age. They’d not welcomed an invading thistle, but eventually he charmed them, grew to be as familiar as if he’d been rooted here.
Slipping deeper into the spring now, Ban untied the tiny braids patched through his thick, dark hair. His toes sank into silt as water curled about his ankles; he kept up his idle banter with the nearby linden trees, who had a vibrant sense