Across The Wall Part 1

Across the Wall.

by Garth Nix.

PREFACE.

FOUR YEARS AGO, AFTER A C CHRISTMAS LUNCH, my younger brother pa.s.sed around a very small 'book' of four stapled-together pages that he said he'd found while helping my mother clean out a storage area under the family home. The book contained four stories written in shaky capital letters, with a couple of half-hearted ill.u.s.trations done with coloured pencils. On the front, it had 'Stories' and 'Garth Nix' in the handwriting one would expect from someone aged around six.

The stories included such gems as 'The Coin Shower,' which was very short and went something like: a boy went outside it started raining coins he picked them up I had no memory of this story or the little booklet, and at first I thought it had been fabricated by my brother as a joke, but my parents remembered me writing the stories and engaging in this bit of self-publishing at an early age.

I wrote 'The Coin Shower' and the other stories in that collection about thirty-five years ago, and I've been writing ever since. Not always fiction, though. In my varied writing career I've written all kinds of things, from speeches for CEOs to brochures about brickworks to briefing papers on new Internet technologies.

I first got into print writing articles and scenarios for the role-playing games 'Dungeons and Dragons' and 'Traveler' when I was sixteen or seventeen. I wrote for magazines like Multiverse Multiverse and and Breakout! Breakout! in Australia and in Australia and White Dwarf White Dwarf in the United Kingdom. I tried to crack in the United Kingdom. I tried to crack Dragon Dragon magazine in the United States, but never quite managed to sell them anything. magazine in the United States, but never quite managed to sell them anything.

This minor success in getting role-playing game articles or scenarios into print led me to try my hand at getting some of my fiction published. I'd written quite a few stories here and there without success, but when I was nineteen years old, I wrote a whole lot more while I was traveling around the U.K. and Europe, broadening my horizons. I drove all over the place in a beat-up Austin 1600 with a small metal Silver-Reed typewriter in the backseat, a couple of notebooks, and lots of other people's books. Every day I'd write something in longhand in my notebook, and then that night or perhaps the next morning I'd type up what I'd written. (That established a writing practice that has continued for more than twenty years: I write most of my novels in longhand, typing up each chapter on the computer after I've got the first draft done in the latest black-and-red notebook. I now have more than twenty of these notebooks, plus one very outof-place blue-and-white-striped notebook that I turned to during the stationery drought of 1996.) I don't write everything in longhand first, though; sometimes I just take to the keyboard. Most of my short fiction begins with handwritten notes, and perhaps a few key sentences put down with my trusty Waterman fountain pen, but then I start typing. The pen comes into its own again later, when I print out the story, make my changes and corrections, and then go back to the computer. This process often occurs when I have only part of the story written. I quite often revise the first third, or some small part, of a story six or seven times before I've written the rest of it. Often the revision occurs because I have left the story incomplete for a long time, and I need to revisit the existing part in order to feel my way into the story again.

Both my short and long fiction works usually begin with a thinly sketched scene, character, situation, or some combination of all three, which just appears in my head. For example, I might suddenly visualize a huge old mill by a broad river, the wheel slowly turning, with the sound of the grinding stones underlaid by the burble of the river. Or I might think of a character, say a middle-aged man who has turned away from the sorcery of his youth because he is afraid of it, but who will be forced to embrace it again. Or a situation might emerge from my subconscious, in which a man, or something that was once a man, is looking down on a group of travelers from a rocky perch, wondering whether he/it should rob them.

All these beginnings might come together into the story of a miller, once a sorcerer, who is transformed into a creature as the result of a magical compact he thought he had evaded. So he must leave his settled life and become a brigand, in the hope of finding, on one of the magicians or priests he robs on the road, the one item of magical apparatus that can return his human shape.

Or they might not come together. I have numerous notes for stories, and many partly begun stories, that have progressed no further. Some of these fragments might be used in my novels, or at least be the seeds of some elements in one. A few ideas will progress and grow and become stories, complete in themselves. The great majority of my jotted-down ideas, images, and sc.r.a.ps of writing will never become anything more than a few lines in a black-and-red notebook.

The stories in this collection are the ones that got past the notes stage, that became a few paragraphs, then a few pages, and somehow charged on downhill to become complete. They represent a kind of core sample taken through more than fifteen years of writing, from the callow author of twenty-five who wrote 'Down to the Sc.u.m Quarter' to the possibly more polished forty-one-year-old writer of 'Nicholas Sayre and the Creature in the Case.'

Fortunately, you have been spared some even earlier efforts, including the heavily T. H. White influenced short story I published in my school magazine at fifteen, and even my very first professional short story sale, which felt like a great triumph for me at nineteen years old but now looks rather out of place with my later works.

I hope you find some stories here that you will enjoy, or wonder about, or that linger uncomfortably in the mind when you wish they didn't. But if your favorite story is 'The Coin Shower,' please do not write and tell me that my writing has been going downhill ever since I was six.

GARTH NIX.

December 1, 2004 Sydney, Australia

NICHOLAS SAYRE AND THE CREATURE IN THE CASE.

INTRODUCTION TO NICHOLAS SAYRE AND THE CREATURE IN THE CASE.

I HAVE EXPLORED ANCELSTIERRE AND the Old Kingdom a little in my novels Sabriel Sabriel, Lirael Lirael, and Abhorsen Abhorsen, and in the process I have found out (that's often what it feels like, even though I'm the one making it up) quite a lot about these lands, the people and creatures that inhabit them, and their stories.

But there is much, much more that I don't know about, and will never know about unless I need it for a story. Unlike many fantasy writers, I don't spend a lot of time working out and recording tons of background detail about the worlds that I make up. What I do is write the story, pausing every now and then to puzzle out the details or information that I need to know to make the story work. Some of that background material will end up in the story, though it might be veiled, mysterious, or tangential. Much more will sit in my head or roughly jotted down in my notebooks, until I need it next time or until I connect it with something else.

Every time I re-enter the world of the Old Kingdom and Ancelstierre, I find myself st.i.tching together leftover bits and pieces that I already knew about, as well as inventing some more that seem to go with what is already there.

'Nicholas Sayre and the Creature in the Case' was particularly interesting for me to write, because in it I connect various bits and pieces of information about Ancelstierre, rather than the Old Kingdom. As always, the story is the most important thing to me, but this novella also gives a glimpse of the people, customs, government, technology, and landscape of Ancelstierre.

Like nearly everything I write, this is a fantasy adventure story, this time with a dash of country-house mystery, a twist of 1920s-style espionage, and a humorous little umbrella on the side that may be safely ignored by those who don't like it (or don't get it). Some readers may detect the influence of some of the authors outside the fantasy genre (as it is usually defined today) whom I admire, including Dorothy Sayers and P. G. Wodehouse.

Planned to be a longish short story, 'Nicholas Sayre and the Creature in the Case' grew and grew till it became a novella and ended up taking many more months to write than I had antic.i.p.ated. It started with these notes: Nicholas and Uncle to country house Full of debs and stupid young men Thing in the Case, eyes follow Nick Autumn haymaking thing gets some of Nick's blood?

refuge in river, thing closes sluice hay fires in a circle it is powerful, but poisoned how far are we from the Wall?

That was the kernel, from which a novella grew over about ten months. I don't know why I wrote it rather than something else. It wasn't sold to a publisher, I didn't have a deadline for it, and I had plenty of other things to do. But only a week or so after writing those notes, I sat down and wrote the first three or four pages in one sitting. I kept coming back to it thereafter, caught up (as I often am as both writer and reader) simply by the desire to see what happened next.

NICHOLAS SAYRE AND THE CREATURE IN THE CASE.

' I AM GOING BACK TO THE OLD KINGDOM, Uncle,' said Nicholas Sayre, 'whatever Father may have told you. So there is no point in your trying to fix me up with a suitable Sayre job or a suitable Sayre marriage. I am coming with you to what will undoubtedly be a horrendous house party only because it will get me a few hundred miles closer to the Wall.'

Nicholas's uncle Edward, more generally known as The Most Honorable Edward Sayre, Chief Minister of Ancelstierre, shut the red-bound letter book he was reading with more emphasis than he intended, as their heavily armored car lurched over a hump in the road. The sudden clap of the book made the bodyguard in front look around, but the driver kept his eyes on the narrow country lane.

'Have I said anything about a job or a marriage?' Edward enquired, gazing down his long, patrician nose at his nineteen-year-old nephew. 'Besides, you won't even get within a mile of the Perimeter without a pa.s.s signed by me, let alone across the Wall.'

'I could get a pa.s.s from Lewis,' said Nicholas moodily, referring to the newly anointed Hereditary Arbiter. The previous Arbiter, Lewis's grandfather, had died of a heart attack during Corolini's attempted coup d'etat half a year before.

'No, you couldn't, and you know it,' said Edward. 'Lewis has more sense than to involve himself in any aspect of government other than the ceremonial.'

'Then I'll have to cross over without a pa.s.s,' declared Nicholas angrily, not even trying to hide the frustration that had built up in him over the past six months, during which he'd been forced to stay in Ancelstierre. Most of that time had been spent wishing he'd left with Lirael and Sam in the immediate aftermath of the Destroyer's defeat, instead of deciding to recuperate in Ancelstierre. It had been weakness and fear that had driven his decision, combined with a desire to put the terrible past behind him. But he now knew that was impossible. He could not ignore the legacy of his involvement with Hedge and the Destroyer, nor his return to Life at the hands-or paws-of the Disreputable Dog. He had become someone else, and he could only find out who that was in the Old Kingdom.

'You would almost certainly be shot if you tried to cross illegally,' said Edward. 'A fate you would richly deserve. Particularly since you are not giving me the opportunity to help you. I do not know why you or anyone else would want to go to the Old Kingdom-my year on the Perimeter as General Hort's ADC certainly taught me the place is best avoided. Nor do I wish to annoy your father and hurt your mother, but there are are certain circ.u.mstances in which I might grant you permission to cross the Perimeter.' certain circ.u.mstances in which I might grant you permission to cross the Perimeter.'

'What! Really?'

'Yes, really. Have I ever taken you or any other of my nephews or nieces to a house party before?' 'Not that I know-' 'Do I usually make a habit of attending parties given by someone like Alastor Dorrance in the middle of nowhere?'

'I suppose not . . .'

'Then you might exercise your intelligence to wonder why you are here with me now.'

'Gatehouse ahead, sir,' interrupted the bodyguard as the car rounded a sweeping corner and slowed down. 'Recognition signal is correct.'

Edward and Nicholas leaned forward to look through the open part.i.tion and the windscreen beyond. A few hundred yards in front, a squat stone gatehouse lurked just off the road, with its two wooden gates swung back. Two slate-gray Heddon-Hare roadsters were parked, one on either side of the gate, with several mackintosh-clad, weapon-toting men standing around them. One of the men waved a yellow flag in a series of complicated movements that Edward clearly understood and Nicholas presumed meant all was well.

'Proceed!' snapped the Chief Minister. Their car slowed more, the driver shifting down through the gears with practiced double-declutching. The mackintosh-clad men saluted as the car swung off the road and through the gate, dropping their salute as the rest of the motorcade followed. Six motorcycle policemen were immediately behind, then another two cars identical to the one that carried Nicholas and his uncle, then another half-dozen police motorcyclists, and finally four trucks that were carrying a company of fully armed soldiery. Corolini's attempted putsch had failed, and there had surprisingly been no further trouble from the Our Country Party since, but the government continued to be nervous about the safety of the nation's Chief Minister.

'So, what is going on?' asked Nicholas. 'Why are you here? And why am I here? Is there something you want me to do?'

'At last, a glimmer of thought. Have you ever wondered what Alastor Dorrance actually does, other than come to Corvere three or four times a year and exercise his eccentricities in public?'

'Isn't that enough?' asked Nick with a shudder. He remembered the newspaper stories from the last time Dorrance had been in the city, only a few weeks before. He'd hosted a picnic on Holyoak Hill for every apprentice in Corvere and supplied them with fatty roast beef, copious amounts of beer, and a particularly cheap and nasty red wine, with predictable results.

'Dorrance's eccentricities are all show,' said Edward. 'Misdirection. He is in fact the head of Department Thirteen. Dorrance Hall is the Department's main research facility.'

'But Department Thirteen is just a made-up thing, for the moving pictures. It doesn't really exist . . . um . . . does it?'

'Officially, no. In actuality, yes. Every state has need of spies. Department Thirteen trains and manages ours, and carries out various tasks ill-suited to the more regular branches of government. It is watched over quite carefully, I a.s.sure you.'

'But what has that got to do with me?'

'Department Thirteen observes all our neighbours very successfully, and has detailed files on everyone and everything important within those countries. With one notable exception. The Old Kingdom.'

'I'm not going to spy on my friends!'

Edward sighed and looked out the window. The drive beyond the gatehouse curved through freshly mown fields, the hay already gathered into hillocks ready to be pitchforked into carts and taken to the stacks. Past the fields, the chimneys of a large country house peered above the fringe of old oaks that lined the drive.

'I'm not going to be a spy, Uncle,' repeated Nicholas.

'I haven't asked you to be one,' said Edward as he looked back at his nephew. Nicholas's face had paled, and he was clutching his chest. Whatever had happened to him in the Old Kingdom had left him in a very run-down state, and he was still recovering. Though the Ancelstierran doctors had found no external signs of significant injury, his X-rays had come out strangely fogged and all the medical reports said Nick was in the same sort of shape as a man who had suffered serious wounds in battle.

'All I want you to do is to spend the weekend here with some of the Department's technical people,' continued Edward. 'Answer their questions about your experiences in the Old Kingdom, that sort of thing. I doubt anything will come of it, and as you know, I strictly adhere to the wisdom of my predecessors, which is to leave the place alone. But that said, they haven't exactly left us alone over the past twenty years. Dorrance has always had a bit of a bee in his bonnet about the Old Kingdom, greatly exacerbated by the . . . mmm . . . event at Forwin Mill. It is possible that he might discover something useful from talking to you. So if you answer his questions, you shall have your Perimeter pa.s.s on Monday morning. If you're still set on going, that is.'

'I'll cross the Wall,' said Nick forcefully. 'One way or another.'

'Then I suggest it be my way. You know, your father wanted to be a painter when he was your age. He had talent too, according to old Menree. But our parents wouldn't hear of it. A grave error, I think. Not that he hasn't been a useful politician, and a great help to me. But his heart is elsewhere, and it is not possible to achieve greatness without a whole heart.'

'So all I have to do is answer questions?'

Edward sighed the sigh of an older and wiser man talking to a younger, inattentive, and impatient relative.

'Well, you will have to appear a little bit at the party. Dinner and so forth. Croquet perhaps, or a row on the lake. Misdirection, as I said.'

Nicholas took Edward's hand and shook it firmly.

'You are a splendid uncle, Uncle.'

'Good. I'm glad that's settled,' said Edward. He glanced out the window. They were past the oak trees now, gravel crunching beneath the wheels as the car rolled up the drive to the front steps of the six-columned entrance. 'We'll drop you off, then, and I'll see you Monday.'

'Aren't you staying here? For the house party?'

'Don't be silly! I can't abide house parties of any kind. I'm staying at the Golden Sheaf. Excellent hotel, not too far away. I often go there to get through some serious confidential reading. Place has got its own golf course, too. Thought I might go round tomorrow. Enjoy yourself!'

Nicholas hardly caught the last two words as his door was flung open and he was a.s.sisted out by Edward's personal bodyguard. He blinked in the afternoon sunlight, no longer filtered through the smoked gla.s.s of the car's windows. A few seconds later, his bags were deposited at his feet; then the Chief Minister's cavalcade started up again and rolled down the drive as quickly as it had arrived, the Army trucks leaving considerable ruts in the gravel.

'Mr Sayre?'

Nicholas looked around. A top hatted footman was picking up his bags, but it was another man who had spoken. A balding, burly individual in a dark-blue suit, his hair cut so short it was practically a monkish tonsure. Everything about him said policeman, either active or recently retired.

'Yes, I'm Nicholas Sayre.'

'Welcome to Dorrance Hall, sir. My name is Hedge- ' Nicholas recoiled from the offered hand and nearly fell over the footman. Even as he regained his balance, he realized that the man had said Hodge Hodge and then followed it up with a second syllable. and then followed it up with a second syllable.

Hodgeman. Not Not Hedge Hedge.

Hedge the necromancer was finally, completely, and utterly dead. Lirael and the Disreputable Dog had defeated him, and Hedge had gone beyond the Ninth Gate. He couldn't come back. Nick knew he was safe from him, but that knowledge was purely intellectual. Deep inside him, the name of Hedge was linked irrevocably with an almost primal fear. 'Sorry,' gasped Nick. He straightened up and shook the man's hand. 'Ankle gave way on me. You were saying?'

'Hodgeman is my name. I am an a.s.sistant to Mr Dorrance. The other guests do not arrive till later, so Mr. Dorrance thought you might like a tour of the grounds.'

'Um, certainly,' replied Nick. He fought back a sudden urge to look around to see who might be listening and, as he started up the steps, resisted the temptation to slink from shadow to shadow just like a spy in a moving picture.

'The house was originally built in the time of the last Trouin-Durville Pretender, about four hundred years ago, but little of the original structure remains. Most of the current house was built by Mr Dorrance's grandfather. The best feature is the library, which was the great hall of the old house. Shall we start there?'

'Thank you,' replied Nicholas. Mr Hodgeman's turn as a tour guide was quite convincing. Nicholas wondered if the man had to do it often for casual visitors, as part of what Uncle Edward would call 'misdirection'.

The library was very impressive. Hodgeman closed the double doors behind them as Nick stared up at the high dome of the ceiling, which was painted to create the illusion of a storm at sea. It was quite disconcerting to look up at the waves and the tossing ships and the low scudding clouds. Below the dome, every wall was covered by tiers of shelves stretching up twenty or even twenty-five feet from the floor. Ladders ran on rails around the library, but no one was using them. The library was silent; two crescent-shaped couches in the centre were empty. The windows were heavily curtained with velvet drapes, but the gas lanterns above the shelves burned very brightly. The place looked like there should be people reading in it, or sorting books, or something. It did not have the dark, dusty air of a disused library.

'This way, sir,' said Hodgeman. He crossed to one of the shelves and reached up above his head to pull out an un.o.btrusive, dun-colored tome, adorned only with the Dorrance coat of arms, a chain argent issuant from a chevron argent upon a field azure.

The book slid out halfway, then came no farther. Hodgeman looked up at it. Nick looked too.

'Is something supposed to happen?'

'It gets a bit stuck sometimes,' replied Hodgeman. He tugged on the book again. This time it came out completely. Hodgeman opened it, took a key from its hollowed-out pages, pushed two books apart on the shelf below to reveal a keyhole, inserted the key, and turned it. There was a soft click, but nothing more dramatic. Hodgeman put the key back in the book and returned the volume to the shelf.

'Now, if you wouldn't mind stepping this way,' Hodgeman said, leading Nick back to the centre of the library. The couches had moved aside on silent gears, and two steel-encased segments of the floor had slid open, revealing a circular stone staircase leading down. Unlike the library's brilliant white gaslights, it was lit by dull electric bulbs.

'This is all rather cloak-and-dagger,' remarked Nick as he headed down the steps with Hodgeman close behind him.

Hodgeman didn't answer, but Nick was sure a disapproving glance had fallen on his back. The steps went down quite a long way, equivalent to at least three or four floors. They ended in front of a steel door with a covered spy hole. Hodgeman pressed a tarnished bronze bell b.u.t.ton next to the door, and a few seconds later, the spy hole slid open.

'Sergeant Hodgeman with Mr Nicholas Sayre,' said Hodgeman.

The door swung open. There was no sign of a person behind it. Just a long, dismal, white-painted concrete corridor stretching off some thirty or forty yards to another steel door. Nick stepped through the doorway, and some slight movement to his right made him look. There was an alcove there, with a desk, a red telephone on it, a chair, and a guard- another plainclothes policeman type like Hodge-man, this time in shirtsleeves, with a revolver worn openly in a shoulder holster. He nodded at Nick but didn't smile or speak.

'On to the next door, please,' said Hodgeman. Nick nodded back at the guard and continued down the concrete corridor, his footsteps echoing just out of time with Hodgeman's. He heard behind him the faint ting of a telephone being taken off its cradle and then the low voice of the guard, his words indistinguishable.

The procedure with the spy hole was repeated at the next door. There were two policemen behind this one, in a larger and better-appointed alcove. They had upholstered chairs and a leather-topped desk, though it had clearly seen better days.

Hodgeman nodded at the guards, who nodded back with slow deliberation. Nick smiled but got no smile in return.

'Through the left door, please,' said Hodgeman, pointing. There were two doors to choose from, both of unappealing, unmarked steel bordered with lines of knuckle-size rivets.

Hodgeman departed through the right-hand door as Nick pushed the left, but it swung open before he exerted any pressure. There was a much more cheerful room beyond, very much like Nick's tutor's study at Sunbere, with four big leather club chairs facing a desk, and off to one side a liquor cabinet with a large, black-enameled radio sitting on top of it. There were three men standing around the cabinet.

The closest was a tall, expensively dressed, vacant-looking man with ridiculous sideburns whom Nick recognized as Dorrance. The second-closest was a fiftyish man in a hearty tweed coat with leather elbow patches. The skin of his thick neck hung over his collar, and his fat face was much too big for the half-moon gla.s.ses that perched on his nose. Lurking behind these two was a nondescript, vaguely unhealthy-looking shorter man who wore exactly the same kind of suit as Hodgeman but in a much more untidy way, so he looked nothing like a policeman, serving or otherwise.

'Ah, here is Mr Nicholas Sayre,' said Dorrance. He stepped forward, shook Nick's hand, and ushered him to the centre of the room. 'I'm Dorrance. Good of you to help us out. This is Professor Lackridge, who looks after all our scientific research.'

The fat-faced man extended his hand and shook Nick's with little enthusiasm but a crushing grip. Somewhere in the very distant past, Nick surmised, Professor Lackridge must have been a rugby enthusiast. Or perhaps a boxer. Now, sadly, run to fat, but the muscle was still there underneath.