Wings of Fire Part 63

My father, drinking deeply, said, "I really don't give a s.h.i.t who you marry."

And I said, "I guess it's about time I told you this, but there's a strapping Jewish tomboy from Milwaukee that I want you to meet. Oh, but maybe I will marry Mr. Hong--why not?--some men aren't as self-centered and domineering as you might think. If you'd stop sitting around trying to be Chinese all the time--"

"I guess it's about time I told you this," said my father, "but I stopped caring about this baggage from the past a long time ago. I was only keeping it up so you wouldn't think I was some kind of bloodless half-breed."

"I guess it's about time I told you this," I said, "but I like living in Thailand. It's wild, it's maddening, it's obscenely beautiful, and it's very, very, very un-American."

"I guess it's about time I told you this," my father said, "but I've bought me a one-way ticket to Californ', and I'm going to close up the restaurant and get a new wife and buy myself a little self-respect."

"I guess it's about time I told you this," I said, "I love you."

That stopped him cold. He whistled softly to himself, then sucked up the remaining dregs of soup with a slurp like a farting buffalo. Then he flung the bowl against the peeling wall and cried out, "And I love you too."

And that was the first and only time we were ever to exchange those words.

But you know, there were no such revelations from Bob Halliday. He drank deeply and reverently; he didn't slurp; he savored; of all the dramatis personae of this tale, it was he alone he seemed, for a moment, to have cut himself free from the wheel of sansara to gaze, however briefly, on nirvana.

As I have said, there was a limitless supply of soup. We gulped it down till our sides ached. We laughed so hard we were sitting ankle-deep in our tears.

But do you know what?

An hour later we were hungry again.

The Man Who Painted the Dragon Griaule.

Lucius Shepard.

Lucius Shepard was born in Lynchburg, Virginia in 1947 and published his first book, poetry Cantata of Death, Weakmind & Generation in 1967. He began to publish fiction of genre interest in 1983, with "The Taylorsville Reconstruction", which was followed by such major stories as "A Spanish Lesson", "R&R", "Salvador", and "The Jaguar Hunter". The best of his early short fiction is collected in two World Fantasy Award winning volumes, The Jaguar Hunter and The Ends of the Earth. In 1995 The Encyclopedia of Science Fiction said of Shepard's relationship to SF that "there is some sense that two ships may have pa.s.sed in the night". Two years later Shepard returned from what he has since described as a career "pause", delivering a series of major short stories, starting with "Crocodile Rock" in 1999, followed by Hugo Award winner "Radiant Green Star" in 2000, and culminating in nearly 300,000 words of short fiction published in 2003. The best of his recent short fiction has been collected in Trujillo and Other Stories, Eternity and Other Stories, and Dagger Key and Other Stories. His novels include Green Eyes, Life During Wartime, Kalimantan, The Golden, Viator, and Softspoken. His most recent books are the collection The Best of Lucius Shepard, and Viator Plus. Upcoming is a new short novel, The Taborin Scale.

"...Other than the Sichi Collection, Cattanay's only surviving works are to be found in the Munic.i.p.al Gallery at Regensburg, a group of eight oils-on-canvas, most notable among them being Woman With Oranges. These paintings const.i.tute his portion of a student exhibition hung some weeks after he had left the city of his birth and travelled south to Teocinte, there to present his proposal to the city fathers; it is unlikely he ever learned of the disposition of his work, and even more unlikely that he was aware of the general critical indifference with which it was received. Perhaps the most interesting of the group to modern scholars, the most indicative as to Cattanay's later preoccupations, is the Self Portrait, painted at the age of twenty-eight, a year before his departure.

"The majority of the canvas is a richly varnished black in which the vague shapes of floorboards are presented, barely visible. Two irregular slashes of gold cross the blackness, and within these we can see a section of the artist's thin features and the shoulder panel of his shirt. The perspective given is that we are looking down at the artist, perhaps through a tear in the roof, and that he is looking up at us, squinting into the light, his mouth distorted by a grimace born of intense concentration. On first viewing the painting, I was struck by the atmosphere of tension that radiated from it. It seemed I was spying upon a man imprisoned within a shadow having two golden bars, tormented by the possibilities of light beyond the walls. And though this may be the reaction of the art historian, not the less knowledgeable and therefore more trustworthy response of the gallery-goer, it also seemed that this imprisonment was self-imposed, that he could have easily escaped his confine; but that he had realized a feeling of stricture was an essential fuel to his ambition, and so had chained himself to this arduous and thoroughly unreasonable ch.o.r.e of perception..."

--from Meric Cattany: The Politics of Conception by Reade Holland, Ph.D.

1.

In 1853, in a country far to the south in a world separated from this one by the thinnest margin of possibility, a dragon named Griaule dominated the region of the Carbonales Valley, a fertile area centring upon the town of Teocinte and renowned for its production of silver, mahogany and indigo. There were other dragons in those days, most dwelling on the rocky islands west of Patagonia--tiny, irascible creatures, the largest of them no bigger than a swallow. But Griaule was one of the great beasts who had ruled an age. Over the centuries he had grown to stand 750 feet high at the mid-back, and from the tip of his tail to his nose he was 6,000 feet long. (It should be noted here that the growth of dragons was due not to caloric intake, but to the absorption of energy derived from the pa.s.sage of time.) Had it not been for a miscast spell, Griaule would have died millennia before. The wizard entrusted with the task of slaying him--knowing his own life would be forfeited as a result of the magical backwash--had experienced a last-second twinge of fear, and, diminished by this ounce of courage, the spell had flown a mortal inch awry. Though the wizard's whereabouts were unknown, Griaule had remained alive. His heart had stopped, his breath stilled, but his mind continued to seethe, to send forth the gloomy vibrations that enslaved all who stayed for long within range of his influence.

This dominance of Griaule's was an elusive thing. The people of the valley attributed their dour character to years of living under his mental shadow, yet there were other regional populations who maintained a harsh face to the world and had no dragon on which to blame the condition; they also attributed their frequent raids against the neighbouring states to Griaule's effect, claiming to be a peaceful folk at heart--but again, was this not human nature? Perhaps the most certifiable proof of Griaule's primacy was the fact that despite a standing offer of a fortune in silver to anyone who could kill him, no one had succeeded. Hundreds of plans had been put forward, and all had failed, either through inanition or impracticality. The archives of Teocinte were filled with schematics for enormous steam-powered swords and other such improbable devices, and the architects of these plans had every one stayed too long in the valley and become part of the disgruntled populace. And so they went on with their lives, coming and going, always returning, bound to the valley, until one spring day in 1853, Meric Cattanay arrived and proposed that the dragon be painted.

He was a lanky young man with a shock of black hair and a pinched look to his cheeks; he affected the loose trousers and shirt of a peasant, and waved his arms to make a point. His eyes grew wide when listening, as if his brain were bursting with illumination, and at times he talked incoherently about "the conceptual statement of death by art". And though the city fathers could not be sure, though they allowed for the possibility that he simply had an unfortunate manner, it seemed he was mocking them. All in all, he was not the sort they were inclined to trust. But, because he had come armed with such a wealth of diagrams and charts, they were forced to give him serious consideration.

"I don't believe Griaule will be able to perceive the menace in a process as subtle as art," Meric told them. "We'll proceed as if we were going to ill.u.s.trate him, grace his side with a work of true vision, and all the while we'll be poisoning him with the paint."

The city fathers voiced their incredulity, and Meric waited impatiently until they quieted. He did not enjoy dealing with these worthies. Seated at their long table, sour-faced, a huge smudge of soot on the wall above their heads like an ugly thought they were sharing, they reminded him of the Wine Merchants a.s.sociation in Regensburg, the time they had rejected his group portrait.

"Paint can be deadly stuff," he said after their muttering had died down. "Take vert Veronese, for example. It's derived from oxide of chrome and barium. Just a whiff would make you keel over. But we have to go about it seriously, create a real piece of art. If we just slap paint on his side, he might see through us."

The first step in the process, he told them, would be to build a tower of scaffolding, complete with hoists and ladders, that would brace against the supraocular plates above the dragon's eye; this would provide a direct route to a 700-foot-square loading platform and base station behind the eye. He estimated it would take 81,000 board feet of lumber, and a crew of ninety men should be able to finish construction within five months. Ground crews accompanied by chemists and geologists would search out limestone deposits (useful in priming the scales) and sources of pigments, whether organic or minerals such as azurite and hemat.i.te. Other teams would be set to sc.r.a.ping the dragon's side clean of algae, peeled skin, any decayed material, and afterwards would laminate the surface with resins.

"It would be easier to bleach him with quicklime," he said. "But that way we lose the discolourations and ridges generated by growth and age, and I think what we'll paint will be defined by those shapes. Anything else would look like a d.a.m.n tattoo!"

There would be storage vats and mills: edge-runner mills to separate pigments from crude ores, ball mills to powder the pigments, pug mills to mix them with oil. There would be boiling vats and calciners--fifteen-foot-high furnaces used to produce caustic lime for sealant solutions.

"We'll build most of them atop the dragon's head for purposes of access," he said. "On the frontoparital plate." He checked some figures. "By my reckoning, the plate's about 350 feet wide. Does that sound accurate?"

Most of the city fathers were stunned by the prospect, but one managed a nod, and another asked, "How long will it take for him to die?"

"Hard to say," came the answer. "Who knows how much poison he's capable of absorbing. It might just take a few years. But in the worst instance, within forty or fifty years, enough chemicals will have seeped through the scales to have weakened the skeleton, and he'll fall in like an old barn."

"Forty years!" exclaimed someone. "Preposterous!"

"Or fifty." Meric smiled. "That way we'll have time to finish the painting." He turned and walked to the window and stood gazing out at the white stone houses of Teocinte. This was going to be the sticky part, but if he read them right, they would not believe in the plan if it seemed too easy. They needed to feel they were making a sacrifice, that they were n.o.bly bound to a great labor. "If it does take forty or fifty years," he went on, "the project will drain your resources. Timber, animal life, minerals. Everything will be used up by the work. Your lives will be totally changed. But I guarantee you'll be rid of him."

The city fathers broke into an outraged babble.

"Do you really want to kill him?" cried Meric, stalking over to them and planting his fists on the table. "You've been waiting centuries for someone to come along and chop off his head or send him up in a puff of smoke. That's not going to happen! There is no easy solution. But there is a practical one, an elegant one. To use the stuff of the land he dominates to destroy him. It will not be easy, but you will be rid of him. And that's what you want, isn't it?"

They were silent, exchanging glances, and he saw that they now believed he could do what he proposed and were wondering if the cost was too high.

"I'll need 500 ounces of silver to hire engineers and artisans," said Meric. "Think it over. I'll take a few days and go see this dragon of yours... inspect the scales and so forth. When I return, you can give me your answer."

The city fathers grumbled and scratched their heads, but at last they agreed to put the question before the body politic. They asked for a week in which to decide and appointed Jarcke, who was the mayoress of Hangtown, to guide Meric to Griaule.

The valley extended seventy miles from north to south, and was enclosed by jungled hills whose folded sides and spiny backs gave rise to the idea that beasts were sleeping beneath them. The valley floor was cultivated into fields of bananas and cane and melons, and where it was not cultivated there were stands of thistle palms and berry thickets and the occasional giant fig brooding sentinel over the rest. Jarcke and Meric tethered their horses a half-hour's ride from town and began to ascend a gentle incline that rose into the notch between two hills. Sweaty and short of breath, Meric stopped a third of the way up; but Jarcke kept plodding along, unaware he was no longer following. She was by nature as blunt as her name--a stump beer keg of a woman with a brown, weathered face. Though she appeared to be ten years older than Meric, she was nearly the same age. She wore a grey robe belted at the waist with a leather band that held four throwing knives, and a coil of rope was slung over her shoulder.

"How much further?" called Meric.

She turned and frowned. "You're standin' on his tail. Rest of him's around back of the hill."

A pinp.r.i.c.k of chill bloomed in Meric's abdomen, and he stared down at the gra.s.s, expecting it to dissolve and reveal a ma.s.s of glittering scales.

"Why don't we take the horses?" he asked.

"Horses don't like it up here." She grunted with amus.e.m.e.nt. "Neither do most people, for that matter." She trudged off.

Another twenty minutes brought them to the other side of the hill high above the valley floor. The land continued to slope upwards, but more gently than before. Gnarled, stunted oaks pushed up from thickets of chokecherry, and insects sizzled in the weeds. They might have been walking on a natural shelf several hundred feet across; but ahead of them, where the ground rose abruptly, a number of thick, greenish-black columns broke from the earth. Leathery folds hung between them, and these were encrusted with clumps of earth and brocaded with mold. They had the look of a collapsed palisade and the ghosted feel of ancient ruins.

"Them's the wings," said Jarcke. "Mostly they's covered, but you can catch sight of 'em off the edge, and up near Hangtown there's places where you can walk in under 'em... but I wouldn't advise it."

"I'd like to take a look off the edge," said Meric, unable to tear his eyes away from the wings; though the surfaces of the leaves gleamed in the strong sun, the wings seemed to absorb the light, as if their age and strangeness were proof against reflection.

Jarcke led him to a glade in which tree ferns and oaks crowded together and cast a green gloom, and where the earth sloped sharply downwards. She lashed her rope to an oak and tied the other end around Meric's waist. "Give a yank when you want to stop, and another when you want to be hauled up," she said, and began paying out the rope, letting him walk backwards against her pull.

Ferns tickled Meric's neck as he pushed through the brush, and the oak leaves p.r.i.c.ked his cheeks. Suddenly he emerged into bright sunlight. On looking down, he found his feet were braced against a fold of the dragon's wing, and on looking up, he saw that the wing vanished beneath a mantle of earth and vegetation. He let Jarcke lower him a dozen feet more, yanked, and gazed off northwards along the enormous swell of Griaule's side.

The swells were hexagonals thirty feet across and half that distance high; their basic color was a pale greenish gold, but some were whitish, draped with peels of dead skin, and others were over-grown by viridian moss, and the rest were scrolled with patterns of lichen and algae that resembled the characters of a serpentine alphabet. Birds had nested in the cracks, and ferns plumed from the interstices, thousands of them lifting in the breeze. It was a great hanging garden whose scope took Meric's breath away--like looking around the curve of a fossil moon. The sense of all the centuries accreted in the scales made him dizzy, and he found he could not turn his head, but could only stare at the panorama, his soul shrivelling with a comprehension of the timelessness and bulk of this creature to which he clung like a fly. He lost perspective on the scene--Griaule's side was bigger than the sky, possessing its own potent gravity, and it seemed completely reasonable that he should be able to walk out along it and suffer no fall. He started to do so, and Jarcke, mistaking the strain on the rope for signal, hauled him up, dragging him across the wing, through the dirt and ferns, and back into the glade. He lay speechless and gasping at her feet.

"Big 'un, ain't he," she said, and grinned. After Meric had got his legs under him, they set off towards Hangtown; but they had not gone 100 yards, following a trail that wound through the thickets, before Jarcke whipped out a knife and hurled it at a racc.o.o.n-sized creature that leaped out in front of them.

"Skizzer," she said, kneeling beside it and pulling the knife from its neck. "Calls 'em that 'cause they hisses when they runs. They eats snakes, but they'll go after children what ain't careful." Meric dropped down next to her. The skizzer's body was covered with short black fur, but its head was hairless, corpse-pale, the skin wrinkled as if it had been immersed too long in water. Its face was squinty-eyed, flat-nosed, with a disproportionately large jaw that hinged open to expose a nasty set of teeth. "They's the dragon's critters," said Jarcke. "Used to live in his bunghole." She pressed one of its paws, and claws curved like hooks slid forth. "They'd hang around the lip and drop on other critters what wandered in. And if nothin' wandered in..." She pried out the tongue with her knife--its surface was studded with jagged points like the blade of a rasp. "Then they'd lick Griaule clean for their supper."

Back in Teocinte, the dragon had seemed to Meric a simple thing, a big lizard with a tick of life left inside, the residue of a dim sensibility; but he was beginning to suspect that this tick of life was more complex than any he had encountered.

"My gram used to say," Jarcke went on, "that the old dragons could fling themselves up to the sun in a blink and travel back to their own world, and when they come back, they'd bring the skizzers and all the rest with 'em. They was immortal, she said. Only the young ones came here 'cause later on they grew too big to fly on earth." She made a sour face. "Don't know as I believe it."

"Then you're a fool," said Meric.

Jarcke glanced up at him, her hand twitching towards her belt.

"How can you live here and not believe it!" he said, surprised to hear himself so fervently defending a myth. "G.o.d! This--" He broke off, noticing the flicker of a smile on her face.

She clucked her tongue, apparently satisfied by something. "Come on," she said. "I want to be at the eye before sunset."

The peaks of Griaule's folded wings, completely overgrown by gra.s.s and shrubs and dwarfish trees, formed two spiny hills that cast a shadow over Hangtown and the narrow lake around which it sprawled. Jarcke said the lake was a stream flowing off the hill behind the dragon, and that it drained away through the membranes of his wing and down on to his shoulder. It was beautiful beneath the wing, she told him. Ferns and waterfalls. But it was reckoned an evil place. From a distance the town looked picturesque--rustic cabins, smoking chimneys. As they approached, however, the cabins resolved into dilapidated shanties with missing boards and broken windows; suds and garbage and offal floated in the shallows of the lake. Aside from a few men idling on the stoops, who squinted at Meric and nodded glumly at Jarcke, no one was about. The gra.s.s blades stirred in the breeze, spiders scuttled under the shanties, and there was an air of torpor and dissolution.

Jarcke seemed embarra.s.sed by the town. She made no attempt at introductions, stopping only long enough to fetch another coil of rope from one of the shanties, and as they walked between the wings, down through the neck spines--a forest of greenish-gold spikes burnished by the lowering sun--she explained how the townsfolk grubbed a livelihood from Griaule. Herbs gathered on his back were valued as medicine and charms, as were the peels of dead skin; the artefacts left by previous Hangtown generations were of some worth to various collectors.

"Then there's scale hunters," she said with disgust. "Henry Sichi from Port Chantay'll pay good money for pieces of scale, and though it's bad luck to do it, some'll have a go at chippin' off the loose 'uns." She walked a few paces in silence. "But there's others who've got better reasons for livin' here."

The frontal spike above Griaule's eyes was whorled at the base like a narwhal's horn and curved back towards the wings. Jarcke attached the ropes to eyebolts drilled into the spike, tied one about her waist, the other about Meric's; she cautioned him to wait, and rappelled off the side. In a moment she called for him to come down. Once again he grew dizzy as he descended; he glimpsed a clawed foot far below, mossy fangs jutting from an impossibly long jaw; and then he began to spin and bash against the scales. Jarcke gathered him in and helped him sit on the lip of the socket.

"d.a.m.n!" she said, stamping her foot.

A three-foot-long section of the adjoining scale shifted slowly away. Peering close, Meric saw that while in texture and hue it was indistinguishable from the scale, there was a hairline division between it and the surface. Jarcke, her face twisted in disgust, continued to harry the thing until it moved out of reach.

"Call 'em flakes," she said when he asked what it was. "Some kind of insect. Got a long tube that they pokes down between the scales and sucks the blood. See there?" She pointed off to where a flock of birds were wheeling close to Griaule's side; a chip of pale gold broke loose and went tumbling down to the valley. "Birds pry 'em off, let 'em bust open, and eats the innards." She hunkered down beside him and after a moment asked, "You really think you can do it?"

"What? You mean kill the dragon?"

She nodded.

"Certainly," he said, and then added, lying, "I've spent years devising the method."

"If all the paint's goin' to be atop his head, how're you goin' to get it to where the paintin's done?"

"That's no problem. We'll pipe it to wherever it's needed."

She nodded again. "You're a clever fellow," she said; and when Meric, pleased, made as if to thank her for the compliment, she cut in and said, "Don't mean nothin' by it. Bein' clever ain't an accomplishment. It's just somethin' you come by, like bein' tall." She turned away, ending the conversation.

Meric was weary of being awestruck, but even so he could not help marvelling at the eye. By his estimate it was seventy feet long and fifty feet high, and it was shuttered by an opaque membrane that was unusually clear of algae and lichen, glistening, with vague glints of colour visible behind it. As the westering sun reddened and sank between two distant hills, the membrane began to quiver and then split open down the center. With the ponderous slowness of a theatre curtain opening, the halves slid apart to reveal the glowing humour. Terrified by the idea that Griaule could see him, Meric sprang to his feet, but Jarcke restrained him.

"Stay still and watch," she said.

He had no choice--the eye was mesmerizing. The pupil was slit and featureless black, but the humor... he had never seen such fiery blues and crimsons and golds. What had looked to be vague glints, odd refractions of the sunset, he now realized were photic reactions of some sort. Fairy rings of light developed deep within the eye, expanded into spoked shapes, flooded the humor, and faded--only to be replaced by another and another. He felt the pressure of Griaule's vision, his ancient mind, pouring through him, and as if in response to this pressure, memories bubbled up in his thoughts. Particularly sharp ones. The way a bowlful of brush water had looked after freezing over during a winter's night--a delicate, fractured flower of murky yellow. An archipelago of orange peels that his girl had left strewn across the floor of the studio. Sketching atop Jokenam Hill one sunrise, the snowcapped roofs of Regensburg below pitched at all angles like broken paving stones, and silver shafts of the sun striking down through a leaden overcast. It was as if these things were being drawn forth for his inspection. Then they were washed away by what also seemed a memory, though at the same time it was wholly unfamiliar. Essentially, it was a landscape of light, and he was plunging through it, up and up. Prisms and lattices of iridescent fire bloomed around him, and everything was a roaring fall into brightness, and finally he was clear into its white furnace heart, his own heart swelling with the joy of his strength and dominion.

It was dusk before Meric realized the eye had closed. His mouth hung open, his eyes ached from straining to see, and his tongue was glued to his palate. Jarcke sat motionless, buried in shadow.

"Th..." He had to swallow to clear his throat of mucus. "This is the reason you live here, isn't it?"

"Part of the reason," she said. "I can see things comin' way up here. Things to watch out for, things to study on."

She stood and walked to the lip of the socket and spat off the edge; the valley stretched out grey and unreal behind her, the folds of the hills barely visible in the gathering dusk.

"I seen you comin'," she said.

A week later, after much exploration, much talk, they went down into Teocinte. The town was a shambles--shattered windows, slogans painted on the walls, gla.s.s and torn banners and spoiled food littering the streets--as if there had been both a celebration and a battle. Which there had. The city fathers met with Meric in the town hall and informed him that his plan had been approved. They presented him a chest containing 500 ounces of silver and said that the entire resources of the community were at his disposal. They offered a wagon and a team to transport him and the chest to Regensburg and asked if any of the preliminary work could be begun during his absence.

Meric hefted one of the silver bars. In its cold gleam he saw the object of his desire; two, perhaps three years of freedom, of doing the work he wanted and not having to accept commissions. But all that had been confused. He glanced at Jarcke; she was staring out the window, leaving it to him. He set the bar back in the chest and shut the lid.

"You'll have to send someone else," he said. And then, as the city fathers looked at each other askance, he laughed and laughed at how easily he had discarded all his dreams and expectations.

...It had been eleven years since I had been to the valley, twelve since work had begun on the painting, and I was appalled by the changes that had taken place. Many of the hills were sc.r.a.ped brown and treeless, and there was a general dearth of wildlife. Griaule, of course, was most changed. Scaffolding hung from his back; artisans, suspended by webworks of ropes, crawled over his side; and all the scales to be worked had either been painted or primed. The tower rising to his eye was swarmed by laborers, and at night the calciners and vats atop his head belched flame into the sky, making it seem there was a mill town in the heavens. At his feet was a brawling shantytown populated by prost.i.tutes, workers, gamblers, ne'er-do-wells of every sort, and soldiers: the burdensome cost of the project had encouraged the city fathers of Teocinte to form a regular militia, which regularly plundered the adjoining states and had posted occupation forces to some areas. Herds of frightened animals milled in the slaughtering pens, waiting to be rendered into oils and pigments. Wagons filled with ores and vegetable products rattled in the streets. I myself had brought a cargo of madder roots from which a rose tint would be derived.

It was not easy to arrange a meeting with Cattanay. While he did none of the actual painting, he was always busy in his office consulting with engineers and artisans, or involved in some other part of the logistical process. When at last I did meet with him, I found he had changed as drastically as Griaule. His hair had gone grey, deep lines scored his features, and his right shoulder had a peculiar bulge at its mid-point--the product of a fall. He was amused by the fact that I wanted to buy the painting, to collect the scales after Griaule's death, and I do not believe he took me at all seriously. But the woman Jarcke, his constant companion, informed him that I was a responsible businessman, that I had already bought the bones, the teeth, even the dirt beneath Griaule's belly (this I eventually sold as having magical properties).

"Well," said Cattanay, "I suppose someone has to own them."

He led me outside, and we stood looking at the painting.

"You'll keep them together?" he asked.

I said, "Yes."

"If you'll put that in writing," he said, "then they're yours."

Having expected to haggle long and hard over the price, I was flabbergasted; but I was even more flabbergasted by what he said next.

"Do you think it's any good?" he asked.

Cattanay did not consider the painting to be the work of his imagination; he felt he was simply illuminating the shapes that appeared on Griaule's side and was convinced that once the paint was applied, new shapes were produced beneath it, causing him to make constant changes. He saw himself as an artisan more than a creative artist. But to put his question into perspective, people were beginning to flock from all over the world and marvel at the painting. Some claimed they saw intimations of the future in its gleaming surface; others underwent transfiguring experiences; still others--artists themselves--attempted to capture something of the work on canvas, hopeful of establishing reputations merely by being competent copyists of Cattanay's art. The painting was nonrepresentational in character, essentially a wash of pale gold spread across the dragon's side; but buried beneath the laminated surface were a myriad tints of iridescent colour that, as the sun pa.s.sed through the heavens and the light bloomed and faded, solidified into innumerable forms and figures that seemed to flow back and forth. I will not try to categorize these forms, because there was no end to them; they were as varied as the conditions under which they were viewed. But I will say that on the morning I met with Cattanay, I--who was the soul of the practical man, without a visionary bone in my body--felt as though I were being whirled away into the painting, up through geometries of light, latticeworks of rainbow color that built the way the edges of a cloud build, past orbs, spirals, wheels of flame..."

--from This Business of Griaule by Henry Sichi