Ilium

6 Olympos

When my shift ends on the night of Achilles’ and Agamemnon’s confrontation, I quantum teleport back to the scholic complex on Olympos, record my observations and analysis, transfer the thoughts to a word stone, and carry it into the Muse’s small white room overlooking the Lake of the Caldera. To my surprise, the Muse is there, talking to one of the other scholics.

The scholic is named Nightenhelser—a friendly bear of a man who, I had learned over the last four years of his residency here, lived and taught college and died in the American Midwest some time in the early Twentieth Century. Seeing me at the door, the Muse finishes her business with Nightenhelser and sends him away, out her bronze door toward the escalator that spirals its way down off Olympos to our barracks and the red world below.

The Muse gestures me closer. I set the word stone on the marble table in front of her and step back, expecting to be dismissed without a word, as is the usual dynamic between the two of us. Surprisingly, she lifts the word stone while I’m still there and closes her hand around it even as she closes her eyes to concentrate. I stand and wait. I confess that I am nervous. My heart pounds and my hands, clasped behind my back as I stand in a sort of professorial parody of a soldier’s “at ease” position, are sweaty. I decided years ago that that the gods cannot really read minds—that their uncanny perception of mortals’ thoughts, heroes and scholics alike, comes from some advanced science in the study of facial muscles, eye movements and the like. But I could be wrong. Perhaps they are telepathic. If so—and if they bothered to read my mind during my moment of epiphany and decision on the beach after Agamemnon’s and Achilles’ showdown—then I am a dead man. Again.

I’ve seen scholics who displease the Muse, much less the more important gods. Some years ago—the fifth year of the siege, actually—there was a scholic from the Twenty-sixth Century, a chubby, irreverent Asian with the unusual name of Bruster Lin—and even though Bruster Lin was the brightest and most insightful scholar amongst us, his irreverence was his undoing. Literally. After one of his more ironic comments—it was about the mano a mano combat between Paris and Menelaus, winner take all, that would have settled the war on the outcome of that single combat. The one-on-one fight to the death between Helen’s Trojan lover and her Achaean husband—although staged in front of two cheering armies, with Paris beautiful in his golden armor and Menelaus fearful with his eye full of business—was never consummated. Aphrodite saw that her beloved Paris was going to be hacked into worm meat, so she swooped down and spirited him off the battlefield back to Helen, where, like effete liberals in every age, Paris was more the happy warrior in bed than on the battlefield. So it was after one of Bruster Lin’s amusing comments on the Paris–Menelaus episode, that the Muse—not amused—snapped her fingers and the billions upon trillions of obedient nanocytes in the hapless scholic’s body aggregated and exploded outward in one giant nano-lemming leap, shredding the still-smiling Bruster Lin into a thousand bloody shreds in front of the rest of us and sending his still-smiling head rolling toward our feet as we stood at attention.

It was a serious lesson and we took it to heart. No editorializing. No making merry with the serious business of the gods’ sport. The wages of irony is death.

The Muse opens her eyes and looks at me now. “Hockenberry,” she says, her tone that of a personnel bureaucrat from my century about to fire a mid-level white-collar worker, “how long have you been with us?”

I know the question is rhetorical, but when queried by a goddess, even a minor goddess, one answers even rhetorical questions. “Nine years, two months, eighteen days, Goddess.”

She nods. I am the oldest surviving scholic. Or, rather, I am the scholic who has survived the longest. She knows this. Perhaps this official recognition of my longevity is my elegy before explosive termination by nanocyte.

I had always taught my students that there were nine Muses, all daughters of Mnemosyne—Kleis, Euterpe, Thaleria, Melpomene, Terpsichorde, Erato, Plymnia, Ourania, and Kalliope—each one granted, at least by later Greek tradition, control of some artistic expression such as flute or dance or storytelling or heroic song—but in my nine years, two months, and eighteen days serving the gods as observer on the plains of Ilium, I’ve reported to, seen, and heard of only one Muse—this tall goddess who sits in front of me now behind her marble table. Still, because of her strident voice, I’ve always thought of her as “Kalliope,” even though the name originally meant “she of the beautiful voice.” I can’t say this solo Muse has a beautiful voice—it’s more klaxon than calliope to my ear—but it’s certainly one I’ve learned to jump to when she says “frog.”

“Follow me,” she says, rising fluidly and walking out the private side door of her white marble room.

I jump and follow.

The Muse is god-sized—that is to say, over seven feet tall but in perfect human proportions, less voluptuous than some of the goddesses but built like a Twentieth Century female triathlete—and even in the lessened gravity here on Olympos, I have to scramble to keep up as she strides across the close-cropped green lawns between white buildings.

She pauses at a chariot nexus. I say “chariot” and it is vaguely chariotlike—low, roughly horseshoe shaped, with a niche in the side allowing the Muse to step up into it, but this chariot lacks horses, reins and driver. She grips the railing and beckons me up.

Hesitantly, heart pounding wildly now, I step up and stand to one side as the Muse taps her long fingers across a gold wedge that might be some sort of control panel. Lights blink. The chariot hums, crackles, becomes suddenly girdled by a latticework of energy, and rises off the grass, twirling as it climbs. Suddenly a holographic pair of “horses” appears in front of the chariot and gallop as they seem to pull the chariot through the sky. I know that the holographic horses are there for the Greeks’ and Trojans’ need for closure, but the sense that they are real animals pulling a real chariot through the sky is very strong. I grab the metal bar along the rim and brace myself, but there is no sense of acceleration even as the transport disk jigs and jags, swoops once a hundred feet above the Muse’s modest temple, and then accelerates toward the deep depression of the Lake of the Caldera.

Chariot of the gods! I think and blame the unworthy thought on fatigue and adrenaline.

I’ve seen these chariots a thousand times, of course, flying near Olympos or above the plains of Ilium as the gods shuttle to and fro on their godlike business, but I’ve always seen them from my vantage point on the ground. The horses look real from that angle and the chariot itself seems far less substantial when you’re in one, flitting a thousand feet above the summit of a mountain—volcano, actually—that itself rises some 85,000 feet above the desert floor.

The summit of Olympos should be airless and ice-covered, but the air here is as thick and breathable as it is some seventeen miles lower where the scholic barracks huddle at the base of the volcanic cliffs, and rather than ice, the broad summit is covered with grass, trees, and white buildings large enough and grand enough to make the Acropolis look like an outhouse.

The figure eight of the Lake of the Caldera at the center of the summit of Olympos is almost sixty miles across and we zip across it at near-supersonic speed, some forcefield or bit of godly magic keeping the wind from tearing our heads off at the same time it muffles the sound. Hundreds of buildings, each with acres of manicured lawn and gardens around it, gods’ homes, I presume, surround the lake, while great three-tiered autotriremes move slowly across the blue waters. Scholic Bruster Lin once told me that he estimated that Olympos was the size of Arizona, its grassy summit equaling approximately the surface area of Rhode Island. It was strange to hear of things here being compared to states on that other world, in that other time, from that other existence.

Clinging to the thin railing with both hands, I peek out beyond the mountaintop. The view is breathtaking.

We are high enough that I can see the curve of the world. To the northwest, the great blue ocean extends to that inverted cusp of horizon. To the northeast runs the coastline, and I fancy that even from this distance I can see the great stone heads that mark the boundary between sea and land. Due north is the scythe of the unnamed archipelago just visible from the shoreline a few miles from our scholic barracks, then nothing but blue again all the way to the pole. To the southeast I can see three other tall volcanic summits thrusting above the horizon, obviously lower than Olympos’s summit but, unlike climate-controlled Olympos, white with snow. One of them, I guess, must be Mount Helicon, home to my Muse and her sisters, if sisters she has. To the south and southwest, for hundreds of miles, I can make out a succession of cultivated fields, then wild forests, then red desert beyond, then perhaps forest again, until land blends with clouds and haze and no amount of blinking or rubbing of eyes can resolve the detail there.

The Muse sweeps our chariot around and descends toward the west shoreline of the Lake of the Caldera. I see now that the white specks I noticed during our crossing of the lake are huge white buildings, fronted with columns and steps, graced with gigantic pediments, and decorated with statuary. I am sure that no scholic has seen this part of Olympos . . . or at least seen it and lived to tell the rest of us about it.

We descend near the largest of the giant buildings, the chariot touches down, and the holographic horses wink out of existence. Several hundred other sky chariots are parked helter-skelter on the grass.

The Muse removes what looks to be a small medallion from her robe. “Hockenberry, I have been ordered to take you somewhere where you cannot be. I have been directed by one of the gods to give you two items that might keep you from being crushed like a gnat if you are detected. Put these on.”

The Muse hands me two objects—a medallion on a chain and what looks to be a tooled-leather hood. The medallion is small but heavy, as if it is made of gold. The Muse reaches forward and slides one part of the disc counterclockwise from the rest. “This is a personal quantum teleporter such as the gods use,” she says softly. “It can teleport you any place you can visualize. This particular QT disk also allows you to follow the quantum trail of the gods as they phase-shift through Planck space, but no one—except the god who gave me this—can trace your path. Do you understand?”

“Yes,” I say, my voice almost quavering. I shouldn’t have this thing. It will be my death. The other “gift” is worse.

“This is the Helmet of Death,” she says, tugging the ornate leather headpiece over my head, but leaving it folded around my neck like a cowl. “The Hades Helmet. It was made by Hades himself and it is the only thing in the universe that can hide you from the vision of the gods.”

I blink stupidly at this. I vaguely remember scholarly footnotes about “the Helmet of Death,” and I remember that Hades’ name itself—in Greek, Äidès was thought to mean “the unseen one.” But as far as I knew, Hades’ Helmet of Death was mentioned only once by Homer, when Athena donned it to be invisible to the war god, Ares. Why on earth or Olympos would any goddess loan this thing to me? What are they setting me up to do for them? My knees go weak at the thought.

“Put the helmet on,” orders the Muse.

Clumsily, I tug up the thick leather. There are devices embedded in the material, circuit chips, nanotech machines. The helmet has clear, flexible eyepieces and mesh material over the mouth, and when I’ve pulled on the full cowl, the air seems to ripple strangely around us, although my sight is otherwise unaffected.

“Incredible,” says the Muse. She is staring right past me. I realize that I’ve achieved the goal of every adolescent boy—true invisibility, although how the helmet shields my entire body from sight, I have no idea. My impulse is to run like hell and hide from the Muse and all the gods. I stifle the impulse. There has to be a catch here. No god or goddess, not even my minor Muse, would give a mere scholic such power without safeguards.

“This device will shield you from the sight of all the gods except the goddess who authorized me to give it to you,” the Muse says quietly, staring at the empty air to the right of my head. “But that goddess can see and track you anywhere, Hockenberry. And although sound, scent, even heartbeat is muffled by the medallion, the gods’ senses are beyond your understanding. Stay close to me in the next few minutes. Tread lightly. Say nothing. Breathe as lightly and shallowly as possible. If you are detected, neither I nor your divine patroness can protect you from the wrath of Zeus.”

How do you breathe lightly and softly when you’re terrified? But I nod, forgetting the Muse cannot see me now. When she waits, still staring slightly askance as if seeking me with her divine vision, I croak, “Yes, Goddess.”

“Put your hand on my arm,” she orders brusquely. “Stay with me. Do not lose contact with me. If you do, you will be destroyed.”

I put my hand on her arm like a timid debutante being escorted at a coming-out party. The Muse’s skin is cold.

I was once in the Vehicle Assembly Building at the Kennedy Space Center in Cape Canaveral. The guide said that clouds sometimes formed under the roof hundreds of feet above the concrete floor. You could take the VAB and set it in one corner of this immense room we find ourselves in now and you’d never notice it sitting there like a cast-off child’s toy block in a cathedral.

One says “gods” and you think of the meat-and-potato gods, the main gods—Zeus, Hera, Apollo, and a few others—but there are hundreds of gods in this room and most of the room is empty. Seemingly miles above us, a gold dome—the Greeks had not discovered the principles of a dome, so this was in contrast to the classically conservative architecture of the other great buildings I have seen on Olympos—acoustically directs conversation to all corners of the breathtaking space.

The floor looks to be made of hammered gold. Gods lean on marble railings and look down from circling mezzanines. The walls everywhere sport hundreds upon hundreds of arched niches, each holding a white marble sculpture. The statues are of the gods present here now.

Holograms of Achaeans and Trojans flicker here and there, many of them showing life-sized, full-color, three-dimensional images of the men and women as they argue or eat or make love or sleep. Near the center of the room, the gold floor steps down to a recess larger than any combination of Olympic-sized swimming pools, and in this space flickers and floats more real-time images from Ilium—broad aerial views, close-ups, panning shots, multiple images. One can hear the dialogue as if the Greeks and Trojans were in this very room. Around this vision pool, sitting in stone thrones and lounging on plush couches and standing in their cartoonlike togas, are the gods. The important gods. The meat-and-potato, known-by-grade-schoolers gods.

Lesser gods move aside as the Muse approaches this center pool, and I hurry to stay with her, my invisible hand tremulous on her golden arm, trying not to squeak my sandals or trip or sneeze or breathe. None of the deities seem to notice me. I suspect that I will know very quickly if any of them do.

The Muse stops a few yards from Pallas Athena and I stay so close to her that I feel like a three-year-old child hugging his mother’s skirt.

There is a fierce argument under way, even as Hebe—one of the minor goddesses—moves among the others, pouring some sort of golden nectar into their gold goblets. Zeus sits on his throne and it is obvious to me at a glance that Zeus is the king here, he who drives the storm clouds, god among gods. No cartoon image, this Zeus, but an impossibly tall reality whose bearded, oiled, and palpably regal presence makes my blood turn to frightened sludge.

“How can we control the course of this war?” he demands of all the gods even while he stares daggers at his wife, Hera. “Or the fate of Helen? If goddesses such as Hera of Argos and Athena, guardian of her soldiers, keep intervening—such as this stopping Achilles’ hand in the act of drawing the blood of the son of Atreus?”

He turns his storm-cloud gaze on a goddess lounging on purple cushions. “Or you, Aphrodite, with your constant laughter, always standing by that pretty-boy Paris, driving away evil spirits and deflecting well-cast spears. How can the will of the gods—and more important, of Zeus—be clear, even here, if you meddling goddesses keep protecting your favorites at the expense of Fate? Despite all your machinations, Hera, Menelaus may yet lead Helen home . . . or perhaps, who knows, Ilium may prevail. It is not for a few female gods to decide these things.”

Hera folds her slender arms. So frequently in the poem is Hera referred to as “the white-armed goddess” that I half expect her arms to be whiter than the other goddesses’ arms, but although Hera’s skin is milky enough, it’s no visibly milkier than that of Aphrodite or Hera’s daughter Hebe or any of the other female gods I can see from my vantage point here near the image pool . . . except for Athena, that is, who looks strangely tanned. I know that these descriptive passages are a function of Homer’s type of epic poetry; Achilles is referred to repeatedly as “swift-footed,” Apollo as “one who shoots from afar,” and Agamemnon’s name is usually preceded by “wide ruling” or “lord of men”; the Achaeans are “strong-greaved” and their ships “black” or “hollow” and so forth. These repeated epithets met the heavy demands of dactylic hexameter more than mere description, and were a way for the singing bard to meet metric requirements with formulaic phrases. I’ve always suspected that some of these ritual phrases—such as Dawn stretching forth her rosy fingertips—were also verbal placeholders, buying the bard a few seconds to remember, if not invent, the next few lines of action.

Still, as Hera begins to retort to her husband, I am looking at her arms. “Son of Kronos—dreaded majesty,” she says, white arms folded, “what in the hell are you talking about? How dare you consider making all of my labors pointless? I’m talking sweat here—immortal sweat—poured out launching Achaea’s armies, stroking these male hero’s egos just to keep them from killing each other before they kill Trojans, and taking great pains—my pains, O Zeus—in heaping greater pains on King Priam and the sons of Priam and the city of Priam.”

Zeus frowns and leans forward on his uncomfortable-looking throne, his huge white hands clenching and unclenching.

Hera unfolds her arms and throws up her hands in exasperation. “Do what you please—you always do—but don’t expect any of us immortals to praise you.”

Zeus stands. If the other gods are eight or nine feet tall, Zeus must stand twelve feet high. His brow is more folded than furrowed now, and I am using no metaphor when I say that he thunders:

“Hera—my dear, darling, insatiable Hera! What has Priam or the sons of Priam ever done to you that you have become so furious, so relentless to bring down Priam’s city of Ilium?”

Hera stands silent, hands at her side. This seems only to increase Zeus’s royal fury.

“This is more appetite than anger with you, Goddess!” he roars. “You won’t be satisfied until you knock down the Trojans’ gates, breach their walls, and eat them raw.”

Hera’s expression does nothing to deny this charge.

“Well . . . well . . .” thunders Zeus, almost spluttering in a way all too familiar to husbands across the millennia, “do as you please. But one more thing—and remember it well, Hera—when there comes a day that I am bent on destroying a city and consuming its inhabitants—a city you love, as I love Ilium—then don’t even think about attempting to oppose my fury.”

The goddess takes three quick steps forward and I am reminded of a predator pouncing, or some chess master seeing his opening and taking it. “Yes! The three cities I love best are Argos and Sparta and Mycenae of the wide ways, its streets as broad and regal as ill-fated Ilium’s. All these you can sack to your vandal’s heart’s content, My Lord. I will not oppose you. I will not begrudge your will . . . little good it would do me anyway, since you are the stronger of us two. But remember this, O Zeus—although I am your consort, I am also born of Kronos and thus deserving of your respect.”

“I never suggested otherwise,” mutters Zeus, taking his hard seat again.

“Then let us yield one to the other on this point,” says Hera, her voice audibly sweeter now. “I to you and you to me. The lesser gods will comply. Quickly now, my husband! Achilles has left the field for now, but a mewling truce makes quiet the killing ground between Trojans and Achaeans. See that that the Trojans break this truce and do first injury, not only to their oaths, but to the far-famed Achaeans.”

Zeus glowers, grumbles, shifts in his chair, but orders the attentive Athena—“Go quickly down to the quiet killing ground between Trojans and Achaeans. I order you to see that the Trojans are the first to break the truce and do injury to the far-famed Achaeans.”

“And trample on the Argives in their triumph,” prompts Hera.

“And trample on the Argives in their triumph,” Zeus orders wearily.

Athena disappears in a QT flash. Zeus and Hera leave the room and the gods begin to disperse, speaking softly amongst themselves.

The Muse beckons me to follow with a subtle flick of her finger and leads me out of the assembly hall.

“Hockenberry,” says the Goddess of Love, reclining on her cushioned couch, the gravity—light as it is—giving emphasis to all her silky, milky-weighted voluptuousness.

The Muse had led me to this other room in the Great Hall of the Gods, this darkened room with only the double glow from a low-burning brazier and from something that looked suspiciously like a computer screen. She had whispered to me to remove the Helmet of Death and I was relieved to take the leather hood off, but terrified to be visible again.

Then Aphrodite had entered, assumed her position on the couch, and said, “That will be all until I summon you, Melete,” and the Muse had stepped out through a secret door.

Melete, I thought. Not one of the nine muses, but a name from an earlier era, where the muses were thought to be three: Melete of “practicing,” Mneme of “remembering,” and Aoide of . . .

“Hockenberry, I was able to see you in the Hall of the Gods,” says Aphrodite, blinking me out of my scholic reverie, “and if I had pointed you out to Lord Zeus, you would be something less than ashes now. Even your QT medallion would not have allowed you to escape, for I could follow your phase-shift path through time and space itself. Do you know why you are here?”

Aphrodite is my patroness. She’s the one who ordered the Muse to give me these devices. What do I do? Kneel? Prostrate myself on the floor in the presence of divinity? How do I address her? In my nine years, two months, and eighteen days here, my existence has never been acknowledged by a god before, not counting my Muse.

I decide to bow slightly, averting my eyes from her beauty, from the sight of pink nipples showing through thin silk, of that soft cusp of stomach sending shadows into that triangle of dark fabric where her thighs meet.

“No, Goddess,” I say at last, all but forgetting the question.

“Do you know why you were chosen as scholic, Hockenberry? Why your DNA was exempted from nanocyte disruption? Why, before you were chosen for reintegration, your writings on the War were factored into the simplex?”

“No, Goddess.” My DNA is exempt from nanocyte disruption?

“Do you know what a simplex is, mortal shade?”

Herpes virus? I think. “No, Goddess,” I say.

“The simplex is a simple geometric mathematical object, an exercise in logistics, a triangle or trapezoid folded on itself,” says Aphrodite. “Only combined with multiple dimensions and algorithms defining new notional areas, creating and discarding feasible regions of n-space, planes of exclusion become inevitable contours. Do you understand now, Hockenberry? Do you understand how this applies to quantum space, to time, to the War below, or to your own fate?”

“No, Goddess.” My voice does quaver this time. I can’t help it.

There is a rustling of silk and I glance up long enough to see the most beautiful female in existence rearranging her fair limbs and smooth thighs on the couch. “No matter,” she says. “You—or the mortal who was your template—wrote a book several thousand years ago. Do you remember its content?”

“No, Goddess.”

“If you say that one more time, Hockenberry, I am going to rip you open from crotch to crown and quite literally use your guts for my garters. Do you understand that?”

It is hard to speak with no saliva in your mouth. “Yes, Goddess,” I manage, hearing the dry lisp.

“Your book ran to 935 pages and it was all about one word—Menin—do you remember now?”

“No, Go . . . I’m afraid I don’t recall that, Goddess Aphrodite, but I am sure that you are correct.”

I look up long enough to see that she is smiling, her chin propped on her left hand, her finger rising along her cheek to one perfect dark eyebrow. Her eyes are the color of a fine cognac.

“Rage,” she says softly. “Menin aeide thea . . . Do you know who will win this war, Hockenberry?”

I have to think fast here. I would be a pretty poor scholic if I don’t know how the poem turns out—although the Iliad ends with the funeral rites for Achilles’ friend Patroclus, not with the destruction of Troy, and there is no mention of a giant horse except in Odysseus’ comments and that from another epic . . . but if I pretend to know how this real war will turn out, and it is obvious from the argument I have just overheard that Zeus’s edict that the gods must not be informed of the future as predicted by the Iliad is still in effect—I mean, if the gods themselves do not know what will happen next, wouldn’t I be putting myself above the gods, including Fate by telling them? Hubris has never been an attribute gently rewarded by these gods. Besides, Zeus—who alone knows the full tale of the Iliad—has forbidden the other gods from asking and all of us scholics from discussing anything except events that have already occurred. Pissing off Zeus is never a good plan for survival on Olympos. Still, it seems I’m exempt from nanocyte disruption. On the other hand, I believe the Goddess of Love completely when she says that she will wear my guts for garters.

“What was the question, Goddess?” is all I can manage.

“You know how the poem the Iliad ends, but I would be defying Zeus’s command if I ask you what happens there,” says Aphrodite, her small smile disappearing and being replaced by something like a pout. “But I can ask you if that poem predicts this reality. Does it? In your opinion, Scholic Hockenberry, does Zeus rule the universe, or does Fate?”

Oh, shit, I think. Any answer here is going to end up with me being gutless and this beautiful woman—goddess—wearing slimy garters. I say, “It is my understanding, Goddess, that even though the universe bends to the will of Zeus and must obey the vagaries of the god-force called Fate, that kaos still has some say in the lives of both men and gods.”

Aphrodite makes a soft, amused sound. Everything about her is so soft, touchable, enticing . . . .

“We will not wait for chaos to decide this contest,” she says, her voice shedding all sound of amusement. “You saw Achilles withdraw from the fray this day?”

“Yes, Goddess.”

“You know that the man-killer has already prayed to Thetis to punish his fellow Achaeans for the shame that Agamemnon has heaped on him?”

“I have not witnessed this prayer, Goddess, but I know that it follows the path of the . . . the poem.” This is safe to say. The event is in the past. Besides, the sea goddess Thetis is Achilles’ mother and everyone on Olympos knows that he has called for her intervention.

“Indeed,” says Aphrodite. “That roundheeled bitch with the wet breasts has already been here to the Great Hall, throwing herself at Zeus’s knees as soon as the old fool returned from his debauching with the Aethiopians at the Ocean River. She begged him, for Achilles’ sake, to grant victory after victory to the Trojans, and the old sod agreed, thus putting him on a collision course with Hera, chief champion of the Argives. Thus the scene you just witnessed.”

I stand upright with my arms down, palms forward, head slightly bowed, all the while watching Aphrodite as if she were a cobra, but still knowing that if she chooses to strike me, the strike will come much faster and more lethally than any cobra’s.

“Do you know why you have survived longer than any other scholic?” snaps Aphrodite.

Unable to speak without condemning myself, I shake my head ever so slightly.

“You are still alive because I have foreseen that you can perform a service for me.”

Sweat trickles down my brow and stings my eyes. More sweat forms rivulets on my cheek and neck. As scholics, our sworn duty—my duty for the last nine years, two months, and eighteen days—is to observe the war on the plains of Ilium without ever intervening, observing without ever committing any act whatsoever that might change the outcome of the war or the behavior of its heroes in any way.

“Did you hear me, Hockenberry?”

“Yes, Goddess.”

“Are you interested in hearing what this service will be, scholic?”

“Yes, Goddess.”

Aphrodite rises from her couch and now I do bow my head, but I can hear the rustle of her silken gown, hear even the gentle friction of her smooth white thighs rubbing softly as she walks closer; I can smell the perfume-and-clean-female scent of her as she stands so close. I had forgotten for a moment how tall a goddess is, but I’m reminded of our respective heights as she towers over me, her breasts inches from my downturned face. For an instant I must fight the urge to bury my face in the perfumed valley between those breasts, and although I know well that this would by my last act before a violent death, I suspect at this moment that it might be worth it.

Aphrodite sets her hand on my tense shoulder, touches the rough leather embroidery of the Helmet of Death, and then moves her fingertips to my cheek. Despite my fear, I feel a powerful erection stirring, rising, standing firm.

The goddess’s whisper, when it comes, is soft, sensual, slightly amused, and I am sure that she knows the state I am in, expects it as her due. She lowers her face and leans so close that I can feel the heat of her cheek radiating against mine as she whispers two simple commands in my ear.

“You are going to spy on the other gods for me,” she says softly. And then, barely audible above the pounding of my heart, “And when the time is right, you are going to kill Athena.”