The End of All Songs

22. Inventions and Resurrections

Soon all would be as it had always been, before the winds of limbo had come to blow their world away. Flesh, blood and bone, grass and trees and stone would flourish beneath the fresh-born sun, and beauty of every sort, simple or bizarre, would bloom upon the face of that arid, ancient planet. It would be as if the universe had never died; and for that the world must thank its half-senile cities and the arrogant persistence of that obsessive temporal investigator from the twenty-first century, from the Dawn Age, who named himself for a small pet singing bird fashionable two hundred years before his birth, who displayed himself like an actor, yet disguised himself and his motives with all the consummate cunning of a Medici courtier; this fantastico in yellow, this languid meddler in destinies, Lord Jagged of Canaria.

They had already witnessed the rebuilding of Castle Canaria, at first a glowing mist, opaque and coruscating, modelled upon a wickerwork cage, some seventy-five feet high; and then its bars had become pale gold and within could be seen the floating compartments, each a room, where Jagged chose to live in certain moods (though he had had other moods, other castles). They had watched while Lord Jagged had spread the sky with tints of pink-tinged amber and cornflower blue, so that the orb of the sun burned a dull, rich red and cast shadows through the bars of that great cage so that it seemed the surrounding dust was criss-crossed by lattice: but then the dust itself was banished and turf replaced it, sparkling as it might after a shower, and there were hedges, too, and trees, and a pool of clear water, all standing in contrast to the surrounding landscape, thousands and thousands of miles of featureless desert. And they had been fired by this experience to begin their own creations at once and Mongrove went off to build his black mountains, his cold, cloud-cloaked halls, his gloomy heights; and the Duke of Queens went in another direction to erect first mosaic pyramids, then flower-hung ziggurats, then golden moondomes and etoliated Towers of Mercury, then an ocean, as large as the Mediterranean, on which floated monstrous, baroque fish, each fish an apartment. Meanwhile the Iron Orchid, content for the moment to share her husband's quarters, caused forests of slightly metallic blossoms to spring up from fields of silver snow, where cold birds, bright as steel, but electric green and engine red, clashed beaks and wings and sang human songs in the voices of machines, where robot foxes lurked and automata in scarlet, mounted on mechanical horses, hunted them — acre upon acre of ingenious animated gadgetry.

Jherek Carnelian and Amelia Underwood were more modest in their creations; first they chose an area and surrounded it with great breaks of poplars, cypresses and willows, so that the wasteland beyond could not be seen. Her fanciful palace was forgotten; she wished for a low Tudor house, with thatch and beams, whitewashed. A few of the windows she allowed for stained-glass, but the majority were as large as possible and leaded. Flower-beds surrounded the house and in these she put roses, holly-hocks and a variety of old, half-wild English flowers. There was a paved area, a pathway, a vegetable garden, shaded arbours of yew and climbing roses, a pond with a fountain in the centre, and goldfish, and everywhere high hedges, as if she would shield her house from the rest of the world. He admired it, but had little to do with its creation. Within were oak tables and chairs, bookcases (though the books themselves defeated her powers of creation, just as her attempts to recreate paintings failed badly — Jherek consoled her: no one could make such things, at the End of Time); there were comfortable armchairs, carpets, polished boards, vases of flowers, tapestries, figurines, candlesticks, lamps; there was a large kitchen, with tapped water, and every modern utensil, including knife-polishers, a gas-copper and a gas-stove, though she knew she would have little use for them. The kitchen looked out onto the vegetable garden where her runner-beans and cabbages already flourished. On the top floor of the house she created two sets of apartments for them, with a bedroom, dressing room, study and sitting room each. And when she had finished she looked to her Jherek for his approval and, ever enthusiastic, he gave it.

Elsewhere the creation continued: a superabundance of inventiveness. A summoning of certain particles by the Iron Orchid, and Bishop Castle, complete with crook and mitre, was born again, joining her to recreate first My Lady Charlotina of Below-the-Lake, a little bemused and her memory not what it was, and then Mistress Christia, the Everlasting Concubine, Doctor Volospion, O'Kala Incarnadine, Argonheart Po, Sweet Orb Mace, all restored to life and ready to add their own themes to the reconstructed world, to resurrect their particular friends. And Mongrove, in his rainy, thunder-haunted crags, let gloomy, romantic Werther de Goethe look on the world again and mourn, while Lord Shark the Unknown, resentful, unbelieving, contemptuous, stayed in Mongrove's domain for only a few moments before flinging himself from a cliff, to be restored by a solicitous Mongrove, who had assumed that he was not yet quite himself, and fussed over until, in a pet, he summoned his plain grey air-car and sailed away, to build again his square living quarters with their square rooms, each one of exactly the same proportions, and to populate them with his automata, each one exactly in his image (not to satisfy his ego but because Lord Shark was a being devoid of any sort of imagination). Lord Shark, once his residence and his servants were re-established, created nothing further, allowed the grey, cracked ground to be his only view, while in all other quarters of the planet whole ranges of mountains were flung up, great rivers rolled across lush plains, seas heaved, woods proliferated; hills and valleys, meadows and forests were filled with life of every description.

Argonheart Po made perhaps his most magnificent contribution to his world, a detailed copy of one of the ancient cities, each ruined tower and whispering dome subtly delicious to taste and smell, each chemical lake a soup of transporting exquisiteness, each jewel a bon-bon of mouth-watering delicacy, each streamer a noodle of previously undreamed of savouriness. The Duke of Queens built a fleet of flying trucks, causing them to perform complex aerobatics in the skies above his home, while below he prepared for a party on the theme of Death and Destruction, searching the memory-banks of the cities for fifty of the most famous ruins in history: Pompeii existed again on the slopes of Krakatoa, Alexandria, built all of books, burned afresh, while every few minutes a new mushroom cloud blossomed over Hiroshima, showering mushrooms almost fit to match Argonheart's culinary marvels. The grave-pits of Brighton, reduced to miniatures because of the huge amount of space needed to contain them, were heaped with tiny bodies, some of which still moved, mewling and touchingly pathetic; but perhaps his most effective creation was his liquidized Minneapolis, frozen, viscous, still recognizable, with its inhabitants turning to semi-transparent jelly even as they tried to flee the Swiss holocaust.

It was, as Bishop Castle proposed, a Renaissance. Lord Jagged of Canaria was a hero; his exploits were celebrated. Only Brannart Morphail saw Jagged's interference as unwelcome; indeed Brannart remained sceptical of the whole theory behind the method of salvation. He looked with a jaundiced eye upon the carolling sculptures surrounding the green feather palace of My Lady Charlotina (she had renounced the underworld since the flood which had swept her from her halls), upon the pink pagodas of Mistress Christia and the ebony fortress of Werther de Goethe, warning all that the destruction had merely been averted for a little while, but none of them chose to listen to him. Doctor Volospion, a scarecrow in flaring, tattered black, his body black, his eyes red flames, made a Martian sarcophagus some thousand feet high, with a reproduction on its lid of the famous Revels of Cha'ar in which four thousand boys and girls died of exhaustion and seven thousand men and women flogged one another to death. Doctor Volospion found his home "pretty" and filled it inside with lunatic manikins given to biting him or laying little vicious traps for him whenever they could, and this he found "amusing". Bishop Castle's own laser-beam cathedral, whose twin steeples disappeared in the sky, was unpretentious in comparison, though the music which the beams produced was ethereal and moving: even Werther de Goethe, impressed by but disapproving of Doctor Volospion's dwelling, congratulated Bishop Castle on his sonorous melodies, and Sweet Orb Mace actually copied the idea for (she was feminine again) her blue quartz Old New Old Old New New Old New Old New New New Old New New Versailles, which had flourished in her favourite period (the Integral Seventh Worship) on Sork, a planet of some Centauri or Beta, vanished long-since, the whole structure based on certain favourite primitive musical forms from the fiftieth century. O'Kala Incarnadine simply became a goat and trotted about in what remained of the wastelands bleating to anyone who would give him an ear that he preferred the planet unspoiled; the idea seemed to give him considerable pleasure, but he set no fashion. Indeed the only positive response he received at all was from Li Pao (who had not enjoyed, it emerged, his brief return to 2648) who judged his role a subtle metaphor, and from Gaf the Horse in Tears who derived much mindless glee from bleating back at him, hovering overhead in his aerial sampan and occasionally pelting him with the fruit he won from one of the thirty or so machines dotted about on the boat's fifth tier.

The time-traveller had become frustrated, for it had materialized that he still needed someone who could help him with the repairs he must make to his machine before he would risk a cross-dimension time-leap. He had found Lord Jagged too concerned with his own experiments to be helpful and Brannart Morphail now refused to speak to anyone, having been snubbed so badly in the first few days of the resurrection. For a short time he fell in with another time-traveller, returned, like Li Pao, by the Morphail Effect, calling himself Rat Oosapric, but it turned out that the man was an escaped criminal from the thirty-sixth century Stilt Cities and knew nothing at all about the principles of time-travel; he merely tried to steal the time-traveller's machine and was restrained from so doing by the fortunate arrival of My Lady Charlotina who froze him with a power-ring and sent him drifting into the upper atmosphere for a while. My Lady Charlotina, deprived of Brannart Morphail, was trying to convince the time-traveller that she should he his patron, that he should become her new Scientist. The time-traveller considered the idea but found her terms too restricting. It was My Lady Charlotina who returned from the old city, leaving the time-traveller to his brooding, with the news that Harold Underwood, Inspector Springer, Sergeant Sherwood, the twelve constables, and the Lat all seemed healthy and relatively cheerful, but that the Pweelian spacecraft had vanished. This caused the Duke of Queens to reveal his secret a little earlier than he had planned. He had re-started his menagerie and the Pweelians were his prize, though they did not know it. He had allowed them to build their own environment — the closed one they had planned to escape the End of Time — and they now believed that they were the only living creatures in the entire universe. Anyone who wished to do so could visit the Duke's menagerie and watch them moving about in their great sphere, completely unaware that they were observed, involved in their curious activities. Even Amelia Underwood went to see them and agreed with the Duke of Queens that they seemed completely at ease and if anything rather happier than they had originally been.

This visit to the Duke was the first time Jherek and Amelia had emerged into society since they had built their new house. Amelia was astonished by the rapid changes: there were only a few small areas no longer altered, and there was a certain freshness to everything which made even the most bizarre inventions almost charming. The air itself, she said, had the sweet sharpness of a spring morn. On the way home they saw Lord Jagged of Canaria in his great flying swan, a yellowish white, with another tall figure beside him. Jherek brought his locomotive alongside and hailed him, at once recognizing the other occupant of the swan.

"My dear Nurse! What a pleasure to meet you again! How are your children?"

Nurse was considerably more coherent than she had been when Jherek had last seen her. She shook her old steel head and sighed. "Gone, I fear. Back to an earlier point in Time — where I still operate the time-loop, where they still play as, doubtless, they will always play."

"You sent them back?"

"I did. I judged this world too dangerous for my little ones, young Jerry. Well, I must say, you're looking well. Quite a grown man now, eh? And this must be Amelia, whom you are to marry. Ah, I am filled with pride. You have proved yourself a fine boy, Jerry." It seemed that she still had the vague idea that Jherek had been one of her original charges. "I expect 'daddy' is proud of you, too!" She turned her head a full ninety degrees to look fondly at Lord Jagged, who pursed his lips in what might have been an embarrassed smile.

"Oh, very proud," he said. "Good morning Amelia. Jherek."

"Good morning, Sir Machiavelli." Amelia relished his discomfort. "How go your schemes?"

Lord Jagged relaxed, laughing. "Very well, I think. Nurse and I have a couple of modifications to make to a circuit. And you two? Do you flourish?"

"We are comfortable," she told him.

"Still — engaged?"

"Not yet married, Lord Jagged, if that is what you ask."

"Mr. Underwood still in the city?"

"So we hear from My Lady Charlotina."

"Aha."

Amelia looked at Lord Jagged suspiciously, but his answering expression was bland.

"We must be on our way." The swan began to drift clear of the locomotive. "Time waits for no man, you know. Not yet, at any rate. Farewell!"

They waved to him and the swan sailed on. "Oh, he is so devious," she said, but without rancour. "How can a father and son be so different?"

"You think that?" The locomotive began to puff towards home. "And yet I have modelled myself on him for as long as I can remember. He was ever my hero."

She was thoughtful. "One seeks for signs of corruption in the son if one witnesses them in the father, yet is it not fairer to see the son as the father, unwounded by the world?"

He blinked but did not ask her to elaborate as, with pensive eye, she contemplated the variegated landscape sweeping by below.

"But I suppose I envy him," she said.

"Envy Jagged? His intelligence?"

"His work. He is the only one upon the whole planet who performs a useful task."

"We made it beautiful again. Is that not 'useful', Amelia?"

"It does not satisfy me, at any rate."

"You have scarcely begun, however, to express your creativity. Tomorrow, perhaps, we shall invent something together, to delight our friends."

She made an effort to brighten. "I suppose that you are right. It is a question, as your father said, of attitude."

"Exactly." He hugged her. They kissed, but it seemed to him that her kiss was not as wholehearted as, of late, it had become.

From the next morning it was as if a strange fever took possession of Amelia Underwood. Her appearance in their breakfast room was spectacular. She was clad in crimson silk, trimmed with gold and silver, rather oriental in influence. There were curling slippers upon her feet; there were ostrich and peacock feathers decorating her hair and it was evident that she had painted or otherwise altered her face, for the eyelids were startling blue, the eyebrows plucked and their length exaggerated, the lips fuller and of astonishing redness, the cheeks glowing with what could only be rouge. Her smile was unusually wide, her kiss unexpectedly warm, her embrace almost sensual; scent drifted behind her as she took her place at the other end of the table.

"Good morning, Jherek, my darling!"

He swallowed a small piece of toast. It seemed to stick in his throat. His voice was not loud. "Good morning, Amelia. You slept well?"

"Oh, I did! I woke up a new woman. The new woman, if you would have it. Ha, ha!"

He tried to clear the piece of toast from his throat. "You seem very new. The change in appearance is radical."

"I would scarcely call it that, dear Jherek. Merely an aspect of my personality I have not shown you before. I determined to be less stuffy, to take a more positive view of the world and my place in it. Today, my love, we create !"

"Create?"

"It is what you suggested we do."

"Ah, yes. Of course. What shall we create, Amelia?"

"There is so much."

"To be sure. As a matter of fact, I had become fairly settled — that is, I had not intended…"

"Jherek, you were famous for your invention. You set fashion after fashion. Your reputation demands that you express yourself again. We shall build a scene to excel all those we have so far witnessed. And we shall have a party. We have accepted far too much hospitality and offered none until now!"

"True, but…"

She laughed at him, pushing aside her kedgeree, ignoring her porridge. She sipped at her coffee, staring out through the window at her hedges and her gardens. "Can you suggest anything, Jherek?"

"Oh — a small 'London' — we could make it together. As authentic as anything."

" 'London'? You would not repeat an earlier success, surely?"

"It was an initial suggestion, nothing more."

"You are admiring my new dress, I see."

"Bright and beautiful." He recalled the hymn they had once sung together. He opened his lips and took a deep breath, to sing it, but she forestalled him.

"It is based on a picture I saw in an illustrated magazine," she told him. "An opera, I think — or perhaps the music hall. I wish I knew some music hall songs. Would the cities be able to help?"

"I doubt if they can remember any."

"They are concerned these days, I suppose, with duller things. With Jagged's work."

"Well, not entirely…"

She rose from the table, humming to herself. "Hurry, Jherek dear. The morning will be over before we have begun!"

Reluctantly, as confused by this role as he had been confused when first they had met, he got up, almost desperately trying to recapture a mood which had always been normal to him, until, it seemed, today.

She linked her arm in his, her step rather springier than usual, perhaps because of the elaborate boots she wore, and they left the house and entered the garden. "I think now I should have kept my palace," she said. "You do not find the cottage dull?"

"Dull? Oh, no!"

He was surprised that she gave every hint of disapproving of his remark. She cast speculative eyes upon the sky, turned a power-ring, and made a garish royal blue tint where a moment ago there had been a relatively subdued sunrise. She added broad streaks of bright red and yellow. "So!"

Beyond the willows and the cypresses was what remained of the wasteland. "Here," she said, "is what Jagged told us was to be our canvas. It can contain anything — any folly the human mind can invent. Let us make it a splendid folly, Jherek. A vast folly."

"What?" He began to cheer, though forebodings remained. "Shall we seek to outdo the Duke of Queens?"

"By all means!"

He was dressed in modest dove-grey today; a frock-coat and trousers, a waistcoat and shirt. He produced a tall hat and placed it, jaunty, on his head. Hand went to ring. Columns of water seemed to spring from the ground, as thick as redwoods, and as tall, forming an arch that in turn became a roof through which the sun glittered.

"Oh, you are too cautious, Jherek!" Her own rings were used. Great cliffs surrounded them and over every cliff gushed cataracts of blood, forming a sea on which bobbed obsidian islands filled with lush, dark vegetation; and now the sun burned almost black above and peculiar sounds came to them across the ocean of blood, from the islands.

"It is very grand," said Jherek, his voice small. "But I should not have believed…"

"It is based on a nightmare I once had."

"A horse?"

"A dream."

Something dark reared itself from the water. There was a brief flash of teeth, reminiscent of the creatures they had encountered in the Palaeozoic, of a snake-like and powerful body, an unpleasant rushing sound as it submerged again. He looked to her for an explanation.

"An impression," she said, "of a picture I saw as a girl, at the Crystal Palace I think. Oh, you would not believe some of the nightmares I had then. Until now I had forgotten them almost completely. Does the scene please you, Jherek? Will it please our friends?"

"I think so."

"You are not as enthusiastic as I had hoped you would be."

"I am. I am enthusiastic, Amelia. Astonished, however."

"I am glad I astonish you, Jherek dear. It means, then, that our party has every chance of success, does it not?"

"Oh, yes."

"I shall make a few more touches but leave the rest until later. Let us go into the world now."

"To —?"

"To offer invitations."

He acquiesced and called for his locomotive. They boarded her, setting course for Castle Canaria where they hoped to find the Iron Orchid.