The Best Science Fiction and Fantasy of the Year-Volume Three (14 page)

When we are finished, lying in each other's arms under the thick covers, her hair against my cheek, Rebecca asks me, "Is that thing from your world? Do you know what it is?"

I have told her a little about my past, where I came from—mostly bed-time stories when she cannot sleep, little fantasies of golden spires and a million thronging people, fables of something so utterly different from the village that it must exist only in dream.
Once upon a time there was a foolish man. Once upon a time there was an Empire.
She tells me she doesn't believe me, and there's freedom in that. It's a strange pillow talk that can be so grim.

I tell her the truth about Hanover: "It's nothing like what I remember." If it came from Empire, it came late, after I was already gone.

"Can you really fix it?" she asks.

I smile. "I can fix anything," and I really believe it. If I want to, I can fix anything. I'm just not sure yet I want Hanover fixed, because I don't know what he is.

But my hands can't lie—they tremble to
have at it
, to explore, impatient for the task even then and there, in bed with Blake's lost love.

I came from the same sea the Lady Salt loves. I came as salvage, and was fixed. Despite careful preparation, my vessel had been damaged first by a storm, and then a reef. Forced to the surface, I managed to escape into a raft just before my creation drowned. It was never meant for life above the waves, just as I was never meant for life below them. I washed up near the village, was found, and eventually accepted into their community; they did not sell me to the hill people.

I never meant to stay. I didn't think I'd fled far enough. Even as I'd put distance between me and Empire, I'd set traps, put up decoys, sent out false rumors. I'd done all I could to escape that former life, and yet some nights, sleepless, restless, it feels as if I am just waiting to be found.

Even failure can be a kind of success, my father always said. But I still don't know if I believe that.

Three days pass, and I'm still fixing Hanover, sometimes with help from Shyver, sometimes not. Shyver doesn't have much else to do until the fishing fleet goes out, but that doesn't mean he has to stay cooped up in a cluttered workshop with me. Not when, conveniently, the blacksmithy is next door, and with it the lovely daughter of Growder, who he adores.

Blake says he comes in to check my progress, but I think he comes to check on me. After the Lady Salt left him, he married another—a weaver—but she died in childbirth a year ago, and took the baby with her. Now Blake sees before him a different past: a life that might have been, with the Lady Salt at his side.

I can still remember the generous Blake, the humorous Blake who would stand on a table with a mug of beer made by the hill people and tell an amusing story about being lost at sea, poking fun at himself. But now, because he still loves her, there is only me to hate. Now there is just the brambly fence of his beard to hide him, and the pressure of his eyes, the pursed, thin lips.
If I were a different man. If I loved the Lady Salt less. If she wanted him.

But instead it is him and me in the work room, Hanover on the table, surrounded by an autopsy of gears and coils and congealed bits of metal long past their purpose. Hanover up close, over time, smells of sea grasses and brine along with the oil. I still do not
know
him. Or what he does. Or why he is here. I think I recognize some of it as the work of Empire, but I can't be sure. Shyver still thinks Hanover is merely a sculpture from beneath the ocean. But no one makes a sculpture with so many moving parts.

"Make it work," Blake says. "You're the expert. Fix it."

Expert?
I'm the only one with any knowledge in this area. For hundreds, maybe thousands, of miles.

"I'm trying," I say. "But then what? We don't know what it does."

This is the central question, perhaps of my life. It is why I go slow with Han-over. My hands already know where most of the parts go. They know most of what is broken, and why.

"Fix it," Blake says, "or at the next council meeting, I will ask that you be sent to live with the hill people for a time."

There's no disguising the self-hatred in his gaze. There's no disguising that he's serious.

"For a time? And what will that prove? Except to show I can live in caves with shepherds?" I almost want an answer.

Blake spits on the wooden floor. "No use to us, why should we feed you? House you . . . "

Even if I leave, she won't go back to you.

"What if I fix it and all it does is blink? Or all it does is shed light, like a whale lamp? Or talk in nonsense rhymes? Or I fix it and it kills us all."

"Don't care," Blake says. "Fix it."

The cliffs around the village are low, like the shoulders of a slouching giant, and caulked with bird shit and white rock, veined through with dark green bramble. Tough, thick lizards scuttle through the branches. Tiny birds take shelter there, their dark eyes staring out from shadow. A smell almost like mint struggles through. Below is the cove where Shyver found Hanover.

Rebecca and I walk there, far enough beyond the village that we cannot be seen, and we talk. We find the old trails and follow them, sometimes silly, sometimes serious. We don't need to be who we are in Sandhaven.

"Blake's getting worse," I tell her. "More paranoid. He's jealous. He says he'll exile me from the village if I don't fix Hanover."

"Then fix Hanover," Rebecca says.

We are holding hands. Her palm is warm and sweaty in mine, but I don't care. Every moment I'm with her feels like something I didn't earn, wasn't looking for, but don't want to lose. Still, something in me rebels. It's tiring to keep proving myself.

"I can do it," I say. "I know I can. But . . . "

"Blake can't exile you without the support of the council," Lady Salt says. I know it's her, not Rebecca, because of the tone, and the way her blue eye flashes when she looks at me. "But he can make life difficult if you give him cause." A pause, a tightening of her grip. "He's in mourning. You know it makes him not himself. But we need him. We need him back."

A twinge as I wonder how she means that. But it's true: Blake has led Sandhaven through good times and bad, made tough decisions and cared about the village.

Sometimes, though, leadership is not enough. What if what you really need is the instinct to be fearful? And the thought as we make our way back to the village:
What if Blake is right about me?

So I begin to work on Hanover in earnest. There's a complex balance to him that I admire. People think engineering is about practical application of science, and that might be right, if you're building something. But if you're fixing something, something you don't fully understand—say, you're fixing a Hanover—you have no access to a schematic, to a helpful context. Your work instead becomes a kind of detection. You become a kind of detective. You track down clues—cylinders that fit into holes in sheets of steel, that slide into place in grooves, that lead to wires, that lead to understanding.

To do this, I have to stop my ad hoc explorations. Instead, with Shyver's reluctant help, I take Hanover apart systematically. I document where I find each part, and if I think it truly belongs there, or has become dislodged during the trauma that resulted in his "death." I note gaps. I label each part by what I believe it contributed to his overall function. In all things, I remember that Hanover has been made to look like a man, and therefore his innards roughly resemble those of a man in form or function, his makers consciously or subconsciously unable to ignore the implications of that form, that function.

Shyver looks at the parts lying glistening on the table, and says, "They're so different out of him." So different cleaned up, greased with fresh fish oil. Through the window, the sun's light sets them ablaze. Hanover's burnished surface, whorled with a patina of greens, blues, and rust red. The world become radiant.

When we remove the carapace of Hanover's head to reveal a thousand wires, clockwork gears, and strange fluids, even Shyver cannot think of him as a statue anymore.

"What does a machine like this
do?"
Shyver says, who has only rarely seen anything more complex than a hammer or a watch.

I laugh. "It does whatever it wants to do, I imagine."

By the time I am done with Hanover, I have made several leaps of logic. I have made decisions that cannot be explained as rational, but in their rightness set my head afire with the absolute certainty of Creation. The feeling energizes me and horrifies me all at once.

It was long after my country became an Empire that I decided to escape. And still I might have stayed, even knowing what I had done. That is the tragedy of everyday life: when you are in it, you can never see yourself clearly.

Even seven years in, Sandhaven having made the Past the past, I still had nightmares of gleaming rows of airships. I would wake, screaming, from what had once been a blissful dream, and the Lady Salt and Rebecca both would be there to comfort me.

Did I deserve that comfort?

Shyver is there when Hanover comes alive. I've spent a week speculating on ways to bypass what look like missing parts, missing wires. I've experimented with a hundred different connections. I've even identified Hanover's independent power source and recharged it using a hand-cranked generator.

Lady Salt has gone out with the fishing fleet for the first time and the village is deserted. Even Blake has gone with her, after a quick threat in my direction once again. If the fishing doesn't go well, the evening will not go any better for me.

Shyver says, "Is that a spark?"

A spark?

"Where?"

I have just put Hanover back together again for possibly the twentieth time and planned to take a break, to just sit back and smoke a hand-rolled cigarette, compliments of the enigmatic hill people.

"In Hanover's . . . eyes."

Shyver goes white, backs away from Hanover, as if something monstrous has occurred, even though this is what we wanted.

It brings memories flooding back—of the long-ago day steam had come rushing out of the huge iron bubble and the canvas had swelled, and held, and everything I could have wished for in my old life had been attained. That feeling had become addiction—I wanted to experience it again and again—but now it's bittersweet, something to cling to and cast away.

My assistant then had responded much as Shyver is now: both on some instinctual level knowing that something unnatural has happened.

"Don't be afraid," I say to Shyver, to my assistant.

"I'm not afraid," Shyver says, lying.

"You should be afraid," I say.

Hanover's eyes gain more and more of a glow. A clicking sound comes from him.
Click, click, click.
A hum. A slightly rumbling cough from deep inside, a hum again. We prop him up so he is no longer on his side. He's warm to the touch.

The head rotates from side to side, more graceful than in my imagination.

A sharp intake of breath from Shyver. "It's alive!"

I laugh then. I laugh and say, "In a way. It's got no arms or legs. It's harmless."

It's harmless.

Neither can it speak—just the click, click, click. But no words.

Assuming it is trying to speak.

John Blake and the Lady Salt come back with the fishing fleet. The voyage seems to have done Blake good. The windswept hair, the salt-stung face—he looks relaxed as they enter my workshop.

As they stare at Hanover, at the light in its eyes, I'm almost jealous. Standing side by side, they almost resemble a King and his Queen, and suddenly I'm acutely aware they were lovers, grew up in the village together. Rebecca's gaze is distant; thinking of Blake or of me or of the sea? They smell of mingled brine and fish and salt, and somehow the scent is like a knife in my heart.

"What does it do?" Blake asks.

Always, the same kinds of questions. Why should everything have to have a function?

"I don't know," I say. "But the hill folk should find it pretty and perplexing, at least."

Shyver, though, gives me away, makes me seem less and less from this place: "He thinks it can talk. We just need to fix it
more
. It might do all kinds of things for us."

"It's fixed," I snap, looking at Shyver as if I don't know him at all. We've drunk together, talked many hours. I've given him advice about the blacksmith's daughter. But now that doesn't matter. He's from here and I'm from
there
. "We should trade it to the hill folk and be done with it."

Click, click, click.
Hanover won't stop. And I just want it over with, so I don't slide into the past.

Blake's calm has disappeared. I can tell he thinks I lied to him. "Fix it," he barks. "I mean really fix it. Make it talk."

He turns on his heel and leaves the workshop, Shyver behind him.

Lady Salt approaches, expression unreadable. "Do as he says. Please. The fishing . . . there's little enough out there. We need every advantage now."

Her hand on the side of my face, warm and calloused, before she leaves.

Maybe there's no harm in it. If I just do what they ask, this one last time—the last of many times—it will be over. Life will return to normal. I can stay here. I can still find a kind of peace.

Once, there was a foolish man who saw a child's balloon rising into the sky and thought it could become a kind of airship. No one in his world had ever created such a thing, but he already had ample evidence of his own genius in the things he had built before. Nothing had come close to challenging his engineering skills. No one had ever told him he might have limits. His father, a biology teacher, had taught him to focus on problems and solutions. His mother, a caterer, had shown him the value of attention to detail and hard work.

He took his plans, his ideas, to the government. They listened enough to give him some money, a place to work, and an assistant. All of this despite his youth, because of his brilliance, and in his turn he ignored how they talked about their enemies, the need to thwart external threats.