“I will, Rebecca. Rebecca, I will. In just a minute. But now, I need you to leave.” He was trembling from mixed horror at the thought that he might never say her name again and relief, because now he knew why he loved her.

Then her weight was gone as she moved past him to the door and, perversely, his burden returned to him.

The thing had not moved from the balcony. It was not truly invisible but camouflaged itself by perfectly matching its background. The bars of a cage. The spaces between the bars. A perch. He could only glimpse it now because it could not mimic the rain that fell upon it fast enough.

Hoegbotton walked out onto the balcony. The rain felt good on his face. His legs were numb so he lowered himself into an old rotting chair they had never bothered to take off the balcony. While the thing watched, he sat there, staring between the bars of the balcony railing, out into the city. The rain trickled through his hair. He tried not to look at his hands, which were tinged green. He tried to laugh, but it came out as a rasping gurgle. The thought came to him that he must still be back in the mansion with the woman and the boy—that he had never really left—because, honestly, how could you escape such horror? How could anyone escape something like that?

The thing padded up to him on its quiet feet and sang to him. Because it no longer mattered, Hoegbotton turned to look at it. He choked back a sob. He had not expected this. It was beautiful. Its single eye, so like Rebecca’s eyes, shone with an unearthly light, phosphorescent flashes darting across it. Its mirror skin shimmered with the rain. Its mouth, full of knives, smiled in a way that did not mean the same thing as a human smile. This was as close as he could get, he knew now, staring into that single, beautiful eye. This was as close. Maybe there was something else, something beyond. Maybe there was a knowledge still more secret than this knowledge, but he would never experience that.

The thing held out its clawed hand and, after a time, Hoegbotton took it in his own.

The Transformation of Martin Lake

A fresh river in a beautiful meadow

Imagined in his mind

The good Painter, who would someday paint it

—Comanimi

If I was strange, and strange was my art,

Such strangeness is a source of grace and strength;

And whoever adds strangeness here and there to his style,

Gives life, force, and spirit to his paintings …

—Engraved at Lake’s request on his memorial in Trillian Square

Few painters have risen with such speed from such obscurity as Martin Lake, and fewer still are so closely identified with a single painting, a single city. What remains obscure, even to those of us who knew him, is how and why Lake managed the extraordinary transformation from pleasing but facile collages and acrylics, to the luminous oils—both fantastical and dark, moody and playful—that would come to define both the artist and Ambergris.