Back City of Saints and Madmen
Chapters (42)
  1. Title Page
  2. Copyright Notice
  3. Dedication
  4. City of Saints and Madmen
  5. Dradin, in Love
  6. 1
  7. The Hoegbotton Guide to the Early History of the City of Ambergris
  8. 1
  9. The Cage
  10. 1
  11. The Transformation of Martin Lake
  12. The Strange Case of X
  13. Shriek: An Afterword
  14. AN AFTERWORD TO THE EARLY HISTORY OF AMBERGRIS
  15. PART I
  16. 1
  17. 5
  18. PART II
  19. 1
  20. 4
  21. A (BRIEF) AFTERWORD BY SIRIN
  22. Finch
  23. MONDAY
  24. 1
  25. TUESDAY
  26. 1
  27. WEDNESDAY
  28. 1
  29. THURSDAY
  30. 1
  31. FRIDAY
  32. 1
  33. SATURDAY
  34. 1
  35. SUNDAY
  36. ACKNOWLEDGMENTS
  37. Illustration credits
  38. NOTES
  39. Notes 2
  40. Also by Jeff Vandermeer
  41. A Note About the Author
  42. Newsletter Sign-up

I tore my gaze from the ceiling. I had to. Otherwise my thoughts would have remained up there, trapped, during the entire opera. (It stunned me to see such a thing aboveground. It reinforced a thought that had come to me more and more frequently during the war: if that which belonged belowground came above- ground, why should I remain aboveground? I was like a sailor who falls overboard and reaches for the light, only to find that the light is false, and he has descended into even greater depths.) And yet, haven’t we all seen things much stranger since the beginning of the Shift? Thinking of that ceiling now, I’m oddly unmoved. I’ve been undone by too many miraculous sights, both holy and unholy.

No one had tickets, but that didn’t mean we had good seats. Even during the war (especially during the war!), there remained hierarchies, and hierarchies within hierarchies. Lacond could have sat in the orchestra area with one guest, but that would have meant leaving the rest of us behind. Guided to the top row, we had to lower our heads for fear of bumping them against the balcony ceiling (a comforting white, that ceiling, at least). The seats were hard wood—hard indeed for an opera that promised six acts and only one intermission. Above us, the dome; below, the fatal curving lunge down to the ground floor seats (which, from that perspective, seemed to go on forever), then up and through them to the orchestra pit and the stage. The balcony smelled like old rotten books. No one had cleaned it for ages. That which from afar had looked both smooth and spotless was, up close, tawdry and sad. Only Sybel, with his lithe frame, seemed comfortable.

Perhaps I remember the opera so clearly because it was the last time anyone saw so many enemies occupying the same space without trying to stick a literal or figurative knife into one another. Agents from both sides of the conflict attended the opera that night, carefully guided through separate entrances, one of which consisted of a large hole in the wall. Anyone considered neutral had been positioned in the middle section of the ground floor, farthest from the exits. (Which made me laugh—should the two sides lose composure and attack each other, the neutrals in the middle would suffer greatly for their nuanced stance.)

Imperious members of the House Hoegbotton, already resembling scions of Empire in their somewhat presumptuous frocks and pleated trousers—if made a bit cadaverous, cloth sliding off elbows, from having to ration their food—made the forced march to their seats. Fixed stares. A few nervous smiles. Many of them wore medals they had awarded to themselves for wartime bravery.