Was art, then, nothing more than a stumbling, half-blind journey back into the wilderness, with each path selected in groping isolation, endlessly rediscovering what should have been already known, reinventing what already existed, recreating the beauty of what had already been slain?

It would be a shock indeed, should an artist reach this revelation: comprehending the relationship of their art with murder, with generations of destruction, and with this long, long journey away from those first hearth-fires, in that first forest, when the enemy at hand was first glimpsed, like a spark in the mind, and from it was born the first fear. The first unknown.

If imagination’s birth had come from something as ignoble as fear, then, at last, Kellaras understood this eternal war. By a wilful twist of the mind, he could of course choose to be selective in what he saw, and what he felt, and, from those two forces in combination, in what he believed. A brightly gaze, then, to paint the world with the bliss of optimism, and every wonder crafted by the hand, whether mundane tool or glorious edifice, as symbols of the triumphant spirit. But each such pronouncement, no matter how bold the assertion, or how adamant the claim to virtue, was but a cry in the face of a deeper silence, a silence in which lurked a vague unease, a yearning for something else, something more.

Lift high gods and goddesses, if you will. Dream of exaltation, in what the altar bleeds, in what the fires burn, in what art we raise, in what industry we occupy our lives. Each is lifted into view from an ineffable need, a yearning, a hunger to fill some empty space inside.

Our spirits are not whole. Some crucial piece has been carved from them. If we go back, and back, to a forest such as this one, and make for ourselves an entire world of the same, we come to the silence, and the isolation, and the seed-ground of our every thought, beaten down, unlit and awaiting the season’s turn. We come to our beginning, before the walls, before the keeps and towers, with nothing but living wood encircling our precious glade.

In such a place, the gods and goddesses must step down from the high heavens, and kneel, with us, in humility.

But Kellaras was not so naïve as to imagine such a return. The rush and the conflagration of progress were demonic in their intensity. And we stake our lives in this fight for our place in things we ourselves invented. And in our new world, nature is indeed very far away.

Rounding a slow wend in the road, he caught his first glimpse of the outer wall of the Tulla estate. The past summer’s vines made a stark, chaotic latticework upon those walls, like withered veins and arteries drained of all life. The track straightened before a gateway, and beyond, centred amidst expansive grounds, rose the estate itself, built upon massive Azathanai foundation stones. Various outbuildings clustered to either side of the structure, including stables and a mill. Riding through the gateway, Kellaras saw the frozen sweep of a fishpond on his left, and three rows of leafless fruit-bearing trees on his right.