Chapters (40)
- Title Page
- Copyright Notice
- Dedication
- Epigraphs
- 1. Apollo
- 2. Arete
- 3. Arete
- 4. Maia
- 5. Arete
- 6. Arete
- 7. Apollo
- 8. Arete
- 9. Arete
- 10. Maia
- 11. Arete
- 12. Arete
- 13. Apollo
- 14. Arete
- 15. Arete
- 16. Maia
- 17. Arete
- 18. Arete
- 19. Apollo
- 20. Arete
- 21. Arete
- 22. Apollo
- 23. Maia
- 24. Arete
- 25. Arete
- 26. Apollo
- 27. Arete
- 28. Arete
- 29. Maia
- 30. Arete
- 31. Arete
- 32. Apollo
- Thanks
- About the Author
- Books by Jo Walton
- Newsletter Sign-up
On one of the last days of the Weimar Republic, I ran into my brother Dionysios unexpectedly in a nightclub in Berlin. He was leaning against the wall, half shadowed, a cup in his hand, talking to the piano player. He looked up as I came down the steps and greeted me with a half-smile. He was dressed in black leather, topped off with a leopardskin scarf. He was there for the same reason I was, to save as many as we could, in the teeth of Fate and Necessity. He said something quietly to the pianist, who looked to the saxophonist and played a low D. My brother and I danced together there, cheek to cheek, in that crowded little underground room on the desperate edge of destruction, amid the smoke that was like, and not like, the smoke of sacrifice, and the music that was like, and not like, the music Kebes played on his syrinx that day in the colosseum of Lucia.
Kebes was an enemy, a breaker of guest friendship, a rapist, and a torturer who set up institutional torture in his republic. But none of that is why I turned my lyre upside-down in order to defeat him, or why I killed him in that horrible messy way. The contest was for original composition, any instrument. What Kebes played was not an original composition, it was Gershwin’s “Summertime.” It’s not that he broke the rules of the competition, although he did. He was a plagiarist. He cheated on art, passing off someone else’s work as his own, believing no one would know. Naturally, I would have had to punish that even if he had done nothing else. I sickened of the skinning early on, but I believed that if I kept on inflicting the agony with a promise of the release of death, he would tell me why Athene had given him the syrinx, and how he had learned the music. There were no Masters among the Goodness Group who came from late enough that they would have known or recognized jazz. I couldn’t reveal my knowledge of his plagiarism without giving myself away. Torture is irritatingly ineffective: he taunted me for as long as he could, but he refused to answer my questions and died without telling me. (How I eventually learned the answers is part of another story, which I may tell you one day.)