Chapters (65)
- Prologue
- Part One: Channels
- Chapter One
- Chapter Two
- Chapter Three
- Chapter Four
- Chapter Five
- Interlude I: Elsewhere
- Interlude II: Bellis Coldwine
- Part Two: Salt
- Chapter Six
- Chapter Seven
- Chapter Eight
- Chapter Nine
- Chapter Ten
- Chapter Eleven
- Chapter Twelve
- Chapter Thirteen
- Chapter Fourteen
- Interlude III: Elsewhere
- Part Three: The Compass Factory
- Chapter Fifteen
- Chapter Sixteen
- Chapter Seventeen
- Chapter Eighteen
- Chapter Nineteen
- Chapter Twenty
- Interlude IV: Elsewhere
- Part Four: Blood
- Chapter Twenty-One
- Chapter Twenty-Two
- Chapter Twenty-Three
- Chapter Twenty-Four
- Chapter Twenty-Five
- Chapter Twenty-Six
- Interlude V: Tanner Sack
- Interlude VI: Elsewhere
- Part Five: Storms
- Chapter Twenty-Seven
- Chapter Twenty-Eight
- Chapter Twenty-Nine
- Chapter Thirty
- Chapter Thirty-One
- Chapter Thirty-Two
- Interlude VII: Basilisk Channel
- Interlude VIII: Elsewhere
- Part Six: Morning Walker
- Chapter Thirty-Three
- Chapter Thirty-Four
- Chapter Thirty-Five
- Chapter Thirty-Six
- Chapter Thirty-Seven
- Chapter Thirty-Eight
- Chapter Thirty-Nine
- Chapter Forty
- Interlude IX: The Brucolac
- Part Seven: The Lookout
- Chapter Forty-One
- Chapter Forty-Two
- Chapter Forty-Three
- Chapter Forty-Four
- Chapter Forty-Five
- Chapter Forty-Six
- Chapter Forty-Seven
- Coda: Tanner Sack
The men around him are beginning to scream, but they are pushed on by the force of their fellows behind. They move sluggishly toward Doul, who is in the air, his legs bent under him, turning amid a pattering of bullets. He fires with new guns and hurls them away into the faces of more enemies, then lets his feet touch down again. He has a last pistol in his hand and is moving it from face to cringing face, firing, leaping, and throwing it aside, kicking out with bent legs, a stampfighting move, breaking a cactus-man’s nose and pushing him back into the bodies of his Crobuzoner comrades.
Bellis watches, breathing hard, unmoving. Everywhere else the fighting is ugly: contingent and chaotic and stupid. She is aghast that Doul can make it beautiful.
He is still again for a moment as the Crobuzoner troops regroup and surround him. He is hemmed in. Then Doul’s ceramic blade flashes like polished bone.
His first strike is precise, a thrust too fast to see that pushes into a throat and flicks out again in a spray of sap, drowning a cactus-man in his own life. And then Uther Doul is tightly encircled and he cries out his own name again, quite unafraid, and his stance changes, and he reaches across his body, releasing the pent-up motor on his belt, turning on the Possible Sword.
There is a crack like static, and a hum in the air. Bellis cannot see Doul’s right arm clearly. It seems to shimmer, to vibrate. It is unstuck in time.
Doul moves (dancing) and turns to face the mass of his attackers. His left arm flails backward with loose, simian grace, and with shocking speed he raises his weapon arm.
His sword blossoms.
It is fecund, it is brimming, it sheds echoes. Doul has a thousand right arms, slicing in a thousand directions. His body moves, and like a stunningly complex tree, his sword arms spread through the air, solid and ghostly.
Some of them can hardly be seen; some are quite opaque. All move with Doul’s speed; all carry his blade. They overlap and move through each other-and bite where they land. He cuts left to right and right to left, and down and up, and he stabs and parries and slashes savagely, all at once. A hundred blades block every attack that his enemies make, and countless more retaliate brutally.
The men before him are carved and lacerated with a palimpsest of monstrous wounds. Doul strikes, and blood and screams welter up from around him in unbelievable gouts. The New Crobuzon sailors are frozen. For a second, they watch their comrades fall in bloody death. And Uther Doul moves again.