China Mieville - Kraken

Billy followed him past the industrial-rendered decapods and octopuses, illuminated by fluorescent lights. The presence of Billy’s dream was persistent, like water in his ears. He hung back until the man turned a corner, then ducked away and ran as quietly as he could, accelerating through the echoes of his footfalls. He held his breath. At a junction he stopped, pressed his back against a wall and looked around.

Different subspecies in cement. Perhaps he could track his way by remembering cephalopods. He had no idea where to go. He heard the footfall of his escort seconds before the man reappeared. The man gestured at him, an uncomfortable beckoning.

“They’re waiting for you,” he said. Billy followed the man through the hollowed-out churchland into a hall big enough and unexpected enough that Billy gasped. All without windows, all scooped out from under London.

“Teuthex’ll be here in a minute,” the man said, and left.

There were pews, each with a slot behind its backrest, a space for hymnals. They faced a plain Shaker-style altar. Above it was a huge, beautifully wrought version of that many-armed symbol, all elongate S-curves in silver and wood. The walls were covered in pictures like ersatz windows. Every one was of giant squid.

There were grainy deep-sea photos. They looked much older than should have been possible. There were engravings from antique bestiaries. There were paintings. Pen-and-ink renditions, pastels, suggestive op-art geometries with fractal suckers. He recognised not a single one. Billy had grown up on pictures of kraken and books of antique monstrosities. He sought an image he knew. Where was de Montfort’s impossible octopus hauling down a ship? Where the familiar old renderings of Verne’s poulpes?

One eighteenth-century giant-squid pastoral-a large, camp rendition of a young Architeuthis gambolling in spume, near a shore from where fishermen watched it. A semiabstract rendition, an interweaving of pipelike brown jags, a nest of wedges.

“That’s Braque,” someone said behind him. “What did you dream?”

Billy turned. Dane was there, his arms folded. In front of him was the man who had spoken. He was a priest. The man was in his sixties, with white hair, neatly trimmed beard and moustache. He was exactly a priest. He wore a long black robe, white dog collar. Just a little battered-looking. His hands were clasped behind him. He wore a chain, from which dangled the squid symbol. They three stood in the sheer silence of that submerged chamber, staring at each other.

“You poisoned me,” Billy said.

“Come come,” said the priest. Billy held a pew and watched him.

“You poisoned me,” Billy said.

“You’re here, aren’t you?”

“Why?” said Billy. “Why am I? What’s going on? You owe me… an explanation.”

“Indeed,” said the priest. “And you owe us your life.” His smile disarmed. “So we’re both indebted. Look, I know you want to know what’s happened. And we want to explain. Believe me, you need to understand.” He spoke in a carefully neutral accent, but there was a little Essex to it.

“Are you going to tell me what all this is?” Billy glanced around for exits. “All I got from Dane yesterday was-”

“It was a bad day,” the man said. “I hope you feel better. How did you dream?” He rubbed his hands.

“What did you give me?”

“Ink. Of course.”

“Bullshit. Squid ink doesn’t give you visions. That was acid or something…”

“It was ink,” the man said. “What did you see? If you saw things, it was down to you. I’m sorry that it was all a bit of a rude submersion. We really had no choice. Time is not on our side.”

“But why?”

“Because you need to know.” The man stared. “You need to see. You need to know what’s going on. We didn’t give you any visions, Billy. What you saw came from you. You can see things clearer than anyone.”

The man stepped closer to the picture. “I was saying, Braque,” he said, “in 1908. Bertrand Hubert, the only French Teuthex we’ve ever had, took him out to sea. They were in the Bay of Biscay for four days. Hubert performed a particular ritual, of which sadly we no longer have much record, and brought up a little god.

“He must have been pretty powerful. He’s the only one since Steenstrup who’s been able to tickle up more than images. The actual… fry. So the godling waited while Braque, falling over himself and nearly overboard, apparently, sketched it. It went under waving a hunting arm as Braque said ‘exactement comme un garçon qui dit ‹au revoir› aux amis.’” He smiled. “Silly beggar. Not the slightest idea. It was “comme” nothing of the sort. Sounds odd, but he said it was the coiliness of what he saw that made him think in angles. He said no curves could do justice to the coils he’d seen.”

Cubism as failure. Billy walked to another picture. More traditionally representational-a fat, flattened giant squid mouldering on a slab, surrounded by legs in waders. Quick, wisping brushstrokes. “Why did you drug me?”

“That’s Renoir. That over there, Constable. Pre-Steenstrup, so it’s what we call the atramentous epoch. Before we emerged from the ink-cloud.” The works around Billy looked suddenly like Manets. Like Piranesis, Bacons, Breughels, Kahlos.

“Moore’s my name,” the priest said. “I am very sorry about your friend. I sincerely wish we could have stopped that.”

“I don’t even know what happened,” Billy said. “I couldn’t tell what that man…” He swallowed into silence. Moore cleared his throat. Behind heavily framed glass was a flattish surface, a slatey plane. It was brown-grey rock perhaps two feet square. In organic lines, in charcoal ink and stained a dried-blood red, overlooked by outlined human figures, was a torpedo shape; a conclave of spiral whips; a round black eye.

“That’s from the Chauvet Cave,” Moore said. “Thirty-five thousand years old.” The carbon eye of the squid looked across epochs at them. Billy felt vertigo at the preantique rendition. Was it meant to be seen in the licking of a fire light? Women and men with sticks and deft fingertip smuts rendering what had visited at the edge of the sea. What had raised many arms in deepwater greeting while they waved from rockpools.

“We’ve always commissioned,” Moore said. “We show them god.” He smiled. “Or god’s young. That’s what we used to do.

“Since the end of the atrament we can generally only offer dreams. As we did you. How Hubert called up a young god we don’t know. Even the sea won’t tell us. And we’ve asked it. You’ve seen the young, Billy. Baby Jesu.” He smiled at his little blasphemy. “That’s what you preserved. Architeuthis is kraken-spawn. Gods are oviparous. Not just our gods, all gods. God-spawn’s everywhere if you know where to look.”

“What was that tattoo?” Billy said.

“Those kraken that make it to the last stage?” Moore jerked his thumb at the cave painting. “They sleepeth, is what they do,” he quoted. “‘Battening upon huge seaworms,’ as they say. They’ll rise only at the final end. Only in the end, when ‘latter fire heats the deeps’”-he did quote fingers-“only then to be seen once, roaring they shall rise and on the surface die.”

Billy looked past him. He wondered how the search of his almost-colleagues was going, whether Baron, Vardy, and Collingswood were making headway as they looked for him, as they must be doing. With a moment’s startling clarity he imagined Collingswood with her so un-uniform uniform and swagger knocking heads together to find him.

“We were there at the beginning,” Moore said. “And we’re here now. At the end. Baby gods have started manifesting all over. Kubodera and Mori. That was just the first. Pictures, video, making themselves known. Architeuthis, Mesonychoteuthis, unknowns. After all those years of silence. They’re rising.