Mike Allen - Clockwork Phoenix

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Clockwork Phoenix: краткое содержание, описание и аннотация

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You hold in your hands a cornucopia of modern cutting-edge fantasy. The first volume of this extraordinary new annual anthology series of fantastic literature explodes on the scene with works that sidestep expectations in beautiful and unsettling ways, that surprise with their settings and startle with the manner in which they cross genre boundaries, that aren’t afraid to experiment with storytelling techniques, and yet seamlessly blend form with meaningful function. The delectable offerings found within these pages come from some of today’s most distinguished contemporary fantasists and brilliant rising newcomers.
Whether it’s a touch of literary erudition, playful whimsy, extravagant style, or mind-blowing philosophical speculation and insight, the reader will be led into unfamiliar territory, there to find shock and delight.
Introducing CLOCKWORK PHOENIX.
Author and editor Allen (
) has compiled a neatly packaged set of short stories that flow cleverly and seamlessly from one inspiration to another. In “The City of Blind Delight” by Catherynne M. Valente, a man inadvertently ends up on a train that takes him to an inescapable city of extraordinary wonders. In “All the Little Gods We Are,” Hugo winner John Grant takes a mind trip to possible parallel universes. Modern topics make an appearance among the whimsy and strangeness: Ekaterina Sedia delves into the misunderstandings that occur between cultures and languages in “There Is a Monster Under Helen’s Bed,” while Tanith Lee gleefully skewers gender politics with “The Woman,” giving the reader a glimpse of what might happen if there was only one fertile woman left in a world of men. Lush descriptions and exotic imagery startle, engross, chill and electrify the reader, and all 19 stories have a strong and delicious taste of weird.
(July) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. From

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So at last, assured, he went to her, and leaning over her, measured and gauged her with his learned hands and fiery eyes.

* * *

Three hours was the time Copper had quoted for his companion, Prince Nine.

But Leopard and The Woman entered a timeless zone.

Which in fact lasted the rest of the day, all one night, and some space of the subsequent morning.

Leopard coaxed and seduced and adored and magnified The Woman. With acts not words he laved her body with caresses, used on her a musician’s hands, a poet’s mouth like velvet, a tongue like streams and feathers and bees, a sexual organ like a magician’s tireless and world-ordering wand. Again and again he brought her to the prolonged spasm of ecstasy.

Sometimes even she might emit a squeak of pleasure, though generally she was noiseless in culmination, only the ripples of her loins and belly giving evidence of achievement.

How he loved her.

Her fat, barrel-shaped form with its sallow, coarse, slightly blotchy carapace of skin. Her shapeless breasts. The thin hair that meagrely clad both her head and the heavenly, wide gate between her short legs. He loved her spatulate hands and ridged nails, and the nails of her toes from which the paint had worn, leaving them like ten square and striated rocks. He loved her teeth, which were so charmingly discoloured, and her sugar-sour breath. The ordinary non-profundity of her face. Her arrogance and indifference he loved too, though they lashed him with tragic fear of failure. And her gelid eyes. Even these—though they condemned him, surely.

Ah gods, even in victory over the reluctant, grudging climaxes of her body, Leopard at last heard the lament of approaching defeat.

Long before the night wore out, the red dawn—no longer peach but bloodied wine—he knew in his heart’s heart he had not won her. And never could. None could.

None .

3. The Reject

All that day-night-day, Copper paced his apartment.

It comprised three rooms and a private courtyard on the roof. He went from one area to another, climbing up, descending, walking, turning. Now and then he touched something. A small statue of a dancing lion, a cup of black onyx, a little dagger of twisted wood Leopard had carved and given him when Copper was only five years old.

Copper wept. Chided himself and blotted up his tears. Cursed Fate and The Woman, cursed life and the world. Flung himself in a chair, wrote down his thoughts without coherence, got up and paced again, wept again, chided and blotted and cursed—again. Again.

Gods knew, if only Leopard had loved only men. There were male men who did so. Some of Copper’s nicest ‘lads’ were like that, and those like Copper, if not pretty enough to make their way, came to such gallants for solace. One indeed had married a male man from Copper’s wine-house, and they had lived happy now three whole years.

But Leopard was only Man.

So many men, despite dalliances with their own gender, were only—Men.

And so: The Woman of the Crimson City.

Copper knew, despite his hopes and wishes, and Leopard’s glamour and virtue, that The Woman would not want him for long. She had never wanted any of the ones who devoted their dreams to her and then passed all the required examinations but one. For to meet and make love with The Woman was the Ultimate Test. No man had ever passed it. Evidently. Or she would not be there still, hung like an over-ripe yellow fruit, cruel and evil with her thorns, on the tree of human longing.

How the gods must hate mankind, to do this to them.

The hours ground away under Copper’s pacing, weeping and cursing.

About sunfall, the man he had sent to watch the Palace’s Lower Gate bounded up Copper’s stair and beat on the door.

“What’s happened, Heron?”

But Heron was crying. His tears spoke loudly, in an uncouth bellow.

“So then,” said Copper, gripping in his own emotion, “did he emerge from the Gate?”

“Yes, oh yes—oh gods, I’ve seen old gentlemen whose white beards brushed the earth, whose backs were humped with age like a camel’s—and they walked more sprightly than your brother, lovely Leopard.”

“Where did he take himself?”

“Towards the bank of the river—”

And?

“And my companion, Lamplit, our best runner as you know, sped after and caught him. Then Tomorrow, my other friend from next door, ran up too. They took hold of him and are bringing him here now. But slowly. He can barely move, Copper Coin.”

Copper whispered a curse then that curled up the air of the apartment. The sun too seemed to wither in it and threw herself off over the precipice of the horizon. Dusk veiled everything. Nightingales and tweet-birds sang from the tall scent tree outside.

One more hour later, when the sky was black and the bright windows and rosy lanterns of the city showed the path, Lamplit and Tomorrow helped Leopard into Copper’s reception chamber.

“Drink this.”

“Nothing. Please. Give me nothing.”

“Darling Leopard. It’s myself offers the drink. Look. Do you see me? Your brother. “

“I see you, dear. But take the cup away. The dead need no food, no water.”

Finally, persuaded to one sip, the kindly soporific in the drink took its effect.

Leopard was laid on the second bed, his head on pillows of silk.

But even sleeping, his face was old, and ruinous. He looked like a man who must soon die.

The physician came. This doctor was of high quality and learning, but once Copper told him why Leopard was distressed and ill the physician bowed his head. “I shall do whatever I am able. But I also had a brother once. This was thirteen years ago. He too went after The Woman, and won through to her. When she cast him out he lived only two months. We watched him night and day in case he tried to poison or hang himself. But in the end, without assistance of bane or rope or blade, he simply died. It was through his death I set myself to learn medicine, to understand the windings of the human intellect. But I doubt I can help you, or your brother.”

“She’s vilely wicked,” said Copper, “The Woman. A demoness sent up from the hells to destroy us.”

“Perhaps,” said the physician.

Then Leopard woke up and the physician set to work on him. Seven days, and the nights between them, trudged by.

Then seven more.

Copper went on with his usual duties, but refused all those clients he normally had pleasure with. He explained to them privately that he could experience no pleasure at this time. Only Prince Nine was permitted to arrive frequently, and he simply to talk with Copper, gratis, to steady him and try to ease his sorrow.

In the end Leopard began to be seen. He would walk in the courtyard or sit there quietly on his own. At evening, sometimes, he would dine at the communal table of the wine-house, if not in Copper’s apartment.

Regular customers treated him with care, and with respect and sympathy. If they were jealous of his having been a finalist, and briefly winning The Woman and lying with her, they curbed themselves. Decidedly they could see where his moment of success had afterwards dragged and abandoned him. He seemed quite soulless. He seemed part dead.

One evening a newcomer entered the wine-house, and sat down at the main table. He was an older man, of fine physical appearance, and perhaps a philosopher.

He spoke directly to Leopard, in an actor’s clear voice. “So you are the unlucky fellow who fucked the great bitch in the Palace?” he said.

Instantly silence deafened the room.

Heron, who had been eating, got up without a word and went straight to knock at Copper’s door, despite the fact Copper was just then entertaining a prince of the High Family of the Ninety-Two.

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