Elizabeth Kerner - Song in the Silence

As a translator/transcriber, I feel the frustration common to all those faced with similar difficulties. The jaws, throats, teeth and tongues of Dragons are vastly different from those of humans. It is not, therefore, surprising to realise that the written forms of these names are approximations only. The names of Dragons are not commonly known, nor are they often seen in print! I have therefore attempted to spell them as they are pronounced. Often in English there are graphs (letters) that are present for historical purposes; this is not the case with Dragon names in this volume.

Vowels are essentially those of Italian or Hawaiian, each with a consistent value and always pronounced. A rough guide would be:

a = ah, as in father

e = ay, as in say

i = ee, as in see

o = oh, as in vote

u = oo, as in true Consonants are essentially as in English, with a few exceptions:

K before a vowel is always followed by an aspirant (h) R, unless initial, is always "soft" and slightly rolled Labials (m, p, b) are generally unpronounceable by Dragons without a great deal of practice, with one exception. The "m" of Mirazhe's name is so written to indicate the nearest English equivalent of the actual sound, which is very like a nasal liquid. Lanen heard it as "m."

The plosive that occurs between s and r (-khistri-, -issdra-) may be represented by either d or t in English—the pronunciation lies somewhere between.

Hadretikantishikrar(Hah-dray-tee-khan-tee-shee-krahr), primary accent on the last syllable, strong secondary on the first, weak secondary accent on the fourth. Usename Shikrar, accent on the second syllable. He also has a formal usename, Hadreshikrar(Hah-dray-shee-krahr), accent on the third syllable.

Iderrikanterrisai(Ee-deh-ree-kahn-teh-ree-sah-ee). Primary accent on the last syllable, strong secondary on the first, weak secondary on the fourth. Use name Idai(Ee-dah-ee), accent on the second syllable. Formal usename, Iderrisai(Ee-deh-ree-sah-ee), accent on the penultimate syllable.

Khétrikharissdra(Khay-tree-khar-eess-drah). Primary accent on the penultimate syllable, secondary on both first and second. Usename Kédra(kay-drah), accent on the first syllable.

Khordeshkhistriakhoris pronounced roughly, in English (core-desh-kiss-tree-ah-core), with the primary accent on the penultimate syllable and a secondary accent on the first syllable. His usename, Akor, is pronounced [ah-core], accent on the first syllable. The fact that Lanen's pronunciation of his name is written without the aspirant throughout indicates that she could not reproduce the aspirant, or indeed was unaware of its existence. A diminutive of his name, Akhorishaan(Ah-core-ee-shaan), is occasionally used.

LanenThere appears to be some confusion as to the proper pronunciation of Lanen's name. It is pronounced (lah-nen ky-lar). The accent is on the first syllable for both names. And since English does not often make use of the "ae" spelling, it should be noted that the first syllable, Kae, rhymes with sky.

Mirazheshakramene(Mee-rah-zhay-shah-krah-may-nay). The primary accent, again, is on the next-to-last syllable, with a secondary accent on the second syllable. Her usename, Mirazhe, is simply the first three syllables of her name, accent on the second syllable,

Shurishkerrikaan(Shoo-reesh-kher-ree-kahn). Primary accent on the last syllable, secondary on both first and second. Usename Rishkaan(Reesh-kahn), accent on the second syllable.

I count myself fortunate to have been the recipient of so much love and support from so many good friends over the years. I cannot possobly say in this small space the thanks I owe to them all, but let me do what I may.

A deep bow and thousands thanks to Claire Eddy of Tor Books for taking on the mammoth task of breaking in a new writer, for her encouragement in the face of endless revisions, and for being willing to take a chance o my work. Thanks also to Betty Ballantine for making the time and taking the trouble to read the original manuscript and pass it on, and again to Deborah Turner Harris for well-timed kick in my direction and a kindly word in Betty's hear.

And, in chronological order—thanks to Sue Davis Claus for putting up with me and this story from the very beginning, and for being the inspiration for "Mead Paul and Brandy," where this all started (and Sue, here is your formal apology for the time I knocked you over in my rush for a pen and a paper); to James Quinck, my hanai brother, for his constant love and support over the long years; to the late Harry Phelps, for confidence in my work and belief in myself; to Mary and the late Curtis Scott, for their solid friendship and for reading my short story and telling me it was a nce sketch, but when was I going to write the book; to Jan Buckley for reading damn near every version (now that is friendship) and telling me she enjoyed it; and to Betsy Palmer, soul-sister, patient friend and teacher, for throwing me a rope when I most needed it.

Thanks, guys.

—Elizabeth