When they wake up, she still isn't back.
[Jane?]
No response.
Kas teleports down to the Janepoint, Petaal wrapped snake-shaped around his shoulders.
The display reads: error 7788: lycanthropy
"...So that's new," he says.
"No shit," says Petaal. "Now what?"
He shrugs. She coils tighter.
"Hang around and wait, I guess."
It's four days later, with no Isabella walking through the door from Milliways, and no change in Jane, when a witch queen next shows up to meet with the revolutionary young witch (who is now, thanks to some savvy dead people, widely rumored to be responsible for the funny dreams everyone's been having about their loved ones). Queen Atassa Mikalmia knocks on the door.
He eats his muffin.
He changes his clothes.
He puts Isabella's alethiometer downstairs at the Janepoint and makes the room impassable and its contents inviolable to anyone but himself and his girlfriend.
He packs his own alethiometer in a little backpack, and closes and locks the door, and pins a note to it: Isabella Amariah is gone on important business and may be some time.
And then he teleports to a random city on the same continent.
It's not all that different, really, from having her waiting for him at home. There's only the one thing between them.
But she isn't waiting for him at home, and it is different, and he hates it more than a little.
He drifts around the States, then up into Canada. He visits his friend Augustine in Quebec City. While he's there, staying in a mediocre hotel, he buys a postcard.
He writes on it: I miss you. And when he checks out of his hotel, he drops it in the trash.
At least in this subworld in the Alethia sheaf, the effects of the revamped afterlife slowly becomes more well-known and well-acknowledged. People who have communicated with dead individuals go on television and talk about it. Several dead people are haphazardly dictating books. Amariah made it so inconvenient and - relatively speaking - pointless enough to return to life that not many have done it, but the first few are met with fanfare and media deals.
After the first one, he writes more postcards. None of them reach the mail. Sometimes he's passing by a store and sees a cute one that he wants to write on; other times, he thinks of something to write and goes out and gets a postcard.
I love you. I miss you.
You wouldn't believe the cookies we just made. Love you.
Got laid last night! Fuck, I miss you.
A month goes by like this, and then another one. He shoves his postcards down gutters and into recycling boxes and occasionally burns one.
Eventually, he checks on the house.
For lack of anywhere better to go, he takes Petaal to the cloudpine forest where they cut their first branch - the long way, no teleporting. They cut another one and fly to England. Why England? Well, why not?
A lot of things are like that, these days.
He cries. He writes a postcard about it. He writes a postcard apologizing for the postcard about crying. He giggles over that one for so long that he starts crying again, and a stranger asks if he's all right, and he says his girlfriend might be dead, and the stranger says that's not so bad these days, and he wants to hit something but instead he just cries some more.
His supply of coins is - well, not running low, but it's been neglected for a while. He and Petaal spend a week on a certain asteroid replenishing it in creative ways. He feels better for a little while after that, until the next time he bursts into tears in the middle of breakfast.
It occurs to him one day that he hasn't seen a movie in a while, so he spends a day in a movie theatre, writing on his tickets like they're postcards before he throws them out and goes to get one for the next show. Little miniature reviews about which parts made him laugh or which characters he wanted to fuck or how fucking much he misses her. (He tears that one in half before he throws it away.)
And years.
Dead people go on trickling back into life at a slow, filtered rate. The afterlife is a decent hub for inter-world communication, since they all go to the same place. Witches and scientists alike are talking about finding a way to make permanent gates.
Someone makes a movie about Isabella creating the afterlife. It's fictionalized to hell and back, they spell her second name "Ammaria", it's clear they couldn't get interviews with anyone who knew her more than passingly, and it makes a ridiculous amount of money anyway.
After the movie tickets, his repertoire of things he writes to Amariah on expands considerably. He'll scribble a heart on a grocery receipt or doodle an owl on a bar napkin. He writes her little notes on hotel stationery about who he just fucked and how much he got paid for it.
When the movie comes out, he writes HA FUCKING HA in red Sharpie across the first poster he sees. A few weeks later he gives in and watches the damn thing, and by the end his ticket is too shredded to write on and he doesn't feel like stealing someone else's.
One of the postcards says, I don't know whether I'm writing these to you or to me.
She's been gone fifteen years before Kas is likely to run into any information about the little cult that's sprung up about the latter interpretation.
Sweetie,He signs it with tearstains and sets it on fire.
I can't handle this. I really can't. I miss you too much. I don't know what to do. If you were here I could see you, and if I knew when you were coming back I could wait, and if you were gone forever I could be wrecked about it and then move on. But I know you're coming back, I just don't know when, and it's killing me. I keep wondering what happened, where you are, how you're doing, if you're okay. And I have no idea and no way to find out.
Maybe I'm wrong. Maybe you're not coming back.
I love you.
There are fewer notes after that. Writting the letter helped a little. Less crying, less I miss you. But still plenty of both.
When he finds out about the cult, he considers telling these people that he fucked their messiah, but it would be mostly pointless and only a little bit funny, so he leaves them alone.
Isabella doesn't come home.
The frequency of postcards to nowhere waxes and wanes unpredictably. He stops really counting the years. Twenty, thirty. How old is he? He forgets, he doesn't care; he's as ageless as a witch.
He's friendly and chatty but he doesn't make friends. He drops in on Augustine once in a while, but not very often. When she dies, she invites him to visit and it's the first he hears of it. She tells him that she doesn't think she'll come back anytime soon. He hugs her. Her fur is thick and warm.
They don't talk again after that.
The next postcard he writes, a week later, says: I can't do this anymore.
He burns it, cuddles his sweetie for a while, and leaves that city the next morning.
It's true: he can't do this anymore. He can't live his life around the empty space where Isabella used to be. There's other people he misses, too, but he's not so completely and utterly fucked to hell over the rest of them.
But thinking about the Jokers, about the Joker, makes him realize what he really needs.
He thinks about it for a while. There's no rush. He switches sex and lives that way full-time, to get used to it first, because he's going to be stuck in it a lot longer than the Joker and he doesn't want to get fed up in the middle.
And then, a year and a half after he saw Ranata, Kas wishes himself pregnant.
He doesn't get fed up in the middle.
The baby is born in late summer. He names her Helen.
When she is four months old, being carried along the side of a country road late at night, the moonlight falls on her and she reaches her little hands up and coos intensely. Her daemon - Petaal named her Kalavar - takes the form of a duckling and flaps her small fuzzy wings as though trying to fly.
"What is it, sweetie?" murmurs Petaal.
"Maybe nothing," he says.
But now that he's thought of it...
When he wished himself a child, he never specified a father. Or would that be mother? Whichever way around, he left it to chance. He definitely didn't specify that the kid should be a witch.
He spends a square to conjure an illusion of Helen's other parent.
Helen's other parent has a very familiar face.
"Well, fuck," mutters Kas.
It sticks.
Ranata gets help from a cousin to cast the spell to see what it actually did, and concludes: "It's about Kalavar. Daemons are in Amariah Lytess's portfolio. Helen will have an easier time of separating, when it's time, than most people. Kalavar will be stronger than she looks, too."
Ranata lands and stands quietly, waiting for the queen to acknowledge her.
"Hello, Narida Memma. This is Kas. My daughter was Kas's girlfriend. This is their child Helen Ianthe, conceived by magic I don't understand in spite of her departure. I've birth-blessed her and it stuck. My honored cousin Lisset Arainen does not understand where Helen came from, but I fear for the comfort of her childhood if her parentage were widely rumored. Can you assure the clan that Helen is a witch, and under my shadow a member of the Olympics and that I will have charge of her as she learns to be what she is - and that all is well - but say nothing more?"
Narida peers at Kas.
"That the legendary Isabella Amariah could have performed such a feat, I do not doubt. That she would be motivated to do so - I doubt," she comments.
"I'm pretty sure she didn't mean to get me pregnant with her daughter fifty years after she disappeared," Kas says. "If she did, she didn't tell me, so I couldn't tell you why. She did give me the magic that let me get pregnant without anybody else's help, but I only just figured out that I could use it for that. She might not even have known."
"Narida will put the word out that Helen's mother is not a question of interest, and that I'm sort of fostering her," says Ranata, shrugging. "You were never nearly as well known as Isabella, and even people who might recognize you wouldn't expect you to look like this at this time without having gone revenant, and you don't have the - air of shadow about you that revenants do. People might wonder, but no one will know." She looks at Helen and sighs. "Poor Isabella - when she comes home - she'll have missed so many things, but this most of all."
Kesathi trots up to them and nuzzles grandbaby-daemon as is right and proper. Kesathi can be fierce and toothy, but right now she just looks like a fuzzy critter.
"Hello there, Helen," coos Ranata. "How's my secret grandbaby? Is she cute as a button? She is." She abandons the work in the middle and swings herself onto her cloudpine to come down off the roof and let Charlie have a look, moving slowly so Petaal can follow with Helen's daemon close enough for comfort.
These people do in fact all exist, and the two babies who have been born are playing together on a beach part of the enclave, pushing sand around; they aren't really interacting, just sitting near each other. The elder of them can walk, and she sometimes toddles naked into the frigid water and splashes before her mother determines she's gone too far and fetches her out again.
The middle daemon stops being a kitten and starts being a marmoset, and then a lungfish; he goes a few feet towards the water and is buoyed up slightly by the next wave.
Kas giggles at her.
A week later, the visit draws to a close; Kas collects his daughter and wanders away. He's back in two months, at Ranata's prompting. He decides that the month Helen spends with the witches every year should be August, since so many witchy things seem to depend on birthdays.
He gets back in the habit of burning postcards. Most of them are about Helen, one way or another.
When Helen turns five, she is supposed to start dagger lessons. Work with a blade doesn't start right away; first she has to learn footwork and drawing and some basic moves with a wooden practice dagger. Shura starts at about the same time; she is younger than Helen, but she's been getting early coaching from her mother.
But she knows the fastest way to get her real dagger is to be good with the wood one, so here she is, lunging and slashing it through the air, insulting imaginary enemies. Since she is not even five yet, this mostly consists of calling them: "Frostbitten - um - spinach heads!"
Magic lessons start a bit later, and Helen has these with Shura, too - and also with Inkeri and Kaydi. They begin with simple verse spells, in non-English to discourage making up variations. This doesn't stop Shura from identifying a goddess's name in one spell, replacing it with another, and causing a small explosion and getting a time-out.
There are several in this little book. Simple first-aid, the snow-circle, a spell to thicken liquids so they'll make clear runes without soaking into the ground or splashing, a few they can't use yet that pertain to cloud-pine maintenance. It also has a section about the uses of herbs, although none of the spells in this book actually use them - that's more advanced.
"Uh - make it work faster?" guesses Kaydi.
"Inkeri. The spell on page sixteen invokes Segaard Oskei. What might happen if you substituted Farakhel Nimah?"
"...It would make the liquid hot?" Inkeri supposes.
"Helen. What would happen if you omitted a line from the middle of the snow-circle?"
"Um, it said Amariah Lytess... probably because she does daemons... and I put Farakhel Nimah and it exploded - because she does fire?... um... maybe if I put Yambe Akka it would make something cold?"
The teacher inclines her head. "That spell is actually a very versatile one, which you will be able to vary to assorted effects as an adult; it calls on numbered domains from the named goddess, which in the case you see in your book results in combining your daemon and the full moon, but if the numbers, the goddess, or both are changed can do any number of things. Including make something cold."
"Magic lessons are not the time to make up ludicrous stories," snaps the teacher. "We are working with dangerous forces. Shura could have easily hurt someone playing carelessly with the most basic of spells. Later we learn to control immense forces and to curse and to kill! If your judgment does not even extend to controlling your imagination while I am explicitly telling you to, perhaps you are not mature enough to be studying spells!" She reaches for Helen's book and closes it with a snap; the raven on her shoulder croaks. She looks speculatively at Shura's book, too, and Shura starts sniffling.
"As I was just explaining to Helen," the teacher tells Kas, "we are working with potentially hazardous forces; if she cannot take that seriously, she can study magic later, when she is more mature. It's too dangerous to teach magic to a girl who persists in silly games when receiving serious warnings."
It doesn't come out quite right; she can feel it. She frowns for a moment and then tries again.
"I'm yelling for no reason!"
There it goes. She giggles again.
"It's a little like magical sensitivity, except animals don't react in special ways to enchanted things," says Shura's grandmother, "they can only tell the difference between daemons and animals. In people, being able to tell that easily and quickly usually comes with being able to tell things about magic. The faster a mortal could tell that Kalavar isn't a duck, the more likely they'd be to notice my dagger's enchantments, or my birth blessing, or tell that I'm not a mortal even if I dressed up like one. Of course witches have higher magical sensitivity than mortals do."
Shura's grandmother starts explaining evolution. If animals couldn't tell that daemons were part of people, they could not act correctly afraid of them - which they must do. Daemons don't have to eat for themselves, and if they help their people hunt, they may attack animals that their current shapes would not disturb. Children's daemons are even more versatile; if the ducks were fooled by Kalavar, Helen could hide, Kalavar could go among them, and then she could turn into a fox right on top of a real duck and there would be dinner.
It is later, when Helen is just past her sixth birthday, that Ranata brainphones Kas who is off somewhere. [There's a lovely-looking children's aquarium opening in Chicago,] she says. [I thought perhaps Helen would like it. We could all three go, with Charlie if he's up for the flight but he probably won't be.]
There are touch-tanks, where little human hands can pick up starfish and gingerly run their fingers along urchins and unglue snails from tank walls, and there are swim-tanks, where little humans can cross a bridge or creep through a tunnel into central islands surrounded by inhabited water, and their daemons can turn into penguins - or rays - or trout - or eels - or creative little sea-serpents - or otters - and join similarly shaped creatures in capering around. (There are signs up; it is important to turn into a saltwater or freshwater creature, in the corresponding tanks, although exact shape doesn't matter very much. The aquarium is not responsible if some child's daemon provokes an animal and the daemon is pulled farther from their human than they'd like, although none of the tanks in question are big enough to make this more than moderately uncomfortable. Daemons are not to chase, attack, or frighten the animals.)
"The next time we come to a saltwater swim tank maybe Kalavar can try." It won't make any difference to the inhabitants of the tank whether Kalavar is an octopus or a shrimp or a shark; daemon is daemon, exactly the same threat level as attached person and less edible due to their habit of disappearing.
"Well," says Ranata. "Technically, but people wouldn't be touching Kalavar anyway. And if they did, and they didn't stop right away, she can turn into a poison frog and Helen can scream at the top of her lungs. Understand, dear? If anyone ever does that and it's not an accident they correct right away, you be poisonous or spiky or slippery and you get away. That's not ever okay until you are grown up and decide so."