The Ten Thousand Doors of January(41)

My second supposition is this: that doors generate a variable but significant degree of leakage between worlds. But what sorts of things leak through, and what is their fate? Men and women, of course, bringing with them the particular talents and arts of their home worlds. Some of them have come to unfortunate ends, I believe—locked in madhouses, burned at stakes, beheaded, banished, et cetera—but others seem to have employed their uncanny powers or arcane knowledges more profitably. They have gained power, amassed wealth, shaped the fates of peoples and worlds; they have, in short, brought change.

Objects, too, have trickled through the doors between worlds, blown by strange winds, drifting on white-frosted waves, carried and discarded by careless travelers—even stolen, sometimes. Some of them have been lost or ignored or forgotten—books written in foreign tongues, clothes in strange fashions, devices with no use beyond their home worlds—but some of them have left stories in their wakes. Stories of magic lamps and enchanted mirrors, golden fleeces and fountains of youth, dragon-scale armor and moon-streaked broomsticks.

I have spent most of my life documenting these worlds and their riches, following the ghost trails they leave behind them in novels and poems, memoirs and treatises, old wives’ tales and songs sung in a hundred languages. And yet I do not feel I have come close to discovering them all, or even a meaningful fraction of them. It seems to me now very likely that such a task is impossible, although in my earlier years I harbored great ambitions in that direction.

I once confessed this to a very wise woman I met in another world—a lovely world full of trees so vast one could imagine whole planets nestling in their branches—somewhere off the coast of Finland in the winter of 1902. She was an imposing woman of fifty or so, with the kind of ferocious intelligence that burns bright even through language barriers and several flasks of wine. I told her I intended to find every door to every world that ever existed. She laughed and said: “There are ten thousand of them, fool.”

I later learned that her people had no number higher than ten thousand, and claiming there were ten thousand of a thing meant there was no purpose in counting them because they were infinite. I now believe her accounting of the number of worlds in the universe was perfectly correct, and my aspirations were the dreams of a young and desperate man.

But we need not concern ourselves with all those ten thousand worlds here. We are interested only in the world that Adelaide Larson sailed into in 1893. It is not, perhaps, the most fantastical or beautiful of all possible worlds, but it is the one I long to see above every other. It is the world I have spent nearly two decades searching for.

Authors introducing new characters often describe their features and dress first; when introducing a world, it seems polite to begin with its geography. It is a world of vast oceans and numberless tiny islands—an atlas would look strangely unbalanced to your eye, as if some ignorant artist had made a mistake and painted too much of it blue.

Adelaide Larson happened to sail into the near-center of this world. The sea beneath her boat had possessed many names over the centuries, as seas often do, but was at that time most often called the Amarico.

It is also customary to supply a name when introducing a new character, but the name of a world is a more elusive creature than you might suspect. Consider how many names your own Earth has been assigned, in how many different languages—Erde, Midgard, Tellus, Ard, Uwa—and how absurd it would be for a foreign scholar to arrive and give the entire planet a single title. Worlds are too complex, too beautifully fractured, to be named. But for the sake of convenience we may loosely translate one of this world’s names: the Written.

If this seems an odd name for a world, understand that in the Written, words themselves have power.

I do not mean they have power in the sense that they might stir men’s hearts or tell stories or declare truths, for those are the powers words have in every world. I mean that words in that world can sometimes rise from their ink-and-cotton cradles and reshape the nature of reality. Sentences may alter the weather, and poems might tear down walls. Stories may change the world.

Now, not every written word holds such power—what chaos that would be!—but only certain words written by certain people who combine an innate talent with many years of careful study, and even then the results are not the sort of fairy-godmother-ish magic you might be imagining. Even a very great word-worker could not casually scrawl a sentence about flying carriages and expect one to come winging across the horizon, or write the dead back to life, or otherwise subvert the very underpinnings of the world as they are. But she might labor for many weeks to craft a story that would increase the likelihood of rain on a particular Sunday, or perhaps she could compose a stanza that would hold her City’s walls fractionally more firm against invasion, or guide a single reckless ship away from unseen reefs. There are half-forgotten stories, too faint and unbelievable even to be called legends, of greater magics—of writers who turned back tides and parted seas, who leveled Cities or called dragons down from the skies—but these tales are too unlikely to be taken seriously.

Word-magic comes at a cost, you see, as power always does. Words draw their vitality from their writers, and thus the strength of a word is limited by the strength of its human vessel. Acts of word-magic leave their workers ill and drained, and the more ambitious the working—the more it defies the warp and weft of the world as it is—the higher the toll. Most everyday sorts of word-workers lack the force of will to risk more than an occasional nosebleed and a day spent in bed, but more-gifted persons must spend years in careful study and training, learning restraint and balance, lest they drain away their very lives.