Friday, 31 August 2012

Sugar Coated Transitions



Patrons open the flap of the tent curtain and are overwhelmed by the smell. They notice it before the notice the tent is long, like a hallway, the walls and floor and cieling such a blinding white it seems they are walking into a void, yet bare black trees line the wall. The tent smells of sugar, of all things sweet. It smells of toffee and caramel, honey and cocoa, vanilla and coconut. The path, the patrons discover as they slowly make their way down the long tree-lined passage, is bordered by heaps of what appears at first to be snow but discover are billows of spun sugar, fluttering in the shifted air brought by footsteps. Spun sugar dusts the branches of the trees too, glittering on their long dark limbs. Long silver strings hand from low branches, wrapped around small packages of black and dark blue paper. Each package has a different picture on it, renderings of snowflakes or orange blossoms or cherries or nuts. Upon opening them, patrons discover with delighted surprise small wrapped up sweets, dark chocolates, buttercreams and pralines, hazelnuts dipped covered in swirling white and brown chocolate loops, sticky taffee and bitter coffee beans. They laugh with caramel-covered lips, insisting they cannot manage more or they will spoil their appetite, yet they always somehow manage. The more packages are unwrapped the more the tent is filled with the aroma of cherry lollipops, iced cinnamon pastries, black cherries dusted in sugar and nutmeg, honey, lemon drops and peppermints. 
Some of the sweet trees have knots in them, small holes where adventurous patrons find slightly larger packages of brittle honeycomb or dried apricots in coconut sugar, white as fresh cream. 
Children make games of tossing candies back and forth, trading sweet wafers for candied fruit, sugar-spun roses for marzipan, tiny red currant tea cakes with buttercream icing for crystallized meringue.
The trees are never bare, no matter how many sweets are pulled from their silver strings. the strings hang like nooses, new confections materializing multiple times in one night. 
On All Hallow's Eve this tent is particularly popular, some children wish to spend the entire night there but are eventually whisked away to other wonders, feeling cheated when they return later and cannot find the tent. On this night the light of the passage fades, beginning in white and changing subtly to darkness where white trees shine as those packed with stars. Shadows flit between trees, tossing comfits and sugared almonds at patrons in their mischief, smiling from faces behind dark leafy masks, their chests bare, heads topped with curling silver horns and backsides adorned with, some say, tails. They dance to and fro, dissappearing behind trees, pursued by bold young girls and boys or sometimes by older patrons feeling adventurous. Fauns and fairy folk like Samhain, some speculate, that is why they make an appearance on this mysterious night.
Still, on any night, the tent is a sparkling delight.
Patrons leave the tent with renewed energy, pockets full of empty wrappers with miniscule landscapes and still lives, sometimes with small butterscotches for later. They will still visit the vendors close to the gate later for more food, as they often find themselves hungry a short while later and, no matter how hard each patron may try or how precisely one follows one's footsteps, they cannot find the tent again.

Art by Delicious Reads Bookclub

Text by Lucie MacAulay

A Rooftop Moratorium




She and Piper hide on the crown of a minaret, feet dangling over the sides, tunics and hair rumpled by increasingly strong winds. Piper tells her stories of the illustrations carved in the archways of the palace’s doors. They are such intricate stories, so well told, that she feels as though she and Piper and in the garden with the patch of pumpkins, they are wandering down a path of lady’s slippers and daisies and calla lilies that smell sweet and charming.
The wind whips her hair, snarls it like a basketful of snakes. “Have you been practicing?”
In answer Piper plucks a leaf from the bushes behind them, turning to her companion and holding it aloft, turning it this way and that with showmanship, as though presenting the illusion to an audience. She narrows her eyes at the leaf, which does not move for a long time. Both girls are completely still, only their clothes and hair writhing in the increasing gusts of wind. Slowly the leaf twists, spiraling deliberately until it has been twisted into a long line of dark pointed ridges and pale green veins. Piper releases a breath and the leaf unravels, returning to its original state though slightly more limp and sags forward.
“Very good,” she remarks.
Piper releases the leaf, which is snatched by a breeze and tumbles away. “Thank you. I should practice more. I haven’t had the time. It isn’t as good as it should be.”
“It was well done. Practice will only help you so much. After that there is nothing to be done or added to.”
Piper looks up at her. “You spend hours practicing, it looks so manageable when you do it. Yet you still practice. There must always be more to do. Especially with your natural talent.”
She clasps her hands in her lap. “There is always more to learn. It is not necessarily a good thing, father always strives for perfection and I am a disappointment if I am anything but.”
Piper begins to speak, to refute her friend’s statement or to reassure her, they will never know. The wind howls and throws them both off balance, sending to the side while clinging to the lattice on the underside of the cupola beneath them, narrowly avoiding tipping off the minaret entirely.

Text by Lucie MacAulay

Wednesday, 29 August 2012

Clockwork



In this world everything is made of clockwork.
A single blade of grass pushing through the firmament for the first time is propelled onward by the conbined work of hundreds of cogs and gears.
Earthquakes are the grooves of cogs grinding against their partners, metal on metal, rock against rock, that echoes in the earth's chasms.
Lightning if the spark of two weights, rising and falling, leading white and grey clouds on metal tracks, expanding and contracting so they appear to breathe, and brushing one another in ascension.
The seasons are the ticking of hands, the flow of rivers the swing of pendulums, the position of the sun is an hour flashing on a clockface.
Timing is the key to presperity. The earth purrs with the ticking of the second hand, it's heartbeat comes every sixty minutes. The momentary halting of a heartbeat causes cataclysm, tsunamis and eruptians. The breaking apart of Pangaea, the death of the dinosaurs. When heartbeats come regularly once more, the stars follow their paths, the tide comes in and out, all is well.
Most fear a day, a specific ending. Clocks must be wound, of they will stop. When the world ceases to oscillate, what will become of it? The earth will not turn, the sun will spark and sputter and blow out like a candle, light will no longer exist. There will be no warmt. The rivers will not flow, children will not be born.
So some live in fear, hiding from the lightless future, preparing for the apocalypse. They cry at night, fearful there will be no sun in the morning. They live in shadow, scared of the sun that does not live forever. They have said their goodbyes long ago, and wait in agonizing suspense for what they are sure will be the end.
Others see the impending end as reason not to fear. They stride in the sunlight, soaking it up while they still can. They thrive in the night time, under the winking stars. They kiss everyone they meet, see their families as often as they would like to, scorn or love whomever they care. In the face of a clockless world, they sieze every moment.

Text by Lucie MacAulay

Mythos Tapestries



They come from across the globe, from Asia, Africa, the Middle East. There are Greek myths, Arthurian legends, retellings of tales by Perrault, Anderson and the Grimm brothers. Each hour the tent walls yield a number of these stories in finely woven cloth, scene by scene, presented in succession, blurring so quickly across the tent walls that the characters in them, the monsters and angels, appear to move. The bend of tree limbs and the dance of leaves in the autumn wind, seems to come to life. It is with such intricacy, a seamstress from Munic remarks, that each cloth must have taken painstaking hours to make.
Patrons recall each tale, feel nostalgic and comfortable among the familiar bedtime stories and rhapsodies of their childhood. Yet the stories have new life, new energy. The prince's gold crown is soft, the magic fish in the river sleek like glass. Sleeping beauty's blood is warm and wet, cinderella smells of smoke and ash and roses. A dragon's fire burns and fills one's face with heat. Twelve daughters have aching feet, a poisoned apple is sweet. A blade is sharp, a monster's hide is rough as stone. A long gold braid is dry and heavy to lift. Skin and scales become light as seafoam. An arabian rince is left longing for the end of a lover's story. A young woman clings to her child, as valuable as golden thread. A pomegranate seed is tart and binding. A happy ending is bittersweet.

Art is 'Unicorn in Captivity'

Text by Lucie MacAulay

Sunday, 26 August 2012

Informal Examinations Continued



She is tested constantly, little things such as doing up her sandals or turning a white feather black. For a stretch of time she finds her hands useless. She flips book pages, dips and guides an ink-covered quill, pours multiple cups of tea. She opens chests and doors and stubbornly stuck hat boxes until her head aches like an overused muscle. Sometimes she wraps extra scones in a white lace handkerchief at tea time, smuggling them into her pockets to enjoy later, or to distribute among students who have sacrificed their tea time for scholarly pursuits. Without the use of her hands, they go unmissed. Her father tells her she is beyond such "mundane practices" and that she would do well to prepare for more difficult tests. She cannot fathom what he might mean.

Text by Lucie MacAulay

Cirque Conversations VII




"Why a circus?"

"Carnivale would have been more fitting for the eclectic flavour of the thing, but it doesn't roll of the tongue the same way, does it? Carnaval de la Lune versus Cirque de la Lune."

Art by Rob Tarbell

Text by Lucie MacAulay

The Daunting Business of Wishing



Make a wish.
Wishing wells are dangerous. Of course they are dangerous for being holes in the ground. A quick slip over the edge is problematic enough, but add to that the dangers of amateur wishing and, well, they're something to be feared.
This wishing well is red brick, a wreath of crumbling rock rising from the crest of a green hill in the countryside. The bucket has long been gone, the rope is frayed and coated with algae.
People come and toss their coins in, expecting wishes in return. And they get wishes, if not always their own. Some think quarters, having the highest monetary value, will produce the strongest wishes, the longest-lasting wishes, but it's pennies really, that have the most wish-fulfilling potency.
As long as you don't toss in a nickel, you're safe. If you do, well...
Make a wish. Go ahead.

Text by Lucie MacAulay

An Introduction to Tasseography



I wonder what they're all for. I come home and they are simply there, in rows on the tree stumps in our back garden. My brother treats them delicately, with ginger touches, like treasures.
"They tell your fortune," he swears to me, gesturing with a fluorish. But all I see are cracked and filthy teacups with dirt and leaves and the dregs of tea in the bottom. 
"They give advice sometimes too," he whispers, as though it is a secret he must keep safe or everyone will start seeking these tea cups for guidance. As though prophetic teacups will soon be all the rage. 
I pick on at random and fill it with mint tea. The tea is sweet, the cup is a calm shade of blue. I can't imagine it being anything special. I can't imagine any of them being special.
I watch my brother walk around his maze of cups, washcloth in hand, voiding cracks and elaborate handles of year old dust and earth. Soon the cloths are loam brown but he looks with satisfaction at his less repulsive collection. 
I finish my tea, it tasted sweeter than when drunk from the white mugs with the forget-me-nots that sit on the kitchen shelves indoors. I sift the dregs and poor them onto the ground, watching steam rise from the soil. 
When I look back and my cup there are words around the rim. No philosophical questions or long analogies with fairy tale messages. There are the words "BELIEVE" and "IMAGINE". They seem to have been born from the tea themselves. 
My brother wanders over and looks at my teacup. "Hm," he seems mildly intrigued. "I've never seen that before." He shrugs and leaves, finding more interest in his unused and fateless dishes. 
The words faded. I left the cup outside and someone else has drunk from it by now. I've gone back to drinking from the white and blue-flower mugs in the kitchen. I can't help thinking that my mint tea isn't as sweet. 

Text by Lucie MacAulay

Saturday, 18 August 2012

Wolf Skins




They moved like ghosts, claws hovering over the gnarled roots of woods, fur tangled with clods of dirt and bits of birds’ nests. Trees bent away, desperate to stay clear of their path, for anything that came in their way was toppled, easily pushed aside by their broad shoulders and crushed underfoot.
Ghosts are stuff of myth, as tangible to the villagers as gods in wolf skins. We had no boys calling wolf, wolves in the dark of the forest were of no concern. It was ghosts, wisp-like and tortured, that children were taught to fear. In the midst of grappling with one’s morals, a child had only to recall bedtime tales of haunting and apparitions, warnings as punishment for their sins. Of course, parents didn’t think of telling their children not to ponder such fanciful things as phantomwise wolves.
That hid in the woods where the moss and trees and fern grew on them as though they were the soil.
Nobody thought of wolves, they thought of safety and sacrifice. That is why we’re here.

Text by Lucie MacAulay

Art by Abby Diamond

Informal Examinations




She is tested constantly, little things such as doing up her sandals or turning a white feather black. 

Text by Lucie MacAulay

The Subtext of Smiles




Dr.Kane smiles and Cynthia wonders what it would feel like to rip her mouth off, pull the offending pink flesh from her face. The feeling passes like a heat wave and she smiles back. She has to clench her jaw to keep it from slipping. Dr.Kane pushes her hair from her face in a gentle gesture that is almost kind. Cynthia finds that she would claw her smile off, if she could get away with it. Dr.Kane leaves, but the feeling does not.

Art by Silvia Pelissero

Text by Lucie MacAulay

Dirty Canvas




“I wanted to rip his mouth off,” He says, bending to whisper in Cynthia’s ear. She turns to him, not question on her face.
“Didn’t you? When he kissed your hand? It was creepy.”
Cynthia copies one of his favourite movements and shrugs.
He turns to her. “Is it always like that? They just touch you? Wherever they want?”
“Yes.” When he pulls back she continues. “Should they not? I don’t know what they want so they do it themselves.”
He turns away. “It’s disgusting. I can’t believe you just let that happen.” Cynthia can hear the anger in his voice but before she recognizes it he is gone, through the double doors, away from the smell of powder and alcohol wipes. He takes the smell of gasoline and grass with him. 

Art from MirrorMask

Text by Lucie MacAulay

Canvas Unravelled




Claws of ice dug into her skin, her flesh erupted into tiny goose bumps. She watched with jealousy as the boy wiped a tear away. Jealousy, she decided, was something to be avoided. She pushed it effortlessly away. Her eyes followed the path of the tear from his cheek to his finger to his pants where it left a tiny darkened stain on denim. 

Art by Silvia Pelissero

Text by Lucie MacAulay

Like Water




She understands now. Gazing at her hand resting on the empty cage, and then slipping through it.

Text by Lucie MacAulay 

Thursday, 16 August 2012

The Egg Merchant



She trusted him right away, putting her faith in him and his parabolic merchandise instantaneously. I was more cautious, unsure of his smile and the contents of the vessels in front of him.
"Where did these ones come from?" she inquired, pointing to the pumpkin oranges and mango yellows, though she seemed especially attracted to a rosy gold, and her eyes kept going back to it. I think she was thinking of her dogwood roses at home, when the sun hits them in the evening.
He replied that they came from the sun. Her eyes went the widest I'd ever seen but I scrutinized the eggs and asked if I could pick one up.
He said certainly and smiled as I looked them over, all resting on small silk pillows, some with patterns of spirals or old victorian filigrees or stripes. Some of the patterns were raised with bumps and ridges under my fingertips.
I lifted one (green and brown, except on the sign it was called "olive and chestnut") and shook it lightly. There was no sound. The merchant's smile did not falter.
"What's inside of them?" I asked.
He shrugged. "Warmth, fire, plants, seeds. Sometimes secrets."
"Secrets?" she piped up beside me.
"The trees like to whisper their secrets in the wind. If you buy dusk (grey) and one of those," he gestured to a maple green egg and the evergreen prickly egg beside it, "you'll be able to hear the secrets."
"Let's get one," she said, already digging through her purse for coins.
I didn't believe in them, as much as I wanted to, but I bought a few, for fun, and so did she, including some secrets and the rosy gold egg from the sun.
"Take this one," he told me, handing me a solid off-white ("ivory") with a raised pattern like starbursts. "Perhaps it will help you."
I took it and shrugged, because it didn't look all that special, but he wrapped it up in durable plastic and then shiny paper and a ribbon for each egg, and I put it in my bag.
At home I took them out and laid them on the windowsill, a parade of slowly warming carapaces. They cracked one by one, and revealed that the egg merchant was not lying.
When the ivory egg cracked, out came a tiny light, like a luminous speck of dust. It followed me like an affectionate pet, though it didn't wind in figure eights around my legs or beg at the door to be let out.
I wonder how long they last. My eggs holding tides and caramels and hyacinths and secrets were left empty long ago, but I still have the light.

Text by Lucie MacAulay

Tuesday, 14 August 2012

In Response To: Strong, Dead.



A shallow ditch brings me where I did not want to go and a fork in the road stares at me in silent accusation. An apology dies on my lips and I numbly feel my fingesr squeeze and relax in anticipation. The world has stopped, time is at a standstill, humming in deaf ignorance of the path I am about to take. The sun holds its breath, when it exhales my skin is burnt, flesh falling away like charred paper. The walls around my limbs release and fall away like a wrapper. I ascend, stretching the new extentions on my back that bring me further and further from the ground.

Text by Lucie MacAulay

In Response to: Rural Splendour



Around the corner is the tall house, imposing and pale. A half dead vine intrudes through the attic windows and mice nest beneath the strongest floorboards. In the garden are flyblown bushes, the stems as cold and dry as bone. If the house groans, it may be the sigh of the wind, or a voice that has beeen unused and forgotten.

Text by Lucie MacAulay

In Response To: Primitive



Night descends, striking luminosity from the landscape. It brings with it boats, small rowboats that rock gently on the near-still water. Ripples play out a scene, of stars twinkling in and out of view, winking away forever behind the hills that are clouds. Outside this dreamscape is a room, dusty and dark. It is the place for cobwebs, old cedar trunks and black and white photo albums.

Text by Lucie MacAulay

Tunnel Child



In a tunnel beneath the earth, the child's breath is sweet and damp. It comes in small white puffs. She is hiding, cringing every minutes or so when she remembers what she screamed, what truth she revealed when she let her fear and disgust and anger overflow. The guilty tears that flooded her eyes soon after did not stop, not even when she took refuge beneath the dirt and sky.

Art by Kirsty Mitchell

Text by Lucie MacAulay

Conspiracies



It is on her third visit to the cirque that the man in black approaches her.

Art by Natalia Pierandrei

Text by Lucie MacAulay

Monday, 13 August 2012

Introductions



Mr. & Mrs.Beaulieu request from the headmistress, to be introduced to a girl.

Art by Kirsty Mitchell

Text by Lucie MacAulay

A Seed Sown



Mr. & Mrs. Beaulieu are scholars, as well as artists, merchants and entrepeneurs. Mrs.Beaulieu has been a dancer, an actress, has studied sciences, has lived at sea. Mr. Beaulieu has been a professor, a stage managor, a tailor and, for a brief time he will only discuss after one too many glasses of brandy, an animal trainer. They have done a little bit of everything.
As a consequence they find they accumulate a fair number of acquaintances, other scholars and thespians and so forth they have met once or twice at symposiums or lectures. They exchange addresses and keep them carefully tucked away in purses and pockets until they can later be listed in an adress book. Both of their address books are filled to bursting. They are often called by almost-strangers who require advice or trade tips about antique book sales, exclusive dinner party invitations or secret artisan or guild meetings. They are surprised when, instead of receiving a letter, the man in black appears at their door.
He arrives shortly before tea, one day, on an afternoon both Beaulieus have happened to be at home. Unprepared, Mrs.Beaulieu gathers herself, has tea made early and sent to the parlour. The man is shown into the front hall where the Beaulieus greet him, are given an unmemorable name, and lead him  to the parlour. He takes a seat in a chair across from them. Mrs.Beaulieu offers him tea, but he politely declines. She takes a marzipan cake for herself.
Neither Beaulieu can remember where they have met the gentleman before and they are both too embarassed to ask him to remind them. When they discuss the affair after the fact, they agree he must be some fellow from the series of historical lectures they attended in New Castle, though the details of such an encounter evade their recollection.
They exchange pleasantries, discuss teh weather and Mr.Beaulieu's current business (chocolatiering) before the man in blac maes any consequential remark.
"You have such a lovely home, and so many hobbies. Have you spared any thought to an heir, for you estate and belongings? It would be a shame indeed to leave it all to the bank one day."
The Beaulieu's exchange a glance. They have spared throughts, a whole platoon of thoughts, to the natures of parenthood. Mrs.Beaulieu brought it up once quite soon after their marriage and Mr.Beaulieu did not protest. They are not in a rush but would not begrudge having a child sooner than later.
"Such as child would recieve a great education, under your tutelage and in your abode," he continues on. "And the child herself would have to be nothing short of extraordinarily gifted." The man in black produces a dim grey card from the pocket of his waistcoat and holds it out to them.
Mrs.Beaulieu takes it and reads the typset name of the orphanage before passing it to her husband.
The man in black is quiet, regarding them without comment for some time as the silence in the room swells, kept at bay by the ticking of the clock on the mantel.
Their companion does not stay much longer. He waits for their teacups to empty before informing them he must depart. They thank him for coming as they walk him to the door and wish him a good afternoon in the shadow of a Mayan snake statue.
They dismiss the call as a strange occurence and are otherwise content, yet Mrs.Beaulieu finds in herself increasing desire to visit the address on the card given to them, left on the teatray in the parlour and cleared away with the tea accoutremonts. It has since been left on the desk in Mr.Beaulieu's study where it has been collecting dust beneath chocolate smeared praline recipes and more recently patches of embroidered cloth.
Her eyes frequently wanter to it when she enters her husbands study to entice him out for a walk or dinner (as of late he has been transitioning professions from chocolatier to merchant of textiles and fabrics, which requres far more writing than he would like and he is constantly composing letters and making lists of stock for inventory).
Mrs.Beaulieu approaches the subject one night before bed, several weeks later. "I'm going to take the train down to the Orphanage tomorrow," she says. "Would you care to join me?"
Her husband has been ruminating on the fewest number of cargo ships he will require for a shipment of silks to an accentric customer in transylvania with numerous daughters and, possibly, numerous wives. New he looks at his wife and registers her previous statement. He would like to get his mind off of work.
"Yes, that would be lovely. The eleven o'clock train?"

Art by Melanie Delon

Text by Lucie MacAulay

The Man In Black Begins



Despite being dressed all in black, the man who arrives at the orphanage is bright in comparison to the drained quality of the building and grounds.
The headmistress is a weary, harried woman who leads him to the room where the children dine. She is clad in black but next to his pinstripe, wrinkle-free suit, the tone is so faded it looks rather like a deep smoky grey. She asks his name but it is unmemorable and she refers to him as "sir" whenever the situations calls for it.
The children are having their midday meal when he comes and in usual circumstances visitors are not permitted during lunch, but she is too flustered to say no and after a few clarifications that the children will not be at their best, she reluctantly leads him to the dining hall.
Most children sit at the rows of tables that run up and down the room, but there is a space when instead of monotonous furniture and nondescript food, there are short bookcases and a few threadbare armchairs and a couch. Only three children occupy the space and it is them that the man in black wishes to see.
He makes his way around the tables, carefully dodging any contact with the children. His presence resounds in whispers, covert glances, and a few outright stares.
Two are children bent over their schoolbooks, distracter or lazy they have not finished their work from this morning or the night before. They are hurriedly scribbling incomplete answers and squinting at the previously made illegible notes, they await the moment they will sign their signatures at the top of the page and join their roudy friends at the long tables.
The last child, a girl whose blue grey eyes are fixed on the book before her, is reading a copy of Homer's Odyssey, a volume overlooked by most children, yet the cover is worn, the corners of the pages dog-eared.
The girl senses the man in black's eyes and looks up. She does not fidget under his gaze but she narrows her eyes in suspicion and curiosity.
"Hello," the man in black begins.
"Hello," she responds, her voice earthy and lower than one would expect from a girl her size.
"How old are you?" he inquires.
"Almost eight."
"How many times have you read that book?" he asks, gesturing to the delapidated tomb in her hands.
"Five and a third. I've read all the books in this room and in the classroom. They don't have enough."
"What do you prefer to read?"
She pauses, thinking, before she answers.
"Histories, of other places. Myths. The geography textbook."
"Are you opposed to the prospect of leaving this place?"
She regards him silently for a moment, feeling trapped in his bird black gaze.
"No."
The man ends the exchange with a small bow of the head and a bid of "gooday", then turns to the headmistress and strolls back through the throng of children.
The headmistress is too polite to ask the man in black what he spoke of with the girl, but she later questions the orphan, recieving bague answers that seem too simple and unimportant.
The man in black requests the contact information of the orphanage, as they navigate their way back to the front door. She rumagges in a pile of papers balancing askew on mountains of broken pencils and paperweights at the front desk, before handing him a card. He closes his hand over it and it is gone.
He informs her that they will bevisited sometime in the near future by a couple who will be expecting to see the girl. He does not reveal the couple's nomenclature, nor doe she inquire after that of the girl's. The inference leaves her utterly beguiled.
It is the last time he approaches the orphanage.

Text by Lucie MacAulay

Sunday, 12 August 2012

Darjeeling and Absinthe (To Pass the Time)




Sage is permitted to wander freely through cities, unescorted, by her fifteenth birthday. At first she revels in this opportunity, stealing away to the museum and art galleries she has visited many times before. She sips hot chocolate and cider in the parks, watches the estival may pole dances or street musicians, feeling grand and musing on ways to spend upcoming afternoons. Whole days pass in libraries, reading anthologies and myths and thinking up her own. It is not long before Sage is able to recite whole lines of poetry and legend, having read entire collections in Dublin, Berlin and London. The museums offer no new exhibitions and the art galleries lose their thrill. In the daytime she is content with trips to the park, drawing in the sketchpads the Beaulieus buy her, taking lunch at cafes and tea rooms in the small alley ways or corners. It is when night falls and she has nowhere to turn but home.
It is by accident she stumbles upon the cabaret, lost in sheets of rain that have turned the streets to rivers, she seeks refuge in a corner of Downtown London while waiting for the train.
It is a rich place with reds and golds that serves sumptuous wines and plays slow, lazy, sensuous music. The people there are artists, poets, composers or travelers. She is able to practice her French, Spanish, Russian and Moroccan. She sips Darjeeling among those drinking cloudy green absinthe, eats pastries light as air and decorates with fresh berries and bubbles or blown sugar. It is a wonderful discover and Sage spends many nights a week there, dining with strangers and listening stories or far flung cities and customs, responding with her own.
Returning home after these nights always feels as though she is tearing herself away from kindred spirits by force and she comforts herself with the promise that she will return soon.
On trips that become less frequent as she matures and her foster parents deem her too old to parade around like an adorable pet and old enough to stay at la maison Beaulieu on her own, she misses her cabaret and searches for similar eventide restaurants and cafes to occupy her time. The strangers she meets there are equally interesting, though not always as polite and she has made many hasty exits before, claiming appointments for which she will be late. 

Art by Melanie Delon

Text by Lucie MacAulay

Nocturnal Education




Her schooling is irregular; whereas there were set lesson times at the orphanage that deviated to trips out only holidays, Mr. and Mrs.Beaulieu provide Sage with numerous tutors in maths, sciences, art, and history. Lessons are given as often as she wishes and the books in the library are available to her at all times. She is inclined to read more than she is to listen to her tutors, but she does, for almost three years.
When she begins developing preference for some subjects over others, or coming up with new interests, new tutors are found that are paid extra to come at any hour, for Safe frequently studies late at night or early morning, at hours when she is the only one awake.

Text by Lucie MacAulay

Sentimental Garment-Keeping




Her hair is cut by a woman brought in four times a year and who speaks fluent Russian. Sage requests a tutor to educate her in the language so she may converse more with her hair dresses, as she like the dark sound of the language.
A seamstress is brought every season, to take measurements and draw sketches, the clothes shipped to them two weeks later. Every few months Sage finds her wardrobe near to bursting. For those few garments she treasure from trips elsewhere, costumes from the Parisian ballet, gowns from boutiques in New York, a tailor is called to add a second skirt and length to the hem, or re-stitch the waist or add more sleeve. The outfits are kept just a year longer. 

Text by Lucie MacAulay

La Maison Beaulieu




La maison Beaulieu is disorienting at first. It is a maze of hallways and small passages, lit by candelabras, chandeliers and oil lamps with ornate shades covering them. It is nothing like the grey grid like corridors of the Orphanage, where everything was a shade of grey or brown. Even people of things from the outside world seemed to dim and drain of colour upon crossing the threshold. Grayness was a contractible illness.
Here Mrs. Beaulieu’s collection of blown glass perfume bottles Mr.Beaulieu’s assortment of outlandish knives and daggers, along with each artifact and piece of art on all available walls and surfaces creates the illusion the entire world exists inside the house.
The garden is a never-ending project for the Beaulieus. They are forever adding new pavilions and gazebos with Corinthian pillars, having ponds dugs out or trellises climbing with roses leaning against rock walls. New fish from Japan or the Caribbean are delivered every few months, exotic blooms and vines around every turn.
The house is a concoction of cultures; rooms come alive in the smell and feel of faraway lands and exotic corners or the world. There is a room Sage recognizes based on a room in an expensive hotel in Bombay, another she recalls from a book in her foster parents’ keeping that chronicles the life and death of an Arab prince. There is an oriental room with a small koi pond in the centre and fabrics embroidered with cherry blossoms. Sage feels as though her Beaulieus have the entire world in their house. The detail in each room is astounding, not only in the furniture and textiles but in the collections of books, the flavour of incense, the colour of wines and brandies in the decanters. It is the atmosphere that she loves. 

Art by Mats Minnhagen

Text by Lucie MacAulay

Saturday, 11 August 2012

Cirque Conversations VI




“I take only little things, things they won’t miss.”

“And do they give their consent? Fully and with knowledge?”

“True consent is too hard to give. It would take ages to build such trust. They believe in the circus and so they leave themselves open to me. I would not do anything to harm them.”

Art by Rob Tarbell

Text by Lucie MacAulay

Grave Keys




They were there, under the earth and buried with the dead. We dug them out and laid them one by one along the wooden picnic bench so they looked like bodies laid out for graves. Though they had no encomiums, no sepulchral monuments.
They were covered with dirt and grass and roots, those old skeleton keys. We considered putting them back; after all, the dead may want them.
In the end we decided to leave them on that table, the sun casting long lean shadows across it that overlapped like the wires of a birdcage.
“The rain will wash them clean,” one of us said.
“The sun will dry them,” you pointed out.
I looked to you, because you were always right, so when you said they would be fine I didn’t contradict you.
I went back later, I thought they would get lonely, our keys. I wanted to see them clean and shiny in the sun, but they were covered in rust, cracked mud and mould.
I laid them over the graves one by one in a long line, pushed them into the earth so only the brown tips of them rose above the grass like rotted teeth.
When I went to see them the next day, they were gone. Maybe the ground had sucked them up, I thought. Maybe they went back to the dead.
You came and joined me, and a few others, and said, “Look, see? The sun and rain must have made them all nice and shiny and someone’s come and taken them away.”
I did not contradict you.
We never saw those keys again. 

Text by Lucie MacAulay

Friday, 10 August 2012

Something Beautiful In Sorrow



This area of the palace is more dilapidated than the rest, a juxtaposition with the sorrowful but beautiful age of the more or less intact rooms behind her. The rooms beyond are chatoci, barely recognizable framework. They are filled with rubble or wood and stone, areas scorched and blackened while others look untouched by fire, or untouched by anything at all in the ages. Empty birds nests are nestled in some fall pieces of woodwork or stone beams, seeds strewn in among weeds and threads but despite the thin layer of sunlight peaking in among them and the rain that must fall, there is no sight of greenery. Gothic arches over broken black-paned windows, long jagged edges pointing inward like splinter to a wound. Leaves wet and dry as corn husks litter the floor, floating on puddles or tumbling along. There are small scatterings of sand, but for all the crumbling rock, roof tiles, cracked and limbless gargolyles and empty black book shelves, there is of sign of life.

Text by Lucie MacAulay

Smoky Skin



Over the years the ribbons have accumulated, lining her arm in an array of whites, smoky greys and blacks, like vines crawling up a railing. She has found they are never undone, the knots are as tight as the day each one was tied. They do not get dirty either, the black is dark as jet and does not fade, the white is pristine as untouched snow. They grow with her as well, for they never tighter with time. They cannot be cut either, she has broken scissors and dulled blades before with trying, but they hold strong as diamonds. For all intents and purposes, they are part of her skin.

Art by Golge Galerisi

Text by Lucie MacAulay

Dilute (Water and Wine)




Her father looks at the glass of watered down wine, wondering how to make her understand. He waves a hand over it and narrows his eyes, soon the glass is only half full, wine three shades darker than before, and hovering in the air is a plane of water, flat as a puddle. His eyes brighten and the water falls in a shower of droplets, into the basin of salt on the desk.
Alone in his study, he smiles the ghost of a smile.

Text by Lucie MacAulay

Sunless



She notices, for the first time, her arm. Her skin is unevenly coloured, lines of white wrapping around most of it like bands, the skin pale as though is has never seen the sun. It reminds her of the white spot on a wall left when a picture is taken down.

Art by Kistry Mitchell 

Text by Lucie MacAulay

Precious



"Precious," he calls her and firmly tilts her chin up, turning her face to his. "We are the only ones who can do the things we go, there is no one else. That is why it is important we do them. Do you understand?"
She nods very slightly.
"Very good." He stands to full height, trapping her in his shadow. "You are going to be great. Much more than I could have hoped for."

Text by Lucie MacAulay

More To Come



After her first challenge her father winds a ribbon around her wrist, a white one that he ties in a bow. She watches with curioustiy, wondering if it is a part of some strange gift he means to give, or a lesson on binding or unraveling, be he steps back and doens't say a word, returning to his work. She stares at her wrist, tugs on the ribbon, but it will not loosen.
"Keep it on, there will be more to come," her father says without looking up. He is thinking and when he does he is in no mood to talk.
She goes to the corner to peruse the books she has already spent long hours studying. There is only one shelf she is allowed to touch, the one with ilustrious pages of runes, histories and alchemical signs with which she has become intimately familiar. This time she ooks at the shelf above. The words on the spines of the volumes mean nothing but she chooses the one on the far right, a blue book thinner than its fellow tomes, beginning the same way she did with her own shelf, from left to right, in order.
She turns to her father, watches his eyes go over a diagram on the desk she will not understand for some time, and slowly pulls the book from its spot. She is delighted, and feeling roguish, when he doesn't seem to notice. She hugs it to her chest and finds her favourite reading spot, in an arm chair in a square of light  cast by the window, curls up into a ball and begins to read.

Text by Lucie MacAulay

Tuesday, 7 August 2012

Painting Pots



I painted the world. I had to, nobody else would. I suppose they were content with black and white, with shades of grey. They did not know what to make of it when I brought out my painting pots and set to work.
I talked with them while I painted, keeping an eye on those more shocked for fear they would faint.
We laughed at wild stories of anasi the spider (and I painted the Mediterranean Sea in greens and blues), lamented our less than perfect test scores (the Nile was born and the hot brown sands around it), fancied ourselves kings one day and planning our castles.
I almost ran out of blue for the sky, so when I painted the horizon I cried into my paint pot. The paint was thinner, lighter, but the sky was still blue.
I spilled some red in the centre of a mountain and later I heard it had erupted in fire.
I left some things as they were, grey and white clouds, black shadows.
I painted my friends too, their skin and eyes and hair.
Sometimes I think I should have painted them as colourfully as I did the birds in the Amazon (which took me an entire hour), but they wanted blue eyes, dark hair, freckles.
Mama called me in for dinner and I left some of the world alone, let my wet paint bleed into it. Red bled into the sky, brown into the ocean.
When I came out again, the sky was made of fire.

Text by Lucie MacAulay

Earth Dance II




Weslie was orphaned young, as a boy on the cusp of being a young man. His father was still at court, a man of not much importance, lucky enough to be kept at court after the king’s wife had passed away and the king had sent many of the servants away. He was the last of the gardeners and as time went on, he was the only gardener. The queen had loved the gardens; it was common knowledge. Their keeping had been a kindness to her majesty. Following his father’s dream, the king had only kept Weslie because he was barely aware of the boy’s existence.
The gardens were large, there had been too few servants tending to it over the years. For one person alone it was too much work. Parts of the garden were overrun or rundown. Flyblown bushes lined the walls and gates. The only truly thriving places were the gardens just outside the princesses’ bedroom.
The princesses had not been friends of Weslie’s, they knew their place and he knew his but they had spared a kind word for him and he had for them. He took care that they had fresh bouquets in their bedrooms and took turns with what flowers he presented, knowing each princess had a favourite. A week of honeysuckle’s for Brynn, another of irises for Gwynn and a week of white roses for Alice. Elise’s flowers were his favourite to gather, a bundle of apple blossom branches that, in a crystal vase before the window, seemed to emit their own golden white light.
Elise had been almost a friend to him. She had more laughs to spare than her sisters and occasionally he caught her, barefoot among the gardens, playing with his shears. It was when he was far past the cusp of young man that he realized he loved her. Despite their stations he harbored the secret hope that she may, one day, love him back. Elise had no idea herself. Weslie was a kind boy but love never occupied space in her mind. She was far more interested in his art than in him. It was this art that spurred his boldness in the Autumn.
His art took many forms in the gardens. More often than not a kitchen servant would come to the gardens, seeking rosemary or chive and find his sketches amid the sage. The pictures were not well hidden; Weslie did not try. He knew his art attracted Elise and it was this knowledge that inspired his mural.
Weslie ignored the garden and took to his brushes and the spare tiles in the palace storage. The mosaic was built on the wall opposite the princesses’ room. Day and night the mosaic was worked on, jewels and turquoise and water coloured glass in swirls like stars, surrounded by blossoms of pearls and shells of soft blush pink and ice blue. In the centre of the blue green cosmos against the ivory stone was a grand painting of vines and emerald leaves and fiery orange blooms over a midnight ocean clustered with sapphire coral in its depths. Sitting upon the vines were two iridescent peacocks with golden plumes over their heads and golden feather tips. Their narrowed eyes were the most striking feature of the mosaic and when it was finished the peacock stared out of odd glass beads filled with shimmering swirls.
It was a masterpiece, he was proud of it. The cost had been great, all his pay saved since taking his fathers place, and two weeks of gardening lost. Many flowers had died and the princesses’ had not had their flowers since he began. He regretted not giving Bronwyn her hollyhocks or Rowena her brown-eyed susans.
“Elise will be the first to see it,” he told himself and waited anxiously to see her for he hadn’t these past two weeks. Or the rest of her sisters.
The parade of rustling silks on cobblestones and quietly clicking gems on slippers preceded their arrival through the gardens. Weslie stood beside his mosaic, smiling modestly. Their reaction was not one he expected.
Before seeing them he felt their difference. It was mid summer but the gardens cooled. No wind blew but the chill invaded his skin, pricking it like needles. They moved in a pack, wolves smoothly covering land and spreading out in their territory. They had never spent much time outside but they had never been this pale. White as ash with hollow sunken cheeks and impassive expressions. They moved gracefully and synchronized, everything from their footsteps to the curling of their fingers.
Elise’s hair was still bright mahogany, a cloud of curls radiating from her head but her cheeks had lost their glow and her eyes were dismal silver like snow swirling in a storm.
Only the youngest, Alice was the same, long curling blonde hair, a fair complexion with rosy cheeks, but her blue eyes were rimmed with red, as though she had spent many hours crying. Weslie could not guess why she was crying, he was busy with his own sorrow, for as the princesses passed his mosaic they barely spared a glance at him or his art and his heart crumbled, his hopes cracked. As he broke he looked at Alice who seemed to share sadness as well and stayed behind her sisters. Their eyes locked and he called out to her with his heart but she could not help him. She nodded and walked on. 

Art by K Y Craft

Text by Lucie MacAulay

Enter The Dream Emporium



The sky is a pale blush, the smell of light rain in the streets, though none has fallen. You hurry along, wondering how this day became so filled with appointments. You have time perhaps to stop at a local vendor for a cup of hot cider. You do not expect to come across the emporium.
It is the sign that captures your attention, the whimsy of the name. Dream Emporium is printed in looping silver script on stark ivory canvas, so pale it is almost invisible against the background, unless caught in the right light. The shop front is bare, the windows backed by white curtains, some colourful glass pieces hanging on strings against the glass, catching the light and emitting it back in verdant, scarlet and violet. 
While you are hungry and have little time, your curiousity overcomes you and you find yourself reaching for the curved handle of the white door. 
You enter with a mixture of excitement and curiousity. 
The Dream Emporium is an amalgamation of parlour and junk shop. The walls are white, the cieling draped with pale blue silk streamers. A chandelier hangs from the centre of the cieling, swaying slightly as the door closes and casting pale light over the rest of the room. It is long, the area behind the counter stretching into rows of book cases that melt into darkness. 
There is a day bed against one wall, two arm chairs against another, an empty fireplace, but the centre of the room is bare. It is the oddities that line the shelves that make it cozy. On the shelves are mismatched items, broken and unloved. Gems, plastic and real, among wardian cases, miniatures, fork twines, broken china and astronomical instruments. A venetian mask, starwhite with an array of black music notes sprayed over the brow like vines crawling away from a bloom, silver ribbons cascading across it. A lampshade without a lamp, red and orange with silver beads and bells, elephants marching around the rim in a parade of gold thread, tassels fraying. Spanish fans and tintype photographs of minarets. A phonograph housing dust bunnies and glass mice in its horn. 
The emporium is sparkling with its trinkets, but in the air there is the feeling of something very old, the presence of something ancient and powerful. 
Perhaps it comes from the woman behind the counter who looks up as you browse. She has white hair, pulled into a messy bun behind her. Her face is as lined as a map but her eyes are bright and watchful. She hunches over but her height must be the same as yours, if not slightly taller. She plays with the noose of tangled necklaces around her throat and when she becomes bored with that she fixes a porcelain doll who sits on the counter so she is leaning against a stack of books, her cracked feet in front of her. 
She stands, still hunched over, and turns to a great grandfather clock you did not notice before. It is an antique, wood dark and dusty, and it has stopped ticking. She opens it and winds the clock until the hands begin to move, first with loud groaning protests, then with thunks that give the shop its own heartbeat. 
"May I help you?" she asks, voice low and earthy. It is an interesting voice, made for telling stories. 
You are unsure what to say. You have no idea what is sold, how bartering takes place. You are not certain what the items on the shelves are for. You mention this to her, asking what her trade is. 
"Fairy tales are our trade," she responds. She lowers her voice and leans across the counter. 
"We deal in dreams."

Art by K Y Craft

Text by Lucie MacAulay

Monday, 6 August 2012

Cirque Conversations V





“What are you looking for?”

“Cracks.”

“Cracks?”

“Nightmares, is what he also calls them. Places where the circus becomes dangerous or dark. He says those are the cracks, where no one is controlling them.”

Art by Rob Tarbell

Text by Lucie MacAulay

Cirque Conversations IV



He tries to look her in the eye but she drops her gaze.

"You have never trusted me."

"You have never given me reason to."

Art by Rob Tarbell

Text by Lucie MacAulay

Labyrinth: A Collection of Transgential Paths, Ethreal Wonders and Fanciful Visions



It is a giant thing of erect white canvas, silver lines caging the walls like shimmering script and appearing like streaks of starlight where the walls changed to midnight blue and spiralied away to unknown corners. The staircases are all of white stone with polished ebony and oxidized metal railings that burst from the wood in spikes and curls. 
The labyrinth exists on several planes, for there are several floors and stairways that lead up and down. There are some rooms that seem to Alex to have no staircase leading to them and no other possible passage to follow. He discovered patrons would ascend to them in baskets of twisting vines attached to a white balloon in a mesmeric knot. The fire that propelled them skyward begins automatically, ribbongs of silver flame that expand the balloon like a giant exhaled breath. It rises like a cloud. 
Many passages lead back to other tents, but some circle into oblivion and become so lightless that patrons get uncomfortable and turn back. There are other rooms, at the end of sharply curving hallways, that lead to passages, corridors or oddities. They hold their own attractions that are quite sought-after by patrons who attempt to know every inch of the labyrinth. 
Alex does not think it is possible. 
It seems impossibly complex to Alex, who can never remember how he has arrived anywhere. He has tried to retrace his footsteps before without success. The labyrinth had swallowed up the hallway he'd emerged from, like a map shifting routes as soon as they are taken. 
"It's more like a maze than a labyrinth," he said to Sage one night as he inspected a wall of frozen flowers the sparkled like spun sugar. 
Sage leaned in to smell a crystalline peony, then a white crusted jasmine. "It is a labyrinth actually, but it goes much farther than you can see from the outside, so the circles are bigger. People just tent to get distracted and go through walls and doors into another circle of it. Everything leads back to the same place, every dead end or secret passage is just a detour."
"What is at the centre, then?"
Sage cocked her head to the side. She was silent for so long Alex thought she may not have an answer for the first time since he had known her, until she spoke, "the moon."

Text by Lucie MacAulay

Dance On Air



This is a large tent, but modestly decorated, so as not to distract from the performance. The atmosphere here has nothing to do with mysterious otherworlds or ethreal statues or sights. It is created entirely by the dancers. There are fewer than a dozen, but the tent is more full of circus folk than most tents.
They are all dressed in shades of black, white and grey, with accents of ivory and silver. The women are in gowns that are akin to ballerina costumes but have the wild embroidery, fluttering ribbons and multiple crinolines of gypsy dresses.
They dance in pairs, with each other or with the men in pinstriped suits and crisp white shirts. They rest their hands on these mens' cheeks, grasp their shoulders in the gentlest way while lifted metres off the ground.
Sometimes the dancers kick up dust with their spangled slippers, black and white dust that sparkle as it hangs in the air.
They leap to and fro in streaks of sparkling silver, creating the illusion of stars shooting across a night sky.
The dance goes beyond beauty, beyond the ballet some patrons have seen in their childhood, beyond the wild gypsy dances some have paid for off a beaten road on a hot summer's night. It is astral. The dance itself is a living thing, breathing and twisting in the centre of the dancers.
It begins to calm, the dancers slowing their movements, going from foites to pirouettes, pulling close their pointed toes, lowering to the ground.
They move away from the centre of the tent, not quite dancing but with too much grace to simply be walking.
A new act begins.
This new performance takes place every hour or so. A young woman, face still with a semblance of girlishness, steps to the centre of the tent. Her steps are clumsy, she falls into a heap several times, collapsing and hauling herself back up. No, she is not pulling herself to stand, but the strings that run from her arms to a platform above the patrons' head are lifting her jerkily. The strings are attached to a wooden cross, in the hands of a man, eyes dark beneath his bowler hat, suit black as jet.
The girl moves like a ragdoll, pulled from a toy chest to dance one more dance. Her gown, a slip of fabric so dilapidated it would scandalize most company, appears unloved. She is weak, looking helplessly from patron to patron. Many step forward to help her, faces mimicking her helplessness when the strings jerk her back.
She is led in a dance, uncoordinated at first, until the music lifts and she rises en pointe. Her arms stretch and wave like birds wings, smile slow, face glowing. The strings are forgotten, twisting with each perfect turn she takes that sets the feather sin her hair to a flurry of silver. She is taller, so light as she moves, sylph like, that many expect her to lift off into the air. When she leaps across the tent they watch carefully to see her slippers touch the floor again.
The puppet master becomes impatient, seizing her back with force. She resists the pulls at first, but he is too strong and she soon returns to her solemn marionette dance. After the majesty of her dance, she is pathetic and pitiful.
When she pulls away to a trunk at the edge of the tent she sends a sorrowful look to the audience, a silent plea as she sinks into the trunk.

Art by Kirsty Mitchell

Text by Lucie MacAulay

Sunday, 5 August 2012

A Little Light Reading




The tent is certainly one of the biggest he has been in, yet it is the most cozy. Where the other tents had led him to other worlds and shown him strange sights, this tent feels as familiar as his own house, though he has never seen anything like it. The walls of the tent are invisible, hidden behind towering bookcases. Shelves and shelves of richly coloured volumes, tomes and even scrolls with gilded edges line the sides of the tent and disappear into the shadows above. The tent is circular but where it would round off it joins with another circular room with a domed roof. In the centre of the room is a koi pond, black and white fish swimming blithely above a plane of glass. Light ripples on the bottom of the glass and filters down into the room below. Below it is a sunken bed, the same size and shape as the pond, only it is filled with pillows and small patterned blankets. It seems to him that someone could get lost in the abundance of feather stuffed fabrics and Indian silk, all in an array of midnight blue and black. There are stacks of books around the sunken bed, though more shelves line the walls of that room as well. A ladder leans against the bookcases, attached to wheels that spin on a golden railing around the room.
The space has the musty smell of many books in one space and dusty, ancient wood, and even from his position close to the exit he cannot hear anything beyond the tent flap.
He takes his time, perusing the shelves and wondering if and why patrons pull these books out and read them, burying themselves in novels when they could be enjoying the circus. It takes him a moment to realize there are no titles to the books.
He moves on to the second room and finds he can still not choose a book. They are so different, some have a pearly glazed cover and others have embossed or illustrated spines. Some are of leather and some are of thin board. The ones on the floor around the bed appear no different from the ones on the shelves. They may be fancies of patrons who have previously come across The Library.
The books on the floor seem as good a place as any to start.
He takes a step over the bed and falls gently into it, cushions blooming up around him like a blue and black tide. It feels as soft as falling into a cloud.
The first book he picks up is off the top of a pile, in mahogany, pale gold in swirling lines bordering the cover. He carefully opens the book but finds no words. He is distracted by the blank pages almost immediately by something else. The smell of heavy wet earth, and very faintly, the scent of musky animal fur. There is the warmth of the sun on his neck. He closes his eyes and gold and green light filters through them. From somewhere close comes a birdcall. He inhales deeply and the air is cool, his skin warm. He lies not on a bed of silk but on a bed of, moss? He feels it between his fingers, moss and sharp twigs. The bird calls again, closer. He wonders if it is an exotic bird, or something he has seen before in the English countryside.
He opens his eyes again and the book falls from his fingers, snapping shut as it hits his lap. The feeling of a forest is immediately gone. The book is just a book, in the pillows, but he puts it next to the bed carefully, as though is holds an entire forest in its pages that could collapse if handled too harshly.
His next choice is from the bottom of a pile across the bed. He navigates his way through the cushions to get to it. It is small, pale pearly purple, the colour of wisteria, with delicate silver filigree in the corners. He lies down again and opens cover. The floral scent is light at first, until he notices the layers under it. First there is lilac, fresh and bright, then there are hyacinths and dog roses, hollyhocks and bluebells. The grass is cut short beneath his boots, there is dew soaking through his socks. Cicadas hum around him and a smell comes wafting on the warm breeze. Scones, strawberries and some sort of vanilla cake. He even smells fresh tea and reaches out his hand, half expecting to feel a bone china cup slide into it. Instead he hits the side of the bed and his eyes flutter open. He did not realize he had closed them. He closes the volume and the feeling fades, leaving him slightly hungry and wishing for a cup of tea.
While searching through the piles at the edge of the bed, he rests his knee on something painfully sharp. It is the corner of a royal blue opus tucked into the side of the bed, protruding from the cushions. The cover has a silver spiral raise of wave-like lines that shimmer when it passes under the light from the koi pond.
This book creaks slightly as opened and before he is trapped in the smell of salt, he smoothes down the corners of the pages. Salt stings his face, is accompanied by the smell of wet sand and woodsmoke. Wind whips his hair into his eyes and the feeling of being on something large and shifting, something that moves too much to be still land, is so overwhelming her almost falls over. Cold droplets hit his skin and roll down his wrists. The ground beneath him tilts again and this time he does not catch himself. He falls to the side and finds himself gasping against a red cushion, face pressed into a row of buttons, the book feet away and in danger of falling into the pillows again.
He picks it up and puts it beyond the books that border the bed, making a note to keep the design on the cover in his mind, should he ever rediscover this tent with Sage.
He looks around excitedly, wondering which book to pick next.
A black leather volume peeks out from a stack to his right. As he pulls it out the ripples from above the pond sail across it, decorating he otherwise plain front. It has a braided length of rope looped around it and he undoes, with difficulty, the knot holding it together.
The first feeling he encounters upon opening the book is cold. It is like ice piercing his bones, and clinging to him with the wetness of mist. Something crunches beneath his feet, like hard packed dirt. There is wet stone, curved at the top and rooted in the ground. There is darkness, no play of light behind his eyelids. There is whistling, like the wind, and the rustle of dry leaves across grass. A feeling of unease creeps over him, shivers in his spine. He has the sense he is being watched and when footsteps come toward him, he is sure of it. There is a muffled thump, something silver flashes, his fear intensifies and pain radiates from his chest. There is a scream that he cannot discern whether it is male or female, or even human. Something falls. Grayness creeps into his eyelids, then red, scarlet and pooling like paint. The gray turns to black and the cold reduces him to shivering.
He slams the cover closed, breathing deeply to slow his heartbeat as he does up the coil of rope with shaking hands. He places the book on the edge of the bed and shoves it hard, sliding it across the floor where is hits a bookcase and rebounds a few inches, coming to stop far away from him.
He feels disturbed and frightened; glancing to each shadow to make sure it is empty. He looks around for another book, wanting to end his experience on a better note. He picks the warmest looking one he can find. Radiantly coloured like embers and bound in fabric that shifts between shades of red and orange in the undulating light. There are tiny stars picked in silver thread that shimmer as he moves back into the centre of the bed.
When he opens the book there is an intense heat, as though he is standing only a few feet from a roaring fire, the sparks rising into the cerulean sky like early stars. There is the smell of smoke and spice and something sweet, like figs and honey. The feel of feathers against his skin and the heat increases, making him flush. Something soft on his cheek, a gloved hand maybe. There is a rippling laugh, two flutes with blending melodies and a pair of lips that whisper in his ear words he doesn’t catch, either from the softness of them or they are in a different language.
He turns his head to hear the words again but when he opens his eyes he meets the wall of the bed and another stack of books. He places the book back carefully on a pile, feeling a guilty at his desire to tuck it away somewhere it will remain unfound and undisturbed, in the hopes he will find it easily in the future. He is not sure if he wants to open another book so he rises from the bed, as best as he can without falling back into the sea of pillows, and pulls himself up onto a part of ledge he has cleared. He is careful not to touch any volumes on his way out.
When he pushes the flap of curtain open and steps through he relaxes with the familiar scent of the circus.  He turns and pulls the coal grey laces through each silver grommet and sets off down a path in search of Sage. He considers taking his coat off as the night is warm, but he catches the sound of wind whistling and finds he is too cold. 

Text by Lucie MacAulay