“No,exultant.”

“We are no exultant. We are your Autarch. Why are you here?”

He rose, then fell to his knees. “1 am innocent! Believe me!”

“All right,” I said. “We believe you. But we want you to tell us what you were accused of, and how you came to be convicted.”

Shrilly, he began to pour forth one of the most complex and confused accounts I have ever heard.

His sister-in-law had conspired with her mother against him. They said he had stuck his wife, that he had neglected his ill wife, that he had stolen certain moneys from her that she had been entrusted with by her father, for purposes about which they disagreed. In explaining all this (and much more) he boasted of his own cleverness while decrying the frauds, tricks, and lies of the others that had sent-him to the oubliette.

He said that the gold in question had never existed, and also that his motherin-law had used a part of it to bribe the judge. He said he had not known his wife was ill, and that he had procured the best physician he could afford for her.

When I left him, I went to the next call and heard the client there, and then to the next and the next, until I had visited fourteen. Eleven clients protested their innocence, some better than the first, some even worse; but I found none whose protestations convinced me. Three admitted that they were guilty (though one swore, I think sincerely, that though he had committed most of the crimes with which he had been charged, he had also been charged with several he had not committed). Two of these promised earnestly to do nothing that would return them to the oubliette if only I would release them; which I did. The third—a woman who had stolen children and forced them to serve as articles of furniture in a room she had set aside for the purpose, in one instance nailing the hands of a little girl to the underside of a small tabletop so that she became in effect its pedestal—told me with apparently equal frankness that she felt sure she would return to what she called her sport because it was the only activity that really interested her. She did not ask to be released, only to have her sentence commuted to simple imprisonment. I felt certain she was mad, yet nothing in her conversation or her clear blue eyes indicated it, and she told me she had been examined prior to her trial and pronounced sane. I touched her forehead with the New Claw, but it was as inert as the old Claw had been when I had attempted to use it to help Jolenta and Baldanders.

I cannot escape the thought that the power manifested in both Claws is drawn from myself, and that it is for this reason that their radiance, said by others to be warm, has always seemed cold to me. This thought is the psychological equivalent of that aching abyss in the sky into which I feared to fall when I slept in the mountains. I reject and fear it because I desire so fervently that it be true; and I feel that if there were the least echo of truth in it, I would detect it within myself. I do not.

Furthermore, there are profound objections to it besides this lack of internal resonance, the most important, convincing, and apparently inescapable being that the Claw unquestionably reanimated Dorcas after many decades of death—and did so before I knew I carried it.

That argument appears conclusive; and still I am not sure that it is so. Did I in fact know? What is meant by know, in an appropriate sense? I have assumed I was unconscious when Agia dipped the Claw into my sabretache; but I may have been merely dazed, and in any case, many have long believed that unconscious persons are aware of their surroundings and respond internally to Speech and music. How else explain the dreams dictated by external sounds? What portion of the brain is unconscious, after all?

Not the whole of it, or the heart would not beat and the lungs no longer breathe. Much of the memory is chemical All that, in fact, I have from Thecla and the former Autarch is fundamentally so—the drugs serving only to permit the complex compounds of thought to enter my own brain as information. May it not be that certain information derived from external phenomena are chemically impressed on our brains even when the electrical activity on which we depend for conscious thought has temporarily ceased?

Besides, if the energy has its origins in me, why should it have been necessary for me to be aware of the presence of the claw for them to operate, any more than it would be necessary if they had their origin in the Claw itself? A strong suggestion of another kind might be equally effective, and certainly our careening invasion of the sacred precincts of the Pelerines and the way in which Agia and I emerged unhurt from the accident that killed the animals might have furnished such a suggestion. From the cathedral we had gone to the Botanic Gardens, and there, before we entered the Garden of Endless Sleep, I had seen a bush covered with Claws. At that time I believed the Claw to be a gem, but may not they have suggested it nonetheless? Our minds often play such punning tricks. In the yellow house we had met three persons who believed us supernatural presences.

If the supernatural power is mine (and yet clearly it is not mine), how did I come to have it? I have devised two explanations, both wildly improbable. Dorcas and I talked once of the symbolic significance of real-world things, which by the teachings of the philosophers stand for things higher than themselves, and in a lower order are themselves symbolized. To take an absurdly simple example, suppose an artist in a garret limning a peach. If we put the poor artist in the place of the Increate, we may say that his picture symbolizes the peach, and thus the fruits of the soil, while the glowing curve of the peach itself symbolizes the ripe beauty of womanhood. Were such a woman to enter the artist’s garret (an improbability we must entertain for the sake of the explanation), she would doubtless remain unaware that the fullness of her hip and the hardness of her heart found their echoes in a basket on the table by the window, though perhaps the artist might be able to think of nothing else.

But if the Increate is in actual fact in place of the artist, is it not possible that such connections as these, many of which must always be unguessable by human beings, may have profound effects on the structure of the world, just as the artist’s obsession may colour his picture? If I am he who is to renew the youth of the sun with the White Fountain of which I have been told, may it not be that I have been given, almost unconsciously (if that expression may be used), the attributes of life and light that will belong to the renewed sun?