Fantasy magazine

From Modern Mythcraft to Magical Surrealism




The Lily and the Horn

The Lily and the Horn by Catherynne M. Valente (art by Goñi Montes)

Art by Goñi Montes

War is a dinner party.

My ladies and I have spent the dregs of summer making ready. We have hung garlands of pennyroyal and snowberries in the snug, familiar halls of Laburnum Castle, strained cheese as pure as ice for weeks in the caves and the kitchens, covered any gloomy stone with tapestries or stags’ heads with mistletoe braided through their antlers. We sent away south to the great markets of Mother-of-Millions for new silks and velvets and furs. We have brewed beer as red as October and as black as December, boiled every growing thing down to jams and pickles and jellies, and set aside the best of the young wines and the old brandies. Nor are we proud: I myself scoured the stables and the troughs for all the strange horses to come. When no one could see me, I buried my face in fresh straw just for the heavy gold scent of it. I’ve fought for my husband many times, but each time it is new all over again. The smell of the hay like candied earth, with its bitter ribbons of ergot laced through—that is the smell of my youth, almost gone now, but still knotted to the ends of my hair, the line of my shoulders. When I polish the silver candelabras, I still feel half a child, sitting splay-legged on the floor, playing with my mother’s scorpions, until the happy evening drew down.

I am the picture of honor. I am the Lily of my House. When last the king came to Laburnum, he told his surly queen: You see, my plum? That is a woman. Lady Cassava looks as though she has grown out of the very stones of this hall. She looked at me with interested eyes, and we had much to discuss later when quieter hours came. This is how I serve my husband’s ambitions and mine: with the points of my vermilion sleeves, stitched with thread of white and violet and tiny milkstones with hearts of green ice. With the net of gold and chalcanthite crystals catching up my hair, jewels from our own stingy mountains, so blue they seem to burn. With the great black pots of the kitchens below my feet, sizzling and hissing like a heart about to burst.

It took nine great, burly men to roll the ancient feasting table out of the cellars, its legs as thick as wine barrels and carved with the symbols of their house: the unicorn passant and the wild poppy. They were kings once, Lord Calabar’s people. Kings long ago when the world was full of swords, kings in castles of bone, with wives of gold—so they all say. When he sent his man to the Floregilium to ask for me, the Abbess told me to be grateful—not for his fortune (of which there is a castle, half a river, a village and farms, and several chests of pearls fished out of an ocean I shall never see) but for his blood. My children stand near enough from the throne to see its gleam, but they will never have to polish it.

My children. I was never a prodigy in the marriage bed, but what a workhorse my belly turned out to be! Nine souls I gave to the coffers of House Calabar. Five sons and four daughters, and not a one of them dull or stupid. But the dark is a hungry thing. I lost two boys to plague and a girl to the scrape of a rusted hinge. Six left. My lucky sixpence. While I press lemon oil into the wood of the great table with rags that once were gowns, four of my sweethearts giggle and dart through the forest of legs—men, tables, chairs. The youngest of my black-eyed darlings, Mayapple, hurls herself across the silver-and-beryl checked floor and into my arms, saying:

“Mummy, Mummy, what shall I wear to the war tonight?”

She has been at my garden, though she knows better than to explore alone. I brush wisteria pollen from my daughter’s dark hair while she tells me all her troubles. “I want to wear my blue silk frock with the emeralds round the collar, but Dittany says it’s too plain for battle and I shall look like a frog and shame us.”

“You will wear vermillion and white, just as we all will, my little lionfish, for when the king comes we must all wear the colors of our houses so he can remember all our names. But lucky for you, your white will be ermine and your vermillion will be rubies and you will look nothing at all like a frog.”

Passiflora, almost a woman herself, as righteous and hard as an antler, straightens her skirts as though she has not been playing at tumble and chase all morning. She looks nothing like me—her hair as red as venom, her eyes the pale blue of moonlit mushrooms. But she will be our fortune, for I have seen no better student of the wifely arts in all my hours. “We oughtn’t to wear ermine,” she sniffs. “Only the king and the queen can, and the deans of the Floregilium, but only at midwinter. Though why a weasel’s skin should signify a king is beyond my mind.”

My oldest boy, Narcissus, nobly touches his breast with one hand while he pinches his sister savagely with the other and quotes from the articles of peerage. “‘The House of Calabar may wear a collar of ermine not wider than one and one half inches, in acknowledgement of their honorable descent from Muscanine, the Gardener Queen, who set the world to growing.’”

But Passiflora knows this. This is how she tests her siblings and teaches them, by putting herself in the wrong over and over. No child can help correcting his sister. They fall over themselves to tell her how stupid she is, and she smiles to herself because they do not think there’s a lesson in it.

Dittany, my sullen, sour beauty, frowns, which means she wants something. She was born frowning and will die frowning and through all the years between (may they be long) she will scowl at every person until they bend to her will. A girl who never smiles has such power—what men will do to turn up but one corner of her mouth! She already wears her red war-gown and her circlet of cinnabar poppies. They bring out the color in her grimace.

“Mother,” she glowers, “may I milk the unicorns for the feast?”

My daughter and I fetch knives and buckets and descend the stairs into the underworld beneath our home. Laburnum Castle is a mushroom lying only half above ground. Her lacy, lovely parts reach up toward the sun, but the better part of her dark body stretches out through the seastone caverns below, vast rooms and chambers and vaults with ceilings more lovely than any painted chapel in Mother-of-Millions, shot through with frescoes and motifs of copper and quartz and sapphire and opal. Down here, the real work of war clangs and thuds and corkscrews toward tonight. Smells as rich as brocade hang in the kitchens like banners, knives flash out of the mist and the shadows.

I have chosen the menu of our war as carefully as the stones in my hair. All my art has bent upon it. I chose the wines for their color—nearly black, thick and bitter and sharp. I baked the bread to be as sweet as the pudding. The vital thing, as any wife can tell you, is spice. Each dish must taste vibrant, strong, vicious with flavor. Under my eaves they will dine on curried doves, black pepper and peacock marrow soup, blancmange drunk with clove and fiery sumac, sealmeat and fennel pies swimming in garlic and apricots, roast suckling lion in a sauce of brandy, ginger, and pink chilis, and pomegranate cakes soaked in claret.

I am the perfect hostess. I have poisoned it all.

This is how I serve my husband, my children, my king, my house: with soup and wine and doves drowned in orange spices. With wine so dark and strong any breath of oleander would vanish in it. With the quills of sunless fish and liqueurs of wasps and serpents hung up from my rafters like bunches of lavender in the fall.

It’s many years now since a man of position would consider taking a wife who was not a skilled poisoner. They come to the Floregilium as to an orphanage and ask not after the most beautiful, nor the sweetest voice, nor the most virtuous, nor the mildest, but the most deadly. All promising young ladies journey to Brugmansia, where the sea is warm, to receive their education. I remember it more clearly than words spoken but an hour ago—the hundred towers and hundred bridges and hundred gates of the Floregilium, a school and a city and a test, mother to all maidens.

I passed beneath the Lily Gate when I was but seven—an archway so twisted with flowers no stone peeked through. Daffodils and hyacinths and columbines, foxglove and moonflower, poppy and peony, each one gorgeous and full, each one brilliant and graceful, each one capable of killing a man with root or bulb of leaf or petal. Another child ran on ahead of me. Her hair was longer than mine, and a better shade of black. Hers had blue inside it, flashing like crystals dissolving in a glass of wine. Her laugh was merrier than mine, her eyes a prettier space apart, her height far more promising. Between the two of us, the only advantage I ever had was a richer father. She had a nice enough name, nice enough to hide a pit of debt.

Once my mother left me to explore her own girlish memories, I followed that other child for an hour, guiltily, longingly, sometimes angrily. Finally, I resolved to give it up, to let her be better than I was if she insisted on it. I raised my arm to lean against a brilliant blue wall and rest—and she appeared as though she had been following me, seizing my hand with the strength of my own father, her grey eyes forbidding.

“Don’t,” she said.

Don’t rest? Don’t stop?

“It’s chalcanthite. Rub up against it long enough and it will stop your blood.”

Her name was Yew. She would be the Horn of her House, as I am the Lily of mine. The Floregilium separates girls into Lilies—those who will boil up death in a sealmeat pie, and Horns—those who will send it fleeing with an emerald knife. The Lily can kill in a hundred thousand fascinating ways, root, leaf, flower, pollen, seed. I can brew a tea of lily that will leave a man breathing and laughing, not knowing in the least that he is poisoned, until he dies choking on disappointment at sixty-seven. The Horn of a unicorn can turn a cup of wine so corrupted it boils and slithers into honey. We spend our childhoods in a dance of sourness and sweetness.

Everything in Floregilium is a beautiful murder waiting to unfold. The towers and bridges sparkle ultramarine, fuchsia, silvery, seething green, and should a careless girl trail her fingers along the stones, her skin will blister black. The river teems with venomous, striped fish that take two hours to prepare so that they taste of salt and fresh butter and do not burn out the throat, and three hours to prepare so that they will not strangle the eater until she has gone merrily back to her room and put out her candles. Every meal is an examination, every country walk a trial. No more joyful place exists in all the world. I can still feel the summer rain falling through the hot green flowers of the manchineel tree in the north orchard, that twisted, gnomish thing, soaking up the drops, corrupting the water of heaven, and flinging it onto my arms, hissing, hopping, blistering like love.

It was there, under the sun and moon of the Floregilium, that I read tales of knights and archers, of the days when we fought with swords, with axes and shields, with armor beaten out of steel and grief. Poison was thought cowardice, a woman’s weapon, without honor. I wept. I was seven. It seemed absurd to me, absurd and wasteful and unhappy, for all those thousands to die so that two men could sort out who had the right to shit on what scrap of grass. I shook in the moonlight. I looked out into the Agarica where girls with silvery hair tended fields of mushrooms that wanted harvesting by the half-moon for greatest potency. I imagined peasant boys dying in the frost with nothing in their bellies and no embrace from the lord who sent them to hit some other boy on the head until the lord turned into a king. I felt such loneliness—and such relief, that I lived in a more sensible time, when blood on the frost had been seen for obscenity it was.

I said a prayer every night, as every girl in the Floregilium did, to Muscanine, the Gardener Queen, who took her throne on the back of a larkspur blossom and never looked back. Muscanine had no royal blood at all. She was an apothecary’s daughter. After the Whistling Plague, such things mattered less. Half of every house, stone or mud or marble, died gasping, their throats closing up so only whines and whistles escaped, and when those awful pipes finally ceased, the low and the middling felt no inclination to start dying all over again so that the lordly could put their names on the ruins of the world. Muscanine could read and write. She drew up new articles of war and when the great and the high would not sign it, they began to choke at their suppers, wheeze at their breakfasts, fall like sudden sighs halfway to their beds. The mind sharpens wonderfully when you cannot trust your tea. And after all, why not? What did arms and strength and the best of all blades matter when the wretched maid could clean a house of heirs in a fortnight?

War must civilize itself, wrote Muscanine long ago. So say all sensible souls. There can be no end to conflict between earthly powers, but the use of humble arms to settle disputes of rich men makes rich men frivolous in their exercise of war. Without danger to their own persons, no Lord fears to declare battle over the least slight—and why should he? He risks only a little coin and face while we risk all but benefit nothing in victory. There exists in this sphere no single person who does not admit to this injustice. Therefore, we, the humble arms, will no longer consent to a world built upon, around, and out of an immoral seed.

The rules of war are simple: should Lord Ambition and the Earl of Avarice find themselves in dispute, they shall agree upon a castle or stronghold belonging to neither of them and present themselves there on a mutually agreeable date. They shall break bread together and whoever lives longest wins. The host bends all their wisdom upon vast and varied poisons while the households of Lord Ambition and the Earl bend all their intellect upon healing and the purifying of any wicked substance. And because poisons were once a woman’s work—in the early days no knight could tell a nightshade from a dandelion—it became quickly necessary to wed a murderess of high skill.

Of course, Muscanine’s civilized rules have bent and rusted with age. No Lord of any means would sit at the martial table himself nowadays—he hires a proxy to choke or swallow in his stead. But there is still some justice in the arrangement—no one sells themselves to battle cheaply. A family may lift itself up considerably on such a fortune as Lord Ambition will pay. No longer do two or three men sit down simply to their meal of honor. Many come to watch the feast of war, whole households, the king himself. There is much sport in it. Great numbers of noblemen seat their proxies in order to declare loyalties and tilt the odds in favor of victory, for surely someone, of all those brawny men, can stomach a silly flower or two.

“But think how marvelous it must have looked,” Yew said to me once, lying on my bed surrounded by books like a ribbonmark. “All the banners flying, and the sun on their swords, and the horses with armor so fine even a beast would be proud. Think of the drums and the trumpets and the cries in the dawn.”

“I do think of all that, and it sounds ghastly. At least now, everyone gets a good meal out of the business. It’s no braver or wiser or stranger to gather a thousand friends and meet another thousand in a field and whack on each other with knives all day. And there are still banners. My father’s banners are beautiful. They have a manticore on them, in a ring of oleander. I’ll show you someday.”

But Yew already knew what my father’s banners looked like. She stamped our manticore onto a bezoar for me the day we parted. The clay of the Floregilium mixed with a hundred spices and passed through the gullet of a lion. At least, she said it was a lion.

Soon it will be time to send Dittany and Mayapple. Passiflora will return there when the war is done—she would not miss a chance for practical experience.

Lord Calabar came to the Floregilium when I was a maid of seventeen. Yew’s husband came not long after, from far-off Mithridatium, so that the world could be certain we would never see each other again. They came through the Horn Gate, a passage of unicorn horns braided as elegantly as if they were the strands of a girl’s hair. He was entitled by his blood to any wife he could convince—lesser nobles may only meet the diffident students, the competent but uninspired, the gentle and the kind who might have enough knowledge to fight, but a weak stomach. They always look so startled when they come a-briding. They come from their castles and holdfasts imagining fierce-jawed maidens with eyes that flash like mercury and hair like rivers of blood, girls like the flowers they boiled into noble deaths, tall and bright and fatal. And they find us wearing leather gloves with stiff cuffs at the elbows, boots to the thigh, and masks of hide and copper and glass that turn our faces into those of wyrms and deepwater fish. But how else to survive in a place where the walls are built of venom, the river longs to kill, and any idle perfume might end a schoolgirl’s joke before the punchline? To me those masks are still more lovely than anything a queen might make of rouge and charcoal. I will admit that when I feel afraid, I take mine from beneath my bed and wear it until my heart is whole.

I suppose I always knew someone would come into the vicious garden of my happiness and drag me away from it. What did I learn the uses of mandrake for if not to marry, to fight, to win? I did not want him. He was handsome enough, I suppose. His waist tapered nicely; his shoulders did not slump. His grandfathers had never lost their hair even on their deathbeds. But I was sufficient. I and Floregilium and the manchineel tree and my Yew swimming in the river as though nothing could hurt her, because nothing could. He said I could call him Henry. I showed him my face.

“Mummy, the unicorns are miserable today,” Dittany frowns, and my memory bursts into a rain of green flowers.

I have never liked unicorns. I have met wolves with better dispositions. I have seen paintings of them from nations where they do not thrive—tall, pale, sorrowfully noble creatures holding the wisdom of eternity as a bit in their muzzles. I understand the desire to make them so. I, too, like things to match. If something is useful, it ought to be beautiful. And yet, the world persists.

Unicorns mill around my daughter’s legs, snorting and snuffling at her hands, certain she has brought them the half-rotted meat and flat beer they love best. Unicorns are the size of boars, round of belly and stubby of leg, covered in long, curly grey fur that matts viciously in the damp and smells of wet books. Their long, canny faces are something like horses, yes, but also something like dogs, and their teeth have something of the shark about them. And in the center, that short, gnarled nub of bone, as pure and white as the soul of a saint. Dittany opens her sack and tosses out greying lamb rinds, half-hardened cow’s ears. She pours out leftover porter into their trough. The beasts gurgle and trill with delight, gobbling their treasure, snapping at each other to establish and reinforce their shaggy social order, the unicorn king and his several queens and their kingdom of offal.

“Why do they do it?” Dittany frowns. “Why do they shovel in all that food when they know they could die?”

A unicorn looks up at me with red, rheumy eyes and wheezes. “Why did men go running into battle once upon a time, when they knew they might die? They believe their shield is stronger than the other fellow’s sword. They believe their Horn is stronger than the other fellow’s Lily. They believe that when they put their charmed knives into the pies, they will shiver and turn red and take all the poison into the blade. They believe their toadstones have the might of gods.”

“But nobody is stronger than you, are they, Mum?”

“Nobody, my darling.”

He said I could call him Henry. He courted me with a shaker of powdered sapphires from a city where elephants are as common as cats. A dash of blue like so much salt would make any seething feast wholesome again. Well, unless some clever Lily has used moonseeds, or orellanine, or unicorn milk, or the venom of a certain frog who lives in the library and is called Phillip. Besides, emerald is better than sapphire. But I let him think his jewels could buy life from death’s hand. It is a nice thing to think. Like those beautiful unicorns glowing softly in silver thread.

I watch my daughter pull at the udders of our unicorns, squeezing their sweaty milk into a steel pail, for it would sizzle through wood or even bronze as easily as rain through leaves. She is deft and clever with her hands, my frowning girl, the mares barely complain. When I milk them, they bite and howl. The dun sky opens up into bands like pale ribs, showing a golden heart beating away at dusk. Henry Calabar kisses me when I am seventeen and swears my lips are poison from which he will never recover, and his daughter feeds a unicorn a marrow bone, and his son calls down from the ramparts that the king is coming, he is coming, hurry, hurry, and under all this I see only Yew, stealing into my room on that last night in the country of being young, drawing me a bath in the great copper tub, a bath swirling with emerald dust, with green and shimmer. We climbed in, dunking our heads, covering each other with the strangely milky smell of emeralds, clotting our black hair with glittering sand. Yew took my hand and we ran out together into the night, through the quiet streets of the Floregilium, under the bridges and over the water until we came to the manchineel tree in the north orchards, and she held me tight to her beneath its vicious flowers until the storm came, and when the storm came we kissed for the last time as the rain fell through those green flowers and hissed on our skin, vanishing into emerald steam, we kissed and did not burn.

They call him the Hyacinth King and he loves the name. He got it when he was young and ambitious and his wife won the Third Sons’ War for him before she had their first child. Hyacinth roots can look so much like potatoes. They come into the hall without grandeur, for we are friends, or friendly enough. I have always had a care to be pregnant when the king came calling, for he has let it be known he enjoys my company, and it takes quite a belly to put him off. But not this time, nor any other to come. He kisses the children one by one, and then me. It is too long a kiss but Henry and I tolerate a great deal from people who have not gotten sick of us after a decade or two. The queen, tall and grand, takes my hand and asks after the curried doves, the wine, the mustard pots. Her eyes shine. Two fresh hyacinths pin her cloak to her dress.

“I miss it,” she confesses. “No one wants to fight me anymore. Sometimes I poison the hounds out of boredom. But then I serve them their breakfast in unicorn skulls and they slobber and yap on through another year or nine. Come, tell me what’s in the soup course. I have heard you’ve a new way of boiling crab’s eyes to mimic the Whistling Plague. That’s how you killed Lord Vervain’s lad, isn’t it?”

“You flatter me. That was so long ago, I hardly remember,” I tell her.

She and her husband take their seats above the field of war—our dining hall, sparkling with fire and finery like wet morning grass. They call for bread and wine—the usual kind, safe as yeast. The proxies arrive with trumpets and drums. No different, Yew, I think. My blood prickles at the sound. She is coming. She will come. My castle fills with peasant faces—faces scrubbed and perfumed as they have never been before. Each man standing in for his Lord wears his Lord’s own finery. They come in velvet and silk, in lace and furs, with circlets on their heads and rings on their fingers, with sigils embroidered on their chests and curls set in their hair. And each of them looks as elegant and lordly as anyone born to it. All that has ever stood between a duke and a drudge is a bath. She is coming. She will come. The nobles in the stalls sit high above their mirrors at the table, echoes and twins and stutters. It is a feasting hall that looks more like an operating theater with each passing war.

Henry sits beside his king. We are only the castle agreed upon—we take no part. The Hyacinth King has put up a merchant’s son in his place—the boy looks strong, his chest like the prow of a ship. But it’s only vanity. I can take the thickness from his flesh as fast as that of a thin man. More and more come singing through the gates. The Hyacinth King wishes to take back his ancestral lands in the east, and the lands do not consider themselves to be ancestral. It is not a small war, this time. I have waited for this war. I have wanted it. I have hoped. Perhaps I have whispered to the Hyacinth King when he looked tenderly at me that those foreign lords have no right to his wheat or his wine. Perhaps I have sighed to my husband that if only the country were not so divided we would not have to milk our own unicorns in our one castle. I would not admit to such quiet talk. I have slept only to fight this battle on dreaming grounds, with dreaming knives.

Mithridatium is in the east. She is coming. She will come.

And then she steps through the archway and into my home—my Yew, my emerald dust, my manchineel tree, my burning rain. Her eyes find mine in a moment. We have done this many times. She wears white and pale blue stitched with silver—healing colors, pure colors, colors that could never harm. She is a candle with a blue flame. As she always did, she looks like me drawn by a better hand, a kinder hand. She hardly looks older than my first daughter would have been, had she lived. Perhaps living waist-deep in gentling herbs is better than my bed of wicked roots. Her children beg mutely for her attention with their bright eyes—three boys, and how strange her face looks on boys! She puts her hands on their shoulders. I reach out for Dittany and Mayapple, Passiflora and Narcissus. Yes, these are mine. I have done this with my years, among the rest. Her husband takes her hand with the same gestures as Henry might. He begs for nothing mutely with his bright eyes. They are not bad men. But they are not us.

I may not speak to her. The war has already begun the moment she and I rest our bones in our tall chairs. The moment the dinner bell sounds. Neither of us may rise or touch any further thing—all I can do and have done is complete and I am not allowed more. Afterward, we will not be permitted to talk—what if some soft-hearted Horn gave away her best secrets to a Lily? The game would be spoilt, the next war decided between two women’s unguarded lips. It would not do. So we sit, our posture perfect, with death between us.

The ladies will bring the peacock soup, laced with belladonna and serpent’s milk, and the men (and lady, some poor impoverished lord has sent his own unhappy daughter to be his proxy, and I can hardly look at her for pity) of Mithridatium, of the country of Yew, will stir it with spoons carved from the bones of a white stag, and turn it sweet—perhaps. They will tuck toadstones and bezoars into the meat of the curried doves and cover the blancmange with emerald dust like so much green salt. They will smother the suckling lion in pennyroyal blossoms and betony leaves. They will drink my wine from her cups of unicorn horn. They will sauce the pudding with vervain. And each time a course is served, I will touch her. My spices and her talismans. My stews and her drops of saints’ blood like rain. My wine and her horn. My milk and her emeralds. Half the world will die between us, but we will swim in each other and no one will see.

The first soldier turns violet and shakes himself apart into his plate of doves and twenty years ago Yew kisses emeralds from my mouth under the manchineel tree while the brutal rain hisses away into air.

© 2015 by Catherynne M. Valente.

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Catherynne M. Valente

Catherynne M. Valente is the New York Times bestselling author of over two dozen works of fiction and poetry, including Palimpsest, the Orphan’s Tales series, Deathless, Radiance, and the crowdfunded phenomenon The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making. She is the winner of the Andre Norton, Tiptree, Mythopoeic, Rhysling, Lambda, Locus, and Hugo awards. She has been a finalist for the Nebula and World Fantasy Awards. She lives on an island off the coast of Maine with a small but growing menagerie of beasts, some of which are human.