Magic terror: seven tales - By Peter Straub Page 0,4

my small diamond,” said the queen, and the king straightened up, although he still looked white and shaken. He patted his daughter on the head on his way out of the room, but the girl merely looked forward and said nothing, in return for the nothing he had given her.

And that night, when the rest of the palace was asleep, the king’s daughter crept to the kitchen and ate half of a loaf of bread and most of a quart of homemade peach ice cream. This was the most delicious food she had ever eaten in her whole entire life. The bread tasted like the sun on the wheat fields, and inside the taste of the sun was the taste of the bursting kernels of the wheat, even of the rich dark crumbly soil that surrounded the roots of the wheat, even of the lives of the bugs and animals that had scurried through the wheat, even of the droppings of those foxes, beetles, and mice. And the homemade peach ice cream tasted overwhelmingly of sugar, cream, and peaches, but also of the bark and meat of the peach tree and the pink feet of the birds that had landed on it, and the sharp, brittle voices of those birds, also of the effort of the hand crank, of the stained, whorly wood of its sides, and of the sweat of the man who had worked it so long. Every taste should be as complicated as possible, and every taste goes up and down at the same time: up past the turtledoves to the far reaches of the sky, so that one final taste in everything is whiteness, and down all the way to the mud at the bottom of graves, then to the mud beneath that mud, so that another final taste in everything, in even peach ice cream, is the taste of blackness.

From about this time, the king’s daughter began to attract undue attention. From the night of the whiteness of turtledoves and the blackness of grave-mud to the final departure of the stepsisters was a period of something like six months.

I thought of myself as a work of art. I caused responses without being responsible for them. This is the great freedom of art.

They asked questions that enforced the terms of their own answers. Don’t you know we want to help you? Such a question implies only two possible answers, 1: no, 2: yes. The stepsisters never understood the queen’s daughter, therefore the turtledoves pecked out their eyes, first on the one side, then on the other. The correct answer—3: person to whom question is directed is not the one in need of help—cannot be given. Other correct answers, such as 4: help shall come from other sources, and 5: neither knowledge nor help mean what you imagine they mean, are also forbidden by the form of the question.

Assignment for tonight: make a list of proper but similarly forbidden answers to the question What is happening to you? Note: be sure to consider conditions imposed by the use of the word happening.

The stepsisters arrived from the city in grand state. They resembled peacocks. The stepsisters accepted Zena’s tea, they admired the house, the paintings, the furniture, just as if admiring these things, which everybody admired, meant that they, too, should be admired. The stepsisters wished to remove the king’s daughter from this setting, but their power was not so great. Zena would not permit it, nor would the ailing king. (At night, Zena placed her subtle mouth over his sleeping mouth and drew breath straight out of his body.) Zena said that the condition of the king’s daughter would prove to be temporary. The child was eating well. She was loved. In time, she would return to herself.

When the figments asked, What is happening to you? I could have answered, Zena is happening to me. This answer would not have been understood. Neither would the answer, My mother is happening to me.

Undue attention came about in the following fashion. Zena knew all about my midnight feasts, but was indifferent to them. Zena knew that each person must acquire what she needs. This is as true for a king’s daughter as for any ordinary commoner. But she was ignorant of what I did in the name of art. Misery and anger made me a great artist, though now I am a much greater artist. I think I was twelve. (The age of an artist is of no importance.)