Mathew Stover
Test of Metal
THE METAL ISLAND
At the farthest reach of a world that is ocean, there is one small island, and this island is made of metal. The metal has the appearance of age-tarnished silver, or perhaps of burnished pewter, though it can be made more resilient than tool steel and harder than diamond. This metal is not armor, nor paving, nor is it built into structures for shelter. This metal is instead the grass, and the trees, their leaves and their fruit. It is the moss that clings to boulders and the algae in the tide pools, as though some eccentric god had, on a whim, decreed that every material thing on this island be transformed to metal in a single instant. This metal shines in the sun, sings in the winds, and gleams on moonless nights as though gathering starlight against the dawn.
The only living thing on the Metal Island was one lone man, naked on the metal beach, resting on doubled knees, his head lowered as though in meditation or prayer.
The island’s metal does not occur in nature, in any form on any world, from the highest heavens to the deepest hells. This metal is called etherium, and it is arguably the most valuable substance in the Multiverse. Etherium is magic.
Not magical. Many things are magical. In the jigsaw world of Alara, a horse can’t piss without splashing something magical. Most magical things are powered by mana; nearly any kind of magical operation is simply a directed use of mana. Etherium is not magical. It is not a device powered by, or used to direct, mana.
Etherium is magic.
The energies bound into etherium transcend mana as lightning transcends a lightning bug. Etherium is an expression of reality itself. Its power is the power of existence. It can be worked with, transformed, shaped into useful structures, but its power cannot be exhausted, and its substance cannot be unmade.
All of the etherium in existence, on any plane or flavor of reality, had been created by one crazed being-known even to his admirers as Crucius the Mad-in an insane attempt to heal the wounds of broken worlds. One day Crucius had a moment of clarity, and in that moment of clarity he understood what he had done…
And he vanished. Forever.
The island is, all in one place, more etherium than can be found in the entire aggregate of elsewhere. It is wealth enough to buy a medium-size universe. This made it all the more remarkable that the man who kneeled naked on the Metal Island’s shore seemed to have no interest in anything outside his head.
He simply kneeled, thinking.
He was not thinking about the unimaginable wealth that lay before him. He was not even thinking about the power of existence that can be wielded by the metal’s master. He was contemplating a riddle.
This was not the riddle of the island, why one lone speck of dry land should appear in a world that was ocean. This was not the riddle of the island’s etherium, of whence it had come and why it has been worked into all the shapes of life. No: it was an actual riddle. A classical riddle, posed in a classical manner by a classical riddler.
This riddle lies between the etherium talons of the Metal Sphinx.
The Metal Sphinx reclines upon the etherium sand shore, its face toward the rising sun, its shadow stretched for miles upon the sea. Its open-worked form is a structure of graceful curves and elegant arches that somehow suggest bone and blood and flesh in the different colors of light gathered and reflected by its endless array of polished surfaces. It is vast beyond even the considerable magnitude of actual sphinxes, those winged leviathans of the mountains of Esper. The Metal Sphinx is larger than a house, larger than a warship, larger than a castle; a whole conundrum of young sphinxes might play aerial tag through its curves and angles without any risk of soiling its slightest span by the brush of a wing tip.
The Metal Sphinx rests upon a plinth, also of etherium, that is as tall as a tree and as broad as a good-size farm. The eastern face of this plinth carries a legend, carved deeply into the metal in letters that form themselves into the alphabet most familiar to the reader, and into words that can be understood as though composed in any given reader’s milk tongue. This legend reads:
I AM THE STONE THAT COMES NOT FROM THE SEA.
I AM THE BLOOD BUT THE BLOOD IS NOT ME.
I AM THE KEY TO THE DOOR WITH NO LOCKS.
I AM THE MAINSPRING THAT WINDS BROKEN CLOCKS.
I AM YOUR TEARS ON THE CHAINS OF THE RACK.
I AM YOUR GIFT AND YOU CAN’T GIVE ME BACK
The naked man had been kneeling there on the shore for a very, very long time-so long that had he been an ordinary man, he would have starved to death, his flesh rotted and bones bleached by the sun long ago. This man was not ordinary. He was prepared to remain there in silent contemplation until the stars themselves burned out.
He spent this time in a state of extraordinarily focused concentration, applying all his considerable resources of mind to this riddle. Sphinxes are uniquely dangerous creatures-even metal ones-and undertaking to unlock their riddles is notoriously perilous.
Guessing the answer wouldn’t help, even if he guessed correctly. He had to know the answer, which is an altogether trickier proposition. His knowing had to be more than words; words without comprehension are as empty as the whistle of wind through dead trees. He had to understand the answer. He had to breathe it in and breathe it out; he had to eat it and drink it and make it as much a part of him as his hand, or his eyes, or his heart.
And when he had kneeled there on the sandy shore of the Metal Island long enough to do all these things, the answer was obvious. He lifted his head, squinting up at the blank etherium eyes of the Metal Sphinx. “Is that it?” he said. “It’s that simple? Really?”
The statue did not seem disposed to reply.
The man sighed. There was one way to know for sure.
He brought his right hand up before his face, turned it this way and that, waggled his fingers, examining its every curve, crease, and follicle, until he had all of these details fixed firmly in his mind. He had learned, from long experience, that people who say, “I know ‘something’ like the back of my hand,” are often correct only because they don’t actually know the backs of their hands-or their fronts, for that matter-in any meaningful way.
“All right, then,” he said at length, speaking aloud with the unselfconsciousness of a man who has become comfortable with solitude. Though he was accustomed to expressing himself (even to himself) in a way that emphasized his impressive vocabulary, in this case, what he expressed was as simple as what he was about to do was complex. “It will suck to be wrong.”
With his left hand, he picked through the tangles of his graying hair until he located a tiny shard of sharp crystal, shaped like a needle the length of the last joint of his thumb. This crystal needle was warmer than could be explained by the man’s body heat, or by the rays of the sun, and even in the brilliant noon, the needle displayed a faint rosy glow.
He made a fist of his right hand until the veins on its back stood out, then shoved the crystal needle lengthwise into one of those veins until it lay wholly under his skin. The blaze of sudden pain, far more intense than a mere pinprick, he had anticipated, and so he was not dismayed even when his hand burst into flame.
While his flesh blackened and charred, he gathered his concentration in a particular way, then extended his arm as though reaching with his burning hand for something invisible in the air before him. As if dipping through the surface boundary of reflective water, his fingers began to disappear, wiping themselves from existence, followed by his burning hand-for there was indeed a surface there through which he reached, though it was not water.
It was the surface of the universe.