I came out of the door in the basin of The Jonquil Julep and I lay down on floor of a carrot-colored autumn jungle and cried until I didn’t have anything wet left to lose. Then I crawled under a papaya tree and clawed the orange clay until I made a hole big enough to climb inside if I curled up my whole body like a circle you draw with one smooth motion. The clay smelled like fire.
“I love you,” said my sorrow. She didn’t look well. Her fur was threadbare, translucent, her trunk dried out.
“I don’t know what ‘I love you’ means in the Orange Country,” sighed Jellyfish.
“I do,” said the Sparrowbone Mask of the Incarnadine Fisherwomen, who hadn’t had a damn thing to say in ages. “Here, if you love someone, you mean to keep them prisoner and never let them see the sun.”
“But then they’d be safe,” I whispered.
“I love you,” said my sorrow. She got down on her giant woolly knees beside my hole. “I love you. Your eyes are yellow.”
I began to claw into the orange clay of my hole. I peeled it away and crammed it into my mouth. My teeth went through it easy as anything. It didn’t taste like dirt. It tasted like a lot of words, one after the other, with conflict and resolution and a beginning, middle, but no end. It tasted like Mummery showing me how to play the clarinet. It tasted like an Emperor who wasn’t an Emperor anymore. The earth stained my tongue orange forever.
“I love you,” said my sorrow.
“I heard you, dammit,” I said between bright mouthfuls.
Like she was putting an exclamation point on her favorite phrase, my sorrow opened up her cabinet doors in the sienna shadows of the orange jungle. Toucans and orioles and birds of paradise crowed and called and their crowing and calling caromed off the titian trunks until my ears hated birdsong more than any other thing. My sorrow opened up her cabinet doors and the wind whistled through the space inside her and it sounded like Premiére Rhapsodie in A Major through the holes of a fuel-efficient crystal clarinet.
Inside my sorrow hung a dress the color of garnets, with a long train trailing behind it and a neckline that plunged to the navel. It looked like it would be very hard to dance in.
IN THE RED Country, love is love, loyalty is loyalty, a story is a story, and death is a long red dress. The Red Country is the only country with walls.
I slept my way into the Red Country.
I lay down inside the red dress called death; I lay down inside my sorrow and a bone mask crawled onto my face; I lay down and didn’t dream and my sorrow smuggled me out of the orange jungles where sorrow is sadness. I don’t remember that part so I can’t say anything about it. The inside of my sorrow was cool and dim; there wasn’t any furniture in there, or any candles. She seemed all right again, once we’d lumbered on out of the jungle. Strong and solid like she’d been in the beginning. I didn’t throw up even though I ate all that dirt. Jellyfish told me later that the place where the Orange Country turns into the Red Country is a marshland full of flamingos and ruby otters fighting for supremacy. I would have liked to have seen that.
I pulled it together by the time we reached the riverbanks. The Incarnadine River flows like blood out of the marshes, through six locks and four sluice gates in the body of a red brick wall as tall as clouds. Then it joins the greater rushing rapids and pools of the Claret, the only river in seven kingdoms with dolphins living in it, and all together, the rivers and the magenta dolphins, roar and tumble down the valleys and into the heart of the city of Cranberry-on-Claret.
Crimson boats choked up the Incarnadine. A thousand fishing lines stuck up into the pink dawn like pony-poles on the pampas. The fisherwomen all wore masks like mine, masks like mine and burgundy swimming costumes that covered them from neck to toe and all I could think was how I’d hate to swim in one of those things, but they probably never had to because if you fell out of your boat you’d just land in another boat. The fisherwomen cried out when they saw me. I suppose I looked frightening, wearing that revealing, low-cut death and the bone mask and riding a mammoth with a unicorn in my arms. They called me some name that wasn’t Violet Wild and the ones nearest to shore climbed out of their boats, shaking and laughing and holding out their arms. I don’t think anyone should get stuck holding their arms out to nothing and no one, so I shimmied down my sorrow’s fur and they clung on for dear life, touching the Sparrowbone Mask of the Incarnadine Fisherwomen, stroking its cheeks, its red spiral mouth, telling it how it had scared them, vanishing like that.
“I love you,” the Sparrowbone Mask of the Incarnadine Fisherwomen kept saying over and over. It felt strange when the mask on my face spoke but I didn’t speak. “I love you. Sometimes you can’t help vanishing. I love you. I can’t stay.”
My mask and I said both together: “We are afraid of the wall.”
“Don’t be doltish,” an Incarnadine Fisherwoman said. She must have been a good fisherwoman as she had eight vermillion catfish hanging off her belt and some of them were still opening and closing their mouths, trying to breathe water that had vanished like a mask. “You’re one of us.”
So my sorrow swam through the wall. She got into the scarlet water which rose all the way up to her eyeballs but she didn’t mind. I rode her like sailing a boat and the red water soaked the train of my red death dress and magenta dolphins followed along with us, jumping out of the water and echolocating like a bunch of maniacs and the Sparrowbone Mask of the Incarnadine Fisherwomen said:
“I am beginning to remember who I am now that everything is red again. Why is anything unred in the world? It’s madness.”
Jellyfish hid her lavender face in her watermelon-colored hooves and whispered:
“Please don’t forget about me, I am water soluble!”
I wondered, when the river crashed into the longest wall in the world, a red brick wall that went on forever side to side and also up and down, if the wall had a name. Everything has a name, even if that name is in Latin and nobody knows it but one person who doesn’t live nearby. Somebody had tried to blow up the wall several times. Jagged chunks were missing; bullets had gouged out rock and mortar long ago, but no one had ever made a hole. The Incarnadine River slushed in through a cherry-colored sluice gate. Rosy sunlight lit up its prongs. I glided on in with all the other fisherwomen like there never was a wall in the first place. I looked behind us—the river swarmed with squirrels, gasping, half drowning, paddling their little feet for dear life. They squirmed through the sluice gate like plague rats.
“If you didn’t have that mask on, you would have had to pay the toll,” whispered Jellyfish.
“What’s the toll?”
“A hundred years as a fisherwoman.”
CRANBERRY-ON-CLARET IS A city of carnelian and lacquerwork and carbuncle streetlamps glowing with red gas flames because the cities of the Red Country are not electrified like Plum Pudding and Lizard Tongue and Absinthe. People with hair the color of raspberries and eyes the color of wood embers play ruby bassoons and chalcedony hurdy-gurdies and cinnamon-stick violins on the long, wide streets and they never stop even when they sleep; they just switch to nocturnes and keep playing through their dreaming. When they saw me coming, they started up My Baby Done Gone to Red, which, it turns out, is only middling as far as radio hits go.
Some folks wore deaths like mine. Some didn’t. The Ordinary Emperor said that sometimes the dead go to the Red Country but nobody looked dead. They looked busy like city people always look. It was warm in Cranberry-on-Claret, an autumnal kind of warm, the kind that’s having a serious think about turning to cold. The clouds glowed primrose and carmine.