Paula Goodlett, Meriah L. Crawford, Robert E. Waters, Timothy Roesch, Sam Hidaka Hunter, Griffin Barber, Kerryn Offord,Gorg Huff, Rainer Prem, Enrico Toro,David Carrico, David Carrico

Grantville Gazette 46

The Persistence of Dreams

Meriah L. Crawford, Robert E. Waters

Grantville, May 1636

Daniel Block stretched his aching back, then tilted his canvas to capture more of the fading light of the evening. The reddish hue changed the colors on his palette, giving Fraulein Barnes's pale arms and shoulders an orange tint that he found most intriguing. Painting outdoors had much to offer, though he worried the colors of his final work would be off. But then, the painting would seem odd to down-timers anyway. Even many of these up-time folk seemed tied to tradition when it came to art. Perhaps, he thought, my coming to Grantville will help change-

"Block!"

Daniel jumped, turning to see Warner Barnes waving as he entered the yard from the back door. "Ach, scheisse," Daniel hissed. He spun, wide-eyed, looking for the canvas drape he used to cover paintings between sessions, only to remember laughing earlier as his five-year-old, Benjamin, had wrapped the cloth around his shoulders like a cape and swooped through the yard, shouting, "I'm Superman, Superman! Fly like the birds!" while his young friend Stefan Weiss cheered him on. It had been so utterly charming, but now- "Scheisse."

The painting wasn't ready.

Barnes stumbled to a halt a few feet away from the painting, his mouth gaping and his face going a sickly-white. "That-that-that," he said, raising his hand to point, "That is not-you didn't. Dear God in heaven, man, I trusted you. A master painter, Clyde said, and you-you-bastard!" Warner kicked at Daniel's easel, knocking the painting face-first onto the ground, stomping on the back of the canvas, howling in rage. "You have violated her-violated my daughter!"

Daniel gaped in horror, frozen, thinking only of the still-wet paint smearing in the dirt-all his work, all his hopes and dreams. .

"Please, Herr Barnes," Daniel said, holding up his hands, "let me explain. I wanted to portray your daughter similar to the way Picasso would have in his later work, you see, showing multiple viewpoints of her at once. But, you know, I'm no Picasso." He shrugged. "At least not yet. I realized that trying to create a painting that bold too soon would be a disservice to you and your daughter. So, I thought I'd throw in a little of the current tradition, coupled with a touch of Surrealism, and-"

"I don't give a damn what you thought you'd do," Barnes said, a thick vein pulsing across his darkening forehead. "I paid you good money to paint a proper portrait of my little girl. I'll be damned if I'm going to let this trash see the light of day-and I will see to it that you never paint another of this town's decent young ladies. You filthy, disgusting, sorry son of a-" Barnes stepped forward, arm raised and fist clenched, ready to take a turn at pummeling the artist himself.

Daniel-finally recognizing the danger-armed himself with a nearby folding chair.

Barnes knocked the chair away, grabbed Daniel's sweater, and drew his fist back to deliver a crushing blow.

Stefan's mother, Nina Weiss-housekeeper and companion of Daniel's host, Ella Lou Rice-came barreling through the rear door, shouting, "Nein, nein, you must not, Herr Barnes! There will be no fighting here! Frau Rice is sleeping and is not well today. You must stop, I beg you!"

Both men halted in place as Nina bustled up to them.

She took hold of Barnes' raised arm and pulled it down, patting it soothingly. "You do not wish to cause trouble for Frau Rice, surely. Do you want to wake her when she is not well? Herr Rice would be most upset." She turned him, pulled him gently by the arm, and he went with her, a bewildered look on his face.

"But I-but he-that painting!"

"Ja, ja, Herr Barnes. You do not like it," she said, nodding her head sympathetically. "I said as much to Herr Block myself yesterday, but he is most taken with these new up-time art forms. Very modern, very advanced. We do not understand them, I think, you and I." She patted his arm.

"We're not finished here, Block," Barnes said as Nina led him into the house and out of sight. "Not finished at all!"

Stunned, Daniel turned to survey the wreckage of his work. He did not fully understand these "modern" art styles himself, he acknowledged, as he turned the painting onto its back. He grimaced at the smears of green paint that ran across Mikayla Barnes's distorted profile, marred her bare, round breasts and belly, and dotted the pale background. Her cobalt hair, which had flown upward, transforming into undulating birds, was dotted with dirt and gravel. Worst of all was a nearly foot-long rip separating her bare legs from the purple boulder upon which she was draped.

He had envisioned a sort of Picasso-esque Andromeda, with the saturated, golden palette of Gaugin's Tahiti paintings. Fraulein Barnes lay sprawled on the rocks, chained, waiting to be freed from her bonds by a transformed, heroic sea monster. It had been unlike anything he could have imagined before his studies at the Grantville library. It was to be the first step in a grand project to make a mark-a lasting one, this time-on the art world. But it was gone now. Destroyed.

Worst of all, Barnes could very well be right. Maybe it was a desecration-of both his own talents and Fraulein Barnes. Maybe he was a fool to experiment with art movements that had been-would be-hundreds of years in the making. Even Daniel's wife Sofia had urged him to start more slowly: experiment with light, she said, or study the anatomy books. Learn to paint those magnificent horses that George Stubbs would bring to life in 130 years-or even explore the blends of Realism and Impressionism of Manet and Renoir. But Daniel had rejected that out of hand as too easy-too likely to leave him, as now, out of the history books altogether. No, he must do something bold, something dramatic, something. .

But now? He did not know what do to.

He sank into the folding chair that stood nearby, dropped his head into his hands, and wallowed in deepest misery for several minutes.

Nina soon bustled out of the house again, tsking and scolding. "Up, up!" she said. "It will be dark in a few hours, and you must put your things away."

Obediently, woodenly, Daniel stood and worked with Nina to gather his jars of paint and his brushes. They must all be cleaned, the jars properly sealed, his sketches put away, and so on. His materials were expensive and difficult to find at times. He must not waste them.

After a moment, Nina said coolly, nodding at the enraged Barnes as he disappeared down the street, "That one will cause trouble."

Daniel grunted. He had no doubt of that.

"I called Herr Rice. He will come."

Daniel stopped, startled. "But surely he won't want to get involved in all this. ."

"Come, come," Nina said, ignoring his question. "Clean your brushes. Do you wish to save the canvas?"

Daniel shrugged, and Nina picked it up and carried it to the shed where gardening equipment was kept. He let her go. He could move it from there later or burn it. Or maybe study it some more to see where he went wrong. If he had gone wrong.

He shook his head angrily. Damn these new styles of art, and damn the art books that bore no trace of his existence. Elaine O'Meara, an up-time art teacher and historian who had helped him scour the town's library and even her own book collection for a single mention of his work, had tried to tell him gently that the books brought through the Ring of Fire were far from thorough or complete, that other libraries up-time would have far more detailed histories-that he would, surely, be discussed in depth in some of those books. There might, perhaps, even be whole volumes dedicated to his work and his influence.

But, in his darkest (and more pragmatic) moments, he had to admit he thought it unlikely. Frau O'Meara's expression as she said these things to him made it clear that even she doubted it was true. Surely, if she were correct, there would be at least some hint of his artistic influence on history, even if it were miniscule. The art style of the seventeenth century had come to be called "Baroque" by up-time historians, and there were plenty of famous Baroque painters mentioned in the smattering of art books that had come through the Ring of Fire: Peter Paul Rubens, Caravaggio, Rembrandt, Johann Vermeer, and so many others, all known well enough to have at least a description alongside their most famous paintings inside thick illustrated books from one side of Grantville to the other. Why was there no mention of Daniel Block, an artist who had painted many portraits of the illustrious Gustavus Adolphus, as well as highly-regarded paintings of dozens of other prominent statesmen and their families?

Why had history forgotten me?

As Nina strode back toward the house, she gave Daniel a firm, reassuring nod. "Come when you are finished. I will make coffee-and there is cake, fresh from the oven."

"I thank you, Frau Weiss," he said.

He only wished he was the sort of man for whom a warm drink and a sweet would ease his mind. His only real consolation, however, was the possibility that his greatest works had been consumed in a fire; that, at least, would be better than having to accept the fact that history had judged him lacking as an artist. It was not impossible. Many of his paintings-many of his greatest works-were at this moment in Mecklenburg. It was, in a sense, his only hope, however dreadful it was to contemplate. Well, that and the possibility that he could still produce works of greatness-the greatness he knew he was capable of, the greatness he would ascend to if he were permitted time and freedom to do it. He was not a young man anymore, true, but as Frau O'Meara had said to him during one of his darkest hours: One is never too old to dream a new dream.

His brushes clean, Daniel entered the house, momentarily surprised to hear a man's voice coming from the foyer. He was first pleased and then uneasy when he realized it was Clyde Rice. The look of worry on the man's face did nothing to ease Daniel's mind.

"Daniel," Clyde said, reaching his hand out for a firm shake. "Good to see you."

The two men chatted briefly-about their families, local politics, the conflicts in the East, the Saxon uprising, Gustavus Adolphus' current condition, etc. But Clyde soon raised the issue they both knew he was there to discuss. "Tell me, what happened with Warner Barnes?"

Daniel grimaced and related the afternoon's events.

Clyde, who had obviously heard some of it already, nodded. When Daniel was finished, he said, "You think I could see it? This painting of yours?"

Daniel frowned. He felt reluctant to show it to Clyde. Was it possible that he really had done something wrong? Or was it just that he wasn't prepared for yet another person to dislike the work he'd put so much effort into? He looked at Nina, shrugged, and raised his eyebrows.

"I will get it," she said, moving swiftly toward the back door.

Once she was gone, Clyde said, "Daniel. . is it true she posed nude for you?"

"Nude?" Daniel frowned. "No. I did not tell her what to wear or not to wear-she came out in a robe, which she took off. She had on a. . beek? A. ."

Clyde frowned, confused, so Daniel held his hands in front of his chest, cupped. "The cloth is here."

"Oh," Clyde said, "I see. A bikini."

"Yes! That's what she called it."

"That didn't seem strange to you?"

Daniel hesitated, unsure how to answer. "These. . bikinis? They seem very strange, yes, but I don't see how-"

Nina entered, carefully maneuvering through the door with the damaged canvas, and both men turned to her. She looked to Daniel, who nodded, then turned the painting to face Clyde.

"Oh dear lord," Clyde said. "Daniel, what on earth were you thinking?"

Daniel launched into a discussion of his influences and the symbolism-similar to what he tried to convey to Herr Barnes earlier-as Clyde continued to gape at the portrait.

Finally, Clyde held up his hand and Daniel stopped in mid-sentence. "I can see, I suppose, where. . but didn't it seem, you know, inappropriate to paint her like that? Nude? And all. . distorted?"

"Why would it be inappropriate?"

Clyde sighed deeply, then slid the painting into the hall closet.

Daniel began. "I have done something wrong-something the up-timers find unacceptable?"

"Well, yes, we. . you see, we aren't much for nudity in general-not public nudity anyway-and especially not in our children."

"Clyde, I know Herr Barnes is a friend of yours and you recommended me to him, and so I apologize for having offended him, but-"

Clyde held his hand up, and Daniel turned to see where he was staring so intently. One of the town's few remaining squad cars was pulling up in front of the house.

Clyde shook his head. "Shit!"

"I don't understand," Daniel said. "What is wrong?"

Clyde huffed and headed toward the front door, opening it as Sergeant Marvin Tipton, Grantville's head of investigations, was coming up the walk. "Marv," Clyde said, forcing a smile onto his face. "Haven't seen you in a while. How's Elsie?"

"Good, thanks," Tipton said, shaking Clyde's hand. "Mind if I come in?"

"Please." Clyde waved Tipton inside.

Daniel stepped back to give them space-wanting to say something, to defend himself and his work-but figuring silence was the best policy at that moment.

"Care for a drink?" Clyde asked, shutting the screen door. He stopped next to Daniel. "I'll bet Nina has a nice pitcher of iced tea in the fridge."

Sergeant Tipton shook his head and put up his hand. "No, thanks, Clyde. I'm here on an official matter."

"Oh? What can I do you for?"

The sergeant cleared his throat then looked Daniel square in the face. "I understand that Warner Barnes' teenage daughter Mikayla was here with you, Mr. Block, posing nude for a portrait. Is that correct?"

Clyde and Daniel looked at each other. Daniel cleared his throat. "I painted a portrait of her, yes-"

"In the nude?" Tipton said.

Daniel shook his head. "No. She was not nude."

"That's a lie!" Warner Barnes bellowed from the door.

Tipton let out a growl. "Barnes, I told you I would-"

Barnes slapped open the screen door and joined them in the foyer. "She is naked in the painting," Barnes said. "My little girl! How the hell do you paint someone in the nude when they're not nude?"

Daniel threw up his hands. "Oh, for heaven's sake. You obviously don't understand a thing about art. I have been painting nudes since before I was your daughter's age. I know what a nude woman looks like."

"She's not a woman-she's a child!" Barnes bellowed, lunging toward Daniel with clenched fists.

Sergeant Tipton stepped between them, holding Barnes back. "Gentlemen, please. Let's not go overboard here." He nodded to Daniel. "Look, why don't you fetch that painting, Mr. Block, and come on down to the station with me? We can sort the matter out better down there, I think."

"Hold on," Clyde said, "you can't come into my mother's house and haul a guest out."

Sergeant Tipton frowned. "If necessary, I can cuff him and take him out. But I'd rather not do that, out of respect for you and your mother. Just get the painting and let's go to the station."

They argued back and forth for several minutes. Even Nina joined in, arguing that Daniel was a good man who should be left in peace.

Daniel, meanwhile, kept eyeing the pistol Sergeant Tipton had in a holster at his side, worried that any minute it would be drawn. If he were anywhere but in Grantville, the man who came to arrest him would have put a quick halt to any argument with a pointed gun or a sword. His anger toward Barnes surged. If he were a younger, stronger man, Daniel would silence Barnes himself, as he had done a time or two in his past against those who had questioned his honor. The accusations flying out of Barnes' mouth were false, disrespectful, and downright obscene. AndI thought these up-timers were democratic and enlightened, he thought, as the arguing continued. They're no better than anyone else. .

"You will not take anyone, or anything, from my house!"

They stopped arguing, turned, and looked toward the frail but stern old woman who stood half way down the stairs from the second floor.

"Frau Rice," Nina said, moving to help Ella Lou the rest of the way down the stairs. "You should be resting."

"How can anyone rest with all this damned shouting?" the old woman said, letting Nina guide her into the fray. "What exactly is going on here?"

"You've allowed this hack to violate my daughter," Barnes said, pointing a thick finger at Daniel. "In your own home!"

"That's ridiculous! What are you talking about?" she said.

"He painted Mikayla in the nude, right here in this house!" He thrust his finger toward the rug beneath their feet. "I trusted you by leaving my daughter alone with him, and that painting of his? It's pornography is what it is. And who knows what else happened while they were alone together?" He turned toward Sergeant Tipton. "I want my money back, and I want this damn pervert arrested!"

"Watch your accusations, Warner!" Ella Lou said. "I've known you since you were a little boy. You may think you're a big, important man these days, but by God, in my house, you will show some respect." Ell Lou stepped closer and hooked her arm through Daniel's. "My guest, the artist Daniel Block, would never do anything to harm your daughter."

Barnes spluttered for a moment, and Daniel watched him closely. He didn't know Herr Barnes very well, but he knew that he served in the SoTF Office of the President, and before that had worked in the USE State Department, and in the Department of Internal Affairs for the NUS/SoTF. He was important, at least in a small way. Clyde had once called him a simple pencil-pusher, but Barnes was also rich enough to have given Daniel a handsome advance on the work. That was not a detail that Daniel could forget so readily.

"Well, get the painting, then," Barnes said, snapping his fingers as if everyone around would jump at his order. "Get it, and I'll prove it to you. Where'd you hide it, Block?"

Daniel was about to answer, but the sting of Frau Rice's sharp nails digging into his arm silenced him. Frau Rice was a very nice lady once you got to know her, but when she grabbed your arm and gave you a sharp, friendly reminder to "shut the hell up," you listened.

"Sergeant Tipton," Ella Lou said, "I'm sorry, but you will not take Daniel or anything else from my home until you have produced a legal search warrant. Didn't the laws of West Virginia come through the Ring of Fire?"

Tipton nodded grudgingly. "Yes, ma'am, they did, but I don't require a warrant to take someone in for questioning."

"Fair enough, but you need one to see the painting, and until you do, I see no reason for Daniel to go anywhere with you, at least not without an attorney present."

Sergeant Tipton sighed. "Ma'am, I-"

"Sergeant, when you return with a warrant, we will be happy to oblige you. In the meantime, you should go." Ella Lou smiled and looked at Barnes. "And please take this pompous twit with you, or I will press some charges of my own."

Warner Barnes' face ruffled as if it had feathers, but the sergeant nodded at Clyde, turned, and held the door for Barnes, who stomped out in a huff. Tipton walked back outside to the squad car with Barnes following, talking angrily to him. Tipton nodded twice, spoke briefly, and drove off, leaving Barnes staring after him.

Ella Lou held a wry smile on her face until Tipton drove off down the street.

Daniel allowed himself to breathe. "Thank you, Frau Rice. For a minute there, I thought they might-"

"That jackass," Ella Lou said, still staring through the screen door.

The others peered out. Barnes was speaking to a woman across the street, pointing at the house. While they watched, two other people stopped to listen, turning to look at the house as well.

"Show me the painting," Ella Lou snapped. She crossed the foyer and slammed the front door, turning to glare at Daniel and Clyde. "Now!"

Silently, Clyde pulled the painting from the hall closet and displayed it so that his mother could get the full view of it from the light coming through the front windows. She stared at it for a long moment in silence.

Daniel found himself smiling wistfully as he surveyed his work. What a waste of a fine painting. Despite Herr Barnes' overreaction, Daniel felt that it was a terrific piece-probably his finest work. He had used the Impressionist broken color technique, leaving brush strokes unblended throughout the composition-strokes that defined the girl's lips and the small dimples in her cheeks, the curvature of her hips and the gentle swell of her thighs. The whole effect was bold, new, and fresh, something the likes of which few in the world had ever seen, at least outside the confines of Grantville.

It was true that a lot of up-time books had been reproduced and knowledge disseminated throughout Europe since the arrival of these Americans. But high-quality, full-color images of the great works from Picasso, Renoir, Dali, Monet, and Cezannehad been seen only by a lucky few. Perhaps Rubens had seen these things; perhaps he would understand why Daniel had made the choices that he had made, the decision to paint the girl in this manner. But I will not apologize for my art. I will not-

"Daniel." Frau Rice's tone was calm but strained. She looked at him. "You will not wait for the police to return with a warrant. When the boys return from school, and Sofia returns from work, you will take this painting down to the station and explain yourself. I'm sure this can still be resolved without. . without too much fuss."

"But. . I tell you truthfully, Frau Rice, the girl was never naked in your house. She was wearing a bikini, and I never, ever touched her. It was innocent."

"Yes, I don't doubt that. And yet," she said, her voice rising, her breath short and agitated, "here she lies, naked. And I don't care if you obscured her. . her. . I don't care. There she is, naked. She's just a child, Daniel. Underage. You will go and you will explain, and you will tell Warner Barnes that you're sorry."

"I will not apologize for my art."

"You will apologize," Ella Lou Rice said, stamping her foot. "You will. . or are you no longer a guest in my home?"

All was silent. Daniel stood there, staring down at the old woman whose expression had turned from support to sincere disappointment. He looked at Nina then Clyde; both of them stood there, speechless, waiting for him to say the next word. What should he say? What choice did he have?

There were two options that lay before him. Do as Frau Rice bid and go to the police and apologize to Herr Barnes. Or, as soon as his son and wife returned, gather their things and leave, go to some other place and try to make a name for himself with all that he had learned in Grantville. To France, perhaps, where great artistic movements like Impressionism and Surrealism would, in time, rise and give the world such gifts as only God himself could inspire. Yes, leaving would be a good thing to do.

But, would it? Who was to say that he and his family would receive a warm reception anywhere else? The styles and techniques that he was experimenting with would be just as strange and, perhaps, unwelcome in France right now as they were here in Germany. Leaving would, in effect, mean accepting defeat. And that would make the historians right to have discarded him on that ash heap of history, as the up-timers sometimes liked to say. What kind of message would it send to his son, who was happy and comfortable in his new life in Grantville, and who was beginning to show some artistic talent of his own?

I will not apologize for my art. And yet. .

"Okay, Frau Rice," he said finally, "I will go to the station. And I will try to make them understand."

"And you will apologize?"

"Ja," he said, sighing heavily. "Ja."

Nina had helped Daniel wrap the painting in his drape and pin it securely to the stretchers. He'd considered taking his wife, Sofia, with him, but thought it might make him appear to need her protection-and he couldn't stand the thought of her hearing some of the things Barnes was saying about him. So, at Ella Lou's insistence, Clyde walked over with him. "For your protection," Ella Lou said, and Daniel knew it was true. If she was sending Clyde along to make sure he really went, she'd have said so. Though Daniel wondered if she might still have her doubts.

They walked in silence for a few minutes before Clyde said, "You sure you don't want me to call up a lawyer to go with you?"

"No," Daniel said. "I can speak for myself. I will explain, and they will understand."

Clyde replied with a doubtful, "Hmph."

"You don't think. . is it possible I could be charged with a crime?"

"Aw, I don't know." Clyde kicked a small rock off the sidewalk, scowling at it.

"Your mother, she is very angry with me?"

Clyde nodded.

"Even my wife. . she has always supported me, but the painting is not to her liking either."

"Well, it's not what folks are used to."

"What's the use of a painting that looks like every other painting?"

Clyde shrugged and shook his head, and both men were silent for a long time. It was an uncomfortable silence that had Daniel looking around anxiously, wishing he were anywhere else. But there was really nothing more to talk about, and this was not the time or the place for casual conversation. So he kept silent until they reached the station.

Once they arrived, Clyde settled onto one of the chairs in the waiting room while Daniel announced himself to the watch sergeant.

Before Clyde was finished telling Daniel again to come get him if he thought he needed a lawyer, Sergeant Tipton entered the waiting room.

Tipton's gaze turned immediately to the painting Daniel carried. "That it?"

"Yes. I will show it to you, and then I would like to explain."

A few minutes later, Daniel stood in the back of a room with a handful of people clustered around the painting: Tipton, one of the down-time sergeants, another officer that Daniel didn't recognize, and Vera Mae Markins, the department's clerk. Their comments ranged from "What the hell?" to "That's just disgusting," to Vera Mae's timid, "I kinda like it."

The others turned and stared at her. "Well," she said, "the colors are pretty. And the way the girl looks vulnerable but also. . sort of powerful. You know?"

Daniel beamed at her. She was the first person to see even a hint of what he'd tried to portray.

The officer, whose nametag read "Schultz," hissed and said, "It's the ugliest thing I've ever seen. It doesn't even look like a real woman." Schultz sneered at Daniel. "You have seen a woman before, haven't you? A real one?"

"Thank you for the art critique, Schultz," Tipton said, and herded them all out of the room. He sighed and turned back to the painting.

"What was the purpose of that?" Daniel said.

"I'm trying to understand what I'm looking at."

Daniel started to explain his vision and his technique, but Tipton held his hand up. "Look, no offense, Block, but I want an assessment from. . well, I guess from someone who isn't you, but who knows something about art."

"Oh, yes," Daniel said. "Of course. You should speak with Elaine O'Meara. She has taught me much about the history of art from your time."

"She's seen this painting?"

"No. You see, it wasn't finished."

"Perfect," Tipton said. "Have a seat, this won't take long."

Daniel waited while Tipton spoke to Elaine on the phone, and then with the watch sergeant, who'd stopped to inform him that Barnes was there. He told the sergeant to have Barnes bring his daughter in. "I think we ought to hear from everyone on this, don't you?" he said to Daniel, clearly not expecting an answer. He offered Daniel some coffee and then said he'd be back shortly, leaving Daniel to wait in silence, staring at his torn, ruined painting.

He found himself questioning many of his choices-tints, brush strokes, the placement of the girl's arm, the precise lines of the monster reaching up toward her. But still, he found that he believed in the painting. Believed that it was good-perhaps even great. It pained him more than he would have imagined that no one else could see what he saw in it.

Soon, Tipton was ushering Elaine into the room, who came in bearing two heavy books that he recognized immediately. They were "coffee table books," she called them, containing a huge number of colorful images of up-time art. He found himself staring at them as she set them on the table. Even after handling them for months, the books still enchanted him with the secrets and the beauty they held.

"Now, Block," Tipton said, breaking Daniel free of his trance, "not a word."

Daniel nodded and turned to watch Elaine as she examined the painting. She was silent for several minutes, and Daniel became ever more nervous. At least she wasn't expressing horror or disgust, but if she didn't like it. .

Finally, she turned to Tipton. "Sergeant, what is it that you want from me?"

"Some kind of, ah, assessment of its artistic merits?"

She frowned. "I thought Warner was claiming some kind of inappropriate behavior. Which is absurd, I might add."

"Well, yes," Tipton said. "But. . to be frank, I think he's just mad about the painting being so. . unusual. And, well, there's the nudity."

Elaine rolled her eyes. "The nudity? I admit she's on the young side by our standards, but nudes are extremely common in art-of our time as well as theirs. And this isn't exactly Playboy."

"Playboy?" Daniel said.

Tipton and Elaine exchanged smiles.

"Never mind," Elaine said. "Here, let me. ." She began flipping through the books, stopping now and then to show Tipton a picture of a painting. Picasso for the girl, Monet and Van Gogh for the brush strokes, Cezanne and Gaugin for some of the colors, and a few others she thought seemed similar. "You see what he's done? All these different styles that won't be developed for maybe two or three hundred years, some of them-he's blended them together in this seamless way. And the result? Well," she paused and looked apologetically at Daniel, "to be honest, I can't stand Picasso, but setting that aside, it's impossible to deny that the painting is quite magnificent. It represents an enormous and important development in art for this new timeline." She reached out and very gently touched the frayed edges of the torn canvas. "Such a tragedy!"

Daniel felt an enormous wave of relief wash over him. His painting was truly good. Elaine would not lie about something like this; she genuinely believed it was good-no, better!Important. Worthy, perhaps, of note by history. If only it hadn't been destroyed. But, perhaps now, there might be more. Much more.

Tipton started to speak again, but was interrupted by a knock on the door. Mikayla Barnes was there, and her father was demanding to be heard. Tipton winced, but told the officer to send them in.

Mikayla stalked through the door, looking sulky and bored. Her father followed, his mouth opening for another round of shouting.

"You!" Tipton said, pointing at Barnes. "Quiet!"

"I-"

"Quiet, or I'll have you removed."

Barnes closed his mouth, pressing his lips together furiously and folding his arms.

"Now, Mikayla, I'd like you to take a look at this painting," Tipton said, pointing toward Daniel's work.

"Eeeuwww!"

Daniel grimaced, Elaine smirked, and Barnes started to speak.

"Quiet!" Tipton said, pointing once again at Barnes.

Mikayla moved closer to the painting and smiled. "Is this why daddy's freaking out? I mean, I think it's ugly, but. . I guess it's kind of cool."

"Cool?" Tipton said.

"Yeah, I mean, it's not what I was expecting."

"You didn't see it while he was painting it? Or give him any suggestions?"

She shook her head. "Daddy said he was a master artist, so, you know. I thought it would look like one of those paintings in the books they have at the library."

"What were you expecting the painting to look like?"

She frowned, turned to Elaine, and started to speak before noticing the books, one of which lay open on the table. "Oh, hang on," she said, and started flipping through pages. She stopped at last, turned the book toward Tipton, and said, "Sorta like this, I guess."

Tipton gaped.

Elaine moved over to look at the picture and her eyes widened. "Oh, my!" she said.

Daniel leaned forward. It was a painting by French Romantic artist Eugene Delacroix of a woman lounging on a bed that was hung with luxurious drapes. She wore silk stockings-and nothing more. He shrugged. "It's beautiful, yes," he said. "But a bit dull, don't you think? A bit lifeless?" He looked up at Elaine, who was holding her hand over her mouth.

Tipton looked at Elaine. "Is he serious?"

"What?" Barnes said. "What is it?" He stepped away from the wall and looked at the book, before exploding. "What? What in hell? For Pete's sake, Mikayla! What on earth has gotten into you?"

"It's pretty!" she said, slouching into a pout.

"It's pornography!"

"Actually-" Elaine started.

"You stay the hell out of it!" Barnes shouted.

"Now, that's enough," Tipton said, putting up his hands to silence them. "Look, Mikayla, I apologize for being indelicate, but I need to know right now. Did you pose in the nude for Mr. Block?"

Mikayla's face puckered in disgust. "No, sir."

"What were you wearing?"

She looked at her father, who stood there with his arms crossed and his face beet red.

Daniel felt like chuckling as he looked at the man's burning cheeks, wondering what pigment would do them justice on canvas. It reminded him of one of those up-time cartoon videos Benjamin and Stefan liked watching, where steam rolled out of a man's ears.

"Answer him!" Barnes said.

"A bikini," she whispered.

"For God's sake, why?" her father asked.

Mikayla shrugged. "I don't know. I found it in the dresser where mom keeps her old clothes. I guess it was hers when she was younger. I tried it on and. . I mean, it was a little big on me, but it looked nice. And then I got to thinking about home, you know, about West Virginia, how I missed the pool at Grandma and Grandpa Furbee's, where Carla and Brad and me and the rest of the kids used to swim. I got a little homesick, I guess, and then I decided that was what I wanted to wear for the sitting. To, like, remind me of home."

Yes, exactly! Daniel wanted to say, but he kept silent. Couldn't they understand what Mikayla was really saying? Couldn't they see? These up-timers were smart in many, many ways, but so many of them lacked any sense of symbolism. When she had removed her robe and stood there in her bikini, he understood immediately what Mikayla was trying to say. He could see it in her eyes. She wasn't trying to be lascivious or lewd or a "slut," as the up-timers might say. No. The bikini represented that last bit of connection to the world that she had left behind, a life that had been ripped away from her. She would never say it out loud, probably didn't know how to say it, but she felt vulnerable and. . naked in this new world that she had been forced to live in. And Daniel had painted her that way. Couldn't they see?

Tipton nodded. "And at any time, did you ever take the bikini off while you were there?"

"No, sir!"

"I don't care whether my daughter was naked or not," Barnes said. "I want this son of a bitch placed under-"

"Now, you stop right there!" Tipton said, stepping toward Barnes. "I've heard enough out of you. If you don't like this painting, fine. You've destroyed it, so that's done. As far as I can see, there's been no crime committed here. Next time you want to commission a portrait, be a little more specific about what you're looking for-from the artist and from your girl. Now, you go on home, and let this be an end to it."

Barnes stood there, seemingly shocked that Tipton had the nerve to go against his wishes. Then he said, "But I paid him for a painting! I want my money back!"

Tipton shook his head. "It looks to me like Block did the work you paid him for, even if it wasn't what you were expecting. Of course, you can always take him to court if you don't mind seeing this painting displayed in public."

Barnes shook his head vigorously. "Like hell!"

"Well, all right then." Tipton opened the door and called for Schultz, asking him to escort the Barneses out.

The door closed, and they were all quiet for a moment.

"Mrs. O'Meara," Tipton said, "I thank you for your time, and I apologize for Barnes shouting at you like that."

"Oh, don't worry about that. I've been shouted at a time or two before." She shook Tipton's hand, patting it before releasing it. "Daniel? I'd like to talk to you about this more, when you have time? We might want to have a chat about up-timers' attitudes about nudity, for starters."

"Of course," Daniel said, noticing the smile she and Tipton exchanged as she left.

"Mr. Block," Tipton said, when they were alone again, "let me ask you. Why not just do, you know, the usual kind of portrait?"

"Because in your timeline, there is no record that I ever existed. For a painter, there is nothing worse. It's as if every brush stroke I ever made was condemned as mediocre. Uninteresting. Every portrait, lacking in power and life. I left no mark on your world. I cannot bear that thought." He smiled toward the painting. "Now? Well, perhaps now, I won't have to."

"Can you fix it?"

"No. But I can paint others. Many others."

Tipton smiled. "Have that conversation with Mrs. O'Meara first."

"Yes, of course," Daniel said.

Tipton helped Daniel cover the painting again and walked him to the reception area.

Clyde stood as they entered. "Is everything all right?"

Tipton said, "I consider this matter closed. Give your mother my regards. She's one tough lady."

Clyde smiled. "That she is."

The pair walked back to the house through the darkness in silence, Clyde allowing Daniel his thoughts. So deep was his concentration that he was amazed when they reached the door to the house. "How on earth did we get here so quickly?"

Clyde chuckled. "Had to keep you from wandering in front of wagons twice."

Daniel was about to explain the plans he'd made for his next painting when Clyde opened the door and they heard wailing.

It was Benjamin, his son.

Both men rushed into the living room, afraid of what they'd find.

Little Benjamin clung to his mother, sobbing.

"Sofia?" Daniel said.

She shook her head. "Poor boy. His friend, Bethany Anne, isn't allowed to play with him anymore."

"He's not hurt, though?" Clyde said.

"No, no, nothing like that. But Bethany's mother Stacey wouldn't even let him in her yard. Yelled at him that his father was a-" she looked down at her son and mouthed the word, "pervert."

Daniel growled. "That awful woman. What right does she have?"

Daniel turned angrily toward the door, but Clyde stopped him. "Noooo. No sir. There is nothing to be gained by that."

"But-"

"Yes, I know. And you may be completely right, but going over and yelling at her isn't going to do anything but get the police on my mother's doorstep for a second time in one day, and I know you don't want that again."

Daniel flushed, remembering how much trouble he had already brought-however unintentionally-to Frau Rice's home. No, he did not want to risk that.

Instead, he sat beside his wife and child, rubbing Benjamin's back and speaking soothingly to him. "It won't matter," he said. "You have many other friends. All your friends from church, and from the daycare."

Gradually, as he and Sofia sat with him, Benjamin's tears began to ease. After a time, Stefan came and asked Benjamin if he wanted to play with the wooden cars that they'd both received for Christmas, and the boys went into the next room.

Sofia and Daniel joined Clyde and Ella Lou in the kitchen, taking chairs at the table as Nina served light sugar cookies. Daniel tried to smile as he took a few bites. She was always ready with a treat in times of distress.

After their cookies were gone and each had a fresh cup of coffee, Ella Lou asked, "What happened at the station?"

Daniel explained in detail, and everyone expressed their relief.

"It's over, then?" Sofia asked.

There was an awkward pause. "Well," Clyde said, "that's difficult to say."

"But if the police say he's innocent?"

Another awkward pause was interrupted by the boys joining them, looking for entertainment, and the topic was dropped for the time.

As Clyde was preparing to leave, the phone rang. Sofia went to answer it as Daniel and Clyde finished discussing his latest plans for opening a self-storage facility in Bamberg. When Sofia returned, the look on her face silenced both men.

Sofia shook her head. "The daycare said our Benjamin couldn't come back. Some of the parents objected."

"Oh, for God's sake!" Daniel said. "This is madness!"

Ella Lou heard him, and came into the room trailed by the boys. "What is it now?"

Sofia explained and Ella Lou said, "Oh, I'm so sorry. That poor child."

Clyde shook his head. "That fool Barnes must be burning up the phone lines, trying to make trouble."

Daniel threw up his hands. "He's telling everyone in town that I'm a monster. What am I to do?"

"Honestly?" Clyde said. "Not much."

"That damn idiot," Ella Lou said. "Only an act of God can explain why that man ever amounted to anything more than a junior supervisor at a widget factory."

"Widget?" Daniel said.

Clyde shook his head.

It was something else that Daniel would let pass and never understand. But one thing he did understand was how upset Benjamin would be at this latest setback. "Perhaps," Daniel said, "it really is time for us to go."

Everyone fell silent, even Sofia. Daniel stood there listening to the muffled laughter of his son and Stefan as they played in a back room of the house.

"That's ridiculous, Daniel," Ella Lou said. "Don't pay any attention to what Barnes says. This will all blow over."

"This isn't just about Barnes, Frau Rice," Daniel said, shaking his head. "I never intended Grantville to be our permanent home." He turned and smiled at his host. "I came here to learn up-time painting techniques, and I have. I've not learned everything, and I'm sure if I-if we-stayed, I could learn a lot more. But I'm not an up-timer. I was born in Stettin, in Pomerania. My life is not here." He pointed to the window. "It's out there somewhere. I'm in my fifties. To you up-timers, that's nothing, middle aged. But here. . I need to get out there and take care of some things, do some things, before it's too late."

Clyde was about to speak, but Daniel continued. "Did you know that I have two other sons from a previous marriage? They're in their twenties now. One lives in Magdeburg. Perhaps the other does as well, I do not know. But I'd like to see them again, to share with them what I have learned. And Benjamin needs to know who his brothers are. I understand that Gustavus Adolphus is in Magdeburg as well. Perhaps he'll let me paint him again if he is well enough. . using newer, more daring, techniques."

The room was very quiet, and Sophia moved to her husband and gave him a hug. Daniel liked that. He appreciated her youthful softness, her casual, effortless displays of affection. It was something he wasn't used to, but he had learned a lot since coming to Grantville. He was learning more and more each day.

Tears welling in her eyes, Ella Lou Rice finally said, "So, when will you all be leaving, then?"

Daniel exchanged a look of understanding with his wife, then said, "By the end of the week."

After he closed and locked his trunk, all of his clothing packed, Daniel stepped over to the window and twitched aside the curtain just enough to look out on the town. He would miss it-far more deeply than he'd expected when they first began talking of leaving. Most of all, he would miss Frau Rice. Or. . perhaps he would most miss watching Stefan and Benjamin play in the yard.

He sighed and started to turn away, when he noticed Stacey Rowland Duvall, Bethany Anne's mother, standing in her yard, staring toward the house. He glared at her, wishing Clyde hadn't stopped him when he'd wanted to yell at her after she was cruel to his boy. It might well not have accomplished anything, but he would have felt better, at least.

And then he realized what she was staring at: the painting. That painting, sitting propped against the trash by the curb, still torn and warped, damp from the morning dew, awaiting collection. He'd studied it until he felt he could glean no more, before asking Nina to dispose of it. He'd expected it to be burned, forgetting how tenacious these up-timers were about saving everything, recycling everything.

The woman looked both ways, and across to the house. Apparently she saw no one, because she passed through her gate, crossed the street, and stopped before his ragged canvas. As she reached down to pick it up, he felt a brief impulse to run down and snatch it away from her, but he made himself wait and watch, curious to see her reaction.

She turned the painting around, propping it up to let the light fall on its surface, and simply stood there and stared at it. After a moment, she slid her right hand up, pressing it against her chest. It was a move Daniel had made himself, perhaps a half dozen times in his life: when he'd first set eyes on the ceiling of the Sistine Chapel, El Greco's The Burial of the Count of Orgaz, Titian's Assunta, and Bosch's The Garden of Earthly Delights. It was a gesture that came of pure emotion, of being moved beyond words by an inspired work of art. Daniel found that his hand, too, was pressed to his chest, moved beyond words that his work had touched someone so deeply.

The woman reached down and picked up the painting, took it back across the street to her home, and closed the door. At last, his heart lightened, Daniel smiled. My first fan, he thought.

Many more to go.

He picked up his trunk and went out back to join the others, who were saying their goodbyes.

After hugs all around, Clyde slapped Daniel on the shoulder with his big, generous hand. "It's not too late to change your mind, my friend. You could stay and we could open up that art gallery right here in Grantville that we talked about. Barnes will tire of his nonsense soon enough."

Daniel smiled but shook his head. "I appreciate your offer, Clyde, but it's not just about Barnes as I stated before. This is for the best, I think. I have come to realize just how much the Ring of Fire took away from all of you West Virginians-family, friends, your whole way of living. Sure, you and many like you have flourished, have really made a name and life for yourselves here. But ultimately, I think the Ring of Fire was not for you. It was for us, for down-timers like me, so that we may dream anew, discover new freedoms, avoid the mistakes we once made. I've been given a second chance, Clyde, and I must take it."

Clyde nodded and they shook hands. "I wish you and your family the best of luck, then. I'm sure I'll see you in Magdeburg before the year is out."

Clyde and Daniel stowed the last trunk in the wagon, and Daniel joined Sophia and Benjamin on the wagon's broad seat. The boy was sad as he waved goodbye to Stefan. "Will there be other children for me to play with where we're going, Daddy?" Benjamin asked.

Daniel reached over and ruffled the locks of Benjamin's messy dark hair. "Well, of course!" he said, and guided the horses into the road. "And you will finally have a chance to meet your brother."

Soon, Benjamin and Sofia were chatting animatedly about all the things they would do in their new home-and Daniel, as the horses pulled them along the road out of town, was already imagining new paintings, new styles, new combinations of color and light, even new tools and media. Perhaps there would be a new role for art in the world-art for everyone. Art that could change the world. And Daniel himself would be at the center of it all.

The Things We Do for Love

Timothy Roesch, Sam Hidaka

Bamberg, April 1636

"You look like a bloated corpse," Logan Sebastian muttered at the bag of hot air floating before her, "but an honest corpse."

Logan stood on the closely cropped grass of the Bamberg airfield, shouldering an overstuffed backpack with a lacrosse stick slung to it, a carefully rolled poster clutched in one hand, and her other hand jammed into a pocket of her light coat. "God, you're ugly. But you're not pretentious. I guess I can handle that. You don't pretend to be something you're not."

The engine attached to the motorized "balloon" hummed in an appropriately subdued manner. They didn't whine and complain like those monstrosities all these down-timers, and quite a few up-timers, marveled at.

Had everyone forgotten the F-14 that quickly? Were 747s really just dreams now?

"At least they're not calling this place an aerodrome." Logan shook her head to free her ponytail, which had gotten pinched between her back and her pack. "Okay Logan, you've come this far. So it's time to go all the way. It's either these gas bags pretending to be dirigibles or. . flying lawn mowers pretending to be real airplanes.

"God, I hate the seventeenth century. And it's hating me straight back."

A heavily accented, but largely intelligible, voice interrupted her musings. "Can I help you?"

Logan Sebastian closed her eyes. "It depends." Logan opened her eyes and offered a careful smile. "Are you looking for. . pilots?"

"Well, that is depending on certain things. I am Antonio, Antonio Sorrento. I am the owner, part owner, of this balloon. It is incredible, is it not?"

"I saw you in Grantville."

"I see," Antonio said.

Logan could hear, in the tone of his voice, that he really didn't see. She could tell when adults spoke to her-and when they spoke around her.

"At least you don't call 'em dirigibles. The Goodyear blimp was a dirigible."

"We are working on 'dirigibles.' Yes," Antonio said proudly, "this balloon will, one day, be a true dirigible. We are progressing."

Logan reminded herself to be careful; this man was proud of his toy and would not like her assessment of it-no matter how accurate. She'd have to do something she knew was not among her talents: watch her mouth. "It's too windy up there. See the clouds? You'd have to stay low if you didn't want to fight for every foot of forward distance."

"I would predict that you could reach an attitude of a thousand feet and be productive." He looked up, as if to confirm what Logan had said. "I was just training the ground crew. So what makes you think I am looking for pilots?"

Logan tried not to look at the man as if he were a moron. "Do I look stupid to you? Do you think. ."

Logan closed her eyes and tried to regain her composure.

Antonio tried to reply, "I did not-"

"Of course, you're looking for pilots. I'm certain you don't intend to build one or two balloons, and then squat here on the ground and admire them and clean bird poop off them?"

"No, I most-"

"You're going to need pilots. And most of the airheads in Grantville are going to go running to those. . those flying catastrophes. And until someone can figure out how to make internal combustion engines with a greater thrust-to-weight ratio than a brick, what are they going to do when they run out of VW and lawnmower engines?"

"I could use more of these 'lawn mower' engines. And you understand thrust to. ."

"Understand thrust to weight? Sure. And I understand those, too." She pointed at the tethered balloon. "Why do you think they kicked me out of the Brownies? Those things are as easy as a plastic bag over a campfire. It wasn't my fault the other girls didn't think before they tried it and started that crown fire. None of my plastic bag balloons caught fire and started a forest fire."

"I see. ."

"Adults are always saying that," Logan grumbled.

"Fire is a serious thing with a balloon. One must be careful around the burner."

"Duh. ." Logan clamped her mouth shut. This was not going well.

Time to bring out the big guns. She let go of her grandmother's revolver, which she had been holding in her jacket pocket the whole time, and unrolled the poster.

"See? From the first hot air balloon to a jet fighter. See? I know a lot about flying."

"I can see you have given this much thought but-"

"Do you? I got my first ride in a Piper J3C-65S. It was this Junior Eagles program. I was supposed to go to their academy when I turned twelve." Logan shook her head in frustration. "Well, guess where I was when I turned twelve? Here."

"Maybe this is a passing interest-"

"How can you can say that?" Logan tried to calm herself so she could properly say her favorite quote. "'For once you have tasted flight you will walk around the earth with your eyes turned upwards because there you have been and there you will long to return.' Leonardo DaVinci said that."

"The Ring of Fire changed a great many things-"

"Ever since my first ride, I wanted to fly. I had it all planned out. Dad was going to let me join the Civil Air Patrol in Bridgeport and there was that EaglesAcademy, but then this whole Ring of Fire thing happened."

"Why balloons?"

"See? You don't see." Logan took a deep breath. "Those stupid planes polluting the skies are jokes, wannabes, pretensions. I bet I could fly one based on my stick time with flight simulators. The problem is I would know what they were and I would probably crash the stupid thing because I would forget I wasn't up there in a real airplane but in something Orville wouldn't let Wilbur even sit in, let alone fly."

"Flight simulators?" Antonio frowned. "I have heard of those."

"Dad gave up my computer to the government or I would've been able to show a real flight simulator. I wonder if they dumped the software. I had a patch for a dirigible."

"Yes, computers. . you know Blaise Pascal, do you not?"

Logan couldn't help but glare up at the man. "Yeah. So?"

"He is working on computers, yes?"

"All the time."

"I see. Well. . if, as you say, I am interested in more than these balloons, possibly interested in creating an air courier service-and let us agree that I am in need of more pilots-then I will also need some way to schedule them. I am told that computers can help with scheduling, yes?"

Logan glared at him for some time, long enough for the man to appear slightly unnerved.

"Blaise's computers can't even add four digit numbers yet without blowing a gasket," Logan forced out between clenched teeth. Then she took a deep breath and let it out slowly. "Look, I'm here to train as a pilot. Back up-time, twelve-year-olds could get a pilot's license. My mom thinks I should go to college because she still thinks up-time is like down-time, only without fast food and cable television. I am tired of pretending. Kids my age are apprenticing-not flying around in a holding pattern called school."

"Learning is important. ."

"I overheard one of the teachers tell a student that if the Ring of Fire reverses then everyone will need proof they graduated high school. Bah! That's stupid. I'm here, now-and I want to be a pilot. So are you taking on trainees?"

Antonio appeared ready to speak, but Logan felt the need to make certain things clear.

"And if you're worried about me being a girl. . well you can stop worrying." Logan hoped the look on her face made her appear more mature and less angry.

"I learned many things in Grantville. One of them is that being a girl means something different now. With an appropriate chaperone, I think-"

"Chaperones. ." Logan muttered in disgust.

"My crew is mostly men. I have had two women pilot the Pelican-"

"See? So, are you going to let me show you what I can do?"

"I do not give rides. ."

"I'm not asking for a ride. I'm asking for a chance to show you I can fly the thing." Logan closed her eyes and tried to reach a calm, quiet place inside herself. "Please."

Logan took off her backpack and zipped it open. She pulled out her final card. "I've got a barometer. . and I know how to use it."

Antonio's expression shifted from skeptical to delighted. "I see. ."

"I heard the complaints about getting your down-time altimeters properly adjusted, so I brought this. As you can see, it's an up-time device-made in the twentieth century. I calibrated it against the mercury barometer in the physics lab, and I have all the corrections in my notebook."

Logan pressed her advantage. "Look. . suppose you hire me as a pilot trainee. I won't have any reason to carry my barometer with me all the time. So you can keep it for me-in your office, on your desk-when I'm not using it."

The office of the Director of Social Services for the SoTF, Bamberg

(later that day)

Julie Drahuta sat in her office in the building that housed the government of the State of Thuringia-Franconia and tried to keep a serious expression on her face.

"You didn't have to send the police," Logan muttered sullenly.

No matter how often it happened, it always amazed Julie how fast a relatively boring, mundane day could change into something worthy of sitcom, a tragedy, and a comedy, all at the same time.

"Logan," Julie growled. "Don't use that tone with me. And I didn't send the police after you. I merely suggested to a few people I know that I'd really like to know where you are-because I know that when your mother gets here, she'll want to know exactly where you are."

Logan stared at the floor. "So, how much trouble am I in?"

"That depends," Julie said to the frowning figure of aggrieved adolescence who sat before her. "It depends on whether your father lets your mother stew during the train ride all the way from Grantville, or if he tries to cheer her up with amusing stories about the other stupid things you've done and survived."

Logan looked up. "I'm not a kid anymore."

Julie looked into the girl's eyes-no, the young woman's-eyes. She had to remind herself that Logan wasn't eight any more. The Ring of Fire had happened almost five years ago. Kids did, indeed, grow up.

"How long have I known you?"

Logan shrugged. "A while. ."

Julie, through her husband and his family, had known Logan Sebastian since before the girl was born.

"You scared the living daylights out of your parents, Logan. Granted, you made it here without being killed, and-if this Sorrento person is any indication-you reached your goal. Well, part of it."

"My mom wouldn't have let me go. She would've told me I need to stay in school. . But for what? So I could become an aeronautical engineer and design stealth fighters? I don't need to be ten times smarter than everyone else when four or five will do."

Julie smiled. "Spoken like a true teenager."

"There are no teenagers here," Logan stated.

"If your mother's mood is any indication, you might be right."

"She's not gonna kill me. Smack me around a bit, but I can handle that." Logan shrugged. "When she calms down, she'll listen."

"Your mother said it was a good thing you took your lacrosse stick with you." Julie shook her head. "She asked me about child abuse laws in the State of Thuringia-Franconia. I told her that they were. . still being worked on, since what a down-time German thinks is child abuse doesn't quite match what an up-time West Virginian thinks child abuse is. For that matter, there's a great deal of argument about what defines a 'child.'"

"I'm thirteen," Logan asserted. "This isn't West Virginia. Tell my mom I am not a child."

"Logan. ."

"I know what you're gonna say, so don't say it. Aside from all that stuff about baking bread without a bread maker and how to dig a latrine or hoe a line of turnips, I know a lot more than any down-time thirteen-year-old. I could probably take that gas bag up based on nothing more than my flight simulator experience. I might make a few mistakes, but most of the mistakes you make in a lighter-than-air craft involve falling, slowly. I know about thermals and wind shear and prevailing winds and stuff like that. I don't need to waste five more years while the world goes by without me!"

"Are you raising your voice to me, young lady?"

Logan slumped in her chair. "No."

"First of all, you were very rude to Mr. Sorrento."

"I'm sorry about that. I was mad."

"I think you gave a very good lesson on how not to interview for a job. With that in mind, I will tell you that he asked me what I knew about you."

"What did you say?"

"I said that Logan Sebastian usually gets what she sets her mind to. I told him that you do know mathematics. I gave him a brief explanation of what flight simulators were and he seemed impressed. He was also impressed that your father taught math."

"Of course, I can do math. I can also tell the difference between an altocumulus and stratus cloud. See? I could do this. ."

"Logan, there are dead bodies of people older than you between here and Grantville. You worried your parents out of their minds! That was both unfair and unkind, and I have known Logan Sebastian to be many things, but unfair and unkind-especially to her parents-is not among those things. Do I make myself clear?"

"Crystal clear. But I am not some vase that needs to be packed in bubble wrap. They were being unfair to me. They were holding me back."

"Okay, I admit, your mother is a bit overprotective and your father. . after the Ring of Fire especially, has been a bit overindulgent with you."

"Overindulgent?" Logan said with surprise. "Once I found Blaise for him, he barely knew I was there. He thinks the whole thing is funny, like a big joke. Blaise has come very close to saying that, in Paris, there were some who would think I was a prostitute because of what I wore and stuff."

"Blaise is a different story, and leave Paris out of it. Now, your father has a great deal of faith in you. He has faith in you being able to take care of yourself. Running off to become apprenticed to a blimp-"

"They're not blimps." Logan pouted.

"Logan? Don't pull that crap with me, of all people. If I want to be lectured to about all the things I don't know, I will sit down and have a quiet discussion with Blaise Pascal, world's biggest pain in the butt. I know your father would have expected you to discuss this 'apprenticeship' thing with him-not go running off like some sort of dingbat heading for the circus!"

"Thirteen-year-old girls get apprenticed here and now all the time. If I have to live with this Ring of Fire crap, then Mom and Dad have to, too. She treats me like I'm some sort of fragile antique. The older kids who came through are off doing stuff, and the younger kids think outhouses and swords are cool."

Julie shook her head sadly. "I know a few adults who think swords are cool, too."

"Is Mr. Drahuta still wearing his spurs into the house and marking up the walls with his sword?"

"We're not discussing my husband. We're discussing you, Logan."

"I'm thirteen now, not eight! What about Blaise? He was hanging from the church steeple and did anyone take away his pocket calculator?"

"Since you brought him up, again, there is some news about Blaise."

"What did he do now?" Logan exhaled an exasperated sigh. "Accidentally stab Mike Stearns with a mathematical equation?"

"I received a radiogram, telling me that some idiot gave Blaise a horse. He's on his way here."

"Who the hell gave that car wreck a horse?" Logan shouted. "And what's he coming here for?"

"For you."

Logan stood up. "For me?"

"Logan, sit down. You just up and left, and he has it in his head that he-being a member of the French nobility, sort of-has to come and save you. So when no one was going to lend him a car, he borrowed a horse."

"A car? Who the hell was going to give him a car?"

"Logan? Your language! Now, I haven't spoken to Jacqueline so I can't confirm it, but he's got it in his head that his father is coming and it would look bad if he didn't try and save you. Apparently, he needs to prove to his father that he didn't dishonor you. And-if Jacqueline can be understood, she lapses into French when she's real nervous-her father is supposed to be 'sneaking' into Grantville any day now to reacquaint himself with his son and maybe fight a duel with your father over your honor."

"I don't need to be saved, and my honor is just fine!"

"Logan? You are-"

"A car? He looks at cars as neat toys to test principles of physics. I'll probably have to go and save him. And his father probably thinks I ain't good enough for the twerp."

"Logan. ."

"Okay," Logan grumbled. "I'll go and set up my tent at the airfield and wait for Blaise to come and save me."

"You are not going anywhere," Julie stated firmly. "I'll put you up in my house."

"I got a sleeping bag and a tent. ."

"Fine. You can store them in my house. You are not setting up a tent in Bamberg. This is not your backyard. That is final."

"Mr. Sorrento said he'd take me on as a pilot trainee. I can sleep out with the airship. A real air ship, not cobbled-together wannabe's pretending to be something they're not!"

"Logan. ."

"I hate my life."

"Logan, what's really bothering you?"

Logan didn't respond.

Julie knew that it could take a while to draw out the real story from Logan. But after her encounters with Blaise Pascal, she knew that she had the patience to deal with just about anything involving a young teenager. And beyond that, she knew that Logan was probably right about Blaise needing rescuing-she had already contacted the Jaegers who patrolled the road between Grantville and Bamberg.

When Logan finally spoke, it came out in a torrent. "I know enough to know I can't have everything I want, okay? A lot of kids my age are hoping the Ring of Fire will happen again and everything will be like it was. We know enough to know what we lost, but not enough to make do with what we got left."

"Everybody has had to deal with that, Logan. Even the down-timers. We were quite a shock to them."

"I get it, okay? I'm making do with what I got. I'm willing to meet the world half way, but I ain't backin' down one inch more. Not one inch! If I can't fly a wide body, then I'll fly a blimp thing! At least it carries more stuff than a hope and a prayer. I can't do it, though, if my mom thinks I'm still thirteen in the year 2000, not thirteen in 1636."

"There were better ways to go about it," Julie said.

"Like how? This is the seventeenth century. You gotta just do it. My mom probably thinks it's cute that Blaise is worried about what his father is going to think about 'us'-like there's an 'us,' but it isn't cute. It's life. Blaise has to think about what people are going to think about him and me. Girlfriend and boyfriend doesn't mean the prom and getting your driver's license and stuff going on in the back of a car that I'm not supposed to know about. 1630-something means I gotta prove I can embroider and teach my kids about the Bible and run a house while my husband is away digging holes in the ground or farming or beating iron into stuff or stabbing people with it. Everything's different and what was cute up-time ain't cute now. Being a thirteen-year-old teenager is cute up-time, but it ain't cute at all down-time. Down-time, teenagers don't exist."

"Logan, I know this must be hard on you."

"You have no idea."

"I would like to think I have some idea. . I mean, I did find Blaise Pascal hanging from a church steeple, didn't I? And trying to control my husband hasn't been a picnic either. . I am told no sane man wanders about his own house dressed in cavalry armor."

"Everything's different, and nobody asked me if I wanted it to be," Logan said. "Well, I'm not going to apprentice myself as some old woman's handmaid. If Blaise wants me to accept that he's a French gentleman and the world's greatest mathematician, then he's gotta accept that I want to be a pilot."

"Has he told you this?"

"No." Logan closed her eyes. "He's probably scared I'd hit him."

"Is he smart to be scared?"

"If he wants embroidery done for those stupid cuffs of his, then he's gonna have to hire someone to do it 'cause it ain't gonna be me! I'm not marrying Prince. And I'm not gonna disrespect my dreams of 747s by embarrassing myself in one of those rinky-dink air-catastrophes-waiting-to-happen. Until they can make real airplanes, blimps will have to do. Blimps don't pretend to be something they're not!"

"I see," Julie said.

"You adults always say that. Do you really 'see'? Do you? I'm in the middle and I gotta make do. I was old enough to remember the world wide web, but not old enough to be allowed to go out and make the best out of the crap that got throw'd at me. And I wasn't young enough to forget that once I could actually fly a 747, or go to the moon, or something like that. Now I'm caught between the world's greatest mathematician and washing underwear by hand. I know it'll all look better from a few thousand feet up. I just know it!"

Logan sighed. Then she continued. "I don't wanna be one of those old people who sit on the porch, talk and talk about all the things they coulda done but never did because they had to work the mine thirty hours a day or their girlfriend got pregnant. Hell, I don't even want a porch."

Julie didn't know whether to laugh, cry, or slap Logan silly.

The Home of Julie Drahuta, Director of Social Services for SoTF

(afternoon of the next day)

The American Perspective

"I'll slap her silly!" Mitzi Sebastian shouted.

"Honey, baby, control yourself." Allan Sebastian hugged his wife. "Besides, as the aggrieved father, I get firsties."

"This isn't funny, Allan. She could have been killed or. . assaulted."

"She could have been killed or assaulted up-time, too. At least here they allow a certain vigilantism that makes the actual 'assault' part less common. Personally, I'm more worried about Blaise wandering loose, trying to ride to her rescue, than I am about Logan up in a balloon. Apparently this Sorrento guy hired a chaperone for her. He has good references. Julie told me he has connections straight to the top of government."

"Oh, I feel much better now." Mitzi was about to scream at her husband for his nonchalant attitude. But instead, she took several deep breaths to regain control of herself before continuing. "Okay, I will admit things are a lot less lawless in the seventeenth century than I imagined. Well, other than the wars raging back and forth and the sack of cities. On the whole, there aren't as many crimes as I would have imagined."

"And she does have that lacrosse stick."

"Shut up about that lacrosse stick. I know for a fact she took my mother's old thirty-eight with her, too. But she ran away," Mitzi complained. "She ran away like. . like we were abusing her or something."

"Our Logan? Run? She walked away with a plan. She didn't run off to become a movie star or to join a circus."

"They don't have circuses in the seventeenth century, do they?"

"You're missing the point. She walked away to get a job. Makes sense, sort of. ."

"She left us with nothing but a note and an empty bed. I'm furious! She should have talked to us like a normal thirteen-year-old."

Allan laughed. "You noticed her bed was made and her room clean."

"Okay, like our thirteen-year-old. We didn't raise her to go haring off after any old thing. We taught her to talk to her parents, not run away from them. Didn't we? Did we fail that badly?"

"She's not eight anymore, Mitzi. She's been chompin' at the bit for some time. The seventeenth century doesn't have the child labor laws that the twenty-first did. You can't keep her in her room playing with Barbie dolls and collecting college brochures until she's eighteen."

"Barbie dolls? I wouldn't dare give her one of those. She wouldn't talk to me for a month. And she was collecting military brochures. She tried to apply to the NavalAcademy before the Ring of Fire, did you know that?"

Allan nodded. "Of course. Who do you think got her the brochure?"

"But she's just thirteen, Allan. Thirteen. ."

"There are quite a few who think it's silly to keep young adults as children at home. Most kids are well into their apprenticeship by thirteen. Even girls."

"Embroidery." Mitzi shook her head. "Could you imagine Logan doing needlepoint or serving tea to some old fogey?"

Allan nodded sagely. "For about five minutes. What would happen after that depends on a great many things-like whether she had a certain stick you gave her."

"Forget the lacrosse stick, before I hit you with one. Okay, she's not very. . feminine or motherly. After that incident with little Avery, when she was six, no one on my side of the family will put a baby in her arms. She's tried to get babysitting jobs and not even the Germans will talk to her. Gossip is an awful thing, especially when it's right. What have we raised?"

"You have to admit, it was an inventive way to keep track of a baby. She didn't harm Avery much." Allan smiled. "She does have a rather brusque way with children. There ain't nothin' giggly-goo about Logan when it comes to babies. She told me off once for using baby talk with a baby."

"She's just not the motherly type. I remember hearing her talking while changing a diaper. I certainly hope that baby didn't understand a thing she said. . Okay, I admit it. Do you think it was my fault?"

"Remember that birthday party for Mabel's grandniece? We all went to the pond, remember?"

"Oh God!" Mitzi hid her eyes with her hand as if the disastrous event were occurring right there before her. Then she began laughing. "You had to remind me about that, didn't you?"

"No one drowned. And she did wallop that water moccasin before it got close to any of the tots."

"Oh Lord! I forgot all about that. She wanted you to skin it so she could use it as a hat band."

"Hence," Allan stated with a certain debonair tone, "the lacrosse stick."

"We should have been supervising them more carefully. I wouldn't have forgiven myself if any of them drowned. Everyone just assumes little girls are just great with kids."

"No, we shouldn't have given Logan the responsibility for all those little kids. She was what, seven? Eight? "

"It was just a few months before the Ring of Fire. Allan Sebastian. ." Mitzi giggled. "How can I be properly mad at her now with you smiling like that? We need a unified front."

"You'll find a way. Remember, she found Blaise. You can be mad at her for that."

"Okay, Blaise is a little off the wall, but I never hated him. He's a perfect gentleman. True, take him up-time and he would give Liberace a run for his money. Whoever introduced him to cloth dyes then gave him extra money should be strung up from the nearest church steeple. That boy. . I hope they find him. That boy worries me. Even Matheny is out looking. I thought, of all people, the fire chief would be celebrating the disappearance of Blaise-especially if it didn't involve an explosion."

"Julie says that Logan is pretending she doesn't care." Allan sighed. "I guess I should be more fatherly and glare more at Blaise. He might become our son-in-law."

"Oh Lord, save our family tree. Blaise Pascal as a Sebastian? Oh Lord. ."

"Remember that time she shoved him into the pool? I don't know who was more surprised: Logan for not realizing that few down-timers know how to swim, or Blaise for learning the modified doggie paddle in two seconds flat."

"The pool was only three feet deep at that end. The boy could have stood up. I think Blaise was more traumatized by her one-piece. He was trying to wrap a towel around her when she pushed him."

"She could have been wearing that 'cute' bikini your cousin sent her," Allan said.

"Over my dead body! I sent that abomination straight back!"

Allan smiled. "Well, how motherly of you, Mrs. Sebastian."

"I hope he's okay. I hope they find him. I mean, how does someone become lost between Grantville and Bamberg nowadays? I mean, what are the odds?"

"Well, dear, the boy did invent probability. Maybe he was doing a mathematical experiment."

"Don't be absurd. Math he does well." Mitzi sighed. "Being chivalrous is one of the many things he does not do well. Remember the Thanksgiving Dance and that. . contraption he brought to pin on Logan's dress? I thought he was a goner right then and there-and he would have been if she had her lacrosse stick handy."

The Home of Julie Drahuta, Director of Social Services for SoTF

(mid-morning, the next day)

The French Perspective

Etienne Pascal thought the man was absurd. One simply did not stroll through his own house wearing cavalry armor. It simply was not done. But this minor absurdity diverted his attention from his distress for only a fleeting moment.

"Papa, you will make yourself ill. Drink it," Gilberte urged him. "Just smile, Papa. It will all turn out for the best if we leave it to God."

Etienne tried to give his eldest daughter a smile but the effort to raise the corners of his mouth was too much.

"It is not your fault, Papa. Stop this at once. Stop."

"But it is my fault. I sent my son here. And as it turned out, for reasons that were false. I thought he was in danger of being taken and used as some sort of token of French greatness, past, present and future-a puppet. And now he is gone." Etienne took a sip of the tea. "Bah, this is tea?"

Americans used an absurd amount of honey in their tea. What would normal people do if they were able to get their hands on sugar in the amounts it appeared were common in the twenty-first century? He had seen those abominations called "five pound bags." The thought of that much sugar in one place made him shudder. The tax on that much sugar just lying around made his head spin.

"It is good, Father." Florin, his new son-in-law, smiled and replaced the tea mug carefully on the table.

"Papa?" Gilberte said.

"It is all absurd," Etienne said softly. "All of it. Should I have kept Blaise in France? I do not know anymore. It is all absurd."

"Papa. . they still search, Papa," Gilberte said. "They have found his horse, his jacket, this. . thing called a 'sneaker,' a book with sword damage, and many other things he was seen to leave Grantville with. It appears two men might have killed themselves and that Blaise is okay. None of his possessions were bloody."

"They did not find the 'calculator' Jacqueline says he loves."

"Apparently the horse dragged him quite some distance but he appears to have survived the experience. They have not found him. Papa, there is a chance he is. . alive. We must have faith in a loving God and his attention to the sufferings and misadventures of children."

"He is not a child, not quite. I read some of his writings. Spoke to his employer at the. . power station. He is not a child, Gilberte. He has an important job that even I do not fully comprehend, and yet he comprehends it quite well. Jacqueline presented a very unforgiving picture of her brother. I will speak to her about her writing. It is a gift she has and should not be used to describe her brother in the way she has. His relationship with this. . this. . Logan, for instance."

"Jacqueline loves Blaise," Gilberte said defensively. "She was justifiably concerned about his relationship with Logan. Actually, she seemed more concerned that Blaise would do something to Logan that would result in Logan. . what did she say. . 'braining' him?"

"I can see why this young lady's father did not cut Blaise's young head from his shoulders."

"Because she would probably do it herself if Blaise acted in any way that was not gentlemanly," Gilberte said. "American women, even the younger variety, are. . dangerous, Papa. Apparently, they do not need brothers."

"This Logan is quite fond of Blaise, it is true. There were many who found them both. . what is the word? Cute? I could find no hint of scandal or gossip. It was all out in the open."

"I spoke with some who apprehend my little brother in much the same way the Romans apprehended the Visigoths or the Vandals. Apparently, the Jews enjoy his attendance at their religious rituals. He attends the Catholic service regularly, and his singing is commented upon favorably."

"Jacqueline's translation might have been inaccurate," Etienne said. "She knows many languages, it is true, but is she old enough to understand them?"

"We should have brought her with us. She understands and speaks this English quite well. I was impressed. She left us a mouse, and now she is somewhat less like a rodent."

"You are being unfair to your sister."

"Yes, Papa. My apologies."

"I will not lose both of them, Gilberte. She is safe with Madam Delfault. Madam Delfault has done very well under trying circumstances. What will I do with her services now?"

"Maybe my husband and I can use them? She makes some sense by suggesting that you accept the offer to move in with the Fermats. Our financial situation, father, cannot be helped by your coming to Grantville and here. The hotel is quite expensive."

"You are not with child already, Gilberte?"

"Well, we are, as the Americans say, French," Gilberte smiled.

"Bah! These Americans and their notions about what is what and who is whom." Etienne frowned. "What have I done, Gilberte? Maybe your mother's family was right about me. After your mother died, I did my very best, and it was not good. ."

"Shush, Papa! You have done very well, indeed. I will not have you admonish yourself further. They will find Blaise alive. I know it."

"He did what he did for me, you know. I should have never warned Jacqueline we were coming. Blaise devised the code so, of course, he would know as well. He had to prove he was a man to his old father and go after this wayward girl who, apparently, is quite capable of taking care of herself. Imagine letting young girls play such a game with a club. It is. . indecent."

"Will you tell her she is indecent?"

"No," Etienne said quickly. "The situation is absurd enough without being clubbed about the head by a girl. Are all American women this. . forward? Maybe that is why Monsieur Drahuta wears his armor indoors."

"I think Gilberte is quite capable of maintaining herself with these American women, Father," Florin stated gracefully. "She may not have a stick but she has other weapons."

"You only say that to prevent Gilberte from clubbing you," Etienne said. "You are part of the reason I sent Blaise and Jacqueline away so that I could concentrate on your wedding-and not the potential kidnapping of my son to be used as a piece in a political game."

"My point, with exactness, father." Florin smiled and took another sip of the tea.

"Men." Gilberte fussed with her tea mug. "It is all about violence with you isn't it?"

"You better hope so for Blaise's sake," Florin said. "My guess is that Blaise found trouble far more serious than an inaccurate measuring device and a church steeple."

"I saw that steeple," Etienne said. "It was very tall. He calculated the height to within two decimal places. His math impressed me. The ruler was, indeed, inaccurate. I hope. . his mathematics will impress me again, Lord willing. Please bring him safe to me, oh God, please. ."

The Home of Julie Drahuta, Director of Social Services for SoTF

(mid-day, the same day)

The Perspective of the Lady of the House

Julie tried to calm her breathing before speaking. "Norman, if you are going to tramp around the house in your armor, at least take off the damned spurs! The Pascals look at you like you're some horror they can't name."

"I might have to leave at a moment's notice."

"I swear, Norman, as the director of social services, I will enact an animal cruelty law if I see you spur that beautiful animal once. Just once!"

"This whole Blaise event is going on in my jurisdiction. I have to look good. Cavalry officers wear spurs."

"You are not going to look very good if your wife tosses your clanking butt out into the street! If armor was meant for casual wear around the house, JC Penney's would be selling it in their catalogs if there was a JC Penney's anymore, which there isn't!"

Norman glared down his nose at his wife. "I look cool in this."

"You look like a dork in that." Julie glared straight back at him. "Can you at least sit with our guests without ripping the furniture? You can sit in that, right?"

"I can."

Karla laughed. "You look like the Tin Man, Daddy."

"See?" Julie noted. "You are being laughed at by your daughter."

"If I remember, Karla, you were afraid of the Tin Man," Norman reminded his daughter.

"Not anymore." She giggled.

The Home of Julie Drahuta, Director of Social Services for SoTF

(evening, the same day)

The French Perspective meets the American Perspective

The Pascals-Etienne, his daughter Gilberte, and Gilberte's husband Florin-sat in one side of the parlor of the Drahuta home.

The Sebastians-Allan and Mitzi-sat in the other side of the parlor. Logan stood off to the side, uncomfortable in her role as translator.

Julie Drahuta sat between the two groups, in a position that allowed her to easily see all of them. She had picked up some French, back up-time, when she had gone to Europe for a conference on social work. And she had picked up quite a bit more, down-time, from Jacqueline Pascal. She hoped that between her sparse grasp of the French and Logan's more poignant and hostile French, together, not too much will be missed in the translation.

Etienne began, "I thank you, we thank you, for your good wishes about Blaise. To tell you the truth, Mr. Sebastian, it had occurred to me that our first meeting might be on opposite sides of crossed swords."

Logan glared at the man but maintained her cool.

"What?" Allan said. "Because of Blaise and Logan?"

"Yes." Logan translated unnecessarily and with a dramatic roll of her eyes.

"Never." Allan almost laughed until he saw his daughter's face.

Mitzi added, "Blaise has always behaved as a gentleman toward Logan, Monsieur Pascal."

"I am most relieved to hear that, Mrs. Sebastian," Etienne said.

"In fact," Allan said, "the danger between Blaise and Logan might be that Blaise does something perfectly gentlemanly, which ends up infuriating Logan."

Julie flinched as Logan had difficulty translating "infuriating."

Gilberte finally spoke up, and Julie translated, gratefully. "Yes, my sister, Jacqueline, has said that American women are dangerous."

Allan chuckled. "Well. . when it comes to being dangerous, Blaise is right up there with the best of them. However, the danger Blaise poses is always unintentional-and frequently directed at himself." Logan translated that with apparent glee, but as far as Julie could tell, accurately.

"Yes." Etienne frowned. "Jacqueline has also informed us about Blaise and his difficulty with a church steeple."

Allan chuckled again. "Events like the steeple incident are what make me think that Blaise and Logan just might be perfect for each other. The things we could tell you about some of the ridiculous things that Logan has done."

Logan's look attracted the attention of the Pascal's.

"Yes, please do tell us," Florin said. "It might be well that our family learn as much as we can about Logan."

Gilberte glared at her husband. Florin gave Gilberte a conciliatory smile.

"Okay," Allan said. "When Logan was eight, about a month before the Ring of Fire, we let her see an old movie called A Night to Remember, about the Titanic."

"Oh Jesus Christ! Not that again!" Logan blurted.

Now Mitzy glared at her daughter.

Julie explained to the Pascals what a movie was, and what the Titanic was. Apparently, Jacqueline had made her job easier by describing movies in detail, in previous letters.

"Dad! Stop it!" Logan growled.

Allan continued, "We went to a child's birthday party. Part way through the afternoon, when the adults all went to a nearby pond, Logan had all the smaller children in the water."

"She had them all in floaties-duct taped the floaties right to them," Mitzi said. "She was pretending they were all survivors of a ship wreck, and she was the surviving ship's officer taking them to safety."

Julie had to struggle to keep from laughing out loud. She hadn't been there but had heard all about it even after the Ring of Fire.

Julie explained to the Pascals what floaties are, and what duct tape is. It took awhile without Logan's help.

"Logan was leading them in a variation of that Psalm." Allan smiled. "Yea, though we float through the pond of death we will fear no shark attack. ."

"Some of those kids looked terrified," Mitzi said. "Oh Lord, I thought someone was going to dive in and drown Logan right there and right then."

Logan didn't convey the second part of what her mother had just said, but Julie discerned that the Pascals were filling in the blanks from the less-than-complete translating. Despite the occasional incomplete translation and the frequent melodramatic facial expressions, Logan seemed, at least, to not be intentionally mistranslating.

"She even had Styrofoam ice chests as icebergs," Allan said. "I don't know what some of the parents were more upset about, their kids floating in the pond or the warm beer."

Julie explained to the Pascals what Styrofoam ice chests are. She wasn't sure if she was successful.

"Logan did keep all of them herded together, though she had them pretty far from shore," Mitzi said. "But no one drowned. And she did whack a water moccasin with her lacrosse stick, before the snake got close to any of the tots."

Julie explained to the Pascals that a water moccasin is a very dangerous, poisonous water snake, but apparently, not more dangerous than Logan Sebastian.

"Logan wanted me to skin it," Allan said, "so that she could use it as a hat band."

Julie could see realization dawn over the Etienne Pascal's face.

"My good lord in Heaven," Etienne whispered, when it finally made sense.

After a long pause, Florin pressed further about Logan. "Logan came here to Bamberg to become an aircraft pilot. Is this common in your up-time world, that girls wish to become pilots?"

"It's not as common as many other things," Allan said. "But it's not so rare that anyone would be surprised by it."

"How did Logan come to this interest?" Florin said, conspicuously not looking at Logan.

"When Logan was about five years old," Allan said, "she came to me and asked me to make the other airplanes stop shooting at her. I had no idea what she was talking about, so I tried to get her to explain, but she just kept repeating that the other airplanes keep shooting her down. When I asked her to show me, she took me to my home computer and ran my air-combat program."

Logan helped with this translation, thankfully. Apparently Jacqueline's letters helped here as well. Computers had been a topic in those letters.

"Logan knew how to use a computer at age five?" Florin asked.

"We had decided to load Reader Rabbit on the computer," Mitzi said. "It's a program that helps young children learn to read, by combining education and entertainment. And we showed Logan how to run that program."

"In a much shorter time than we had expected," Allan continued, "Logan had learned what the reading program had to teach her, and she got bored with it. Then without my knowing it, she started using the air-combat program that I had loaded onto the computer for my own entertainment. But she didn't want to shoot at the enemy planes that were trying to shoot her down; she just wanted to fly. So when I found out, I loaded a flight-simulation program on the computer for her."

Logan explained to the Pascals about flight simulators. And while she was explaining about air-combat games, Norman came home.

Norman greeted the guests, and then announced that no one knew anything more about Blaise than they did a few hours ago.

"Typical of him," Logan grumbled.

The Perspective of Blaise Pascal, World's Greatest Mathematician, standing at the front door of the Julie Drahuta Residence

(very early the next morning)

"Bah!" Blaise spat hoarsely at the door he surmised was the one behind which lived Madam Julie Drahuta. "Damn up-time women. Damn horses. Damn Bamberg. Damn everything! Hear me? Do you?"

The door did not answer him.

"Logan will not care what I went through. She will only laugh and then where will I be? I will be here, without my own clothes, without my horse. . the horse I borrowed. Damn! I will need to replace the horse. Madam Drahuta will shake her head and be done with me. Why can't life be more like a mathematical equation, an algebraic one with one real root for an answer? Why all this chaos? Logan Sebastian, you are not worth all of this. I will go back home and be done with you. This time I will take the train. If you made it to Bamberg then I wish you well! I am done with you."

Logan had been an investment of sorts, but no matter what he did nothing proceeded as it should.

"Nothing!"

Blaise turned away from the door but took only one step.

"Damn you!" Blaise snapped at the unyielding door. The frustration was just too much. "I am wearing the skin of an animal for you. ."

That thought, above all others, eclipsing everything else, was what motivated him to continue on.

With the sort of single minded purpose that had him, in the not so distant past, swinging from a church steeple, or picking pieces of a microwave oven's glass door out of his oversized turnout coat and face shield, or convinced him that a block of ceramics could one day become a computer, and put him on a horse on a fool's errand, Blaise Pascal, world's greatest mathematician, attempted to kick the door open. And much to his consternation, he found the door unlocked.

In fact, as he stumbled through the doorway, he found the door had been more than unlocked and in the process of being opened by an armed man.

Blaise Pascal, world's greatest mathematician and probably the world's worst swordsman, attempted to draw his sword while spinning about to confront the miscreant sneaking out of the Drahuta Residence's front door like some thief in the. . well, early morning.

A thief wearing armor and spurs?

"En garde!" Blaise shouted. He only wished he were as good at what came after those words as he was at shouting the words themselves.

The sword, unscabbarded, opened up a long gash across his upper thigh and nearly unmanned him when he drew it out. His turn led him to a stumble, which prevented him from being slapped silly by a gauntleted hand that had come around in a vicious arc. The stumble then turned into a dance of destruction-Blaise attempted to regain his balance and proceeded to dismantle almost every piece of furniture in the entrance room.

Falling, his sword held in a passable quarte position but with no close opponent, Blaise pulled the large, flintlock pistol from his belt with his other hand. And in a fit of marksmanship worthy of him, he blasted to bits the only remaining intact piece of furniture in the entranceway.

Even being stunned by the violence of the explosion from the overly large pistol, Blaise noticed someone falling down the stairs as he, too, fell.

As he lay there-the sword suddenly far too heavy, the smoking pistol useless-Blaise began to laugh. "You are not worth it, Logan Sebastian! I surrender! Take me home!"

"Holy crap! He's bleeding!" Logan's voice was like sweet though loud music. "Did you shoot yourself?"

Someone tore to shreds the last bits of his once magnificent silk hosiery after removing the scraps of cloth he had wrapped about his legs.

He felt air upon parts of him that should not feel air, but he closed his eyes against the sudden dizziness.

"Unhand me or I will. ." Blaise attempted to sit up. The attempt was completely unsuccessful.

". . Cut your other leg off? What the hell? Help me, Mr. Drahuta! Did you slash him?"

"I was just leaving. He came tumbling in when I opened the door!"

"Blaise!" a voice Blaise felt he should recognize, shouted, "where in the hell did you come from?"

"He came in through the door like there were Indians after him," another voice stated. "Then he beat up all the furniture and shot that little table you liked."

"Jesus Christ!"

Ah yes, Madam Drahuta. Blaise recognized her angry voice, having heard it often and close.

"Mon Dieu!"

Now that voice was difficult to place.

"Logan! I have found you!" Blaise smiled up at his victory. "I wish to go home now. My father is coming. I must introduce him to you. I must. . why am I so dizzy?"

"I swear, Blaise, you make me late for work and I'll kill you!" Logan shouted. But her attention seemed to be much lower down than his face.

"You are always promising to kill me, but I still live!" Blaise would have raised his sword in victory but could not seem to find the strength.

Suddenly, there was a great deal of commotion and light and voices and shouts.

"What are you doing?" Blaise demanded.

"Trying to stop you from bleeding to death," Logan said through gritted teeth.

"Who is bleeding?" Blaise demanded.

"Speak in English!"

Blaise frowned. "I am speaking English."

"You are speaking French!"

"You are making no sense! Oh, father, is that you? I would like you to. . meet. ." and the entire world went black. "Bah!" Blaise exclaimed angrily at the world entire, or very much thought he did.

A guest room in the residence of Julie Drahuta; Director of Social Services for SoTF

(four days later)

"She is not to be allowed in my room!"

Gilberte turned from her needlepoint when Logan Sebastian limped into the room.

It had been a rather quiet day, while Blaise worked on several projects from his bed, which was covered in papers, books and various pens and pencils-and, of course, the calculator that he both cursed and loved at the same time.

"You know, you can get up and move around," Logan said. "Those stitches won't pull out. And I know they've invented the desk by the seventeenth century. You've been in bed all day, again?"

Blaise, as he had done every time he was aware that Logan was nearby, pulled the quilt over his head.

"It is indecent for you to be here!" Blaise stated firmly, from beneath his covers. "Indecent! What will be said if it becomes known?"

"You're such a baby!"

"Baby?" In exasperation, Blaise pulled the covers away from his head and sat up. "Do you know what I went through to find you? I almost died. ."

"Yeah, yeah, you almost killed yourself ten times. I heard it all before, with mathematical clarity to the hundredth decimal point. There are people still out there confirming your story because no one believes it despite all the evidence. You didn't actually kill anyone but somehow the three poachers died anyway. How do you do it? How do you stay at the center of so much trouble and remain untouched?"

"I was not untouched! My horse. . dragged me and I fell into the river. ."

"Last count is three times. How do you fall into a river three times?"

"It was not easy. I was lost and I was not looking for a river; I was looking for a road. The river was in my way. And now, let me remind you, Mademoiselle, my sick room is no place for a lady!"

"Who held pressure on the leg wound?"

Blaise felt his anger rising. "That was indecent. To be touched there by a. ."

Logan glared at him. "I should have let you bleed to death for the sake of decency? Even I know you don't carry a sword that way. Scabbards were invented for a reason, you big doofus!"

"I lost my horse! I needed something sharp to cut my way. ."

"You lost more than your horse; you lost your mind. You left a path of destruction through the forest that looked like a herd of elephants had stampeded."

"I was angry. And the bushes were in my way!"

"Blaise Pascal, world's greatest terror to vegetation. ."

"Logan. ."

A new, much louder voice arrived. "Blaise!"

Blaise-not knowing what he had done now, but knowing by the tone of voice that it must be something quite bad-lowered himself back down, ready to bring the quilt over his head again.

Julie Drahuta came roaring in with a handful of papers and a look fit to kill an invading army. "Blaise Pascal! Did Bill Porter put you up to this!"

Then Blaise did pull the quilt over his head. "He told me to create a plan for electrifying Bamberg," he said through the quilt. "He said it would be good experience while I recuperate from my injuries."

"And how did the town council of Bamberg get a copy of your preliminary report? You don't just 'electrify' a seventeenth century town!"

"There is a plan for a dam and a-"

"Blaise! You just can't go flooding people's property like you're the whole Tennessee Valley Authority all by yourself! If a goat nibbles the bark of a tree anywhere in Europe, not only do they know the name of the tree that was illegally nibbled, but who owns the goat. And then there's two hundred years of court wrangling to see who pays for the damage to the tree, and whether the goat should be eaten or burned and buried, and who gets compensated for the goat! You can't talk about flooding parts of Bamberg like you can do it any day of the week and twice on Sunday!"

Blaise did not respond, not quite certain why Mrs. Julie Drahuta seemed so angry.

"Blaise, let me see your face," Julie demanded.

"I am injured."

"Blaise! You tripped on your sword and cut your thigh and your calf. Your face is fine! And besides, I hear you were out of the house, wandering around Bamberg, for hours yesterday."

Blaise lowered the quilt, slowly.

"No piece of paper will leave this room unless I sign it," Julie said. "And you will not, I mean N-O-T, not talk to anyone other than immediate family members without adult supervision. Is that clear?"

"It is only a preliminary. ."

"Blaise Pascal! Shall we discuss your preliminary cause of death. ."

He quickly pulled the quilt back over his head.

"Blaise?"

"What?"

"Do I make myself clear?"

"Yes."

"How's the leg?"

"Does not hurt much. I am sorry about the bloodstain. Your hospitality has been commendable."

"Blaise, I know you mean well, but you can't go about promising whole towns a working power grid. It gets people's hopes up. And when reality hits them, they're going to be angry. . Do you understand? Angry people become mobs. You are French boy in a German town with an angry mob and no electricity. Do you understand what I am trying to prevent here?"

"Yes."

"Gilberte," Julie said gently, "sorry to disturb your. . needlepoint."

When Julie left, Blaise translated for his sister all that Julie had said. Gilberte responded.

"I didn't catch all of what your sister said," Logan said. "Was she talking about me?"

"She, my sister, asked me how do I make so many people so angry with me so quickly. She remembers me being far less upsetting when I was in Paris. No one wished to kill me there."

Logan shook her head. "That was before you found the power plant and computers."

"It is a simple task, really. Once you know the maths, the rest is, as you say, a piece of cake. It is certainly far easier to create a plan to electrify Bamberg than the math involved in routing the delivery schedules of blimps. Now that is a problem worthy of me. I begin to see the problem of this 'Fedex' and the routing of aircraft with all these passengers and cargo and destinations and arrival times. It is way multivariate."

"Can you ever stop talking about math?"

"Can you ever stop talking about flying? You would think a bag of hot air is more important than I am!"

"Maybe if you came up in a balloon you would understand."

"I would like to go up with you in one of those blimps and test my theories concerning atmospheric pressure to see if I was correct. I will let you hold the barometer. My name is used to measure units of barometric pressure so I must insure my former self was, indeed, accurate."

Logan blurted out with fury, "Only you would be so big-headed you would check yourself to see if you were good enough to be you! You are impossible! I will have to go up at least five thousand feet to begin to see the curvature of your head!"

With that, Logan stormed out of the room

"Gilberte," Blaise said softly, "she can not be allowed in Paris. She will be the death of all the ladies at court, and there is no way I can become accomplished enough with the sword to defend her honor, let alone mine. What am I to do?"

"Who says we are going to Paris? More importantly, what did she say and what did you say?"

Blaise told her.

"First of all, dear brother, when a lady asks you to accompany her in a device that floats gracefully into the air, do not threaten to take atmospheric measurements and allow her to hold this. . this. . barometer!"

"Your husband helped me do just that in this future that will no longer happen. She should be honored to be involved in such a momentous experiment! Your husband was, according to the history books. ."

"You are lucky she did not slap you across your foolish face! Or hit you with that famous stick of hers! You have all the romance of a. . of a. . dead horse." Gilberte stuttered. "You are incorrigible! No wonder there is no evidence that you married."

"Romance? With Logan Sebastian? She would kill me. Then, because she is a witch, she would raise me from the dead just so that she could kill me again. She tried to drown me! And that was by accident! I will not bore you with the ways and manners with which she attempted to murder me on purpose!"

Gilberte frowned at her brother. "I would not blame her if she tossed you off this blimp device!"

"I had not thought of that. Maybe I should go up without her. But you see how dangerous she is? How do you think I learned how to use the Taser? I know precisely how effective it is because she tested it on me. Of course, I increased its voltage, but don't tell her that. Also, I know for a fact that she has her grandmother's pistol. What kind of woman gives her granddaughter a pistol, I ask you? And with five discharges when one should do more than adequately. Women are emotional enough without the ability to fire such a weapon five times! Romance? Bah! Survival is more the term that should be used when one discusses Logan Sebastian. I am lucky to be alive!"

"Why do you like her?" Gilberte looked at her needlepoint.

There was a long silence.

"She makes me think. She gave me a metal ruler." Blaise produced the piece of metal from its place under his pillow. "See? It has her name scribed upon it. She told me it was more accurate than the plastic one I was using, and she was right. Logan Sebastian makes me think. That is what I like about her."

"You mean you had to be cut down from a church tower because this Logan gave you a ruler?"

"She has that effect on me." Blaise shrugged. "What can I do?"

The Front entranceway to the residence of the Director of Social Services for SoTF

(late afternoon)

"I see your conversation with boy blunder went as well as mine." Julie laughed when Logan tried, unsuccessfully to storm past her and out into an unsuspecting Bamberg.

"He's completely recovered," Logan grumbled. "He sees me and he starts talking mathematics like it's a hot article in Seventeen magazine. He wants me to take him up in a blimp so he can read the barometer I'm holding and figure out if he calculated the change in air pressure correctly the first time. I should toss him overboard like rotten ballast and see if he bounces. I mean, with Blaise, once is enough. We got probability and his damned triangles. What else do we need him for?"

"Logan," Julie said sternly, "you really don't mean that. Stop talking trash like that."

"Yeah, okay. By the way, thanks for convincing my mom and dad to let me stay. And thanks for helping my parents negotiate the apprenticeship contact. I doubt if they would've known what to negotiate over, on their own."

"You're welcome, Logan. It's probably the first apprenticeship contract that's closer to a late-twentieth-century employment contract than a traditional apprenticeship contract. Except that, unlike a twentieth-century job, you can't just give notice and quit. You're bound to Antonio Sorrento for at least ten years."

Logan looked down. "Yeah, I know." Then she looked back up at Julie and smiled. "And thanks for giving me a place to stay too. I don't think my parents would've let me stay in the tent. I guess that was a dumb idea."

"Sibylla needs a roommate who's closer to her age."

"It was nice of you to adopt her and her brother. Maybe my mom should adopt a kid or two. She's good with young kids." Logan shrugged. "I thought it would be less scary to be out on my own. I mean, I'm not really on my own, but you know what I mean."

"Not as scary as watching my adopted German daughter trying to teach my up-time daughter how to not blow up a seventeenth-century kitchen. Not as scary as trying to convince the town council of Bamberg that electricity isn't something you distill from water and that hydroelectric dam means flooding the countryside. Personally, I don't think Blaise could get a dam big enough to spin a generator fast enough to electrify Bamberg."

"Blaise was my fault. I saw him and Jacqueline arguing over a book in the library. Something about Pascal's Triangles. I couldn't wait to tell my dad about who I found. I thought Dad would be so proud of me. I even gave Blaise my for-real drafting ruler."

"Your father is proud of you." Julie shook her head. "And I'll have to think about whether or not to forgive you for 'finding' Blaise."

"Blaise Pascal was one of my dad's favorite mathematicians. And now he's hogging a bed upstairs and calling me 'indecent.'"

"What?"

"He's still mad that I helped undress him when the medic came. And I was holding pressure until the medic got here. I couldn't just let go because it was 'indecent.' His sister was useless, and his father was worse."

"You did a good job." Julie shrugged. "You fell down the stairs very well."

Logan sniffed. "That was an accident."

"In more ways than one." Julie waved Blaise's preliminary report she still clutched in her hand. "I sent a radiogram to Bill Porter, asking him if he's behind Blaise's plan for electrifying Bamberg. Well, I just got a reply back from Bill. He said he asked Blaise to look around and estimate what it would take to begin providing electric power to Bamberg customers. Nothing about a full-blown hydroelectric plant and power distribution network."

"Blaise goes overboard. So what else is new?" Logan shrugged. "By the way, those weren't his clothes he was wearing when he arrived. First of all, he doesn't wear leather. He told me once that he was appalled at wearing some other being's skin as clothing. What the hell happened to him out there that he was forced to wear leather?"

"That is still being determined. Norman confirmed that he did, in fact, fall into the same river three times. But the cliff he says he fell down was more like a rocky side of a hill, not a cliff. He did, though, taser one of the bandits, and the other two either shot each other or shot themselves somehow. They're still arguing the forensics of the bullet wounds."

"I guess I could see how two people would be driven to shoot themselves because of Blaise Pascal, world's biggest doofus."

"We're still trying figure out where he got the sword and why his hat was a hundred feet up in a tree." Julie shook her head. "I guess this report makes complete sense. Bill would think it's funny to saddle me with Blaise Pascal, junior electrical engineer. Ask Blaise what time it is, and he'll design an atomic clock. Bill had to know that if he told Blaise to look into what it would take to start delivering electricity to Bamberg, and we'd get this." She waved the report. "I saved a kid from hanging himself from a church steeple. I didn't save Moses from a river in Egypt. The fire department deserves most of the credit anyway."

"My guess is a gust of wind took his hat off, and he went after it-not looking where he was going, and he stumbled into that poacher's camp, and when he fell off his horse he bumped his head. Why were they taking his clothes off? Now that's indecent."

"Clothes are valuable in this day and age. Even in New York City, up-time, people were robbing each other for expensive sneakers. Took 'em right off the victim's feet. That green vest of his would have brought some money. Some of what he was wearing was silk. Silk ain't cheap nowadays."

"Doofus," Logan shook her head.

Julie smiled. "Yep. The same doofus who, the moment he hears you up and disappeared, drops everything important to him and grabs a horse and goes off to rescue you."

"He should know me well enough to know I don't need rescuing. I made it all the way to Bamberg without a single person being killed-or even injured slightly."

"We find ourselves in a different time, Logan. Chivalry might have been dead up-time, but here and now, it's still kicking. Everything is different now."

"Don't I know it. Would it have been too much to ask for there to have been just one Cessna in Grantville? Just one? A Piper Cub even. Somebody had that stupid power boat-why not a Beechcraft or a P-51 Mustang. Could you imagine? A Mustang. ."

"Blaise can't stop talking about math, and you can't stop whining about airplanes." Julie shook her head. "Times change. But some things always remain the same."

"Like what?" Logan asked.

"The things we do for love."

Hunter, My Huntress

Griffin Barber

Patience growing short in the afternoon heat, Dara's favorite leopard yowled and spat at her handler, ready to hunt.

Dara grinned, ready as well, welcoming the prospect of release from the tension being around Aurangzeb always provoked in him. Now, if only they could begin. The small army of beaters had started the day before, working through the night to drive all the wild game resident in several square kos toward where the hunting party lay in wait. The camp was loud with the voices of men and animals, many of Father's more notable umara present to witness the hunt and curry favor with the wazir.

Seeking distraction, Dara again took up the gun he'd had as a wedding gift from Father last year, the inlaid piece monstrous heavy yet reassuring in its solidity. He sighted down the nearly two gaz of barrel, arms immediately trembling from the weight of iron, ivory inlay, and mahogany. Among the many refinements, the weapon sported one of the new flintlocks rather than the traditional matchlock, and even had a trigger rather than lever.

"Here," he grunted.

Body slaves overseen by his Atishbaz gunsmith, Talawat, hurriedly set up the iron tripod needed to support the hunting piece while he struggled to hold position.

"Ready, Shehzada," Talawat said.

Trying to keep the weight under control, Dara slowly lowered the gun onto the mount. Talawat slotted the pin that would hold the gun's weight when aimed into place, easing the awkward weight from Dara's arms. The prince knelt and placed the butt of the weapon on the cushion another slave hurriedly set in place.

Rubbing the ache from his biceps, hoofbeats drew Dara's attention. He looked down the gradual slope to the pair of watering holes that formed the two sides of the killing zone for the hunt. About one hundred gaz of grassy clearing lay between the slowly-drying watering holes, with about half that much distance between grandfather's tent and the open space. The beaters were working toward that spot in a steadily shrinking circle.

One of Asaf Khan's men emerged from the wood line at a gallop, crossing the clearing and pounding up to the camp. In a fine display of horsemanship, the sowar swung down from his mount to land lightly a few paces in front of Dara's grandfather.

Asaf Khan stepped forward and listened as the young trooper made his report: "At least a hundred head of blackbuck and red antelope, a small herd of nilgai, Wazir. Tiger spoor was also found, but no one has laid eyes on it, yet. Should not be long, now, before the first of the beasts make an appearance."

Asaf Khan dismissed his man. Gray beard dancing, the aging but still-powerfully-built Wazir called out: "A tiger would make a worthy prize for one of my grandsons!"

"Perhaps for Dara, grandfather. He has yet to take one," Aurangzeb drawled from inside the tent.

Dara watched Asaf's smile dim before he turned and answered, "One tiger could never be enough for the sons of emperors."

"I did not say it was, Asaf Khan," Aurangzeb said, striding from the tent into the sun.

"I will kill it, Grandfather!" Shah Shuja, crowed, raising his bow. Born between Aurangzeb and Dara, Shuja seemed always afire with desire to please his elders. At eighteen he was a man grown, however, and larger than Dara by a head. Of course, that head was rarely full of things other than those he might hunt, fight, or ride.

Asaf turned to face his eldest grandson. "And you, Dara?"

"I will take what it pleases God to place before me."

"Pious words," Asaf said, nodding approval.

Behind grandfather's back, Aurangzeb shook his head and commanded his horse be brought up.

"Where are you going?" Asaf asked, edges of his beard curling down as he frowned.

"I will take the animals my brothers miss, that way I am sure to have a good day hunting."

Shah Shuja grunted as if punched in the belly, face darkening. He too had been shamed by the poem making the rounds of the court.

Doing his best to ignore the insult, Dara gestured at his leopards. "Brother, that is why I have brought my cats, to run down escaping game."

Aurangzeb shrugged, took up a lance. "Then I will race your cats, and beat them, to the kill."

Asaf stepped toward Aurangzeb, raising hands in a conciliatory gesture. "I would advise caution, brave one. If there is a tiger in among them, it will easily overtake a horseman. They can only be hunted safely from elephant howdah."

Aurangzeb shrugged again. "Then it will be as God wills it," he said, putting spurs to his tall horse and speeding off to the left of the firing line and the sole exit to the killing ground, a trail of attendants and guards in tow.

"Here they come!" one of Grandfather's cronies cried.

"Nur Jahan respectfully asks a visit, Begum Sahib."

Jahanara had been expecting such a request since arranging her great aunt's poisoning, if not so soon.

"She is recovered, then?" she asked the eunuch.

"Indeed, her illness has passed, thanks be to God."

"Praise Him," she answered in reflex. And because, while she had been expecting the request, Jahanara did not feel ready to grant it: "I shall consult my astrologer before visiting. He found some peril to my health in his last reading, and advised me to caution." She waved dismissal at him. "You may take my words to her."

The eunuch bowed low, yet remained before her.

She let him grow uncomfortable before asking: "There is more?"

"I pray you will forgive me, Begum Sahib, but my mistress waits without."

Jahanara tried not to display her concern-Nur Jahan's eunuch would surely report everything observed to his mistress. Still, a bit of pique was called for: "She presumes much, my grandfather's sister."

The eunuch pressed his head into the ground, "As you say, Begum Sahib. Nur Jahan commanded that I convey her assurances that the illness is not catching, and that she has words of import for your ears."

"Very well, I will trust to her greater experience in this. She may attend me. Go and fetch her."

The eunuch said nothing further, just bowed and withdrew.

Jahanara used the time to shore up her mental defenses. Tending Father's re-ignited grief had proved draining, leaving her tired and out of sorts. Worse yet, the result was still uncertain. Shah Jahan had risen this morning and made only one command after attending morning prayers: he ordered his daughter to summon someone literate in English to Red Fort. Knowing no other she dared call on, Jahanara sent for Salim. He had yet to answer her summons, just as Dara had yet to respond to her messenger.

And now Nur Jahan, veteran of thirty years of imperial harem politics, was coming.

She wished Dara were here. She wished Mother was here. She wished for many things, yet none of them had come to pass when Nur Jahan entered her receiving chamber.

Head high, the older woman's direct gaze immediately fixed on Jahanara. Nur Jahan approached with the supple grace of a woman much younger than her fifty-six years, a result of a life-long regimen of dance and diet. Dressed in fine silks and damasks of her own design and pattern, Nur Jahan called to mind a great cat stalking prey.

Nur Jahan came to a halt, bowed, a delicate scent teasing Jahanara's senses. "Grand-niece."

Wishing to keep things formal, Jahanara used the other woman's title, "Nur Jahan," as she gestured the other to take a seat.

A brilliant, cheerful smile answered the formality and called to mind the reason for her title as "Light of The World." So great was the charm of that smile that Jahanara could not be certain it was false, despite knowing that it had to be.

"Must we be so formal, Janni?" Nur asked as she reclined on cushions across from Jahanara. "I am fresh recovered from illness, and would celebrate another day among the living with my family. And-as all the boys are hunting and your sister is with your father-I naturally thought of you."

Jahanara hid her displeasure at the other woman's use of her childhood nickname, answered in even tones: "I merely pay you the respect my grandfather bestowed upon you in recognition of your beauty, especially as you appear so well and happy."

Nur Jahan blushed, actually blushed, at praise she had likely heard far more times than the sun had risen over Jahanara. "Jahangir was a great man, always kinder to me than I deserved."

Marveling at the woman's control over her body, Jahanara ordered refreshments for them both.

She looked back at Nur, found the older woman regarding her with a steady gaze.

Wishing for more time, Jahanara stalled: "A new perfume, Aunt?"

A nod of the head. "Yes, I have been working on it for some time. Do you like it?"

"Very much."

"I shall see some delivered to you, then."

A silence stretched. Refreshments arrived, were served.

Jahanara let the silence linger, armoring herself in it.

"I have something I wish to tell you, Janni."

"Oh?"

"Yes."

"Must I ask?"

A throaty chuckle. "No, of course not. It is a tale. A tale from my first year with your grandfather. A tale of the hunt, in fact."

As the man's cry faded, a small herd of blackbuck, no more than eight animals, spat from the line of brush and trees. Bounding with the outrageous speed of their kind, the antelope seemed to fly across the open ground.

Dara shook his head, irritation flaring. Blackbuck were perfect game for his hunting cheetahs but he couldn't risk one of the cats attacking Aurangzeb or his horse.

Dara held out a hand. Talawat filled it with one of his lighter pieces, matchcord already glowing. Shouldering it, Dara picked his target: a good-sized, healthy animal just behind the leading beast.

He heard Shuja's bowstring slap bracer. A moment later Shuja muttered angrily.

Ignoring all distraction, Dara's world shrank to the chest of the beast he'd chosen. Finding it, he moved his point of aim two hands ahead along the shallow arc of its jump.

He pulled the lever and averted his eyes at the very last moment.

The gun thundered.

Dara handed it off to Talawat as the blackbuck fell, heartshot. The gunsmith handed him another piece.

Shuja shouted, his second arrow striking the lead buck in the belly.

He ignored the cheering of his grandfather's entourage, chose another buck, aimed, fired. Another clean hit to the chest. The antelope collapsed after a few strides.

"Well done, Talawat. Your guns speak truly," he said, passing the weapon off.

Talawat bowed, presenting another piece. "The Shehzada is too kind."

Taking the third gun in hand, Dara waited a moment, allowing the smoke to clear. Behind him, Talawat's apprentices busied themselves reloading the discharged weapons.

"Your modesty is a sign of fine character, but-" Dara tapped a knuckle against the gun's hardwood stock. "-in this instant, misplaced."

Talawat smiled and bowed again before gesturing at the field. "I merely prepare the weapons, Shehzada. It is not everyone that has your fine eye for shooting."

Shuja downed another of the blackbuck with an arrow that nearly passed through the animal. The first beast he'd hit finally collapsed from blood loss, blood frothing from its muzzle.

The remains of the herd cleared the firing line, only to run into Aurangzeb and his mounted party. Dara's brother took an antelope with his spear as its herd mates ran past. Leaving the weapon behind and spurring his horse into a gallop, Aurangzeb switched to the horse bow. The prey were far faster than his mount, stretching their lead even as Aurangzeb drew, aimed, and loosed twice in quick succession. Each arrow struck home in a separate neck, a fine feat of archery.

Asaf's cronies cheered, as did Shuja, who had approached Dara.

Cradling his gun, Dara smiled, despite himself.

Aurangzeb cased his bow while sending his finely trained mount circling back among his followers with just the pressure of his knees, an act of understated pride in its own right.

"I should have ridden instead of standing here with you and your guns," Shuja grumbled, loud enough for Dara to hear.

Dara did not answer, even when his younger brother ordered his horse brought up and left to join Aurangzeb.

He watched his grandfather instead, pondering the old man's place in the family history as well as his possible future: Abdul Hasan Asaf Khan had turned against his own sister to support Father when Dara's paternal grandfather, Jahangir, passed and the succession came into question once again. Dara had himself, been hostage and surety against his father's loyalty after that first rebellion, and was no stranger to the price of failure for princes engaged in rebellion. Shah Jahan and his allies had emerged victorious, but it had been a close-run and uncertain thing, all the way to the end. He had been rewarded with position, titles, and power, though recent failings had reduced his favor at court. Father was considering removing him from the office of wazir and sending him off to govern Bengal.

As if sensing Dara's thoughts were upon him, Dara's grandfather turned from watching the slaves collect carcasses and approached Dara.

Talawat bowed and silently withdrew a few paces, giving them some privacy.

Asaf pushed his beard out toward Shuja's retreating back. "Well, first among the sons of my daughter, it seems your brothers would hunt as our ancestors preferred."

Dara nodded. "I would as well, but for this," he said, gesturing with his free hand at the new gun on its tripod.

Smiling, Asaf bowed his head and squinted at the weapon a few moments, "Big ball?"

"Large enough to down nilgai in one shot. . or a tiger."

"Brave man, hunts a tiger with powder and shot rather than bow and spear."

Dara shrugged. "Surely not in the company of so many men, Asaf Khan?"

Asaf Khan waved a hand. "Abdul, or. . grandfather. . if it pleases."

Catching the plaintive note in his grandfather's voice, Dara smiled, "Surely, Grandfather, I would not be at risk among so many men."

"Jahangir once lost three favored umara to one, a great she-tiger. And they were all armed to the teeth and born to the saddle. The tiger does not feel pain as we do, most wounds merely madden them."

Dara was about to answer when another herd, or perhaps the larger body of the one just harvested, emerged from the wood line, dashing for the open space between the watering holes. At the rate they were fleeing, the beasts would be in range in moments.

Asaf Khan stepped clear as Dara raised his gun. He felt, rather than heard, Talawat edge closer with his remaining light pieces.

He sighted along the barrel. That part of his mind not engaged with aiming noted an anomaly: the blackbuck were running straight and true rather than bouncing back and forth along a line of travel.

Just as he was ready to squeeze the lever, a thundering of hooves caused him to lower his muzzle. Aurangzeb and Shuja were riding to meet the herd, bows in hand.

"I had only been married to Jahangir for a brief while when he invited me to join him on a tiger hunt. I leapt at the chance to join him in the howdah, and had the mahouts paint his favorite elephant for the occasion. A great party of us set out, camping of a night and slowly moving through the areas where your grandfather's armies were concentrating the game for his pleasure.

"But, as you may know, your grandfather Jahangir enjoyed smoking opium far more than was good for him, and he dozed through much of the hunt, the swaying of the howdah-" She gave a throaty chuckle. "-and perhaps the swaying of my hips, lulling him to sleep a few times."

Jahanara, used to Nur's earthy storytelling, still blushed. Scandalous! To think of sexual congress in the hot confines of a howdah, of all places, jali or no!

Nur pretended not to notice. "It was during one of his naps that there was some consternation ahead of us. I put on my veils and opened the curtains of the howdah.

"Several slaves were running from a wadi some tens of gaz away. It was then that I saw the reason for their flight: a pair of tigers flashing through the undergrowth after them."

Jahanara noticed the older woman's gaze grown distant, breath quickening; felt her own pulse rising.

"They were magnificent. Terrible. Bloodlust made manifest. One man had his head nearly removed with one rake of claws. Others fell, were torn open. Blood was everywhere." Her nostrils flared, remembering.

A tiny smile. "The screams of his slaves at last woke Jahangir from his stupor. He moved to join me, took my hand in his.

"'Protect your servants,' I told him.

"He looked at me. Too late, I could tell my command had made him most angry.

"After a moment he pressed his great bow into my hands. 'One with this. Then one with the gun, if you succeed.'

"'What?' I asked, incredulous.

"'Protect them if you wish them protected, wife.'

"I do not think he knew then, that my brother had taught me the bow in our youth. I think he thought to test me, hoping I would fail. He sought to put me in my place as twentieth wife, however favored. ." Nur Jahan let her words trail off into brief silence.

Jahanara found herself leaning forward, eager to hear more. Slowly, conscious of the other woman's skill at courtly intrigues and careful of some trap, she sat back.

Nur resumed her tale. "I resolved to show him I was no wilting flower," the older woman sat straighter even as she said the words.

"While we had spoken another pair of slaves had perished, and the tigers had pursued them much closer to our elephant. Hands shaking, I drew the bow, loosed. That first arrow missed. I did not miss with the second, though it was not enough to kill the beast. Enraged, it leapt into the air and spun in a circle. I loosed again. A lucky shot, it took the cat in the throat, stilling its roar."

A shake of her head. "The other tiger left off killing a man to raise its head, then coughed strangely, almost as if asking why his brother had stopped talking mid-sentence.

"Jahangir laughed, slapped me on the back as if I were one of his sowar, and took the bow from my hands. He handed me one of his guns, igniting the match cord himself.

"I had no experience of guns, and told him so.

"'Look along the metal, point it at his great head, when the head is covered by the barrel, tell me, and I will light it. Turn your head when I do, or you might get burned.'

"I did as he bid, aiming at a point between the great ears. I remember thinking how beautiful its fur was. 'Ready,' I whispered.

"He touched the match cord to the powder and the gun belched fire, punching me in the shoulder like nothing I felt before. I swayed back, my veil singed by the fire from the pan. I had forgotten to turn my head, you see." She shook her head. "It is amazing, what I recall of that day: I remember the feel of the elephant shivering, wanting to flee the loud noise but too well trained to move, while I tried to see where my shot had fallen."

She smiled, looking Jahanara in the eye. "I missed my mark."

Jahanara realized she had been showing her eagerness for the tale again, and quickly leaned back. "Well, it is understandable: you were handling a gun for the fir-"

Another of Nur's throaty chuckles broke Jahanara's words. "I did not miss entirely, Janni. My ball took the tiger in the heart, killing it almost instantly. I still have the fur in my quarters."

Aurangzeb and Shuja had split up to either side of the herd, and were standing in the stirrups, loosing. Where their arrows fell, antelope staggered out of the herd, dead or dying. Shuja ended up on the near side of the herd, Aurangzeb disappearing into the dust kicked up by the herd and their own mounts.

Dara shook his head. While impressive, their antics were denying him a shot. Not that he couldn't rely on his skills and shoot anyway, it was simply not a good idea to go firing into a field occupied by two princes, whether the shooter was a brother or not.

He briefly considered taking to his own horse while summoning a drink from one of his body slaves.

"Don't want to take to your own horse?" Asaf Khan asked.

Having already decided against it, Dara punched his chin toward where his brothers were now racing back towards the firing line in a cloud of dust. "When their horses tire, there will be other game."

Asaf nodded, looked sidelong at his eldest grandson. "Married life agrees with you, Grandson."

"Oh?" Dara asked, taking the gem-encrusted goblet full of iced fruit juice from his servant.

"You are more patient than you were. I may presume too much when I think it your wife's doing. ." He shrugged.". . but there are worse reasons for change in the behavior of men."

Dara hid his smile by slaking his thirst. Smacking his lips appreciatively, he answered, "Yes, many things are put in their proper places, now I have a son on the way."

"A son? You are so sure? The astrologers tell you it is so?"

"Yes," Dara half-lied. The up-timer history had it that his son rode to battle with him in his war against Aurangzeb, many years in the future.

"You must send me y-" Asaf stopped in mid-sentence, peering into the dust beyond Shuja.

Dara followed the line of his gaze, saw it at a heartbeat later: something gold-orange flowing along in the wake of Shuja's horse.

"Tiger!" Asaf bellowed in his general's voice, pointing at the great beast stalking his grandson.

Dara tossed his goblet aside, scrambled for his newest gun.

Shuja, hearing the shout, did the wrong thing. He reined in to look toward Asaf Khan. The tiger was within twenty gaz of Shuja. When he came to a stop, it did as well. In fact, it went forequarters down, hunching its rear end.

Asaf was screaming, as were more and more of his men. He started running for his own horse and household guard.

Dara knelt and lifted the butt of his gun, surging upright.

Shuja was looking around, trying to identify the threat. His horse tossed its head, shied sideways, uneasy.

Dara pressed his shoulder into the stock, trying to cock the lock, find his target, and get his hand on the firing lever-and had a moment's panic when he couldn't find it: Not a lever, a trigger, you fool!

The tiger was rocking its hips, getting ready to charge.

Talawat was beside him, quietly urging: "Shehzada, please do not try to do too much at once. Slow down. Calmly."

Dara stopped. Breathed out. Found his aim point and his target. Slid his finger into the trigger guard.

Out of the corner of his eye he saw Talawat's silhouette nod. The gunsmith cocked the hammer back for Dara. "She kicks like a mule, Shehzada. Now kill us a tiger."

Dara squeezed the trigger. The lock snapped forward, steel and flint sparking into the pan. A half-heartbeat later, the gun discharged with a thunderous roar and brutal kick to Dara's shoulder.

The tiger leapt.

Smoke obscured Dara's sight for a moment.

Shuja's horse bolted, riderless, into view.

Talawat stepped forward and turned to face Dara, hands busy as he reloaded the piece with quick, economical motions. He could hear the gunsmith praying even over the shouts of Asaf's men.

Asaf had stopped his rush to mount. It was too late.

The smoke cleared.

The tiger lay prone, part of one of Shuja's legs and a boot protruding from beneath it.

Dara's heart stopped.

It seemed years later when Shuja sat up from between its paws, face as white as bleached linen. Hands shaking, the younger prince heaved the heavy corpse aside and stood up, apparently unscathed.

Suddenly thirsty, Dara wished for strong drink.

The line erupted in crazed shouts of joy. Asaf came charging back toward Dara, teeth bared in a smile that split his beard.

Shuja was walking, somewhat unsteadily, back toward the line.

Placing powder in the pan and stepping back, Talawat murmured, "Fine shooting, Shehzada."

Dara pointed a trembling finger at his sibling. "I will give you his weight in silver, Talawat. Were it not for you, I would have surely rushed the shot." He swallowed. "And missed."

Talawat bowed his head, clearly aware of how badly things might have turned out. "God is merciful and loving-kind, to place one of my tools in the hands of one so gifted in their use: I will use the silver to make more fine guns for your use, Shehzada."

Aurangzeb rode into view behind his dismounted brother, stopping over the tiger for a moment. After a moment's examination, he nudged his horse into motion. Quickly catching up to Shuja, he said something the other responded to with an angry shake of the head. Shrugging, the mounted brother rode on toward the firing line.

As he came closer, Dara noticed his quiver was empty and his face had a thin smile drawn across it. For Aurangzeb, such an expression was a broad smile of unrestrained glee.

"I see we each took a tiger this day, brother."

"What?" Dara asked.

Aurangzeb nodded his head in the direction he'd come from. "Another one, possibly this one's mate or nearly adult offspring, took the last blackbuck in the herd. He took some killing: all my remaining arrows are in him."

Asaf Khan arrived in time to hear the end of Aurangzeb's speech, sweating from his exertions. Pausing to catch his breath, he was still beaming when Dara remembered to be civil. "Congratulations, brother, I'm sure it was a fine kill."

"And to you on yours, Dara, though it appears your beast had an old wound to slow it; an arrow in its flesh, turned to poison."

"Might explain why it went for Shuja with dead game at hand," Asaf gasped.

"Anger is the poison that stirs the killer residing in the hearts of man and beast," Dara said, trying not to look at his brother as he did so.

"An entertaining tale," Jahanara mused aloud. Nur had only just departed, the air still hanging with the delicate scent of her perfume.

"Shehzadhi?" her body slave and administrator of her personal staff, Smidha, asked.

"Nothing of import." She lowered her voice. "Has Prasad returned?"

"No, Begum Sahib," Smidha answered. She raised her voice slightly, "Begum Sahib, you asked to be informed when your ink was delivered. It arrived just this afternoon."

"Good," Jahanara said in an equally clear voice. She raised her head and ordered the remaining slave at the entrance to her receiving chamber, "Fetch my inks."

When she had departed on the errand: "What is it, Smidha?"

Smidha edged closer and bowed her head, speaking quickly and quietly: "My sister's man says a slave was found dead just outside the harem walls, Begum Sahib. Nothing special in itself, but my friend who is also your sister Raushashana's nurse, says that her mistress was heard to claim the slave betrayed Nur Jahan. Just now, while you entertained her, I confirmed with one of the eunuchs that have responsibility for guarding her quarters that Nur is seeking a new cook-slave."

Jahanara closed her eyes, said a brief prayer for Vidya. She had never personally met the young woman who, outraged by the mistreatment of her lover, had offered to spy on her mistress. Now, carrying out Jahanara's will, she would become yet another of the faceless victims of courtly machinations. Victims Jahanara would carry the guilt of in her heart to the end of her days.

She shook her head, dread encroaching on her guilt. "Which eunuch?"

"Begum Sahib?"

"Which eunuch, Smidha?"

"Chetan, Begum Sahib."

"One of the Rajputs?" she asked, running through her mental portrait gallery of the servants of her enemy.

"Yes, the great big, round-headed one with the crooked nose."

Jahanara nodded. "He is entirely Nur's. She wanted me to know she caught my spy. Do we know how Vidya died?"

Smidha bowed her head. "Poison is suspected, mistress."

The princess bit her lip. "Then Nur was never successfully poisoned at all?"

Smidha shrugged. "That is possible, though she did request the Italian doctor come and examine her."

"To complete her falsehood. . or for something else?" Jahanara shook her head. "Set someone to watch him from now on."

"Yes, Begum Sahib."

"And still no word from Salim?"

"That messenger also has yet to report success in his duties. I begin to worry he might have been waylaid."

"Where is she getting the men to do these things for her?" Jahanara asked.

"I do not know, Begum Sahib. She has not changed her habits significantly since Vidya came to us last year."

"Oh, but that's just it, Smidha. We can't know how long Nur knew about Vidya's allegiance to me. Much of our information is suspect, then."

Smidha's half-smile showed Jahanara that her agile mind was working at full speed. "Yes and no, Begum Sahib. I always try to verify from multiple mouths what my ears hear from one source's lips. I do not like to look foolish, misinforming my mistress."

"So, then: what do we know?"

"That Nur Jahan is dangerous even while in your father's power."

"Who, though, is providing her with influence beyond these walls?"

Smidha shook her head, "We cannot know she is responsible for your messenger's failures just yet, Begum Sahib." Another shrug of round shoulders. "Assuming your suspicions are correct, however, I can think of a few umara who remember Jahangir's last years and Nur's regency in all but name as good ones for their ambitions, but none that your father and grandfather are not already aware of and keeping an eye on."

"What of Mullah Mohan?"

A delicate sniff. "That man, bend his stiff neck to treat with a woman? Hardly, Begum Sahib."

"I love you dearly, Smidha, and value your service above all others, but I think you might be letting your feelings color your assessment. She has the skill, he has the manpower."

Smidha flushed, bowed her head again, "It has been my pleasure to serve you, just as it was to serve your mother, Begum Sahib. Still-" She looked up. "I find that, of late, my heart is hard when it should be soft, and soft when it should be hard."

Jahanara patted Smidha on the arm. "You are my wisest advisor, Smidha. I just want to be sure we are not dismissing a potential truth."

The older woman bowed again, looked up sharply. "And now I think on it, the idea has merit: she did have occasion to speak with Mohan while arranging Jahangir's tomb and the mosque dedicated in his name." She shook her head again, concern drawing her brows together. "If she managed to draw that dried stick of a man into her web enough that he is willing to lend her his strength, what other dark miracles can she arrange?"

"And, having seen the steel of the trap the huntress has laid out for us, what bait is meant to bring us in, and how do we spring the trap without losing a limb?"

A Star is Born

Kerryn Offord

Grantville, Tuesday, June 1635

It had been a hard day at the salt mines. Sebastian Jones trudged the last few feet up the garden path to the front door. He was just about to insert his key when the door was swung open.

"Did you have a good day at school?" his mother asked.

He grunted an answer and edged past her into the house and headed for the kitchen. He dumped his rucksack on the table and opened the fridge to inspect the contents. Moments later he had most of the constituents of a sandwich on the bench. He turned to the bread bin and hacked off a couple of slices.

"Dinner will be ready in an hour," Mary Ellen Jones muttered.

"But I'm hungry now," Sebastian protested as assembled one of his classic gourmet masterpieces. He cut his sandwich in half and loaded it onto a plate before grabbing a glass of milk and sitting down at the table.

"You had a delivery today."

He paused in his chewing to consider that. "Where is it?"

"In the garage."

Sebastian tried to think of what someone might be sending him that would be put in the garage. With nothing coming to mind he took a sip of milk.

"There are a number of packing cases and a big pile of corrugated cardboard."

Now Sebastian knew what was waiting for him in the garage. He guzzled down the milk and grabbed his sandwich before running for the garage.

He opened the door to see stack after stack of cardboard boxes and a stack of craft-produced corrugated cardboard.

"Is that mom's book?" Mary Ellen asked from behind him.

"Yes. Gran didn't want to pay the sales commission Schmucker and Schwentzel were asking, so I'm going to be handling sales from here."

"I hope that's not going to interfere with school. You know you need these extra classes in Latin if you're to do well at university."

"It won't, Mom," he said.

"It better not. Well, are you going to show me this book?"

Sebastian selected a carton and tried to tear through the packing tape holding it closed with his thumb nail.

"Here, let me," his long suffering mother said as she used her thumbnail to tear the tape. "If you'd stop chewing your nails you wouldn't have this problem."

He ignored the attack on his personal habits and opened the carton to reveal-books. He carefully lifted out the top book and unwrapped it. His mother looked over his shoulder as he slowly turned the pages, stopping every now and again when his mother laid her hand on his to give her more time to look at a photograph. Eventually Sebastian handed her the book.

"They're beautiful," Mary Ellen muttered.

Sebastian wasn't prepared to go that far, but the photographs of Grantville before and after the Ring of Fire were impressive. His gran sure knew how to get the best out of the limited technology they had. Many of the photographs had been taken on wet-plates, and lugging that equipment around had just about broken his back. Some were taken using the more modern dry-plate technology, but his gran wasn't overly impressed by the effects she was getting from her current emulsion.

****

The next day Sebastian didn't go straight home from school. He got off the bus at Grays Run and hurried along the road to the house where Gran lived with a carton of books balanced on his shoulder. She still had her house in Grantville, but she'd been lonely after Granddad died. She had, to quote his mother, fallen in with dubious company-the down-timers who lived there were Lutheran, while Tom and Celeste Frost were Catholic-and moved into the house on Grays Run.

Before the Ring of Fire the house had been offered as a rental with the bare minimum of furniture. Untenanted at the time of the Ring of Fire, and with the landlord an up-time property company, the house and acreage it stood on had reverted to the government. Carl Schockley, a guy who had been working temporarily in Grantville, had managed to buy the place in the early days after the Ring of Fire, before property values went wild. Last year Carl had relocated to Magdeburg, leaving the property in the hands of the tenants he'd recruited to help pay the mortgage.

Sebastian left the carton of books at the house and went in search of his gran. He found her doing what any self-respecting septuagenarian would do in her place if they lived in the house on Grays Run.

BOOM!

That's right. She was "playing" with explosives. The prime tenant Carl had left behind was a company he helped start-Brennerei und Chemiefabrik Schwarza. Originally they'd just made primers and percussion caps, but over time they'd branched out, and although they no longer produced the explosives on the property, they did conduct tests there.

He waited for the all clear before joining his gran and Tom Frost. "Hi, having fun?" Lettie Sebastian turned and he saw the mile-wide smile on her face. "Silly question. I got the books yesterday. I've left a carton of review copies up at the house for you to sign and number before I mail them." He screwed his nose up at that. He saw the need for giving away a few review copies, but he wasn't happy about it. Not considering how many books they had to sell just to break even. The problem was the books weren't just expensive, they were horrendously expensive. The special high quality paper the books had been printed on saw to that. They could have used cheaper paper, but the photographs wouldn't have looked half as good and his gran's artistic sensibilities had overtaken economic sense, and she'd insisted on the better quality paper.

"I don't see why you're worried. Your market research showed there was a lot of interest in a book of photographs showing Grantville before and after," Tom said.

"But it wasn't enough to persuade Schmucker and Schwentzel to publish it," Sebastian said.

"That's because there is a lot of difference between people saying they might be interested in buying such a book and those same people actually forking out seven hundred and fifty dollars, plus postage and packaging, for it." Lettie shrugged. "Still, it's only money, and at my time of life it's best to enjoy it while you can."

"You're not worried about losing your house?" Tom asked.

"I live here." Lettie waved her arms to encompass the Grays Run property. "And the rent my tenants pay covers the mortgage with more than enough over to pay my way here. As long as the property taxes don't go too high, there shouldn't be a problem."

Sebastian was glad to hear his gran wasn't going to lose her home if the book was a failure, but he was hoping it made a profit, because Gran had promised him a share of any profit in return for his help.

Wednesday

With summer school operating Sebastian had time to hawk his gran's book around town before and after school. This afternoon his target was the post office. He checked his appearance in the reflection from the window before walking in. He'd made an appointment to talk to the postmaster, so he approached a teller to let them know he was there, and was promptly told to "please wait." He waited over by the stands that showed the merchandise the post office sold. There were the usual post related items in the form of standard size cardboard boxes and envelopes, postcards, and then there were the "last minute gifts and souvenirs." A Pictorial History of Grantville would be right at home here, if it wasn't three times the price of the next most expensive book.

"Sebastian, how can I help you?" Pam Sizemore, the postmaster, asked when she showed up a few minutes later.

Sebastian took the sample book he was carrying out of its protective packaging and offered it to Pam. "You said you might be willing to sell my grandmother's new book."

He waited patiently while Mrs. Sizemore slowly looked through the book. "It's very good. I can see the tourist market being interested, but how much is it going to cost?" she asked.

"We're thinking to retail it at seven hundred and fifty dollars."

Pam whistled. "That's pricy. I don't think we'd get much demand for anything that expensive. Still, there will be some interest." She fondled the box it came in. "Do they all come in these boxes? Because most of our sales would be to people wanting something to send as a gift, and we don't have anything this size."

Sebastian made an executive decision. The books had been delivered in cartons of twenty. He had been planning to use the custom protective corrugated cardboard boxes for mail-order purchases only, so they'd have to order some more made, but for such an expensive book, the extra cost of the packaging wasn't worth fighting over. "I can supply the books in a carton of twenty, with the packaging as pre-cut corrugated cardboard sheets, or I can deliver the books individually pre-packaged."

Pam glanced over at the books she had on sale. "You can put me down for twenty pre-packaged, and we'll see how they sell."

Sebastian recorded the order in his book and left for his next stop.

After a long afternoon traipsing around the shops, Sebastian had commitments for a hundred books, and he hadn't even tried the tourist traps yet. The Red Barn Museum was his next stop.

The Red Barn, naturally enough, attracted tourists, and Sebastian felt that the prime market for his gran's book would be the tourists. When he'd been conducting his market research the museum's manager had indicated that she would be interested, so here he was. He approached the first museum assistant he discovered. "Mrs. Harris, is Mrs. Mase about?"

"She's in her office, Sebastian."

"Thank you." He made for the museum manager's office and knocked on the door.

"Come in."

"Good afternoon, Mrs. Mase. I've come about Gran's book." He laid the by now shop-soiled box on her desk and stepped back.

Sydney Mase hefted the box before opening it, the moment she removed the tissue paper protecting the dust jacket she froze, and just stared at the view on the cover. It was a view from the hills looking over post Ring of Fire Grantville showing, as close as they could tell, the same view as that of the 1897 "map" of Grantville that had pride of place on the wall of the museum.

Sydney opened the book and stopped again. The endpapers were a reproduction of the 1897 map. She looked up. "Could you turn that into a poster?" she asked.

"Gran took that photo with a ten by twelve plate camera. I guess it could be enlarged, but Schmucker and Schwentzel have a camera that can take bigger photographs. If you wanted to have posters made, then I'd suggest talking to them."

"Do you have any idea what they'd cost?"

Sebastian shrugged. "They can't be too expensive. The Arts Week committee in Magdeburg had promotion posters made last year, and those were in color. Ask them, I'm sure they'd be happy to give you a quote."

"I will. Okay, back to your grandmother's book. It's even better than I thought it would be. What are you hoping to sell it for?"

"Seven-fifty," Sebastian muttered defensively. He'd been catching flack from retailers all afternoon about the price.

Sydney surprised him. She nodded. "That sounds about right. It's expensive, but there is absolutely nothing like it out there. We should ask your gran to take some photographs so we can put together a souvenir of the museum."

"I can take the photographs," Sebastian said. "Gran's been teaching me, and she's happy to lend me her cameras."

"I'll keep that in mind. Meanwhile, what's the deal about handling your books?"

"Seven percent commission on sales, and we provide the books either already individually wrapped in their cardboard boxes, or I can deliver them in cartons of twenty with sheets of pre-cut corrugated cardboard that you can fold into boxes as you need them."

"Put me down for two cartons, and we'll make the boxes ourselves," Sydney said.

Sebastian was almost walking on air when he got home. He had orders for a hundred and forty books, and there hadn't even been a book review published yet. He bounced into the house, and went hunting for someone to tell his good news. He found his mom and dad in the kitchen. "Hi, did you have a good day?"

"It certainly looks like you did," Simon Jones said. "How did it go?"

"I've got orders for a hundred and forty, and that's without any publicity."

"Congratulations," Simon and Mary Ellen said.

"I'll just go and tell Gran she's got to come round and sign another bundle of books.

Thursday

Sebastian was home from school early. He should have been studying, but there was a regular book review program on, and his source at the school TV station had tipped him that his gran's book was going to be featured, so he'd grabbed a bite to eat and stretched out on the couch to watch the program. Right now he was being slowly put to sleep by the presenter as she droned on about a book by some down-timer. Apparently she had liked it, because she recommended it to viewers. Then she held up the next book, and Sebastian was suddenly all ears.

He lay there in horror, his sandwich forgotten, as she tore the book to shreds. She had nothing good to say about it, and then she attacked the price. "Of course it's expensive. It's a coffee table book," Sebastian muttered to himself. Everyone knew art books were expensive. They expected them to be expensive.

He was still sitting there when his mother got home. "Shouldn't you be studying?" she asked.

Sebastian stared at her vacantly.

"Is there something the matter? Is it Mom?"

The real concern in his mother's voice dragged Sebastian's mind from the nightmare he was in. "The critic tore up Gran's book!"

Mary Ellen looked from Sebastian to the television, to the newspaper open to the television schedule, and back again. "The book review show on television?"

Sebastian nodded.

Mary Ellen walked over and hugged Sebastian. "It's just one woman's opinion."

"But it's an opinion on television. Lots of people will have seen it."

"No publicity is bad publicity."

Sebastian sighed. If only there was some truth in that old saw. He collected his half-eaten sandwich and headed for the kitchen. He'd suddenly lost his appetite. "I'd better call Gran and see if she caught the show," he muttered.

Lettie had caught the show, and she was not happy. Her first instinct had been to call the station and complain, but Tom's wife had persuaded her to cool down before doing anything rash. So she'd followed Celeste's advice and released her anger by blowing up a couple of tree stumps. That had made her feel better, but not as much as placing the explosives under Brianna Marie Flannery's seat would have done. Of course Brianna would have to be Celeste's cousin, wouldn't she?

Felling considerably settled, Lettie returned to the house. Celeste met her at the door.

"Feeling better?"

She nodded. There was something about blowing things up that couldn't help but make someone feel better.

"I'm sorry about my cousin."

Lettie waved the apology away. "We can't choose our relatives."

"The best thing is to fight fire with fire. Do you have a copy you can spare for a review?"

"You mean give away another one of my overpriced vanity publication of my pictures?" Lettie snarled the words. They had drawn blood when Brianna Flannery said them, and she wanted revenge.

"I think you should offer Mr. Kindred a copy if he'll put a review in the Grantville Times."

"Sebastian's already sent out review copies. The trouble is we don't have any control over when or if they'll print reviews."

"Maybe if you speak nicely to Mr. Kindred, he'll ask his reviewer to hurry-up," Celeste suggested.

Lettie sighed. She was getting too old for this sort of thing. "I'll talk to him in church on Sunday."

Sunday

One of the advantages of being married to a Methodist lay preacher was that she'd gotten to know all the Methodists in Grantville. When you had a daughter and son-in-law who were Methodist ministers to the parish, you stayed in the loop even when your husband died. So Lettie had no trouble talking to Lyle Kindred and his wife about her book, the Brianna Flannery review, and when the Grantville Times, of which Lyle was the publisher, might be printing their review of her book. She walked away with the less than satisfactory answer that they were waiting for their reviewer to file her review, but they'll print it as soon as they could.

Wednesday

Lettie was called to the phone late in the evening. She picked it up. "Lettie Sebastian speaking."

"Hello, Lettie. Lyle Kindred here. I just thought you'd like to know the review of your book will be in tomorrow's paper."

"What's it like? Who wrote it?" Lettie demanded.

"Wait and see, Lettie. Wait and see."

"Lyle Kindred, you tell me what it says or. ." she stared at the phone. He'd hung up on her.

Thursday

On Thursday morning she paid one of the older children to run into town to get the paper the moment it hit the street. He returned just as Lettie was finishing breakfast. She ignored the front page stories with their photographs-those were almost old hat now-at least in the Grantville papers, and the cartoons, heading instead straight for the entertainment section. There was a small image of someone reading a book identifying the location of the review.

She read it, and started to smile. Heather Garlow, the reviewer, introduced herself as a fellow artist, and then went on to effectively deny nearly everything Brianna Flannery had said on television, without mentioning the television review.

"That's a good review, isn't it?" Tom asked from over her shoulder. "I mean, more people read the Times than watch television."

"It's more than a good review, Tom. It's a carefully constructed hatchet job on Brianna." Celeste looked up at the ceiling as if looking for inspiration. "I wonder what she could ever have done to upset Mrs. Garlow?"

"She probably tore up some of Mrs. Garlow's work," Lettie muttered. "Whatever made your cousin think she knew anything about art?" she asked Celeste.

"She took a couple of courses at college," Celeste answered.

"Ah, a little knowledge is a dangerous thing," Lettie said. "I guess all we can do now is wait and see if it helps sales."

"How have sales been so far?" Celeste asked.

Lettie shrugged. "They were looking good, but since your cousin's negative review most of the retailers have been holding back on new orders."

Friday

Sebastian watched the emotions flash across his mother's face as she read the paper and wondered what had caused them. "What's so funny, mom?"

Mary Ellen looked up from the paper. "The letters to the editor. Brianna Flannery is complaining about Heather Garlow's review of Mom's book. She's claiming it's a barely disguised personal attack for some honest comments she made about Heather's new installation in the Higgins, and she wants an apology."

Sebastian walked round so he could read the letter over his mother's shoulder. "What's an installation?"

Mary Ellen opened her mouth in preparation to answer, then shut it and looked across the table to her husband. "Simon, can you explain?"

Simon shook his head. "I know what one is, but you really need to see one to understand."

Sebastian reread the letter. "I might drop by the Higgins and have a look."

Mary Ellen nodded. "You do that, and maybe you'll understand."

"Take a camera. You might be able to sell a photograph of it to one of the papers," Sebastian's father suggested.

Saturday

Sebastian paused to appreciate the photograph in the entertainment section. It showed a crowd gathered in the Higgins Hotel to see Mrs. Garlow's installation, and it was his first sale. He then moved on to reading the letters to the editor. There were a couple of letters defending Mrs. Flannery's comments about Mrs. Garlow's installation. They questioned how such a thing could possibly be called art, and having seen the installation in question, Sebastian was on their side. There was a letter from someone who'd bought a copy of Gran's book, and seemed to think it was money well spent.

Monday

Sebastian flipped through the paper until he came to the letters to the editor. Today, for the first time Sebastian could remember, they took up an entire page. There were the run of the mill letters, where people complained about the government or the way the iron-rimmed wheels on wagons traveling through Grantville were damaging the roads. And then there was the developing battle between Mrs. Garlow and Mrs. Flannery. People were starting to take sides. And caught in the middle was Gran's book. Sebastian chewed at his thumbnail as he tried to work out if this was good or bad.

"Stop chewing your nails. There's plenty of food in the house!"

He dropped the thumb instantly and turned to his mother. "I'm worried about what this will do to sales of Gran's book. Do you think it'll hurt it?"

"Of course not, it's all good publicity."

She was his mother, so of course she'd say something like that. Sebastian turned back to the letters. As he read he felt his thumb brushing his lips and hastily dropped it.

Tuesday

Sebastian put down the phone and smiled.

"Some more orders?" his father asked.

He nodded. "That's the sixth shop to call asking for delivery of more books as soon as possible."

"So everyone likes Mom's book again?"

"Everyone but Mrs. Bonnaro. I got a check and her returns today."

Simon walked around to read the list of orders Sebastian had taken down. "She might regret that. How many books have you sold, then?"

Sebastian opened the order book at the back, where he'd been keeping a running tally. "We've had orders for three hundred in Grantville, of which we've been paid for a hundred and thirty four, and we have mail-orders for another sixty, waiting on the clearance of payments."

"So you've got close to two hundred actual sales, and nearly four hundred possible sales. That's not bad."

"But we need to sell nearly seven hundred to break even."

"So get out there and hustle. Advertise. Do what you have to do to move them. Otherwise you'll end up remaindering them for fifty percent off."

Wednesday

The Grantville Times Wednesday edition was double its normal size, being a bumper four section, sixteen page monster. The letters to the editor claimed the full two page center-spread in one section. And it wasn't just the Times. The Daily News was also running an enlarged letters to the editor section.

The opening of Mrs. Garlow's latest show was also being promoted. Sebastian looked at it, and wondered. "Dad, would it be all right if I go to the gallery tonight?"

"What time?"

"The show starts at seven thirty, so I'd like to get there earlier."

"What show?" Mary Ellen asked.

"Mrs. Garlow's got a new exhibition starting tonight."

"And why this sudden interest in first night showings?"

"I thought I might take a camera and see if I can get some shots for the paper."

His father smiled. "You're hoping to earn a little pocket money? Don't let your first sale go to your head."

"I won't," Sebastian said, although that was exactly what he was thinking. He'd got a hundred dollars for that shot. If he made another sale. .

"Just stay out of trouble," Mary Ellen said.

"What kind of trouble can you get into at an art gallery?"

Wednesday night

Sebastian had an advantage over all the other photographers. His grandparents had been enthusiastic photographers and collectors of photographic paraphernalia. His grandfather had reenacted as a Civil war photographer, even going so far as to use historically correct wet-plate photography. Not that Sebastian was using anything that primitive. No, he was using a Speed Graphic with an electronic flash. Not only was it a better camera than anybody else had, it opened doors, including the front door to the gallery. He hadn't thought about the dress code for a first night of an exhibition.

Sebastian happily moved through the gallery taking photographs of the notables as he saw them, usually with their enthusiastic agreement. Then he saw Mrs. Flannery. Sebastian was no student of body language, but with the current battle raging in the letters to the editor he would have thought she'd be a bit of a spectre at the feast. He decided to follow her. He saw her stop in front of a woman and they started talking.

FLASH! Smack!

The room went silent. Half of the patrons were staring at him, while the rest were staring at the two women. The one Mrs. Flannery had confronted was holding a hand to her face.

Sebastian lowered the camera he didn't remember lifting and smiled innocently to the people looking his way. "Don't take any notice of me. I'm just the photographer." He did his best to disappear into the woodwork as he rapidly changed out the exposed double-dark, filed it in his camera bag, and reloaded the camera. By the time he finished reloading the camera, the capacitor on the flash unit was recharged. He looked around for something else to photograph.

A hand tapped on his shoulder "Did you get a shot of that?"

Sebastian turned to find Lyle Kindred and his wife looking at him. "What?"

"Brianna Flannery slapping Heather Garlow."

"Oh!" He looked back to where Mrs. Garlow was still being comforted by a male escort. "Is that who she is?"

"Yes. Now, did you get a shot of the slap?"

"I don't know. I don't even remember lifting the camera, let alone taking the photo."

"We might make a press photographer of you yet," Lyle said. "Come with me to the Times, and we'll see what you've got."

"You're not going to abandon me here are you?" Mary Jo Kindred demanded.

"Have you seen anything you like?" Lyle asked.

"No!"

"Then there's no problem," Lyle said as he started to escort Sebastian out of the gallery.

"I might decide there's something I like," Mary Jo called after them. "Something really expensive," she added just before Lyle and Sebastian left the gallery.

Thursday

The Grantville Times was two sections again. The photograph of Mrs. Flannery slapping Mrs. Garlow made page four. Sebastian looked at it with pride. He'd got it just about perfect. He couldn't have taken a better shot if he'd tried, and according to Mr. Kindred, if he'd tried, he probably would have made a mess of it.

He moved on to the entertainment section, and saw some more of his photographs. This time they were people who'd attended the showing. Mr. Kindred hadn't paid as much for them, but he'd suggested that the subjects might want to buy copies.

That left the review of the exhibition. Sebastian found it, and cracked up laughing.

Across the table, his mother lowered her copy of the Times. "What's so funny?"

"Have a look at who Mr. Kindred got to do the review of Mrs. Garlow's exhibition."

Mary Ellen did as she was told and giggled. "'Reminiscent of the more extreme forms of Cubism.' Brianna Flannery really doesn't like Heather Garlow."

"So why did Mr. Kindred ask her to review Mrs. Garlow's exhibition?" Sebastian asked.

"You're the one who claims to have learned so much from your business studies. Think!"

Sebastian did as he was told. He thought. He looked at the paper, and eventually it came to him. "The Times doubled in size inside a week, and they're carrying a lot more advertising." His mother's slow clap response told Sebastian he'd hit the nail on the head.

Friday

"Free at last." Sebastian all but sang the phrase as he hurried up the path. For him, school was finally over. He'd survived the last day of preparatory Latin, and now he was ready to attend his first lectures at university. There was a pile of messages stuck to the fridge for him. They were phone orders from shops wanting more books. There was also a request for an urgent delivery from an outfit called the Round theRing Guided Tours. They wanted two cartons delivered to their office as soon as possible. There was also a contact phone number.

Sebastian hung up the phone and made a note in his sales book.

"You're looking awfully cheerful," his mother said.

"A tour business based in Rottenbach just ordered two cartons, and they'll pay cash on delivery if I can get them to them today." His mother didn't look quite as happy about his good news as he would have liked. "It's good news, Mom."

"But that's a lot of money to carry around."

Sebastian stared at his mother while he did the necessary mental calculations. Forty books at wholesale was nearly twenty-eight grand. Sure he'd processed similar sized orders before, but payment had usually been by check. "I'll be careful."

"I'd rather you waited until your father got home."

"But they need the books now. Apparently they didn't know about the book until a client showed up with a copy asking to be shown where the various photographs had been taken from. They have a couple of parties coming in tomorrow morning and they want to have them available before they set out."

Mary Ellen sighed. "At least take a gun, and be careful."

Coming from his mother, the suggestion that he take a gun was a reflection of just how worried she was. "I will."

The gun he selected was a Beretta 92. He slipped that into a small-of-the-back holster and set about loading his bicycle. Two cartons filled the box he'd fitted to his rear carrier, leaving the front carrier free for his camera bag. He lifted his jacket to show his mother he had a gun and set out.

The road to Rottenbach took Sebastian up the north arm of Route 250. He made a comfort stop at the church at Drakes Run and had just returned to his bike when heard the roar of a motorcycle reverberating in the valley. He thought immediately of Denise Beasley and her friend, and how he'd missed getting photographs of Minnie Hugelmair riding her motorcycle into city hall. He grabbed his camera and hurried to the road. He saw the biker heading his way and got ready. The rider was past in a flash, and Sebastian could only hope he'd got the photograph. He knew the theory of photographing a moving vehicle, he just hadn't had a lot of practice, especially with one moving so fast.

Suddenly Sebastian realized he couldn't hear the motorbike any more. He changed over the double-dark, got on his bike, and pedaled madly in the direction the biker had gone.

When he rounded the corner he slowed down. The biker might be in trouble, but not of the kind that Sebastian could help with. As he cycled past he glanced at the man standing by his bike while the policeman wrote him a ticket. He had such a hangdog expression on his face that Sebastian couldn't help himself. He lifted his camera.

Ten minutes later, and a mile up the road, Sebastian was cursing his luck. He unloaded his bike and turned it over so he could free the back wheel. Why couldn't it have been the motorcyclist who picked up the bit of glass?

He was just reassembling his bike after repairing the puncture when a pickup truck pulled up alongside him and Officer Blake Haggerty leaned out the window. "You need a lift anywhere?"

Sebastian almost said no, but then he thought, who better to help him collect nearly thirty thousand dollars than a couple of police officers. "I've almost got it fixed, but I don't suppose you could help me do something else?"

"What?" Officer Heinrich Steinfeldt asked.

He pointed to the two cartons of books. "I'm supposed to be delivering those to a place in Rottenbach, and they've said they'll pay cash." He paused. "It's a lot of money, and I'd feel a lot better if you were with me."

"How much money?" Blake asked.

"Just under twenty-eight thousand dollars."

The two police officers exchanged looks and shrugged. "Why not? Toss your bike in the back."

The rest of the trip to Rottenbach was uneventful, as was the transaction, and the trip to the Grantville bank to deposit the money. Sebastian's mother just about fell on Officer's Haggerty and Steinfeldt in gratitude when they delivered Sebastian safe and sound to the front door. However, as a mother she knew how to show proper appreciation, and both men left weighed down with cake and cookies.

With another forty books sold Sebastian headed over to his gran's house to develop the photographs he'd taken. He was on good terms with Gran's tenants, and after letting them know he was there he disappeared into the darkroom his grandparents had built into the back of the garage.

The shot of the down-timer being talked to by Officer Steinfeldt was as good as he'd hoped it would be, but the shot of the motorbike speeding by was even better. He pulled out a packet of the biggest paper in the darkroom-some of the twenty-four by thirty inch paper being made for the Kirlian Imaging industry, and made as big a print as he could.

He had just put the large print away in the glazing press to dry when there was a firm knock on the door.

"Can we talk to you for a moment, Herr Jones?

Sebastian didn't recognize the voice, but it didn't sound threatening. "Just a moment!" he called. He did a quick check that he'd put everything away, checked that the prints hanging over the sink were dry enough not to attract any dust, turned on the light, turning off the red safe light at the same time. Then he opened the door.

They were Suits, and very expensive Suits at that. Sebastian recognized one of them. She was an up-time female-young and attractive. The other was a down-time man-not so young, and not so attractive. Actually, he looked a lot like a well-dressed bouncer, but no bouncer could afford tailoring that good. Sebastian looked beyond them to see the reassuring sight of Gran's tenants. He waved to them, and the Suits looked to see who he was waving at. "How can I help you?"

"We believe you took some photographs of Don Francisco Nasi today," Tommasina “Tommie” Genucci said.

"I've just printed them," Sebastian said. "Do you want to have a look?" Sebastian stepped away from the door to let them in.

Tommasina removed the photo of Don Francisco being given a traffic ticket from the drying line and studied it. "We've been empowered to negotiate for the negative of this photograph and any prints you might have made."

Sebastian took a few seconds to work his way around what she'd said. Finally deciding it meant they had been asked to buy it. He looked at the photograph. The guy really did look embarrassed to be stopped and given a ticket. Still, Tommasina hadn't said Mr. Nasi was their client, and Sebastian didn't want to embarrass the guy anymore than he already was. "Sorry, but it's not for sale."

Tommasina pulled back her shoulders and jiggled her chest a little while running her tongue over her lips. "We're willing to pay you a thousand dollars, in cash, for everything you have on Don Francisco Nasi." She nodded to the man who opened an envelope and counted out ten hundred dollar bills.

That made Sebastian even more dubious. The most he'd been paid for a photograph was the two hundred and fifty dollars for the Slap. He shook his head. "Nope."

"Our client really wants that negative and any prints. Two thousand dollars," she said.

"Nope!" Sebastian said. "If it's that important, I'll send them to Mr. Nasi myself."

There was a standoff with the two Suits looking at Sebastian, who looked straight back. Eventually the man put back the wad of hundred dollar bills and pulled out a wallet and produced a Johnnie. "Use a courier."

Sebastian stared at the twenty dollar bill in the man's hand. It seemed that maybe they were on the up and up. It wouldn't hurt to accept the money, if it was used to pay to send the negative and prints to Mr. Nasi. He reached out for the money. "I'll do that."

"Tonight!" the man said.

Sebastian checked his watch. "That might be pushing it. I'll try, but they have to dry first. Now, the sooner you leave, the sooner I can finish up here and get over to the post office to send them off."

The man stared hard at Sebastian, but he easily maintained eye contact until the man nodded his head and gestured to Tommasina that it was time to go.

Sebastian showed them out, and was happy to see a couple of the tenants were lazing in the swing seat watching the darkroom door. He waved to them, and to the two Suits, before shutting the door on them. He glanced at his watch again. He wasn't sure he'd be able to dry the prints and get them to the courier in time.

"That could have gone better," Wolfgang Klettwich muttered as they walked down the path to their waiting cab. "Your sex appeal certainly fell flat. Herr Jones didn't even bat an eye when you jiggled your tits."

"He's a Methodist. What do you expect?"

"Considering how you insisted he'd be putty in your hands, I'd have expected at least a little staring down your cleavage."

"At least we stopped the photo going public," Tommasina muttered.

"Not by anything you did." Wolfgang glanced over his shoulder at the still closed door of the darkroom. "I wonder if he really will send Don Francisco the negative."

"Of course he will. He took the twenty you offered for the courier."

"So?"

"He's a Methodist. He wouldn't have taken the money if he wasn't going to send the negative."

"You show remarkable faith in human nature for a lawyer, Tommie."

Tommasina stopped in her tracks and turned to face Wolfgang. "Sebastian Jones will mail the negative to Don Francisco."

"Would you care to wager a little money on that?"

Tommasina glanced at the darkroom door and back to Wolfgang. "A hundred dollars says Sebastian Jones at least tries to get the negatives to the courier office before they close."

Wolfgang looked at the darkroom door for a few seconds before spitting on his hand and holding it out. Tommasina did likewise and they shook hands. "How are we going to be sure what happens?" Wolfgang asked.

"We hang around and wait."

Wolfgang pulled out his watch and checked the time. "He has an hour."

"So we wait an hour."

"Then I better have words with our driver," Wolfgang muttered.

A few minutes he was back. "Did I miss anything?"

"He ran into the house for a couple of minutes before returning to the darkroom."

"Why?"

"How should I know? Maybe he had to go to the toilet."

A few minutes later a courier cyclist turned into the drive and knocked on the darkroom door. There was a short discussion, and a large envelope was handed to the courier. "What the heck's he doing?" Tommasina muttered. "You don't need an envelope that big for such a small photograph."

The courier cyclist pedaled back down the drive and onto the street. Wolfgang and Tommasina hurried to their cab. "Follow that man," Wolfgang ordered their driver as they clambered aboard.

The driver raised his brows, muttered something unintelligible, and climbed onto his seat and started pedaling.

They kept the courier in sight until he disappeared into Don Francisco's office. Wolfgang jumped out and went in to check who the package had been delivered to.

"It seems I owe you a hundred dollars," he said when he returned.

Monday

Sebastian had forgotten all about the photograph of Mr. Nasi over the weekend. He'd worried a bit about sales of Gran's book, but sales were going along at a steady pace. In a single month they'd processed orders for over five hundred copies, and received payment for two hundred and sixty-six, with payment pending clearance of the checks on another thirty. At this rate they should break even by the end of July, by which time he'd be in Jena. He sighed at the thought. He'd much rather be taking photographs, but there wasn't a lot of money in that, not yet.

"Sebastian, there's someone to see you," Mary Ellen called.

"Who is it?" he called as he hurried out to see who it was. He recognized Tommasina sitting on the sofa immediately. "I sent the photo and negatives to Mr. Nasi like I said I would."

"Yes, I know. That's why I'm here. Don Francisco was most impressed with the photograph of him riding his bike. In fact, he was so impressed he's had it framed and installed in his office." She looked at Sebastian and shook her head. "You're either very smart, Sebastian, or very lucky." She laid her briefcase on the coffee table and opened it. She extracted several papers. She laid one down on the coffee table. "One order from Don Francisco for twenty copies of A Pictorial History of Grantville to be delivered to his office as soon as possible." She added another paper. "An order from the office of the mayor of Grantville for ten copies of A Pictorial History of Grantville, to be delivered as soon as possible."

"But why does Mr. Nasi need twenty copies, or the mayor's office ten?" Sebastian asked.

"Don Francisco often has occasions when he needs to present people with small tokens of appreciation, while a gift of a book about Grantville is a perfect promotional gift for the mayor's office."

"Small token!" Sebastian muttered. If a seven hundred and fifty dollar book was a small token, he'd really like to see a large token.

"Don Francisco is a very important man, and he deals with a lot of very important people. He suggests that you might want to produce a similar book about Magdeburg."

"Do you realize how much Gran's book cost? We can't afford the risk."

"But Don Francisco can." She laid another sheet of paper on the table. "Also, the Magdeburg Arts Week organizing committee would like to retain you as a photographer. You would be responsible for all the publicity photography and recording events for a book to be published celebrating Arts Week."

Sebastian licked his suddenly dry lips. It seemed he'd just discovered what a large token looked like.

Bartley's Man, Episode One

Gorg Huff,Paula Goodlett

June 30, 1631

Johan was hung over again and that was good. For Johan, going into battle with a hangover was almost as good as going into battle a little drunk. It distracted him from what he had to do. He shifted his pike just a little. He was in the second rank of pikes and happy enough to be there. It was respectable, but not as dangerous as the front rank. They were marching forward and he was busy enough just keeping his feet moving and his head from falling off that he didn't have time to worry about putting his pike through someone or having someone put theirs through him. So he barely noticed the difference in the sounds. The Germans, at least the group in front of him, fired one ragged volley and turned and ran. Just as well. He probably wasn't up to much of a fight. Then Johan was bumped. The man beside him had been hit. Karl was a punk kid and arrogant besides, but damn! They were in the second rank, near the middle, and Karl had still been hit in the side, hard enough to knock him into Johan.

Things went downhill from there. An army, even part of Tilly's army, could only take so much, and this one was being cut to pieces from so far away that they couldn't fight back. It took a while, but it started to crumble. Then it broke. All of a sudden, everyone was running and Johan was running with them. But not very far. He was too hungover and, well, just too damned old to run as far as he would have needed to go.

After a few minutes, and on the other side of the baggage train, he stopped. Huffing and puffing, Johan waited for the cavalry to catch him. His hands were already up when they got there.

July 7, 1631

Johan Kipper looked at the Singer sewing machine in total confusion. It wasn't that Johan was stupid, or even ignorant. It was simply that his world wasn't filled with devices of this complexity. There were a few, but not many, and Johan had never seen one. What made the sewing machine worse than the telephones or the lights was that it looked like he should be able to understand it.

Unfortunately, he wasn't allowed to remain in his state of confusion. Instead, Brent Partow, one of young Master David's friends, saw his look and-as boys were wont to do-began to explain. Which would have been a great deal more helpful if the lad had spoken a comprehensible tongue. His English had the weirdest accent that Johan had ever heard. Just like the rest of the up-timers, and it just got worse as the lad got into the details of the inner workings of the sewing machine. It wasn't the twang that bothered Johan. He had heard variations like that often enough. It was the technical words.

"It would seem a very complex piece of equipment," Johan offered. "It would probably take a long time to make. Perhaps something simpler?"

"We could, I guess. But it would be more likely to be copied," young Master David said, but Johan was an old soldier and an old bargainer, and he heard the lack of full confidence in David's voice. "Besides," David continued in a firmer voice, "the sewing machine is what we agreed on."

So it wasn't the best choice, just the one they could agree on. That was more than interesting. "Well, it looks very complicated to me."

"Looks are deceiving," Brent said. "It's not lots of different parts, so much as lots of the same few parts."

His twin brother, Trent, snorted at that. And Frau Higgins said, "Never mind. What we're going to need you to do is help us talk to the local merchants and craftsmen so that we can have the parts made without telling them how to make the whole thing."

Johan walked his rounds about the storage lots and thought about the up-timers and the children and their project. He liked them, liked them a lot. They were kind to an old soldier who didn't deserve it and they made him feel at home. Johan had grown almost to manhood in Amsterdam, watching the best merchants and craftsmen on earth go about their business. He knew that while the up-timers had great wealth, that wealth would be used up soon or late, unless they used it to build more. He understood that. He looked over at the chain link fence and shook his head. Like building a castle wall out of gold: you have to worry as much about someone stealing the fence as you do about them getting what's inside of it.

Over the past several weeks he had been acting as interpreter for the kids as they went about their business and he had managed to keep the local merchants from robbing them blind.

And he, Johan Kipper, would keep protecting them. Always. Johan wasn't quite sure why he felt that way. He finally had a home, a place, and hope. Things he had given up on years ago. He wouldn't give that up, not for anything. His place was with young Master Bartley, who would listen to him and learn from him the way the world worked. And with young Master Donny, who needed his protection. He looked around his home again. Chain link fences and steel containers full of goods, but only a limited supply, no matter how large it might seem.

"All right, Herr Kipper," Doctor Sims said. "Let's have a look. Open wide."

Johan opened his mouth and the doctor looked around in there for a few minutes, then had him sit up.

"Here's the situation. You have a couple of cavities in the teeth you have left, but I don't have any partial plates that would fit your remaining teeth. What I can do is pull those last few and set you up with a full set. I have a couple of full sets that can be adjusted to fit you. I don't like pulling healthy teeth and if I had access to the equipment and supplies needed to make partial plates, that's what I would recommend. But I don't."

Johan didn't have to think about it long. He hated to lose the last of his teeth, but he knew they would be going anyway. He agreed.

Slowly, Johan Kipper was getting used to the up-timers, and at the same time he was coming to realize that he didn't agree with them about how the world worked. He liked what they thought, but to him David would always be young Master David. Mrs. Higgins, whatever she insisted on being called, was always going to be the mistress of the clan, as noble in his eyes as any queen in Christendom. It was very nice that the up-timers thought down-timers their equals, but it wasn't true, not really.

For the next couple of years, Johan Kipper adjusted to life among the up-timers. He learned about post traumatic stress disorder and realized that probably over half the people in Tilly's army had had it to one degree or another. It was, in fact, so common that it wasn't thought of as a disease at all. It was just the way soldiers were. After all these years, treating it was going to take a long time, but even the treatment he got helped a lot. He still had the nightmares and sometimes the flashbacks, but they were controllable. He was much less of a danger to himself and others. At the same time, the effect of the talk therapy and the group had made him probably more effectively dangerous than he had been in years. He could still fight, but now it was when he decided to, not just whenever something set him off.

Financially, he was much better off. The Higgins-Bartley clan were overly generous. So generous that it made him uncomfortable. And it turned out that young Master David had a real knack for the world of business. That knack had been honed by merchants and crafts masters from two centuries, and by Johan himself trying to teach the boy about how to bargain. Johan swore the best up-time bargainer was a novice compared to anyone down-time. But it didn't matter. Up-timers could produce so much, so very much, that they could lose their shirt on every deal and still end up the winner. It had taken the down-timers who didn't live in Grantville a long time to realize just how productive the combination of man and machine really was. In fact, most of the world-even most of the Germanies-still didn't realize. So Johan bargained to keep David and Frau Higgins from being too taken advantage of. He was fairly successful at that, except when it came to himself. They simply would not hear when he carefully explained that they didn't need to give him stock or bonuses.

August 5, 1633

Johan Kipper sat in the cafeteria in the high school, going over reports from OPM. He was on the board of the mutual fund and there was quite a lot of paperwork involved. Still, in many ways it wasn't all that different from when he had first come to work for Mrs. Higgins. He was still haggler-in-chief for Master David's business projects. Johan grinned at the thought, showing a very nice smile. Dentures, of course, paid for by Mrs. Higgins not long after he had gone to work for the family. He would have been able to pay for his own now, if you could still buy the up-time artificial resin-based dentures at all.

There was gray in his hair but there was still more brown than white and he wasn't going bald. He was clean-shaven, clean in general, and well-dressed. He was still no prize by up-timer standards, but was a well-enough-formed man of the short and stocky sort. He still had the pock marks that were fairly common in the seventeenth century, but had virtually disappeared from the twentieth.

"Who are you and what are you doing here?" said a voice in up-timer English.

Johan looked up to see a woman in a hair net and apron, holding a great pot of knockwurst and sauerkraut, apparently today's lunch main course. All of which lead him to believe that she was a down-timer lunchroom servant, but the language shouted up-timer. So did the clear, rosy complexion. Even after two years, the discontinuity made Johan a little uncomfortable, though he knew perfectly well that it shouldn't. She put the big tray in the steam table and gave Johan a look of increasing suspicion.

"I am doing paperwork," Johan said.

"I could see that. Why are you doing it in the high school lunchroom?"

"I'm waiting for Master David," Johan said, fully aware that he was making a hash of the whole mess.

Darlene Myers wished she had asked one of the other cafeteria workers about the man before she approached him, but he had just been sitting there, in mostly down-timer style clothing-rich down-timer clothing, if she was any judge. And she had thought about all the stories from up-time about predators frequenting schools, and assumed down-time had had the same sort. And he looked sort of creepy, or at least he had at first glance. Now she was more than a little lost. Who was this Master David? Was there some down-time noble going to the high school? She realized that there must be. She hadn't thought about it, but she had just gotten this job a few days ago. Through a friend who thought she was crazy to take it.

"Who is this Master David?" she asked. "Is he a student here?"

"Master David Bartley," the man said, with what sounded to Darlene like considerable pride in his voice. Now that sounded like an up-timer, not a down-timer. Though. .No. She remembered the Higgins Sewing Machine Company and OPM. David Bartley was one of the up-timer kids who had started getting rich after the Ring of Fire. Apparently, David had gone native in a big way, servants and the whole deal. What Darlene wanted to do was send this servant off with a bee in his ear about the rights of man and give this David Bartley a good talking to on the same subject. The problem was, she didn't actually know anything about the situation. So she gave the man a warning look and a humpf and retreated back to the kitchen to gather more intelligence.

"Who is that guy in the serving room?" Darlene asked. "He says he is waiting for Master David Bartley, no less."

Gretel Hoffmann looked over at the calendar. "I bet it's the HSMC board meeting. Johan Kipper is on the board, you know. Even after the Schmidt takeover, he stayed on the board along, with Delia Higgins and Mr. Marcantonio."

Which didn't answer Darlene's question at all.

"What?"

Gretel, an old Grantville hand and a great gossip, gave Darlene a condescending look. About half the kitchen staff here was convinced she was an idiot, otherwise what was she doing serving meals to teenagers when her up-timer knowledge was so valuable. Gretel, after questioning her, just figured she was crazy.

"Well, it's like this. David Bartley is the real head of OPM and is one of the biggest stockholders in HSMC. Johan Kipper is his man. He represents David Bartley in board meetings and the like, because David Bartley is too young to sit on the board of a corporation by your up-timer law."

It really wasn't the sort of discussion that Darlene had expected from the kitchen staff of a high school lunchroom, but she hadn't thought about what the changes the down-time world had brought to Grantville would mean.

"How many of our students are millionaires?" Darlene wondered aloud.

"Oh, lots," Gretel said and started going through the names.

"Never mind," Darlene interrupted the list. "Why does Herr Kipper-at least, I assume it's Herr Kipper out there-call David Bartley 'Master David'? Hasn't anyone mentioned to him that we don't have slavery in Grantville?"

For a minute Gretel just looked at her like she was strange. Then she said, "He is just a little old-fashioned. Johan Kipper came to them as a former soldier, a beggar, hoping for work, and now he is rich." Gretel clucked her tongue at such undeserved good fortune. "Some people are just born lucky."

All this left Darlene confused, but very intrigued. She picked up another tray for the steam table and headed out to check out the guy. He wasn't a great looking specimen, short and stocky and with the leftovers from the worst case of acne she had ever imagined. No, she realized. Johan Kipper had survived smallpox. He was as tough as he looked, apparently. "Is the board meeting of Higgins Sewing Machine Company coming up?" she asked, mostly because it was all she could think of to open the conversation with.

He looked up. "Yes. How did you. ."

"Gretel. She knows everything about everyone. At least she claims to. Why does that mean you need to be here?"

"Because Young Master David needs to know what will be decided at the board meeting. Herr Schmidt is arguing again to increase the sales price."

"Why? Have costs gone up?"

"No. They have gone down. But we sell a sewing machine and, often as not, the buyer turns around and resells it the next day for a considerable profit."

"And Herr Schmidt figures you might as well make the extra profit."

"Yes."

"So, why not?" Darlene asked. "I mean, I can understand why you guys might want to be generous, but if the generosity isn't getting to the people who are the end-users, why not make the extra profit?"

Johan looked at her in confusion for a moment. "End-user? Oh, I get it! Very clever. Sometimes it takes me a minute to understand up-timer expressions. Young Master David is concerned that if we price the units too high, we are likely to force someone else to go into competition. Herr Schmidt insists that they will anyway, as soon as they can figure out how. He wants to guard our proprietary information more strongly." Johan grinned, an open, friendly expression, with just a touch of impishness. "A couple of weeks ago, he was threatening to lock the Partow twins out of the factory if they kept giving away secrets."

Darlene was finding this a very interesting conversation. She had been so busy the last couple of years, grieving for her husband and her son, Johnny, both left up-time, and trying to help reinvent electrical power generation over at the power plant, that she hadn't had much time to consider what was happening in the rest of Grantville. But she was more interested in what this man thought. "What do you think?"

"About the Partow twins?"

"No. About raising the price."

"I think Herr Schmidt is right about someone starting to build sewing machines as soon as they can, but I don't see any way of stopping them from learning how to do it. Too much is public record."

"So should you raise the price?"

Johan stopped and clearly gave Darlene's question some thought. "I think Herr Schmidt is right about the price."

"Are you going to tell David that?"

"Yes."

Then Gretel came out of the kitchen and Darlene had to go back to work.

Johan was distracted all during the lunch meeting with David and the rest of the Sewing Circle. They talked about the price hike and Johan did argue that they might as well increase the price. Sarah and David were opposed. In Sarah's case, because she was starting to feel it was a bit immoral to overcharge like that. David, because he wanted the competition to wait as long as they could manage, in order to get Higgins established as the name in sewing machines. The twins didn't care.

Finally, David gave in and Sarah, pouting, was outvoted.

David noticed that every time the door to the kitchen opened, Johan would look over at it. The third time Johan looked over he kept looking, and David followed his gaze to a plump woman who looked to be about David's mom's age. Which, it seemed to David, a good enough age for a guy Johan's age to look at. David was amused, but let it pass for now. He wished Johan luck.

Darlene went back out to the lunchroom to start clearing out the steam table. She was pretty engrossed on pulling the hot pans out without burning herself.

"Can I help you with that?" a voice asked and she jerked up.

"Oh! Ah, no. That's all right. It's my job, after all. How did your meeting go?"

"Well enough. The Sewing Circle will not oppose Herr Schmidt's price increase."

That was interesting. When this man decided something like that, he could persuade the kids.

"So, how often do you have these meetings?" Darlene asked. Maybe she'd cook something special for him and those kids.

"Every few weeks, or every month. It depends on how the businesses are going. HSMC, once a month, but OPM requires more meetings. And the others, well, it depends on if they need Master David's guidance."

"That means you'll be back, then?" Darlene hoped so. This was the first time in over two years that she'd seen someone who interested her as this man did.

"I'll be back, yes."

"Who does Johan keep looking at in the lunch meetings?" Sarah Wendell asked a month later. "And why is he coming to school so often?"

"Her name is Darlene Myers. I asked one of the cafeteria workers. Her husband and son, and her house, were left up-time. She worked in the power plant," David said.

"What is someone with that sort of knowledge doing on a serving line?" Sarah asked.

"I don't know and it bothers me. Especially if Johan is interested in her." David considered. "I think I should have her checked out. Which is inconvenient as all gitout, because guess who I would normally have check her out."

"Johan. Yes, probably not a good idea this time," Sarah said. "I'll ask around."

"Thanks. I'll have Leonhard look into it from the down-timer side."

"Do you realize how silly we sound? A couple of kids looking into the background of someone Johan Kipper is interested in."

David nodded agreement, but he didn't agree, not really. He wished he'd been able to do it with some of the jerks his mom had dated up-time, and Johan was rich now. Also, in David's opinion, Johan tended to look at up-timers through rose-colored glasses.

Judy the Younger's report on Darlene Myers was pretty detailed. Born 1967, married, one child. Both left up-time, worked in the power plant and kept working there after the Ring of Fire because they needed her. But she hadn't talked to anyone about her problems; she had just worked and worked. She had trained down-timers to do her job, then quit. Which struck Judy as pretty crazy. The other stuff that Judy had learned from Darlene's brother, Allen, was that she had had a very hard time dealing with the loss of Jack and little Johnny, her up-time family, but wouldn't talk about it.

Sarah sort of agreed with Judy's assessment, but thought that Darlene's self-treatment might be the right thing for her. Just be around people, not heavy equipment, for a while.

Leonhard told David that the down-timers she worked with found her pleasant, if a bit reserved. They had been surprised when she quit at the power plant and went to work at the elementary school. They were more surprised when she said that working with all the younger children was too much. It reminded her of her lost son. So she had transferred to the high school.

"So she was hit pretty hard by the Ring of Fire," David said. It wasn't an uncommon story. The Ring of Fire had hit a lot of people hard, and sometimes the ones that it hit hardest were least willing to talk about it.

Darlene found herself talking about Jack to Johan and he told her things about his life as a boy in the Netherlands, and later as a mercenary. Somehow, they had become each other's friendly ear. So Darlene was shocked and very upset when Johan told her that he was going off to Amsterdam.

"Amsterdam? Amsterdam is under siege, and the Netherlands are a war zone. Why did that idiot David have to go and buy a bunch of guilders, anyway?"

"Master David had his reasons," Johan insisted irritatingly, but wouldn't tell her the reasons. Darlene found Johan's devotion to the kid endearing, irritating, infuriating, insane, and a little creepy-all at once. She knew why Johan felt that way; he had told her about how David treated him and how Delia Higgins had given him a share in the sewing machine company, and how David included him in OPM and the other deals he made. She knew that they had made him rich, but the way he doted on David was just wrong. And now the idiot boy was dragging him off to Amsterdam in the middle of a war. Johan had seen enough war to last a dozen lifetimes. And he didn't need to see any more, in Darlene's opinion. Not that she had any call to complain. They were barely dating yet.

"I have a letter for you, Ms. Myers," Trent Partow said.

"For me?"

"Yep. It's from Johan. It came in the pouch."

"What pouch?"

"The mission to Amsterdam is quasi-official. It doesn't exactly have diplomatic status, but they got the Cardinal-Infante's permission and the permission of the government before they left, so they have their own sealed pouches for private correspondence back here to Grantville."

"You mean Johan is like some sort of diplomat?"

"Sort of." Trent shrugged. "Brent and I are inventors. David's a mogul. Sarah's an economist. It's the Ring of Fire."

"And I am serving in a high school lunchroom."

"I know, ma'am, and, honestly, that seems a little weird. Especially considering how much you know about electronics."

Darlene had no idea what to say to that. But, thankfully, Trent didn't push it. He just gave her the letter and a wave then went on his way.

It was later that afternoon when she finally got a chance to sit down and read the letter. Johan Kipper's handwriting was better than she expected, but the down-time education system, without even typewriters, was very much about good penmanship.

Dearest Darlene,

I may be overstepping my place with that greeting and if it gives offense I apologize most profoundly. But I miss you even more than I thought I would and the shield of paper the letter provides give me courage to say what I have wanted to say since I met you. So:

My dearest Darlene,

We arrived in Amsterdam yesterday and have yet to meet the Cardinal-Infante. But I did get to see the estate where I was born, since it is outside the city proper. It has brought back memories. Some good, but more bad. We were not well treated, though not so harshly as in some places. But I remember my sister who was, she insisted, in love with the burgher's son. Never mind. The pain of those days is old, and both my sister and her child are dust. And the burgher's son, as well. Which is a good thing, else I would be tempted to foolishness.

I always resented the way they treated us, but assumed that was because they weren't real nobles just burghers with a lot of money. Then I met real nobles in the army and they were no better. It wasn't till the Ring of Fire that I found people who seemed to me worthy of loyalty. I know that you find the way I feel about young Master David and the rest confusing, but coming back here has brought it into focus. David is what the burgher and his family should have been, but weren't. We are here not just to make money, but to save the guilder and so save the Netherlands and perhaps the rest of Europe. It's worth doing and I am pleased to be a part of it.

I also will be glad to get back to Grantville. I find that I miss our conversations. I miss your insightful questions and your friendly smile. I know the loss of your family cut you deep and being here again reminds me of how deep and slow to heal such a loss can be. I understand your need to be around people but find myself wishing that you could find a position that lets you be around people, but still lets you use more of your skills.

The letter went on to talk about how he felt about her and the world.

A couple of days later Darlene gave Trent Partow a letter to go into the pouch for Johan and asked, "Has Johan mentioned my working in the cafeteria?"

"No. Why?" Trent asked.

"Because he said pretty much the same thing you did in his letter."

"About what?"

"About why am I working in the cafeteria when I ought to be working in electronics."

Trent shrugged a very teenage shrug, and said, "It's a pretty obvious question."

"It is if you know I worked in the power plant, but why would you know that if Johan wasn't talking to you?"

"Oh." Trent looked rather embarrassed. "David had you checked out. Because, well, Johan is rich now and that means a lot down-time."

It meant a lot up-time too, Darlene knew. Not to everyone but to a lot of people. She'd read enough stories before the Ring of Fire to know that pre-nups were pretty standard among the rich and famous. Still, the whole notion that she might be a gold digger was more than a little offensive. Especially because, well, she had noticed that Johan was rich and it had had an effect. Along with the realization that he thought of her as someone who he could discuss matters of importance with, it made him seem more attractive and less threatening. She didn't figure he would have her out at the stream pounding his dirty clothes on rocks.

"I'm not sure how I would react if Johan had checked me out. But David Bartley? What the fuck business was it of his?" Darlene didn't usually curse, and especially not in front of kids, even teenagers. But suddenly she was really pissed off.

It was clear that Trent Partow didn't have a good answer to that, from his embarrassed look more than his silence. She humphed and gave him the letter anyway.

Trent thanked her and left, but that wasn't the end of it. An hour later, Brent Partow showed up. Brent looked like Trent but moved differently. He was more open and casual, less studied. "David did it because he's Johan's friend and he cares. It wasn't an insult to you, because before he checked you out, we didn't know who you were. Even if you had been a gold digger-and every single one of us has had experience with gold diggers since HSMC went public back in '31 and especially since OPM-David wouldn't have tried to buy you off or treat you like Sabrina in the movie. He would have let Johan know and decide for himself." He grinned engagingly. "I should know. That's what he's done when one of my friends turns out to be after my money. Which happens more than you might think, Ms. Myers."

"Well, it's still insulting. And it's still none of his business," Darlene said, in spite of the fact that she saw Brent's point. "And if he wanted to know something, he should have had the guts to ask me to my face."

"Maybe. All right. In that case, I have a question to ask you to your face. What are you doing slopping the high schoolers when you could be teaching down-timers how to build electrical components and gauges? Do you have any idea how important electricity is to the world?"

"Well. . you know. . the thing is. ." Darlene stopped.

Brent just waited.

"Well. ." Darlene hadn't thought about it from the point of view of the rest of the world. "I just. . I was so tired. And sick. Just sick of everything. All I could think about was Jack and Johnny. . And I didn't quit till I had trained up replacements."

Brent nodded. That had apparently been in the briefing they had gotten. "I'm sorry about your family," he said. "I was comparatively lucky. I had a lot of friends that were left up-time, but most of my family was here. I know it was worse for people who lost family. I think you ought to talk to someone about it. It's not just the opportunities for yourself that are getting lost. It's what you can do for the world, as well. Look, Ms. Myers, I know a bunch of people think of David as some sort of Scrooge or maybe J.P. Morgan or something, but the truth is that he, all of us, do this stuff because it's important. Not because it makes us rich. That's just a byproduct."

"Not a bad byproduct," Darlene said.

"I'm not complaining, true. Back up-time, I'd never have been this kind of rich. But, more importantly, I'd never have been able to build the things I've built. The washing machine has made life easier for hundreds of people-heck, probably thousands of people. The generator packages we're working on-and that's something you could help with-why, those are going to improve even more lives. And improve them more."

Darlene was intrigued in spite of herself. "What sort of generator packages?"

Brent snorted. "That's the trouble. You can't just build a generator, or a toaster, or a light bulb. The toaster and the light bulb need the generator and the generator isn't a lot of use without the toaster or the light bulb, or something to power. And then there's the question of getting the mechanical motion to run the generator."

Darlene started nodding, because this was basically what she'd been doing at the power plant, or at least part of it. "So how are you working it out?"

"Not as well as we'd like. It takes a lot of fiddling. We can't build a standard system, like the sewing machine or the washing machine. We have to fit each one to the use it's to be put to. And that makes it more expensive. We need to standardize as many of the components as we can, so they can fit into a customized system. We've been doing that one component at a time, as we develop them. Then selling them off to other companies to mass produce."

"What sort of components?"

"Well, the toaster I mentioned and an electric space heater. Small electric motors to power things like down-time-made food processors. But we also have to make fuses and switches so that the little electrical systems we put in houses and factories don't burn out because too much is plugged into them or too little. We are working on better lead-acid batteries. Well, a village just outside the Ring of Fire is doing those, but we are having to buy them by the rack. Which makes the systems more expensive, but we have to have something to balance the output of the generators."

"Have you tried gyroscopes?" Darlene couldn't help asking. She knew that up-time and down-time the power plant had used great big gyroscopes to balance power requirements with generation and keep the system from blowing.

"Now see," Brent said with an impish grin, "that's why you're needed. Your understanding of this stuff. It's not stuff that down-timers can't learn and I know you taught it to down-timers before you quit the power plant. But there are always more down-timers to learn it. And more ways to apply it. Have you considered a job at one of the research firms. . like, say, TwinloPark?"

"You're trying to recruit me?"

"Sure. Why not?"

"I thought you thought I was a gold digger."

"Nope. We wanted to find out if you were a gold digger. There is a difference. And while we were looking, we found out you have knowledge we need."

"Are you sure that this isn't a way to buy me off?"

"Absolutely not!" Brent said with such overdone offended dignity that Darlene knew he was joking.

Darlene didn't accept the job offer. Not then. She liked cooking and she had learned that she liked cooking for large numbers. She didn't want to go back to a job in a lab, spending her time assembling parts and soldering itty-bitty wires.

Johan Kipper got Darlene's first letter with considerable pleasure. She hadn't objected to his heading. Instead, hers had echoed it. My dearest Johan!

Meanwhile there were products to buy, arrangements to be made. The craftsmen in Amsterdam were starved for work and the negotiations were going well. More importantly, Don Fernando's army was in real need of things like cheap sewing, clothes washing, and all sorts of other things that an army needed to keep in good repair, and Johan Kipper, as David Bartley's man, had just the sort of stuff they needed and couldn't get, or at least was a lot more expensive when done by hand than when done by machine.

The second letter from Darlene arrived within a few days of their getting permission to enter Amsterdam. Darlene wasn't pleased to learn that Young Master David had checked her out. For that matter, Johan's first reaction wasn't one of unalloyed joy. But considering how many gold diggers he had discovered going after one of his charges-even little Master Donny, Master David's younger brother. . His second reaction was to wonder what David had found.

"Not all that much," Master David said when confronted. "She seems to be one of the ones who had real problems out of the Ring of Fire. Her husband and son were left up-time and she didn't get help with that grief. She just buckled down and did her job. But, by a few months ago, she was a burnout case at the power plant and quit to go to work in the school cafeteria, but the little kids at the elementary school were too much like her little boy. So she switched over to the high school. She had some pull to get the job, I think. There were dozens of down-timers who were actually better qualified to work in a large kitchen."

"Darlene likes to cook, she said," Johan pointed out.

"Sure, and apparently she does a decent job. But someone who was the chief cook for a down-time school or mine or whatever, where they had to feed lots of people had more of the sort of experience needed for working on a school lunch line. Even if they would need lessons on the up-time equipment. Besides, she does know about electrical instruments." David shook his head. "Never mind. It's not that big a deal. It just seems to me that she is wasting her talents and training."

Johan wasn't sure that he didn't agree with that, but it was Darlene's choice, not Master David's.

While David, Herr Wendel, Prince Lichtenstein and the rest were talking with the high and the mighty, Johan Kipper talked with the craftsmen of Amsterdam. "What is this project you have in mind for my shop, Herr Kipper?"

"Spinning thread."

"We already spin thread, Herr Kipper. Are you going to show us how to spin it into gold?" the man asked, grinning. "Normally, I would be thrilled with such an endeavor But just at the moment I would like to see a way of spinning thread into ham hocks or sides of beef."

"Granted, and I wish I could teach you that. No, actually I'm here for what I want you to figure out and teach us. We need more thread-wool, hemp, cotton, even silk. With the sewing machines, it takes much less time to make clothing so more people are buying clothes and the price of fabric goes up. But the weavers can't make more fabric without more thread to weave. We have two shops working on the problem back in Grantville and one in Magdeburg, and those aren't the only ones. The first people to figure a way to spin more thread faster are going to get rich. So we have several projects, trading information back and forth. All with an agreement to share information with each other."

"What does this have to do with me and my ladies, my spinsters?" Herr Kikkert asked. "We already make a lot of thread. Not that we have anyone with the money to buy it right now. The weavers have warehouses full of cloth and no money to buy thread to make more."

Johan knew that Kikkert was exaggerating. The bouncy little man hopped about the room like the frog he was named for. But the siege hadn't been in place all that long. There hadn't been time for the weavers still in Amsterdam to fill up their warehouses or even run out of money. Though they would run out of money sooner than they would fill up the warehouses. But Johan had a cure for that. "You need something to work on, something that will provide employment for you and your spinsters. And who knows more about spinning than spinsters?"

Johan pulled up his briefcase, a down-time made one which Johan thought was better quality than the few real up-time ones that had come back in the Ring of Fire. It was also much less expensive than the real up-time made ones, but it very much looked like an up-time made briefcase, especially with the little combination lock built in. He moved the numbers to the appropriate postings and snapped the briefcase latch open. All theater, there wasn't really anything all that secret in the case. He pulled out a file. "Up-time they had great factories that made hundreds of miles of thread in a few hours, operated by only a few workers."

While Johan had been opening his case, the spinsters had gathered around. Now one spoke up. "That would put us out of work. Now I know why the Spaniard let you through. It was to destroy our spirits by killing our futures. I'm going to report you to the Committees of Correspondence."

Johan smiled at the woman with his even, white, false teeth and said, "Say hello to Gretchen for me, but don't worry about your jobs. There will be better ones coming. Working in a garment factory with a sewing machine is probably a step up from spinning. And there are other up-timer jobs, assembly line jobs. There is work in Thuringia now, more work than there are people to do it." Johan didn't think he was exaggerating too much, but he knew that if the spinning machines were produced, some of these women would be left out in the cold by the new machines. But Johan had, in forty years as a soldier, killed people for causes much less worthwhile.

They gathered around and went over the drawings and the tricks that had been discovered. Great improvements in carding had already been managed, but spinning was still running into problems. Johan wished Brent or Trent was here to explain the problems or, better yet, Rob Jones, an Englishman who had gone to work for them on the spinning project.

"How was your day?" David asked him, tiredly, that evening.

"It went fairly well. The spinning shop will take on the project and several of the women there seemed to have some interesting ideas. It will be worth a try, and even if we get it first in Grantville or Magdeburg, it will still give us a place in Amsterdam to put the new spinning machines when they are worked out."

David nodded. "We'll need that, whoever gets a working model."

"Besides, it will give them employment." Johan added. "That has to be the hardest part of a siege for the townsfolk. Well, aside from the starving and the dying in the end, that is."

David snorted.

Johan's next letter to Darlene was mostly about the excursions into Amsterdam. The spinning project was only one of the problems being worked on. And OPM had all those Dutch guilders to spend. He added: I understand your being upset about Master David's actions, but I must admit that if the situations were reversed I would have done the same thing. In fact, I have. In so doing, I have discovered both venality and nobility. People who saw David as a meal ticket, and people who had only the noblest of motives. The only way to learn was to look. So I hope you will forgive him and me for the actions that our situation demands.

Then he went back to telling her about the people of Amsterdam and the siege. I have seen sieges from both sides as besieger and besieged, but in both cases I was in the army and had my duty. Mostly the civilians were just sort of there in the background. But this is different. I think it's because of Gretchen Richter and her CoCs. But the people are involved here. Morale is high on both sides. It is interesting to talk to a Spanish sergeant in the morning and a Dutch CoC guarding the walls in the afternoon. Boredom is a sap on morale, but the CoCs have everyone working on maintenance or repairs. And the Spaniards are sure of their commander and eventual victory.

Johan went on to tell Darlene about several of the people he had met, and about their lives and hopes.

Darlene laid down the letter and considered. She was working in the cafeteria still, but starting to feel a bit guilty about it. There were people under siege in Amsterdam and the New US-or, rather the State of Thuringia-Franconia as part of the USE-was caught in a war and she was, as Brent Partow insisted on calling it, slopping the teens. But the truth was, she didn't like fiddling with little bits of wire and she did like cooking. And, oddly enough, she found cooking for large numbers easier than cooking for one or a few. She wouldn't mind consulting a bit about electric parts now and then, but she didn't want to spend her time hand assembling poor copies of up-time gauges. Still. . maybe she ought to start looking around for something she could do that used a little more of the knowledge she had as an up-timer.

A few hours later, a discussion with Trent Partow added weight to something she had gotten from Johan before he had left, and even a little bit from the down-timers she had trained at the power plant.

"It's not the stuff that we know we know, mostly," Trent said. "It's the stuff we know that we don't even realize matters. Imagine having to build an airplane-or a crock pot, for that matter-just from books. Even good books. Not knowing why any of the parts were needed, not knowing what could be left out or what just looked unimportant." He shook his head. "I've tried to turn it around a couple of times. Imagine trying to shoe a horse from directions in a book. A book will tell you how many nails to use, but it probably won't tell you what is going to piss the brute off and have him kick you through the stall door. A lot of the time a down-timer, even-well, especially-a very smart down-timer, will come to me with something that doesn't work when she is sure it should work, and it's because she knows how water flows but not how water in a channel is different from electricity in a circuit. Or something like that."

They talked about the problems that Trent was having with mass producing electrical components. Basic stuff, like switches and dials. "So," Trent said, a few minutes later, "do you want a job?"

"What?"

"Do you want a job helping us develop cheap, efficient ways of mass producing electrical components?"

"No. I want a job cooking," Darlene said. "I wouldn't mind consulting on components now and then as needed, but I want to cook, not fiddle with tiny little parts."

Trent nodded. "I'll see what I can come up with."

Trent considered the middle-aged woman. TwinloPark had its own power, produced by its own generators, and had natural gas from the well in Grantville in a tank on the premises, but people, if they ate at midday, either brought their lunch or went off to an inn in Badenburg, Bechstedt or one of the other little villages for lunch. It wasn't that far even to Badenburg, and they had some transport. But now that he thought about it, it might be a very good idea to have a cafeteria or restaurant or something out at the park. Besides, she knew her stuff, even if she wasn't all that good at doing wiring, according to her old boss at the power plant. Which didn't matter, really. TwinloPark had craftsmen who could make anything out of copper wire. Anything at all. An up-timer kitchen manager with knowledge of electronics to look at the stuff they made and give opinions. . that might be really valuable. Besides, Johan Kipper was sort of part of the family, anyway.

"Like I said, let me look into it," he finally said to Ms. Myers.

"How about a restaurant?" Trent asked Herr Kunze. Josef Kunze was a cousin of Franz Kunze, the chairman of the board of OPM. Josef had been planted on them by Franz Kunze and their mother, to make sure they didn't do anything dangerous. As nannies went, Josef was all right. He was smart enough to know what he didn't know, and was willing to learn from kids. He kept the books for TwinloPark and charged for their time when they got called in to consult. He paid the salaries of the staff and generally ran the place.

"What about a restaurant? Are you asking about a power plant for a restaurant?"

"No. I mean, what about putting a restaurant here at the park."

Kunze was shaking his head. "There are only twenty employees. That's not enough people to make it profitable."

"No, I mean we could provide meals for the employees."

"Why should we? You know we have dozens of applicants. We don't need to offer perks like that."

Kunze, Trent noted, was quite fond of up-time slang. "I disagree. Part of this place, a big part of it, is the culture. We take care of our people here. That's policy, and you know it."

"And we do. We provide medical and injury insurance. We help our employees find lodging and more. Why have you suddenly decided that we need to feed them lunch too? It is only lunch, you're talking about? Or are you planning on feeding them breakfast and dinner as well?"

"I hadn't thought about it, but yes, breakfast and dinner as well, if they want it. If they are here for breakfast before work, you know they are going to start talking about their projects while they eat."

Herr Kunze stopped to consider, and Trent waited for him to finish.

"That would be a benefit. And if we were to provide a restaurant on the premises, breakfast and dinner might partially pay for themselves in extra work while they are eating. It's how this group works. But that doesn't explain why you have developed this sudden interest in having a restaurant in the park."

Trent grinned. "I need it to tempt in an expert on dials and switches. Johan Kipper's up-timer lady friend."

Johan Kipper was a name to conjure with, Trent knew. As David's man, he sat on the boards of OPM and HSMC, plus at least a dozen other companies in which OPM had a controlling interest. He was very high up in the hierarchy of the Ring of Fire industrial community, at least the down-time side of it. Josef Kunze had gotten this job because he was Franz Kunze's cousin. He was competent and, in fact, good at it, but he never would have gotten it without connections. That was how the down-time world worked, and by now Trent was pretty sure that it was how the up-time world had worked too. Josef wasn't going to balk at giving a job to a friend of Johan Kipper.

"I would be happy to provide any friend of Herr Kipper with employment. However, inventing not just a job, but a whole new department-probably with at least a couple of employees-just to give her a job? Even if she is an up-timer?"

"Remember, she is an expert on dials and switches," Trent reminded him.

"So why not hire her as that?"

"Because she doesn't want that job," Trent said. "She likes to cook."

Josef checked out the woman on his own, then approved the plan. He had several reasons. One was the fact that Johan Kipper was not, in any sense, someone he wanted to get on the wrong side of. Kipper could end your career and, if necessary, your life. He was, to many down-timers, the iron fist in David Bartley's silk glove. But another reason was also because they really did need someone with an up-timer's understanding of electronics. As well, a little research had suggested that providing free meals to the employees would make them more productive. Twinlo Park wasn't quite like an up-time research and development facility. As often as not, families were hired as a unit. Husband and wife both came to the shop and worked together. Sometimes it was men and women who were not yet financially secure enough to marry after all the disruptions of the war. They had three couples, masters at their trades and their wives, who had lost their homes and hopes in the war, and now worked at Twinlo Park as a unit. A restaurant on the premises would be of really great benefit, and not nearly that expensive.

"What exactly do you want?" Darlene asked. "Do you want a down-time style tavern, a cafeteria or a real restaurant?"

"I'm not certain, Frau Myers. I have eaten in the Plaza Room in the Higgins and at Marcantonio's Pizza place, as well as some of the other restaurants of Grantville, but, honestly, I don't understand the difference between a tavern and a restaurant all that well."

Darlene remembered eating at a Golden Corral in Morgantown before the Ring of Fire. It was sort of a cross between a cafeteria and a restaurant that called itself a buffet restaurant. And as Darlene thought about it, she figured that would probably be the way to go, especially if she could get a good handle on what the people at Twinlo Park liked. She could have most of the meals pre-made and ready and just put them out. Salads, soups, bread, and a couple of entrees, then if someone wanted something special, they could order it. Yes, that would work. And while she was thinking all this, she realized that she had taken the job. At least in her own mind. Darlene, like most up-timers, was not a good negotiator. She hadn't grown up in a world where all, or even most, prices were negotiable. It left her and most of the up-timers at a real disadvantage in dealing with down-timers who had probably negotiated the price of the first thing they had ever bought and most of the rest of their purchases. On the other hand, she was anything but stupid and she could figure out why she was getting this job. It wasn't because she was an up-timer. It was because she was thought to be Johan Kipper's girlfriend. Darlene let a smile slip out. "I think that a buffet restaurant would be the best plan. I will leave my compensation to you and talk it over with Johan in my next letter."

Josef Kunze swallowed and Darlene felt her smile grow a little bit. Johan was such a nice man. She really didn't understand why he scared people like Josef Kunze so much.

Johan Kipper laughed out loud when he read the part of Darlene's letter describing her negotiating with Herr Kunze. Whom Johan privately thought of as "the little Kunze," even though he was actually larger than Franz. He would show the letter to Franz at the next opportunity. Young Master David, as it happened, was reading of the same general events, but in a letter from Trent Partow, who was discussing the construction the new buffet restaurant, called the TwinloPalace. "It turns out that Darlene can make a mean fried rice and she went with this sort of German oriental style. But the food is from all over. There are baked potatoes and. ." The list of foods was surprisingly varied, and apparently Darlene had hired two support chefs, a baker and someone named Gretel. . Was there any woman in Germany not named Gretel, David wondered. . who made the most delicious soups. And best of all, Trent's letter burbled, someone had finally found pepperoni that almost tasted like real pepperoni, and the color was almost right, so the pepperoni rolls they were making were almost as good as the ones back up-time.

"Your Darlene seems to be fitting right in, Johan," David said with a grin. By now the splitting of the Wisselbank was agreed on and the party was getting ready to head to Antwerp to see to the installation of the radios that would connect the two branches of the bank.

"Trent can't stop talking about the food and patting himself on the back for hiring her."

"I imagine Josef Kunze is still complaining about the expense." Johan smiled back. "Apparently, Darlene threatened him with me."

There was a snort from across the room. "You have taken horrible advantage of my cousin," Franz Kunze said. "But the cost will be coming out of the profits of Twinlo. How much of Twinlo do you own, Johan?"

Johan considered. He had helped the twins set up the park, along with Franz and OPM. OPM owned forty percent, the twins owned forty percent, Johan had gotten three percent for his help, and the rest was spread out among the twin's family. "Not that much, Franz, but I wouldn't be worried about the cost of the. ." Johan looked back at the letter.". . buffet restaurant. It will pay for itself, I think. Especially since Darlene is complaining about not having time to cook because of all the electrical doodads that they make her look at."

"Is it a serious problem?" David asked.

"No. I don't think so. It's hard to tell just from the letter, but I think she actually enjoys it, as long as she doesn't have to do the actual wiring."

"Back to our real business, what about the guilders?" Franz interrupted, bringing the conversation to their purpose. "What are we investing in besides the spinning problem?"

"Well, your interference in the siege hasn't helped," Johan complained. "Now that the craftsmen have access to a market for their goods, they are less interested in whiling away their time on learning to make up-timer products. Not uninterested, but not nearly so desperate for work as they were when we got here."

"Fine. We're ruining your scam," David said, not sounding particularly sorry. "But what have you invested us in?"

"Shipping," Johan said.

"What?"

"I brought designs for fiberglass production and showed them pictures of fiberglass hulls, down at the shipyards.

"They can't sail their ships out, so there is no market for them just now. Even Don Fernando isn't letting them sail ships in and out of Amsterdam at the moment." Johan, while mostly pleased by the situation they had been able to support here in Amsterdam, found his sense of propriety somewhat outraged by a siege in which the besiegers were buying their boots and uniform tunics from the besieged. It was just not the way a siege should be carried out.

"They are in Antwerp," Sarah Wendell complained to Darlene over a bowl of mutton fried orzo. Which Darlene seasoned as much like beef fried rice as she could, except she added a bit of mint and some honey for sweetness. Mutton fried orzo had turned out to be one of her most popular dishes with the crew at Twinlo Park, and increasingly with people who found a reason to drop in for the food. The TwinloPalace provided buffets for breakfast, lunch and dinner for employees of TwinloPark for free, but anyone could come in, pay ten American dollars and have all they could eat. By now they were serving thirty people at most meals. It was a very fortunate thing that Josef had insisted on a large dining room, even if he had done it so that there would be room for more employees as the research and development center grew.

"I know. I got another letter from Johan. Why them?" Darlene said. She and Sarah had found themselves in a similar circumstance, since Sarah was dating David and Darlene was sort of dating Johan. Sarah was more than a little resentful of David's getting to go when she didn't, and Darlene figured there was trouble on the horizon for the kids, but it wasn't her business. Darlene didn't resent not getting to go to Amsterdam, but she did worry about Johan a lot more than she had expected to when he left.

"I don't know. David insists they are the only ones that the Cardinal-Infante and the Duke of Orange could agree on, but I think they just figured to get all the use out of the up-timers they could manage. The radio towers are expensive, even if they are using an existing building for a lot of the height."

"Sure. But Johan isn't going to be building any radio towers."

"Neither is David," Sarah agreed, then visibly considered. "It's probably HSMC and OPM. I bet the cardinal is looking to get up-time tech for the Spanish Netherlands. He knows that David and Herr Kunze are running OPM. If OPM decides to put, say, a light bulb factory in Antwerp, it won't hurt the cardinal's tax base any."

"It's weird to think of Johan that way," Darlene admitted. "Whenever he talks about himself, it's always not about himself. If you know what I mean."

"I haven't got a clue."

"It's 'young Master David put me on the board of OPM to represent him and the other members of the Sewing Circle.' Or 'and Mrs. Higgins put me in charge of the guard force for the Higgins Hotel.' It's never 'I am on the board of OPM' or 'I am in charge of the guards at the Higgins Hotel and at the Higgins warehouse.' It's even 'young Master Donny listens to me on matters of down-time custom.' Never 'I explained to little Donny that he's not supposed to kiss the girls and make them cry.' "

Now Sarah nodded. "I know. There is a whole range of responses we get, even from the down-timers who like us. We have Gretchen Richter, who has become more up-timer than up-timers on the subject of equal rights for all. Then you have Johan, who can barely manage to give lip service to the notion. He thinks of up-timers as nobles, the real nobles, the ones who behave the way nobles are supposed to. The ones, not to put too fine a point on it, that God put here. At first David tried to argue him out of it. Then he just sort of gave up. Besides, Johan is a heck of a lot more of a father to David than his dad ever was. He figures if that's the way Johan wants to be, then that's the way he can be."

"Pretty convenient for David to have Johan trotting around after him," Darlene said, feeling resentful of Johan's absence and blaming David for it.

"Look, Darlene, I know you're older and wiser than a teenage girl. . but the down-timers have different rules. And Johan Kipper has been learning those rules for fifty years and more. Expecting him to throw them all away in a few days or even a few years. . well, it ain't going to happen. It's not that David asked Johan to act the way he does. It's Johan. And David respects him enough to let him, even when it makes David uncomfortable. And it does. If you want any kind of relationship with Johan, David is part of the package, because Johan has picked David as his lord and that's all there is to it."

The fog was thick enough to walk on and it had been for a good part of their time in Antwerp, but the mission to Amsterdam boarded the packet boat that would take them to Hamburg in generally good spirits.

"I'll be glad to get back home," David Bartley said. "I'm getting awfully behind in my school work."

"We knew that was going to happen from the start, Master David. Though I admit we've spent more time on this than we expected," Johan said. "It was worth it, though, so far as OPM is concerned. We managed to make a good start on several businesses, and with the goods we've bought here and in Amsterdam, we have more than doubled our initial investment in guilders." Johan was grinning happily. That they had bought those guilders with a low interest loan from the Fed didn't bother him at all, and he suspected it didn't bother young Master David either. There would be significant bonuses for both of them when the annual report came out. That was important to Johan because, well, if a man was thinking about getting married it helped if he had the wherewithal to support a family. He would have something to show Darlene, something to prove she was getting more than a serving man. Even if he was young Master David's serving man and happy to be so.

Fletcher Wendell grinned at Johan. "Well, up-time women are just as practical as down-time women, but they like to pretend they are romantics. So you want to go with the whole romantic part first, you know." Then, seeing Johan's face, he added, "Well, maybe not. You take her out to a romantic dinner, kneel on one knee, present her with an engagement ring and ask her to honor you by accepting your proposal of marriage."

By this time Johan was looking a little green and Fletcher was having a grand old time. He kept elaborating on the proposal and adding bells and whistles till Johan caught on that he was being teased. Then Fletcher backtracked a bit. "Remember, I said they like to pretend that they are ruled by romance, not that they truly are. I guess the biggest difference is that it's easier for a woman to say no if she wants to, because she is less dependent on the prospects of the guy than down-time women. For that matter, the guys are less likely to end up asking the girl on the basis of her prospects. I think it's just because we were richer up-time. We could afford to follow our hearts, not that our hearts were always right either.

"Look, just ask her and let her know it's truly what you want, not just what's practical."

To be continued. .

Ein Feste Burg, Episode 7

Rainer Prem

Chapter 9: Too Hot

Jena Lokschuppen, Jena, Saxe-Weimar County

May 1633

Nikki Bourne didn't exactly know why she was here.

One year ago she had started a chicken farm in Grantville-something she thought she was good at-but then the Croat Raid came, and the Croats had torched the farm and killed all her chickens and her future.

Then she had concentrated to get the best grades in her senior year, but now she still didn't know what to do after graduation, which was due soon.

When the principal announced that the senior class of the Grantville Tech Center would arrange a career day at the R amp;D facility of a new railroad company in Jena, and that the senior class of the high school, her class, was invited, too, it seemed a good idea to her to attend. But now she was the only high school girl among all these tech geeks.

The whole morning had been full of information about the jobs and training as machinist, surveyor, engineer, etc.-that the facility (everybody here called it Lokschuppen, even if there was not a single locomotive or even tracks to be seen)-had to offer for the tech center and high school graduates.

But manual labor was not exactly fitting for her. Ninety pounds, five foot high-or short- delicate, blond. Not a figure to operate one of these enormous lathes they had been shown or to haul a twenty pound theodolite through the wilderness.

At least Marshall Ambler, the guy who was in charge here, had promised to talk about office jobs in the afternoon, not that that seemed to her like a primary target to aim at.But what was her primary target?

Now was lunchtime. The large canteen was already nearly full of Germans, when the Grantville students-eighty percent of them Germans too-arrived. They got their share of vegetable stew and dark bread and now she looked around for a place to sit down.

"He, Puppchen, willste dich setzen?" Her German was not perfect, but "sit down" was something she could easily understand. And when she saw the friendly faces of some young workers-cute, they had introduced dungarees and overalls here-she smiled back and sat down on the space they had freed.

"Hi, ich bin Nikki." She introduced herself.

"Johann," "Hannes," "Hanns," "Johannes," were the answers from the four boys around.

"Are you joking?"

"No, welcome to the Four Johns, as chief Marshall calls us."

They didn't speak the Grantville Amideutsch but German with an admittedly not too heavy dialect. Nikki had enough contacts with Germans since the Ring of Fire to understand them-as long as they were talking to her. But when they talked to each other, Nikki was left out.

So she concentrated on her stew and let her thoughts wander. Nice guys, but no nice job in sight.

Her thoughts traveled back to the table, when she noticed that the boys were studying a book. An American chemistry schoolbook.

". . need a bowl of china. ." Hannes was reading haltingly. Then translating "eine Schussel aus China. . Where do we get a Chinese bowl from?

". . eventually you get. . eventuell bekommst du. . Why 'possibly'? Why not in every case?"

"Boys, you're wrong," Nikki interrupted them. "These are false friends."

"Hey, girl, don't get fresh at us," Johann said scowling. "We're honest friends, not fraudulent."

Nikki blushed. "Sorry, I didn't intend offense. Look, here 'false' means 'not fitting.' These are words which seem to be equal in German and English, but have a different meaning.

"'China' is porcelain-you know that as modern pottery-and 'eventually' means 'at last.' Didn't your English teacher tell you that?" Nikki wondered.

"We don't have an English teacher any more. Only a dictionary."

"And let me guess: You only look into the dictionary when you think there's something you don't understand."

The four boys nodded in unison.

"So you need someone to tell you about the subtleties of modern American."

"What about you?" The voice came from behind her.

Nikki turned around and saw Marshall Ambler standing there. How long was he listening?

"What do you mean?" she asked.

"It seems you just found your market niche. Do you want the job?"

"Teaching English? ESOL? I'll need a certificate for that first."

"Not in Germany. Not here in the Lokschuppen. We need people who can do something, regardless of certificates. We have journeymen who run shops; we will have high school graduates who work as engineers. We don't have the time to wait for them to finish their BS at the college.

"Oh, and come to think of it, we don't even have a college for this. The only thing we can do is on-the-job training. And it seems you have just started it." He waved over to the four boys who had obviously tried to follow the Americans' discussion.

"I'll talk with Archie Clinter. He can organize teacher training at the middle school for you, and we'll pay for it. Then you'll have a contact when you need help. They're only a radio away."

Nikki took a deep breath. Yes, he was right. Tutoring her classmates had always been something enjoyable and satisfying. To see that her 'A' grades in English mattered for something, even in this new and wild world made her feel good. Eventually. She laughed.

The four boys at her table looked quizzical.

"Wollt ihr mich als Lehrerin?" she asked them.

"Yeah, Miss Schoolmarm!" Johann shouted.

"Darned good idea!" Hannes added.

"But you'll have to work on your diction," Nikki said laughing. "Slang words are not what you'll learn from me."

"Nae bother," Hans interjected with Scottish slang. All of them laughed.

Road from Rudolstadt, near Jena

September 1633

Wolfgang Hilliger shifted his hat to his neck and looked around. The traffic here was not normal. There were not only the normal merchants on the road between Jena and Rudolstadt, but many, mostly young, men transporting all kinds of things around.

Weird wagons dragged or pushed by horses or men, and suddenly even a steaming wagon appeared without any draft animal, but with a young man on a kind of chair behind a horizontal cart wheel on it. The wagon blew smoke or steam from a small chimney. Other young men were running behind it and cheering.

Wolfgang jumped aside to leave room for the crazy thing and its obviously equally crazy coachman.

"Stop it, stop it!" another young man cried from behind, and the wagon slowly came to a halt. Now Wolfgang could see what weird kind of clothes they were wearing. Dark blue pants with a patch going up their chest, held by cloth belts over their shoulders.

Since they were completely occupied by their strange wagon, Wolfgang decided to make his way to the gate they had emerged from. Two burly watchmen were standing there. They had followed the motion of the wagon with their eyes, but now concentrated on the young man approaching them.

Wolfgang reached into his bag and produced the broadsheet which had brought him here.

"Craftsmen wanted!" it read. Fortunately for Wolfgang, who couldn’t read English and could speak only the most necessary sentences to get something to eat and drink in Grantville, it was printed in two columns, the other one in German: “Handwerker gesucht!”

"Experienced journeymen preferred. All crafts needed. Report to JenaLokschuppen of Jena-Eisenach Eisenbahngesellschaft."

"Guten Tag," he greeted the watchmen. "Is this the L-o-kschuppen?" he slowly spelled out the uncommon word.

"Ja, junger Mann," the older of the two watchmen answered friendly, and then pointed to the next building. "You're lucky. The boss is holding the hiring interviews in person today. Just proceed into the office."

"Danke," Wolfgang said and made his way into the building.

A young woman was sitting behind a desk there and looked up when he entered the room.

Wolfgang removed his hat. "Guten Tag," he said, but before he could continue, the young woman interjected.

"Want a job? Here's a pencil. Fill out this form and give it back to me! Sit down over there until you get called."

"Ah, thank you."

He sat down on a bench and studied the "form." It was a sheet of paper, partly printed, with space to fill in his name, date and place of birth, and much space to write about his career.

Freiberg, Sachsen, 7/17. im Brachmond 1607he wrote behind the text "Geboren/born." He stopped, then struck Brachmondand wrote the modern name Juni above it.

Four years at the Elementarschule, just enough to learnreading, writing and calculating; thenten years working in the family's foundry. They were not rich enough to let the children waste time on books.

Son of a bell founder, grandson of a bell founder, great-grandson. . back to the early fifteenth century.

Apprentice-bell founder, what else. .? Then his journeyman time at the places where bells were cast. Or cannons; in the last ten years more and more bells were melted down to make cannons. In Prettau at the Lofflers' foundry; in Augsburg at the Neidhardts'; in Nurnberg at the Herolds'. At least one year and one day at each, as determined by custom.

Next station would have been, perhaps, Aachen, but first a visit in this new town, Grantville. Wolfgang was overwhelmed from the achievements of the new time. And then he had seen this broadsheet. Perhaps they would need some bells for the railroad. Jena was on the way to Aachen, anyway.

"Hey, you."

His thoughts returned to the present, to Jena, to the woman who had called him.

"Yes?"

"Are you finished with your form? The boss awaits you."

The "boss" was a tall, haggard American. Middle-aged, but for an up-timer that could be forty or up to sixty.

"Guten Tag. Ich bin Marshall Ambler, Chefingenieur," he said in very good German and extended his hand.

"Guten Tag. Ich bin Wolfgang Hilliger, Glockengie?er," Wolfgang answered while shaking the hand. The American's hand was hard, callused, the hand of a man who worked. Not the hand of a noble who directed.

"Sit down," Marshall pointed to a chair, "and tell me about you."

"What do you want to know, mein Herr?"

"First you should stop this 'mein Herr' Zeugs. Even if we are talking German now, we're on first names in the Lokschuppen. We're all workers here."

"But you are the 'boss', mein-Marshall."

"No matter. Tell me what you think I should know about you. And take your time."

Wolfgang looked at the table. There was his "form," so Marshall already knew his career. But not his aims. Wolfgang looked up again. While he was gathering his thoughts, his eyes traveled through the room, and then out through the window.

The steam wagon he had seen before was just passing by. But something was wrong. There was no longer a young man sitting on the chair. And that steering wheel was missing, too.

Completely forgetting where he was, Wolfgang jumped up to look at the lower part of this wagon. The young man was dangling there upside down, his foot entangled somewhere on the wagon, his head pounding against the cobblestones of the street.

"Jessas, Maria und Josef!" Wolfgang shouted, falling into his Erzgebirgisch.

Marshall followed his gaze with his eyes and then jumped up.

"Come with me," he screamed and ran out of the room.

Wolfgang followed him. Out in the yard he could just see the wagon disappear into one of the buildings, crashing through a large wooden door, followed by the young men who had been cheering before but now were yelling and crying.

Then "Thump, thump, thump" a continuous thunder came from the building, where the wagon had disappeared. Wolfgang ran after Marshall. They entered the building, where Wolfgang suddenly felt at home. This was obviously a foundry. A small furnace could be seen on the other side of a large room. Sand, coal and several types of metal were heaped up along one wall.

And in the middle was that wagon thumping against the furnace.

"Oh my God!" Wolfgang shouted. The furnace was obviously heavy enough not to be moved by the wagon, but another-older-man was also lying under the thing. Some of the young men tried to approach the wagon, but the heat of the furnace drove them away. The force of the wagon had opened the furnace door, and even some of the melting dripped down to earth.

Other men were helplessly standing there and looking.

"Where's the master?" Marshall asked, and several men pointed to under the wagon. "Shit!" The American looked around, apparently as helpless as the others.

Wolfgang's eyes examined the room. There had to be. .There! On a shelf lay a founder's clothes. A heavy leather apron; gloves and spats from the same material. He ran to the shelf and started to don these things.

When Marshall recognized what he was doing, he followed Wolfgang and helped him into the heavy garments. "Here," he said and handed Wolfgang something uncommon. It was a kind of hood, but with a window to look through.

"Do you have water? Can you wet me?" Wolfgang asked, while he was putting on the hood.

"Sure," Marshall said.

"But only me! Don't hit the furnace!" A small part of Wolfgang's mind was wondering what would happen afterwards. He was just giving orders to his prospective employer.

But he wiped the thoughts away. Saving lives was now top priority. Firing before hiring was to come later. Through the hood, he could see-not very well-but hear nothing, so he didn't know if Marshall had heard him.

He started in the direction of the wagon, when he suddenly noticed Marshall pounding on his shoulder. He lifted the hood again.

"There's a lever on the locomobile."

Wolfgang's eyes followed Marshall's finger. "Yes, I can see it."

"Push it down. That will stop the thing."

"In Ordnung." He nodded, and then lowered the hood again. When he approached the wagon, he noticed water beginning to pour over him. Continuously. They have a hose. That's good.

He could sense the heat, but it didn't really bother him. But the lever did. He could barely reach it, and that infernal vehicle was still moving back and forth. There was only one possibility.

When the wagon hit the furnace again, Wolfgang seized the pole where the steering wheel had been. He leapt onto the vehicle and just got hold of the lever, when the wagon hit the furnace again. In spite of the shudder that threatened to throw him down, he kept his grip and forcefully lowered the lever.

It worked.

The wagon ceased moving.

Wolfgang took a deep breath; then climbed down. He looked at the young man, but he was obviously dead, his head a mass of blood.

But the master under the wagon-

"Meister Loffler, is that you?" Wolfgang shouted, but the hood muffled his voice. He had seen that man in Austria; he had been one of the masters in Prettau.

The master's face was red and burned, but he opened his mouth.

Then closed it again. He was alive.

Wolfgang managed to get his hands under the older man's armpits and started dragging. A loud shriek penetrated the hood, but at this moment he couldn't consider this.

Backwards he moved, until he felt a hand on his shoulder. Marshall was there. Wolfgang removed the hood. Marshall had a tankard in his hand. "Water?"

"Oh, yes, thank you." Wolfgang seized the tankard and gulped half of its contents, then poured the rest over his head.

Two young men appeared with a litter and proficiently sped Master Loffler away.

"What about Peter?" Marshall pointed to the body of the young man who still dangled from the wagon.

Wolfgang shook his head. "He's dead. Do you have a rope? We must move the wagon away from the furnace. It's too hot there."

"Can you manage that?"

"I've managed worse things." And so Wolfgang once more covered his head with the hood, took the end of the rope Marshall handed him, and wrapped it around the wagon's rear axle.

While the other men were slowly hauling the wagon out of the foundry, Wolfgang supported the body of the young man so the wheels couldn't torture him anymore.

Outside, a crowd had gathered. Many hands took the young man's body and helped Wolfgang to remove the heavy protective clothing.

Although all of them were obviously shocked, he received a huge amount of backslapping. It seemed he had introduced himself properly.

Then he followed Marshall back to the office building.

"When can you start working here?" Marshall asked.

Wolfgang was puzzled. "But we have not yet had the interview."

"Do you think it could tell me something I don't know yet? After this?" He pointed to the foundry.

Wolfgang shrugged. "Perhaps not. What do you want me to do?"

"Isn't that obvious? We need a leader for the foundry team. Loffler is definitely out for the next few months. The doctor said he doesn't know if the old man will ever return."

Wolfgang was stunned. "But I'm no master."

"We'll change that as soon as possible. But we need you now. You've seen these youngsters. They can build a steam car, but they fail completely if something unexpected happens."

Marshall rose and extended a hand. "Deal?"

Wolfgang nodded and his hand. "Deal!"

Nikki's classroom, Jena Lokschuppen

The next day

It had been a horrible school day. The day before that dreadful accident with a steam car had happened, and Peter, one of Nikki's students, had lost his life. Everyone was still in shock, so she had decided to let her students read and translate sentences from a Washington Post article on the Challenger catastrophe in 1986.

The students were rather astonished that such accidents still happened up-time. It seemed that knowledge helped them.

While the students were leaving, she saw Marshall outside the classroom, with a middle-sized, mid-twenties, brawny-good-looking, very good-looking-down-timer at his side. Then they both entered the classroom.

"Nikki," Marshall said, "This is Wolfgang Hilliger, your new student.

"Wolfgang, das ist Nikki Bourne, deine neue Lehrerin."

They shook hands. Nikki tried to divert her gaze from the down-timer. "Wolfgang, nice to meet you. But, Marshall, you haven't introduced new students to me personally before."

Marshall closed the classroom door.

"There are two reasons. Wolfgang, sorry for speaking English now.

"First: Wolfgang has to speed up in American language very fast. He's taking over the foundry from Master Loffler. He will direct the research on better bronze alloys, so he needs to scan through the Tech Center books on that issue very soon. He also needs a special vocabulary on metallurgy. So you two will have at least two hours of private lessons every workday."

Nikki looked up. Private lessons. With this very, very good-looking guy. O. .kay. Nikki, stop it. He's too old for you.

While she was still thinking, Marshall continued.

"And second: Yesterday's 'accident' was in fact not an accident. Somebody sawed on the steering axle, and so the wheel broke off."

Nikki's eyes widened. "What? Who did that?"

Marshall frowned. "'Whodunit.' Yeah, that's exactly the question. The night before yesterday, that steam car was locked up in a metal workshop. But one of the windows was open, so nearly everybody could have come in.

"But one somebody used a hacksaw. Took it off a toolbox, and put it back; we found no traces of an intensive search. So the person apparently knew where to find the saw in near darkness." He stopped.

Nikki looked at him then at Wolfgang.

"Yes," Marshall continued now changing to German. "Wolfgang arrived here yesterday. He's the only one completely free from suspicion. And you."

"Because I'm American?"

"No, because you never have been in the metal workshop. And even if you had, have you ever sawed a steel pipe?"

"What?"

"That's what I thought. It was done by someone who knew what he did and considerably exceeds your physical strength."

Nikki frowned. Her "physical strength"-or better the lack thereof-had always been one of her biggest-ha! — flaws. In the meantime, she had discovered that "Puppchen,"which the Four Johns had called her, meant "dolly." Perhaps they meant it to be friendly, nevertheless it was nearly insulting.

"And you want us," she pointed to Wolfgang and herself, "to play Holmes and Watson? Or better Wolfe and Goodwin? Not that I would call Wolfgang fat."

Not in the least, with all those bulging muscles. .

"Entschuldigung," Wolfgang interjected, "what do these names mean? Will they help us?"

"No," Marshall laughed. "They are 'consulting detectives.'"

"Yes, what?"

"Oh, I forgot. There is nothing like 'criminal investigation' in this century, only torture. Okay. Here's an example: Have you heard about Cain and Abel?"

"Genesis four? Certainly. Who hasn't?"

"Okay. How do you know what happened there? Who told the author of the Bible? Did he ask Cain? Why should he tell him 'I murdered my brother'? And don't even think about torturing Cain."

"There were witnesses."

"Very good. First rule of a detective: find witnesses; ask them. But keep in mind: All witnesses lie, or at best tell what they think is the truth. So find as many witnesses as possible, ask them, compare their testimonies and ask again if you find differences.

"But if there weren't any witnesses? The world was very sparsely inhabited at that time. What else is there?"

Wolfgang frowned, and then beamed. "The weapon! 'Cain attacked his brother Abel and killed him.' Perhaps he used a weapon."

"Okay. Second rule: find objects related to the deed. Look at the corpse-I won't tell you what they did up-time-perhaps you can see what kind of weapon was used. Then look for appropriate objects. If you can find something at the scene, you have to find evidence about who used it. If you find a weapon in the possession of a suspect, you need to prove that it is the murder weapon.

"That doesn't apply here, but that's the way a detective ought to think. Do you understand me?"

Wolfgang nodded slowly, smiling. "I think so. It's the way of thinking like Daniel in the crime stories did."

Nikki and Marshall looked at each other puzzled.

Wolfgang continued. "Daniel thirteen, where he solves Susanna's case, by proving that two witnesses lied, and Daniel fourteen, where he convicts the priests of Bel from their footprints."

Nikki shook her head. "In our Bible, Daniel ends with chapter twelve. But it seems he in fact was an early predecessor of Holmes."

Then to Marshall: "I've got The Complete Sherlock Holmes at home in Grantville."

"Very good," Marshall smiled, "send a telegram to your Mom and have her send the books here. The company will pay for it all. Then you can use them for Wolfgang's private lessons."

Every time he used that term, Nikki flinched a little.

"But don't get me wrong," Marshall continued. "I don't want any of you to get into danger. Perhaps we have an agent here from a foreign government, or it's a case of greed or hate. Nikki, you'll brief Wolfgang in detective methods, and you can chat with your students about this. Wolfgang, you'll try to investigate."

The next day

"They are different!" Wolfgang was astonished. The black stains on the glass looked similar from a distance, but using a magnifying glass, he could see different patterns. "Arches, loops and whorls," that little girl had called them.

Hmmm. That little girl is not a child; she's eighteen. She has been in school for twelve years. She knows much more about these science things than me. And she's schnuckelig. Wolfgang, stop it. She's too young for you.

Aloud he said, "And you say that no two of them are alike in the whole world?"

"Yes, even with the six thousand million people in our world, nobody ever found two fingerprints from different people that were the same. And all of your ten fingers have a different pattern."

And it was surprisingly easy. He had used some fine iron filings from the metalworking shop, and a very soft brush to distribute them over the glass. The bottle he had held before now showed black stains at each point he previously had his fingers on. And at other places. Perhaps the glassmaker had touched the bottle or somebody who had cleaned it. That led to another thought.

"But how can I find out whose fingerprints are the others here?"

Nikki frowned. "That's exactly our problem in this century. It was the same in our own, but the FBI had a big database, where all known criminals were registered with their prints."

"The what had what?"

"Never mind. But we've got fingerprints on that hacksaw and on the steering axle and as soon as we have a suspect, we can ask him for his prints."

"Give him a bottle? Or two bottles at the same time?"

Nikki laughed. "Did you watch too many episodes of Columbo? No, it's much simpler."

She opened her desk, fetched a sheet of paper, and an inkpad. "Give me your hand and extend one finger."

Her hand was petite and soft. She seized his hand, rolled the finger onto the inkpad and then on the paper. There it was. His fingerprint saved for eternity. Or at least until the paper was burned.

Wolfgang checked with the magnifier. Yes. It had the same pattern as his forefinger's stain on the glass.

Wolfgang cleared his throat. "So we now only need to find a suspect."

"'Only' isn't the word I thought appropriate. 'Big task' would be a better term."

Some days later

"It's frustrating," Wolfgang said groaning. "There are at least twenty people who are familiar with the metal workshop's arrangements. But I think we can drop the 'foreign agent' idea."

"Why do you think that?" Marshall wondered.

"The action did not yield any consequences. If we hadn't locked the steam car up until now, the young machinists would only have needed half an hour to fix it. An agent could have locked the security valve and the whole steam engine would have blown up."

"It's fascinating," Nikki said thoughtfully, "how fast a seventeenth-century bell founder grasps technical concepts like these."

"Oh, I only repeat the words I heard from the guys in the workshop." Nevertheless, Wolfgang blushed. "No," he continued. "This deed was especially targeted to the driver. But from all the people I talked with, I found no one who hated Peter."

"Me too," Nikki continued. "I mentioned him several times in the class, and all I saw and heard was regret and sympathy."

"And," Wolfgang lifted a finger, "The death was not necessarily intended. Nobody saw exactly what happened when the axle broke, but they all said he could have stopped the engine without the wheel, exactly how I did it in the foundry.

"Perhaps he was so surprised that he stood up and fell from the car. And even that would not have been mortal, if his foot hadn't become entangled."

"But it was intentional," Marshall interjected. "Somebody wanted to do him harm or make fun of him."

"Of him?" Nikki asked. "Or of the driver? Was Peter the only one who drove that infernal thing?"

Marshall and Wolfgang looked at each other.

Wolfgang said: "Clever question." Marshall nodded.

Nikki blushed.

The next day

"I think we've got it-more or less," Wolfgang said.

Nikki nodded. "Julius."

Marshall frowned. "Julius?"

"Yes," Wolfgang said. "Julius Hartung was the target. He's an asshole." He grinned.

"He didn't learn that word from me," Nikki protested.

"No the term is common knowledge, and the fact, too. 'Julius is an arrogant asshole,' they all say. I only wonder that nobody calls him an 'arrogant Catholic asshole.' Nearly all team members are Lutherans."

"It's fascinating," Marshall said, "how fast religious disputes disappear, when people work together and build something together. And are too tired afterwards to talk about religion.

"And you think Julius was the target of that prank?"

"Certainly," Nikki said confidently. "He boasted 'I can drive that thing without a wheel.' Perhaps he can do it. But he was sick that day."

"Yes," Wolfgang continued, "and so Peter assumed the driver's role. If I could only remember my first day better. I don't know who of the team members was not running behind him and cheering.

But-" he stopped. His forehead showed deep furrows.

"What?" the others asked unison.

"Proverbs 16:18 says 'Pride goes before destruction.' That was the aim. I think I know who did it."

"No," the elder machinist said. "Thomas has taken a day off. 'Urgent family matters,' he said."

"Where does his family live? In Erfurt?" Marshall asked.

"I don't know. But I think I saw him on his way to the railway station."

Wolfgang asked: "Are there any of his personal belongings?"

Nikki grinned. "Clever question."

Wolfgang blushed.

Grantville

Later on the same day

They arrived with the late train. To Marshall and Nikki, Grantville was familiar. Wolfgang had spent some time here, too. But for Nicolaus Happe, colonel of Jena's town watch-or Stadtpolizei, as they were starting to call it-it was the first time to visit the town.

The first thing he did after leaving "Central Station" was kneel down and touch the asphalt. "I've heard of this," he explained, "but I never could believe it, how smooth and level the streets in Grantville are. We need that in Jena, too. As soon as possible."

The he rose again. "Where is this church?" Marshall and Nikki pointed to St. Mary's. "Let's go."

Pater Heinzerling welcomed them. "Yes, he's here. But I won't tell you anything he told me under the seal of confession."

"We won't ask you, Pater," Nikki stated firmly. "We already know everything."

Thomas Hartung entered the room. His eyes were red. "I'm prepared now. I'll follow you."

"I only want to know one thing," Marshall said. "When your brother was sick, why didn't you try to stop this horrible affair?"

"I wasn't there," Thomas whispered. "I've been in Jena, buying medicine for Julius. I didn't know that they would use the steam car without him. I never intended any harm to Peter. He was my friend."

Rasenmuhle, south of Jena

April 1634

"Wolfgang, do it," Marshall said, and Wolfgang turned the wheel to open the big valve that had closed the Lache, the channel that had fed the Rasenmuhle for over a century.

In the meantime, the miller had moved to the Muhllache, the larger channel near the center of Jena. The railroad company had bought the whole Rasenmuhlen-Insel, the artificial island that lay between the Saale and the Lache. Nothing could be built there because the spring floods regularly drowned it.

Now the water was streaming into the dry channel again. It flew into the newly built tunnel and filled it nearly to the top. And then it happened. The new turbine started rotating. The engineering team had planned and constructed it from an up-time design called a Kaplan turbine, and the foundry team led by Wolfgang had cast the large adjustable blades, which made up a propeller six feet in diameter. And the bronze bearings which guaranteed that the turbine could work twenty-four hours a day.

For nearly a year, the glassmakers had produced light bulbs, and the electricians had laid copper wires and sealed them with sealing wax. But the small generators attached to water wheels in the creek called Leutra could only light some of them at a time, and when the electric ovens in the materials development department were in operation, all other loads in the Lokschuppen had to be cut off the grid.

But now the turbine gathered speed, the big generator turned and when an electrician gave a sign, the grid was attached to it. And the lights went on in the Lokschuppen.

All lights in all the houses, one after the other. Then the lights in the alleys and yards between the houses. Then the lights along the road between the entry gate of the R amp;D premises and the Rasenmuhle, which now contained the new power plant.

And then some technicians started the large carbon-arc lamps they had installed on both sides of the entry gate. Two white fingers of light pointed up into the evening sky and met far above.

The electrician who observed the flow of the electrical power lifted a hand with two fingers extended. Two hundred kilowatts.

That was only half the calculated maximum output, but enough for now.

Applause went up from all the people who had gathered there.

"Wolfgang, would you please come over here?" Marshall shouted and waved a hand.

Wolfgang went over and saw a middle-aged man standing beside Marshall.

"Wolfgang, this is Meister Leonhard Low from Nurnberg."

"Guten Abend, Meister Low," Wolfgang greeted the man hesitantly. He had heard the news that Low had taken over the business from bell founder master Herold, who had died shortly after Wolfgang had left Nurnberg. So this had to be the new founder master for the Lokschuppen Marshall had spoken about the last weeks.

"Guten Abend, Meister Hilliger," the older man answered. "It seems the 'propeller' you have cast has proven to be a fine piece of craftsmanship."

"Thank you, Meister, for the honor, but I'm just a journeyman."

"No you aren't. Not from now on."

Low took a large parchment from his bag and handed it over to Wolfgang. It was a master certificate.

For founder master Wolfgang Hilliger.

The Duelist, A Continuation of the Euterpe Stories

Enrico Toro, David Carrico

Magdeburg

October 1635

Giacomo Carissimi closed the front door behind himself, and began to take his coat off.

"Is that you, Jude?"

The sound of his wife's voice calling out her nickname for him still stirred a warmth in him. Elizabeth Jordan had not been married to him long. Her deceased husband Fred had died in March of this year, and it had taken her some time to deal with her grief, wrap up the family's affairs in Grantville and relocate with her children to Magdeburg. They had, in fact, been married for only two weeks. And it was still the joy of Giacomo's life to wake each morning and find her in bed beside him.

"Yes, it is me," he responded, hanging his coat on a peg in the wall next to the door. It looked to be a hard winter coming. It was already getting cold enough in October to warrant heavy coats. And being originally from Rome, Giacomo was already not very comfortable in cold weather.

"Papa Giacomo!" Elizabeth's daughter Leah came running down the stairs to the second floor. She ran over and threw her arms around him, giving him the most ferocious hug her seven-year-old arms could manage.

"Bella mia!" Giacomo said with a smile, ruffling her hair.

"Go finish your homework," Elizabeth said as she walked into the room. "Supper will be a while yet."

"Okay." Leah bounced back up the stairs as Elizabeth handed something to Giacomo.

"What's this?"

"Duh. It's a letter, silly."

Giacomo looked at it. It was indeed addressed to him, with a Grantville postmark. But who would be writing a letter to him?"

"I have no idea," Elizabeth said, which made Giacomo realize he must have spoken out loud. "Why don't you open it?"

He ripped open the up-time style envelope, extracted the pages, and began to read. "It's from Johannes Fichtold! Why would Girolamo's journeyman be writing to me?"

"Come read it to me while I finish putting supper together."

Giacomo followed Elizabeth to the room they used for dining. Leaning against the door frame, he shuffled the pages and began reading out loud at the beginning while Elizabeth began placing dishes and bowls on the table.

To Master Giacomo Carissimi

Magdeburg, USE

From Johannes Fichtold

Grantville, USE

Second day of October, in our Lord's year 1635

Esteemed Master Giacomo,

Please pardon this letter, but the matter involved is much too complicated to discuss by telegraph, even if a certain amount of secrecy was not warranted.

As you know, Master Girolamo Zenti, your friend and my craftmaster, does from time to time go on long trips to different areas. During these trips, he searches for sources of supplies and parts for pianos, as well as seeking to make contacts to develop purchasers for the pianos we construct. He left a few weeks ago on such a trip, leaving me in charge of the house and the workshop.

One night I woke up at the sound of someone in the main living room of the house. It was very late or very early, whichever way you want to think of it. I could hear steps coming and going from Master Girolamo's room, so curiously and a bit anxiously I got up to go check.

When I entered the room I found Master Girolamo just closing a couple of saddle bags. His clothes were dirty, his boots muddy, his face unshaven, and he clearly did not take good care of his personal hygiene. He smelled bad. I was quite taken aback by seeing him in that bad shape.

"What is going on?" I asked. "In what kind of trouble are you? Running from a zealous father or a jealous husband?" You see, I know the master well.

He whispered tiredly, "I wish. I hid for the past four nights and I was able to sneak to the house only now. But I cannot stay. I need to leave Grantville and Germany altogether."

"Why? What happened?"

"Long story short, I killed a man. It was done honorably, in a duel, in front of seconds and accordingly to the rules of honor that regulate these things. But I doubt his family and the law will consider this. They are already starting to look for me, to hunt me, and if either catches me, the outcome for Girolamo won't be that good. In one case I can end up losing my head to the ax, or be thrown in a very unhealthy gaol for some time. In the other, well, I guess bleeding slowly to death in a back alley is what I can expect."

"I do not understand. I mean if you won in a regular duel, would not that count?" I said.

"Oh, the fact the duel was carried out according to customs helped me not being killed by my rival's seconds, but it still remains illegal, and my rival's family is not satisfied. They want revenge, and they are out for blood-mine, specifically. That is not uncommon. Even in Italy, too many times a duel leads to a blood feud. It is best for everyone if I leave, and the less you know the less you have to lie for me when they ask you where I am gone."

"How did that happened? Who did you kill?"

Master Girolamo sighed. "All right, if you want to know the whole story, please go fetch us some wine while I finish packing. Then I will sit down a few minutes and tell you everything. Go, don't look at me like that!"

I came back to the room shortly carrying a carafe full of wine and two cups. Master Girolamo was sitting on an armchair right under the sconce. He seemed a bit more relaxed under the flickering light of the candles. When I gave him the cup he took it in both hands and drank fully and deeply, then looked at me and started telling me his story.

"I was in Nordhausen, for business. Christian Schenk von Tautenberg contacted me some time ago because he wanted to order two instruments for his new wife; one a harpsichord and one a wall piano for his music room. We agreed to meet in Nordhausen, because he was inspecting properties in the area his family had just inherited. The negotiations went well, and we signed a contract. I left with some silver as earnest money for the instruments. Plus, I also managed to meet two local craftsmen I decided to hire to help produce the felt punchings we need in the new pianos."

I nodded. "Production bottlenecks," as the Grantvillers call them, were becoming a common issue for many craftsmen in the area, with supply unable to sustain the demand of many goods. It was good that Master Girolamo had found some help.

"And having killed two birds with a single stone, I decided to celebrate in the best tavern in town. A place recommended to me by the craftsmen. I was expecting good food, good drink, possibly good company, and instead the fates had planned something entirely different for me."

"So now you are being very dramatic, master, but your bait is good and you got me hooked. What happened at the tavern?" Master Girolamo always tells a good story, you know. I was hanging on the edge of my chair.

"Initially, nothing happened. I was there eating and talking about trivial matters with one of the artisans I connected with that day-my treat. I will warn you that the taverns of Nordhausen have a Branntwein that should be called fool-killer. One glass and you are a fool. Two glasses and you are so numb you will probably be dead the next morning."

"So how many glasses did you drink?" I asked.

"Half of one, and that probably led to what happened next. I was getting annoyed by the very loud noises coming from a table nearby where a group of youths were eating and, well, being particularly exuberant. I do not usually mind similar habits. God only knows that when you are in your early twenties that is the time to behave foolishly. Hell, maybe five years ago I would have asked to join. But this time this group of young and very well-dressed youngsters was being a little too political for my tastes."

"What do you mean?"

"They started attacking the Piazza government of Thuringia and Franconia, and Mike Stearns, and, well, insulting almost everyone in Grantville, saying that they were subverting things and destroying the natural order of things. I guess that is all right-I mean, probably a good portion of the Germans think the same, the ones who did not take advantage of the opportunities brought forth by the Ring of Fire. However, when they started insulting the working classes, our fellow Americans, and consequently every foreigner in Grantville, I reacted."

Uh-oh, I thought. "And that did not end well, I guess?"

"That is correct. I started chastising them, but you know my German is coarse and my accent is thick. And I was feeling the Branntwein a bit. Before long I did realize I was just fanning the flames instead of putting them out. I was about to go back to my place and try to ignore all the noise, when the leader of the group asked me where I was from. When he learned I was from Roma, he started raving about me being the lackey of the pope and the cardinals and other, notgentlemanly things. He had also had more Branntwein than he needed, because he was slurring his words. But then he repeated slowly, making sure everyone around could hear, that he was Franz Jure Vorhauer, that he was connected to Graf Wolfgang III von Mansfeld, that his ancestors loved visiting Rome in 1527 and his house is still full of souvenirs from that visit. Then he stated that he and I must be cousins, because he is pretty sure his great-grandfather paid my great-grandmother in a brothel in Roma and left her begging for more."

Master Girolamo drank some wine, then continued, "Now, seeing that I was with someone from the working class, and not exactly looking like a dashing swordsman, I can only imagine he did this thinking I would leave the place fearing violent consequences if I reacted to his words. That is usually how duels are started, you know, by someone underestimating the consequence of their actions. But I did not cower in fear. I took the left glove out of my hand and I slapped him hard with it. I should have known better. Me, a foreign visitor, very likely a commoner, challenging him to a duel in a public place, in front of his friends. I left him with only two choices, none good, because one of us would have ended up hurt. He could have conjured with his friends to have me beaten for daring such a thing; or he could have accepted the duel thinking it would be an easy thing to finish. I saw the same thoughts passing in front of his eyes. The temptation to simply attack me there on the tavern floor quickly vanished and he accepted meeting me at dawn to settle things. In a way I got lucky, because it is not unheard of for a foe to be murdered by his rival's friends just before the duel. He had the advantage of numbers and did not know I carry a revolver. They could have attacked me in a back alley out of the tavern and I am not sure I'd be here to tell the story. Still, surviving the first confrontation left me with a big quandary to solve."

"And that was?" I asked.

"Well, in Germany duel customs and traditions vary significantly from town to town. I was not sure what I should have done for the day after. I was also missing some worthy seconds. That detail alone might have invalidated the duel with no one to back my cause; and besides, it would have been very dangerous."

"More dangerous than a duel?"

"Oh, Mary Mother of God, of course it is! You should know these things. Seconds are crucial." Girolamo was exasperated, I could tell. He put his glass down and counted on his fingers. "They make sure both parties respect the rules. They make sure you do not get stabbed while removing your coat; or attacked on the way to the duel by a party of hired cutthroats. They also serve as witnesses that you acted honorably. And, finally, they protect you if the other seconds decide to join the fray if they are not able to stay still and do nothing while their friend fights. No seconds means putting your life completely in the hands of the other party. No one is so trusting, not even among men of honor."

"So how did you find the seconds you needed?"

"In the oldest way in the world, I guess," he replied. "I paid them. And they were not cheap. Dueling is 'officially' illegal, and the fact that I really did not know anyone in town did not help. It basically took me all night, but I finally found a couple of retired soldiers that needed some extra support and were not squeamish to take part in a risky endeavor. Plenty of them all over the place if you know where to look, with this war that has been going on and off for so long. They weren't gentlemen or famous fencers, but I guess they knew how to use those sharp irons they carried with them."

"So you did make it in time?"

Master Girolamo picked up his wine glass again. "Barely. The dueling place was near a small mill a few miles outside of the walls, hidden from the main road by a small row of poplars. We had to move fast to get there in time. When we arrived we found the young man who challenged me, his two seconds and a surgeon. They were all ready and the event seemed quite formal. Of that I was happy; the more formal the setting, the less chances of surprises. These people seemed willing to play by the rules."

"That was good for you," I said. "But you still ended up having to run. What happened?"

"Well, as I said, I was a foreigner in a foreign land, and about to fight an important local. I needed to win fast and leave no doubt I played clean and without any trick. The more prolonged the duel, the harder it would be to prove I dominated it. I hoped I was about to fight someone untrained, cocky, and inexperienced, someone who would have attacked me blindly. Someone easy to dispatch."

"I take it that was not the case?" I responded.

"No. As soon as we crossed swords, I knew I was dealing with someone who knew what he was doing. Fencing is both an art and a science. In a way, it is a dialogue between two people, almost like playing music together. I tested him, tried to dominate his blade, closed at a distance when I could strike and tried a false attack. When he did not panic or react without composure but simply parried and riposted knowing my attack was false, I knew he knew the tune and could play along with me. He was well trained in the German style, so he made lateral steps much more than we are used to down in the peninsula, and he used many more cuts than what I consider healthy, but he knew what he was doing, and that was both terrifying and exhilarating."

"Why so?"

"Well, because being able to fence with someone good, keeping up a conversation with very high stakes is a testament to the art. But I also knew then that if I made a mistake-and I am human, it could happen-there would be very little ground to correct it. In the end, I guess God loved me best, because the mistake was his, and I got the opportunity I wanted. It happened so quickly I am still surprised it ended that fast."

"Can you explain?"

"Sure." Master Girolamo stood up and looked around, beckoning to me to get to my feet. "Johannes, are those walking sticks we found in the house still behind that enormous piece of furniture they call a 'lazy boy'?"

When I nodded he walked there and picked two sticks, giving me one. "Now imagine you are him," he said, and placed himself in front of me. "We were in what fencers call a misura larga, which is simply the distance from your opponent in which you can touch him with a lunge. It is a very dangerous place, where you do not want to stay too much, because the more you stay there the more are the chances you will get wounded or killed and vice versa. Better be a bit more distant and safer."

Girolamo extended his arm with his stick and let stay it a little out of the line of his body. "I did something even riskier at this point, what we would call an 'invitation' as my arm was not protecting my right flank and the center of my body; I was basically baiting him to attack there. I was not truly expecting him to attack, because he should have known I was setting a trap. I was expecting a false attack followed by a true lunge somewhere else, and I was ready to parry the true attack with my dagger. Instead he went ahead and simply lunged in the area I left unprotected. I do not know what he was thinking. When he lunged," he signaled me to do it, "in the time it took for his point to arrive close to my body, I had all the time to parry with the shell of my sword and place my point right at his throat like this." I felt the point of the stick right at the base of my neck, a few fingers below my Adam's apple. "Then I moved my rear foot back, brought my torso forward and my sword went through the base of his neck all the way. He was unconscious before hitting the ground, and died shortly thereafter. There was nothing the surgeon could do. Such a shame."

"You feel sorry about it, don't you?" I asked, lowering the cane.

"Of course I do. No one sane of mind likes taking a human life, especially like this. It should have not happened."

"Why?"

"Because at the core of fencing is the art of defense, the skill of hitting someone without being hit back. There was no way he could have lunged so openly without being hit. He took a chance. And he could only have won if I had fallen asleep, because any trained swordsman who is fully awake could have stopped his attack without blinking. What a waste. This is fencing; you do not take those chances."

"It is almost like you regret it. Maybe there is some good quality in you after all."

"Oh don't get me wrong, I am glad to be alive, glad to be running while his body is probably in the ground now. And I know it sounds stupid, because, after all, I was there to kill him. I just wish. . I just wish he had not wasted his life so foolishly."

"And then what happened?"

"Oh, then things started going downhill pretty fast. The surgeon no sooner declared Vorhauer dead than one of the seconds jumped onto his horse and rode belly down toward town. I knew then I had to leave and fast. It took me four days to make it back here. I mostly rode at night on back roads and across fields. I imagine his family pressed charges against me and I am surprised no agents have showed up yet; they knew my name and the fact I was coming from Grantville. This is why, Johannes, I have to run now. You never saw me."

"Where are you going now?"

"I won't tell you now." Master Girolamo got up, picked up the few personal objects left to pack and began stuffing them in his pack. "However one of the things I learned from the Americans is that in a crisis there is also deep opportunity. And I learned about the Risorgimento, the resurgence. Interesting people would live in the peninsula 200 years from now according to the stories of another universe. So I guess it is time we find another Garibaldi and Mazzini." He grinned.

"For now I will cross the Alps and then we will see. There are plenty of good causes to be picked back in Italy. If Germany can become one under the Americans, we can't let them have all the fun. You never know, you may hear about me sooner than you expect," he said and then started singing some uptime lyrics.

O mia Patria, si bella e perduta!

O remembranza si cara e fatal!

Still humming the motive of this aria, Master Girolamo gave me a rough embrace and left the house. Riding into the sunset the Americans would say. Of course, that night it was more like riding into the moonset.

Yesterday I received an anonymous letter with a very familiar handwriting that said Master Girolamo was across the Alps.

Before he departed, Master Girolamo left instructions on how to handle the company and the rest of the investments. And I now know where to send the dividends, which, based on the orders we have in hand, should be significant.

Master Girolamo also said I should inform you of what occurred as soon as I knew that he was safe, and that every communication to him will have to be addressed to Giuseppe Verdi. Witness that this letter accomplishes that.

Please let me know if there is anything I should do for either you or Master Girolamo.

With the greatest respect,

Johannes Fichtold

Giacomo lowered the pages. "Girolamo, Girolamo, always a bit too ready with the point and the edge. And once again you are leaving everything behind while you ride away from trouble."

He looked up to see Elizabeth looking at him. "Did I ever tell you how he came to join me on my quest to Grantville?"

Elizabeth smile. "More than once. I guess once a duelist, always a duelist."

"Maybe so," Giacomo said. "Maybe so. But I fear for whomever will try to stop that gentleman. Or maybe we need to learn to call him Verdi."

Elizabeth laughed, looked around, and said, "Everything's ready. Let's eat." She went to call the children.

Giacomo folded the letter and tucked it in an inner pocket of his doublet. He then crossed himself and muttered a quick prayer for the safety of his friend. "Not that I doubt his ability to keep himself safe, you understand," he said at the end of the prayer. "But as many risks as he takes, he could use some extra protection."

He crossed himself again as the children ran in.

After the Ring: A Musical Perspective

David Carrico

Introduction

What will music be like after the Ring of Fire? That was the question I set myself some months back when Paula Goodlett asked me for a panel topic for the 1632 mini-con at WorldCon in Chicago in 2012. The previous couple of years I had done a presentation on how down-time musicians might have reacted to 369 years of musical development being dumped in their laps all at once in 1631. But this new question would require me to do some forecasting-some extrapolation-to arrive at a presentation. But I managed to do so, and I made a presentation at WorldCon that seemed to be well received.

When I got done building my presentation file, I had about twenty minutes of musical clips for a presentation time allotment of 70 minutes. I was actually a little worried about whether I had enough. As it turned out, there was so much audience participation that I actually had to skip a few of the samples at the end because we were running out of time.

The Editorial Board plan was for my presentation to be video-recorded and posted on YouTube. Unfortunately, we had technical difficulties, and my session was one of the ones that didn't get recorded. But Paula and I had a conversation afterward, the net result of which is I am going to attempt to recreate the experience of the presentation in a narrative form.

Unfortunately, not only did the video not happen; I also managed to lose my only copy of my crib sheet with its very abbreviated hand-written speaker's notes. That means I'm trying to reconstruct this from my totally fallible memory as I listen to the audio track. Those of you who were at the presentation may therefore notice some slight differences in remarks or in sequence of clips because of that. But one way or another, the presentation went sort of like the following.

Lastly, while I played audio clips at the presentation, to stay out of legal trouble with copyright holders, in this article I'm going instead to refer to discography, or in a few cases, point to Google and YouTube. There will be one MP3 clip in the article of an excerpt from a work that is not available commercially in any form.

So sit back, pretend you're sitting in a crowded room with about sixty other people on rather uncomfortable conference room chairs, and let's go on a musical trip together.

The Presentation (sort of)

Hi. My name is David Carrico. The conference schedule says the topic for this session is what will music look like after the Ring of Fire. I'd rather talk about the much more interesting question of what will music sound like after the Ring of Fire.

This is a very challenging topic. What I'm going to present to you now is my opinion of the kinds of things that could be happening within a generation or two of the Ring of Fire event. Just so you'll know, my bachelor's degree is in music theory and composition, which is an intensive study of how music is built and how to create musical forms and effects. That included a lot of study in what musicians call form and analysis, which means the study of how music was written in past eras, so that we can see how other composers wrote music, and either follow suit or go different ways, breaking rules. So I do have some reasons for my opinions, but they are my opinions, not demonstrated fact.

I have a couple of caveats about this presentation. First, this is limited to my opinion, to my ability to conceive of what directions musical trends might go. Second, since it is an audio presentation, complete with sound clips, it is limited to my ability to find musical examples available today that are kinda sorta maybe like the things I hear in my head.

I have quite a few audio clips. They are mostly excerpts of themes from various pieces, but there are two pieces that I will play in their entirety. I did try to take the clips from the beginning of each piece, but there are some where I had to take a sample from the middle of the piece in order to get the sound I need for this presentation. Some of the examples will consist of a comparison between a piece as it was actually written by composers in our time line versus a performance of the same music but in a different style or different instrumentation that will reflect directions the down-timer musicians could go. Some of the examples will just be indications of musical changes that could happen. And some of them will be things that I know are going to have an impact, but I'm not sure what the ramifications will be.

Okay, so think about what happened. The down-timers got 369 years' worth of world music and musical development dumped in their laps with the Ring of Fire. How are they going to react?

It will probably not be like anything we can think of. We are so used to thinking of music as a linear spectrum, of going from A to B to C to D. They're not going to do that. They got 369 years of world music dumped on them all at once. They're not going to explore all of the Baroque era music first, then move on to the Classical era music, and so on. To them, it's all one big pot of music, and every spoonful they pull out is going to be different. They'll be mixing things up in ways we haven't even dreamed of.

This won't be like the technological development arc. With a couple of minor exceptions, there won't be the need to make tools to make tools to make tools to make widgets. 98 % of all up-time musical instruments can be made by 1640.

Within two generations they'll be going "I want that instrument and that instrument and this musical style and that kind of chord progression." They'll be going in every conceivable direction at once.

There are three big factors that will influence musical development in the New Time Line:

New Instruments or highly changed existing instruments, such as:

Piano

Clarinet

Low brass, like baritone horns and tubas/sousaphones

Saxophones

Modern Bassoons

Putting Boehm key system on existing woodwinds like flutes, oboes.

Mature guitars

Banjo

Modern percussion of all types

Musical forms, new and highly changed

Jazz, with its African influences

Rock of all types

Rap

Mature classical styles

Symphonies

Sonatas

Operas

Choral music

Fugues, quartets, concertos, etc.

Country music, both bluegrass and country rock

Musical ensembles

Large groups

Symphonies

Choirs

Differences in how the voice is used in producing music

I want to try and give a hint, a flavor, of what some of those sounds might be like. Of course, since I can only sort of conceive what that will be like, and since I'm not a genius of a performer, I can't create it for you. Instead, I've had to scout along the fringes of our current musical environment, searching for things that are kinda sorta similar to what I think might occur in the future of 1632.

So here we go. These won't be in any particular order.

This first piece was written by Johann Sebastian Bach sometime between 1722 and 1742.

Prelude and Fugue V in D Major BWV873, from The Well-Tempered Clavier Book II. My sample was taken from CD 160 142 in the Vienna Master Series put out by Pilz, entitled The Well-tempered Clavier Vol. 2/II, Christiane Jaccottet, harpsichordist

But in the post-Ring of Fire era, around 1680 you might hear something like this.

Fugue No. 5 in D Major, from Jacques Lossier plays Bach, Telarc CD 83411, Jacques Lossier, pianist

That's the same musical theme in both pieces. But the second time it's done in a very jazzy style. Different style, different instruments.

(I think it was here I got a question as to whether or not the instrument makers of 1632 could build a piano. As I recall, the questioner was concerned about the big steel or iron harp that helps keep the soundboard together. The answer is yes, but the stickiest point won't be the harp. It will be the steel wire needed for the strings.)

And then there's this one:

http://jaymestone.com/albums Allemande from the French Suite No. 6 BWV 817 by Johann Sebastian Bach, written between 1722 and 1725. From Jayme Stone's album, Room of Wonders. (Buy his music.)

It is canon in the story The Sound of Sweet Strings in Ring of Fire III that sometime in 1635-6 Claudio Monteverdi published a Sonata for Banjo and Continuo. I think it would have sounded a lot like this piece. And I think that the banjo will have a big impact on the down-time musicians.

Sometime in the 1680s, if you were in a tavern in Amsterdam, you might hear a song like this one:

Long Black Veil, from The Long Black Veil by The Chieftains BG2-62702 RCA Victor.

This piece was written by Johann Sebastian Bach in the 1740s:

Contrapunctus V, from The Art of Fugue — (My excerpt was taken from Bach — The Art of Fugue put out by Archiv Produktion, performed by Helmut Walcha, who was considered to be THE authority on Bach in his generation.)

But post-Ring of Fire, you might have heard this:

Contrapunctus V from Bach — Die Kunst Der Fuge put out by Classic Production Osnabruck, LC 8492, cpo 999 058-2, as performed by the Berliner Saxophon Quartett.

Saxophones give a very different sound to this piece, and would have really attracted the down-timer musicians.

It was at this point that I said that I think that post-Ring of Fire the saxophone will become the second national instrument of Scotland. I have this vision of the massed saxophone players of all the Scottish military regiments being led in parade by the pipers of the Highland Scottish regiments.

Another piece from the Bach Well Tempered Clavier, the Fugue in C minor BWV 847.

CD 160 121 in the Vienna Master Series put out by Pilz, entitled The Well-tempered Clavier Vol. 1/I, Christiane Jaccottet, harpsichordist

But post-Ring of Fire, sometime around 1690 someone just back from Havana might have written this:

Tu Conga Bach From Bach in Havana, by Tiempo Libre, put out by Sony.

Very different instrumentation, very different chords, very different rhythmic treatment of the same basic melody.

Here's a piece by Georg Friederich Handel, composer of Messiah, written around 1706. It is the Sarabande from the Harpsichord Suite in D Minor, as arranged for orchestra.

Sarabande from the Harpsichord Suite in D Minor, as arranged for orchestra, from Handel's Greatest Hits, various performers, put out by Sony.

Sometime around 1680, if you had attended a salon at the palace of the Medicis in Florence, you might have heard something like this.

Prayer in the Night, from the album The Opera Band, put out by Victor, performed by Amici Forever.

And then around 1650 in a tavern in Hamburg, you might have heard this:

The Wabash Cannonball, from the album Another Country, put out by RCA Victor, performed by Ricky Skaggs and The Chieftains.

Frederic Chopin wrote this in 1847:

Waltz No. 7 in C sharp minor, Opus 64 No. 2, from the album Chopin put out by Regency Music, performed by various artists.

However, a down-time composer might have produced something like this:

Waltz Opus 62 (Chopin) from the album The Natural, by Buddy Wachter, put out by Plectra Musica Profunda, Buddy Wachter (and it really is Opus 64 — that's a typo in the title)

The banjo has a very interesting history, which I'm not going to go into now, but if you're ever in Oklahoma City, I encourage you to go by the American Banjo Museum and check it out.

Around 1660, in southern Spain, a musician may be experimenting with that exotic instrument, the "u-ku-le-le", and he might put out something like this:

Google Jake Shimabukuro and look for Bohemian Rhapsody

And around the same time, a guitarist in Naples who had just taken delivery of his new up-time mature design guitar, might be trying it out with something like this:

Bohemian Rhapsody from the album Classical Demands by Edgar Cruz (Feel free to check him out at http://edgarcruz.com/)

(At this point we had a question from the audience about whether the down-timers had guitars before the Ring of Fire. The answer is yes, but they were very different from the mature up-time guitars. They were smaller in body and neck, there was no standardization of strings-luthiers would make them with anywhere from four to ten strings, often doubling them in octaves like an up-time twelve string-and the sound was softer and not as resonant.)

Earlier in the presentation there was a question from the audience about how they would use rock instruments with orchestra. I deferred the answer until this point in the presentation.

First sample of possible orchestra effects:

Opening of Pinball Wizard from Tommy, London Symphony Orchestra, put out by Essential Records, ESM CD 404.

Second sample:

Overture of the 2000 revival of Jesus Christ Superstar, put out by Sony.

Third sample:

The Call of Ktulu by Metallica from S amp;M concert album, put out by EMI, cd 62504-2.

Orchestra music will change a lot. Not just the guitars, but all the percussion.

And instrumentalists will think of things to do differently with their instruments, especially those who play the low register instruments. So maybe, one summer evening in Paris, you might be walking in a plaza and hear something like this from a group of musicians sitting off to one side:

Where the Streets Have No Name, by 2 Cellos, from the album 2 Cellos, put out by Sony.

The next topic up was serial music. (And yes, there is a standard joke about 'cereal' music, but it's hard to set up.)

Serial music is a style of composition that was developed in the early 20th century by Arnold Schoenberg in Vienna. It's more commonly known as 12-tone music. (When I asked for a show of hands for those who knew what serial music was, I got a lot fewer hands raised than when I asked for those who knew what 12-tone music was.)

There are twelve tones available within the span of a musical octave in Western music. If you take a piano keyboard and play every note up the keyboard from middle C to the B just before the next C, you'll play twelve tones.

The concept behind this school of serial music is rather simple. You take the twelve possible tones, and you arrange them in a pattern such that no one of the tones is repeated until every possible tone has been played.

In this text I can give you an example I couldn't give in the audio presentation, as I had no video capability.

Example: C-E-C#-F#-F-D-A-D#-B-A#-G-G#

You can play the row left to right, right to left, stack it vertically, or reverse stack it vertically. But the rule is you can't repeat, say, the F until you have played through the rest of the row and then started the row over again and played up to the F#.

Okay, back to the presentation.

You can write some good music doing this. The problem is, it is very rigid, and very formulaic. And a lot of composers latched on to it because once they create the row and its pattern, you don't have to exercise a lot of creativity. You just manipulate the row a few times, and you're done. They got lazy, and wrote a lot of second-rate music.

My personal opinion, there are four composers who wrote first rank twelve-tone music: Arnold Schoenberg, who created the concept; his disciples, Anton Webern and Alban Berg; and Aaron Copland.

Here's a sample of a twelve-tone row:

You'll have to listen to the podcast up at the top of the page, please.

For twelve-tone, that's not a half-bad melody.

What are the down-timers going to think about this? I think they're mostly going to think the whole idea of rigid serialism is silly. However, the idea of serial patterns in music is not unknown to them. They have musical forms that use repetition as part of the basis of musical works: forms like fugues, canons, chaconnes, and passacaglias. So they're going to look for works in the up-time music that exhibit repetition and serial techniques. And they're going to find things like this:

Ravel's Bolero, from Ravel — Bolero by Pierre Boulez and the Berliner Philharmoniker, put out by Deutsche Grammophon, cd G2-39859.

And this:

Mars, from Holst: The Planets by John Eliot Gardiner and The Philharmonia orchestra, put out by Deutsche Grammophon, cd G2-45860.

And this:

Money, by Pink Floyd, from the album Dark Side of the Moon, put out by Capitol.

All using serial techniques, whether melodic or rhythmic or both. And the Pink Floyd piece starts out in 7/4, to boot.

And then, back in that salon in Florence, you might have heard this one:

Senza Catene, from the album The Opera Band, put out by Victor, performed by Amici Forever.

I played the whole thing because I think, of all the clips I found, this was the single best example of the kind of thing that the down-timers will do in the first generation or two after the Ring of Fire. An up-time rock ballad, arranged in five-part Italian voicing. Wow. And Paula Goodlett's (Our Fair Editor) favorite song, at that.

This was the period in which opera and oratorios were invented. The first opera was generally considered to have been written by Claudio Monteverdi in Venice in the 1620s. Heinrich Schutz is credited with writing one not long after that. The first English opera was written in the 1680s.

There are no opera halls in this time. We're building the first one in Magdeburg in 1634-5. These operas were basically staged in the largest rooms in noblemen's palaces. They were often done in concert style — standing in one place, no emotive acting, no costumes. If there was any scenery, it was very simple and wasn't changed during the performance.

The big opera voice was being developed in this time. Prior to Monteverdi, most voices were just used with whatever natural talent or facility existed in the singers. Up-timers will have something to teach the down-timers there, although the down-time preachers had learned how to project their voices without wearing them out. They had to; no p. a. systems or microphones existed before the Ring of Fire.

My personal belief is that opera in the New Time Line will sound a lot more like Rodgers and Hammerstein than like Verdi, Puccini, or Wagner; more like Broadway than Old Time Line high opera.

But I am convinced there will be a Ring cycle of opera in the New Time Line. Only it won't be Der Ring des Nibelungen, by Richard Wagner. Instead, it will be Der Ring des Frodo by some genius yet to be born.

Musicians-and actors-tend to be an irreverent and bawdy lot. And they look for humor in their music wherever they can find it. (When I called for a show of hands as to whether anyone knew Peter Schickele, a few hands went up. When I explained he's the alter ego of P. D. Q. Bach, I got more hands up.) And so the down-time musicians would have heard something like this.

My Bonnie Lass She Smelleth, from The Stoned Guest, Peter Schickele et al, put out by Vanguard Records, cd VMD6536. My clip was the first three verses.

There are enough people in Grantville with college training in music that I promise you that every single P.D.Q. Bach album produced before the Ring of Fire is there. And once the down-timer musicians discover this music, it will literally go viral. They will scarf this up, everywhere, and whether or not they dare play it for the patrons, they will play it for themselves.

One of the new instruments that will come back from the future is the harp. Now the concept of the harp isn't new to the down-timers. They have lap harps, and even some relatively large harps similar to the Tara harp. But the big modern concert harp will be something very new to them, and I suspect it will become pretty popular. And so, they might do things like this:

Prelude, from the Violin Partita No. 3, BWV 1006, Johann Sebastian Bach, by Caitrin Finch, from the album Crossing the Stone, put out by Odyssey.

(Here someone asked if there would have been an actual concert harp in Grantville. The answer is no, but there would have been photographs, descriptions, and perhaps some partial diagrams of the mechanism. It might have taken some experimentation to duplicate the concert harp, but it's within the down-timers capabilities.)

And many people can learn to play harp. If you can play piano or harpsichord, the skills transfer easily to harp. My wife and I have a friend who has played piano for decades, and a few years ago decided to take up harp. Her biggest problem in learning to play, she said, was that the strings are color-coded, but the colors don't match the colors she hears when she plays.

Moving on, think about what would happen when gypsies get ahold of modern instruments. You might get something like this:

Mundo Cocek, by Boban Markovic Orkestar, from the album Balkan Brass Fest, put out by Piranha Records, CD-PIR1790

And meanwhile, back in that plaza in Paris, you might hear something like this:

Hurt, by 2 Cellos, from the album 2 Cellos, put out by Sony.

Somewhere about here I played a clip as an example of another kind of thing the Germans might pick up on: German rap. (Unfortunately, I lost the link to the clip and haven't been able to find it again. But Google on German rap, and you'll find a lot of samples.)

Yeah, by 1660 I can see German kids out rapping on the street corners. And maybe even some doo-wop happening as well.

Following is a piece that I think the down-timers will be seriously affected by.

Fanfare for the Common Man, Aaron Copland, played by Erich Kunzel and the Cincinnati Pops Orchestra, from the album Copland: The Music of America, put out by Telarc, CD80339.

I don’t have any idea as to where they will jump off to from it. I just know they will.

And here is where I realized I was running out of time. I had to skip over six excerpts to get to the piece I was going to close with, which was an absolute must-hear item.

Before I played it, I encouraged people to go outside the hotel and listen to the street-drummers in downtown Chicago, and to go to YouTube and search street-drumming. I think that is something that the down-timers will take to, especially the idea that you can make percussion out of anything: pots, plastic buckets, boxes, whatever you can drag up and play.

(Someone asked about steel drum bands. I suspect they'll catch on.)

And now, the finale: in 1730 in a small hall in Edinburgh, Scotland, you might hear something like this:

Red Hot Chilli Pipers — scroll to the bottom of the page and click on the Smoke On The Water YouTube link.

Rock and roll bagpipes! How cool is that? (By The Red Hot Chilli Pipers. Check them out at www.redhotchillipipers.co.uk Buy their albums.)

That was the end of the presentation.

What's that? You want to hear the excerpts I had to skip?

You'll have to wait for next year.

David

Naval Armament and Armor, Part Two: Ready, Aim, Fire

Iver P. Cooper

In part 1, I provided an overview of how warships were armed in the seventeenth century and later in the old time line, and considered the choices between muzzle and breechloading, and smoothbore and rifling. I also explained how cannon were manufactured. Here, I look at how the guns were mounted, laid, sighted, and fired, and at their internal ballistics. I also review the propellant options.

Gun Mounts

There are two basic gun mounts. First, the cannon could be mounted on a mobile carriage which recoils by rolling or sliding. Secondly, it can be mounted on a fixed pivot on the bulkhead, or a pivotable turntable on the deck; the recoil force must then be absorbed by the ship structure.

Mobile carriage. The wrought iron guns of the Mary Rose (sunk 1545) were mounted on "wooden beds," said to resemble "hollowed tree trunks," and these were equipped with one pair of wheels. In contrast, her bronze guns were mounted on four-wheeled truck carriages. (Konstam, 40). The gun carriages of the Vasa were of the latter type.

When a gun fires, the Law of Conservation of Momentum applies. Momentum is mass times velocity; the backward momentum of the cannon must equal the sum of the forward momenta of the projectile and of the gases that escape out the muzzle. The cannon being a lot heavier than the projectile, the effect upon it is less dramatic, but still quite visible; the cannon recoils backward.

The recoil is arrested eventually as a result of friction (rolling or sliding), gravity (the deck was cambered so the backward movement was slightly uphill), and elastic tension (the carriage was fastened to the hull with ropes, "breeching," that stretched taut when the gun moved backward enough). If the ropes broke, you had the proverbial "loose cannon on deck." The distance of recoil would depend on the weight of the cannon and shot, the powder charge, the elevation of the gun, and the particulars of the restraint. A 24-6.5 fired with a six-pound charge at point blank elevation had a recoil of 9.4 feet. (Beauchant 21). On narrow-beamed ships, port guns could be staggered relative to those on starboard to allow more recoil room. (Ireland 47).

It's worth noting that if the gun is elevated, the force of recoil is partially horizontal and partially vertical. While the gun carriage rolls backward as a result of the former, the deck must absorb the shock of the vertical component. That's one of the reasons that bomb ketches, whose principal armament was a large mortar, had a strongly-reinforced mortar bed to absorb the shock.

Fixed Carriage. Initially, pivoted guns were light weapons. However, some of Chapman's designs had pivoted heavy guns, and the nineteenth-century British and American navies toyed with the concept of providing a ship with fewer but heavier, more versatile artillery pieces. Both long guns and carronades were placed on pivots. (ChapellaHASN 238, 319, 422).

Early pivot designs had to be combined with raised decks or cut-down bulwarks, which exposed the pivot gun crews to small arms fire. This problem was corrected by a mount introduced during the War of 1812. With improvements to sturdiness, it could be used with a "long" 18-pounder. (319).

With a pivot mount, guns could be given a broad field of fire, but this meant that to avoid obstruction, a ship had to carry fewer (but perhaps larger) guns. Larger ships nonetheless retained broadsides; it took time to abandon the notion that the rank and seniority required to command a large warship shouldn't be based on the number of guns, but rather on the weight thrown. Hence, pivot guns tended to be used mainly in smaller vessels until the 1840s. (422). Eventually, design philosophy changed, and the big guns (say 10" up) were mounted on turntables and the smaller guns (9", firing 72 pound shell, or smaller) in broadside. (Canfield).

When pivoted guns became heavy enough to need to be mounted on a turntable, the designer had to decide whether to protect the crews from enemy fire and if so, whether the armor would rotate with the gun (true turret) or be a fixed part of the hull, a semicircular parapet (hooded barbette) that the gun fired over. The "hood" could be a light hood, just to fend off splinters, or a heavy one, to resist shells directly. If there was no protection at all, just a turntable, that was an open barbette.

The problem with the hooded barbette was that it limited the gun's range of elevation, whereas the true turret's disadvantage was weight (you probably want to use an auxiliary engine to turn it).

Another option was the disappearing gun; after the gun fired, its turntable would sink more deeply down inside a barbette for reloading. This design was used on HMS Temeraire (1877). It worked, but it was expensive to build and slow to reload, and was deemed a failure.

A true oddity, the British Wolverine (1798), had eight main deck guns which could be switched from side to side by thwartship tracks or skids, and which also had pivot mounts. (ChapelleHASN 422).

Recoil Reduction. With a muzzle loader, recoil had the advantage that it ran the gun into a reloading position. With a breech loader, recoil is simply annoying.

To reduce the recoil distance, you need to supply some countervailing force. If the gun was on a slide mount, the slide could curl upward on the inboard side, and the carriage's recoil would be slowed by gravity. Friction brakes were sometimes used to slow the recoil of wheeled cartridges. Pneumatic (compressed air) brakes were experimented with, but there were problems with air leakage.

The most successful recoil brake was of a hydraulic nature. The carriage was connected to a piston that fit into a liquid-filled cylinder. As the carriage recoiled, the piston was thrust into the cylinder, encountering fluid resistance. Tapered grooves in the cylinder allowed some liquid to pass from one side to the other, thus altering the dynamics of the system. A typical recoil liquid was a mixture of glycerin and water.

After the recoil was exhausted, the carriage had to be returned to the firing position. In our period, this was done manually. Later, gravity, springs, pneumatics or hydraulics were used to effectuate the return, and an additional brake might be used to soften the end of the "counter-recoil."

Admiral Simpson's ironclads have guns with hydraulic recoil and hydraulic counter-recoil (and, for that matter, hydraulic gunport control and ammunition hoisting). However, it's important to note that the hydraulic systems were salvaged from mining equipment, not made from scratch. Hence, only a few ships can be so equipped.

One method of avoiding recoil is to fix the gun securely and sturdily to the ship structure. This is not a Third Law violation; the force and momentum are transmitted to the entire ship, and that is so massive that the firing of a single gun is not going to have a discernible effect. (A full broadside would probably roll the ship substantially, and could strain the hull, which is why broadsides were actually rippled, not simultaneous.)

The catch is the word "sturdily." The part of the ship structure to which the gun is attached must be sturdy enough so as to withstand the force and transmit it to the rest of the ship. It would not be very good for continued employment as a ship designer if the bulwark broke off.

While this is less likely to be an issue for an ironclad, in which the gun is connected to the armor, it's a concern with wooden ships. Still, wooden bomb ketches were constructed in such a manner as to absorb the shock of firing a heavy mortar. And "non-recoil carronades were first used by the Arrow in 1796. . " (Blake 140).

The recoilless guns of land warfare use a different cheat; they eject a counterblast of equal momentum (mass * velocity) in the opposite direction at the time of firing. This may be propellant gas, or liquid or solid material that is forced out by the gas. The problem, of course, is that it is dangerous to stand behind the breech end of the cannon in the path of the counterblast. (Not that standing behind a recoiling cannon was smart.) The German Bohler 78 mm had the counterblast fired obliquely upward, to reduce the risk to crew (Hogg 135); but this would also require a larger blast to compensate for the angle, and create a downward force on the deck. Also, these recoilless systems are very wasteful (~80 %) of propellant.

An intermediate solution is a muzzle brake. This is a baffle attached to the muzzle end; the gases escaping with the projectile are deflected sideways and upward, so that they don't create a backward reaction force on the gun carriage. (Payne 265).

Gun Laying

A gun is elevated vertically, and traversed horizontally, so that with the chosen projectile and charge, and discharged at the correct moment, it will strike the target. The greater the range, the more important it was that the gun be elevated to compensate for the fall of the projectile, and traversed to lead the target.

Elevation (the angle between gun bore and horizontal, not the height of the gun above sea level) was relatively straightforward. Since about 1450, cannon were cast with trunnions-short lugs extending on either side of the barrel to serve as an axle. This fitted onto the gun carriage, and the barrel pivoted up-and-down around it.

Maximum elevation was dependent on the geometry of the barrel and carriage, but probably was about 15°-the highest value typically given in nineteenth-century gunnery tables. One source says the limit was about 7°, but that ships could hit a more elevated target by firing on the up-roll. (Volo 256). Douglas (252) proposed that nineteenth-century ships be equipped with "dismantling guns" that could achieve at least 30° elevation.

In the 1630s, changing barrel elevation was a little tricky. There was a wedge (quoin) under the breech end. The barrel would be lifted off the quoin with handspikes, and then the quoin would be moved forward or backward to adjust the elevation angle. That was enough for varying the degree of positive (above horizontal) elevation, but depressing the barrel below the horizontal was trickier. A wad had to be rammed down the muzzle so the ball wouldn't roll out, and it might be necessary to insert an additional or thicker quoin under the breech so the barrel would point downward. It should be noted that when the gun recoils, the position of the quoin may be disturbed.

You might logically wonder whether this cumbersome quoin system was adopted because no one had thought of equipping the gun with an elevating screw. The elevating screw per se had already been invented, as is evident from drawings by both Leonardo da Vinci and Albrecht Durer. (Kinard 70). However, it was not used in the field artillery of the Thirty Years' War (Guthrie 15), let alone in the technology-lagging naval artillery. Deane (48) says that a Jesuit, in 1650, was the first to equip a land gun with an elevating screw. As for naval guns, the British introduced elevating screws around 1790, for use on carronades. (Lavery 132).

A screw provides mechanical advantage-it is the equivalent of an inclined plane that has been coiled up. The pitch of the screw determines how much the gun is elevated per turn; the smaller the pitch, the slower the elevation, but the finer the control. Modern tests on nineteenth-century 6-pounders revealed that each turn elevated the piece by 30–60 arc-minutes, and that the obtainable accuracy of elevation was about 2 arc-minutes. (Hughes 19).

Without the elevating screw, it took at least four men to change elevation: at least two with handspikes to lift the breech end, the "first Captain" to sight the gun and judge when it was at the right elevation ("Raise!" "Lower!" "Well!"), and the "second Captain" to adjust the quoins to hold the gun ("Down!) at that elevation. With the screw, one man could sight the gun while turning the screw to suit.

Nonetheless, to make a rapid, albeit crude, change in elevation, quoins were apparently faster, which is why carronades were also given molding under their breeches. (Lavery 132). Quoins were also needed if the elevation change was greater than that permitted by the screw (Douglas 163).

In the case of field guns, "the heavier pieces like the 18-and 24-pounders were still elevated by quoins as late as the early 1800s." (Manuoy 55). Quoins were also still used with siege guns. I suspect that this was because there were technological limitations at the time on the pitch or the compressive strength of the screw, and therefore on how heavy a weight could be lifted. The logical solution was to increase the mechanical advantage by using gears. And from there, the next step was to provide power assistance, e.g., from an auxiliary steam engine or an electric motor, rather than relying on manual operation.

In canon, elevation screws are apparently in use by the Danes in 1634. Offord, "The Bloody Baroness of Bornholm" (Grantville Gazette 18).

Traversal. For a target which is not moving relative to your gun, you traverse the gun so it points horizontally at the target. If the target is moving, you must "lead it" — point to the place it will be when the projectile arrives.

The wheels of the standard naval carriage all rolled forward and backward, and therefore would not have made it any easier to turn the barrel toward the bow or stern. The carriage had to be turned to or fro by brute force.

I own a storage cart with four swivel casters, i.e., wheels with a pivotable connection to the cart. A cannon, of course, is a lot heavier than a storage cart, but internet searching reveals that some caster manufacturers (e.g., Hamilton) claim that their casters can support up to ten tons. Of course, I have no idea whether we have the metallurgical skills to duplicate these casters at a reasonable cost, but it shows that the idea of putting such on a cannon carriage isn't absurd. But perhaps it would make the cannon too easy to move sideways, causing them to shift as the ship pitched.

A pivot mount, of course, would make traversing much easier, and could be equipped with a traversing screw or gear. With a simple slide mount, traversing the gun would be impossible. However, for carronades, the slide bed itself was mounted on a pivot, and on the inboard end there were two small wheels, whose positions established the radius of the traverse. Since the recoil motion was on the slide, and didn't affect these wheels, they could be positioned to roll circumferentially, making the traversal much more efficient. (Blake 140).

There were basically two ways of mounting a turret; it could rotate around a central shaft (Ericsson's USS Monitor) or on a circular track with ball bearings (Eads' USS Winnebago) (cityofart.net).

There were aircraft and tank turrets that were manually rotated, but naval turrets were larger and heavier. While the earliest naval turrets were hand-cranked (Kinard 237), the USS Monitor was equipped with a steam "donkey" engine to turn its turret, and that quickly became the mid-nineteenth-century norm. However, steam engines radiate heat, making conditions in the turret unpleasant, and of course there's the risk of scalding the crew if a leak occurs. There was some experimentation in the late-nineteenth century with compressed air systems, but the necessary high working pressures posed dangers of explosion. By the early-twentieth century, turret power was either hydraulic (British) or electric (American) in character. (Fullam 214ff).

Elevation Measurement

It does you no good to calculate and adjust the elevation of the gun if you can't judge whether you have done so correctly.

Pre-Ring of Fire (RoF), elevation was determined using a gunner's quadrant, first described by Tartaglia (1545). This was an L-shaped instrument with a plumb bob and an arc scale. One arm of the L was placed inside and parallel to the bore; the angle at which the plumb bob intersected the scale was read off.

Elevation may also be read off by a clinometer. A viscous liquid might half-fill a disk, and then the level of the liquid (an artificial horizon) is compared to an angular scale inscribed on the face of a disk. This is analogous to the aircraft inclinometer.

Or an object, a bubble or a bead, moves inside a tube filled with a viscous liquid, as in the spirit level used by carpenters, and the tube is graduated to show the angle of inclination.

Unfortunately, the spirit level doesn't provide much of an angle range. So a military clinometer has the spirit level mounted on a pivotable arm, which points to a scale that specifies the "zero" angle for the spirit level. The arm is attached to a frame whose base is placed on a receiver attached to the gun barrel. Since the outside of the gun barrel is not parallel to the bore, this receiver must be adjusted, just like gun sights, or an offset must be dialed in. To set the gun to a desired elevation, you lay the clinometer on the receiver, adjust the arm to point to the desired value on the main scale, and elevate the gun until the level bubble in the level vial is centered.

Some kind of pocket clinometer, most likely of the kind used by geologists, came through the Ring; see Jones, "Schwarza Falls" (Grantville Gazette 5).

Gun Sights

Open Sights. The simplest method of sighting was to sight along the "line-of-metal," the top of the cannon, directly at the target. However, the cannon was wider at the breech end than the muzzle end, so the line-of-metal was depressed 1–3° (Douglas 293; Beauchant 16) below the line-of-fire, depending on the exact geometry of the cannon. This could be corrected for by adding a "dispart," a vertical sight at the muzzle end, with a height equal to half the difference in diameters. If the bore wasn't quite center, this still wouldn't be quite right, but a gunner could customize the dispart for the peculiarities of a particular gun.

The tangent sight was an adjustable rear sight. The sight was on a bar, graduated either in degrees or ranges, and fitting into a socket at the center or on the side of the breech. The name is derived from a trigonometric relationship, the required height of this rear sight is the product of the distance from the rear sight to the front sight, by the tangent of the required angle of elevation. This may seem a simple concept, but it doesn't appear to have been used on artillery until it was introduced by de Gribeauval in the late-eighteenth century. (Cummins 25). Bear in mind that its use implies setting a specific angle of elevation, rather than just sighting on an aiming point. (Ruffell).

In canon, the guns of Simpson's 1634 navy have ring-and-post sights. (1634: The Baltic War, (TBW) Chap. 38).This combines a front (post) and a rear (ring) sight.It can be advantageous for the "ring" part to have several concentric circles; these can be useful in "stadiametric ranging" (measuring the angular width of a target of known actual width). A V-or U-notch is a possible substitute for the ring.

You have to hold your head just right to keep the ring and post aligned. It's also hard to use if the target is far away; bear in mind you are trying to keep in focus the target, the rear sight and the front sight, all at different distances.

Telescopic Sights. In Cooper, "Seeing the Heavens," Grantville Gazette 16, I described the state of the telescopic art as of the RoF. In 1640-41, William Gascoigne mounted telescopic sights-essentially, a Keplerian telescope with crosshairs in the focal plane-on various scientific instruments, including a micrometer and a sextant. However, the first documented use of a telescopic sight on a firearm was in 1835, and that was for use with a percussion ignition sporting rifle. (Pegler 50). And as far as I know, the first use of a telescopic sight with artillery was in 1857. (Strauss 587).

If this long time lag from the invention of the telescope to its use in gunnery surprises you, consider this: it doesn't matter if you can see the pimple on the enemy helmsman's nose if your powder and shot are so inconsistent in character, and ship motion so erratic, so you can't even hit the enemy ship with more than one shot in ten.

In canon, the best of Krak's Shooters have been given up-time telescopic sights for their flintlock rifles. (Flint, 1633, Chapter 35).

Since telescopes provide a magnified image, they necessarily have a narrowed field of view, and the eye needs to be close to the eyepiece to get that view.If the telescope is attached to a cannon, you must move your head away quickly when you fire, lest recoil result in an unpleasant experience.

Reflector Sights. A half-silvered diagonal or curved mirror can be used to overlay a virtual image of an illuminated crosshair, harmonized with the gun bore, over the field of view. While optical tricks using partially reflective mirrors are much older, the reflector gunsight reportedly was invented in 1900. A reflector sight is easier to align with the target than is an open sight. But please note that open sights were still used four decades later.

In shooting at a distant target, you need to allow for the "drop" (from gravity) and the "lead" (to anticipate relative target motion). So you have to offset the line of aim from the line of bore so that the projectile would hit the target.

Initially, gunners had to offset manually. However, analog computers were developed to calculate this offset and manipulate the optics accordingly. On these "computing gun sights," the gunner had to estimate the size of the enemy and fit the image within a reticle so the range could be calculated stadiametrically. Anti-aircraft guns had fancier "predictors."

Gyro Sights. The gyro sight was developed during WWII for aircraft (and anti-aircraft) use. The reflector was linked to a spinning gyro and this made it possible for the sight to compensate for the aircraft's own motion by adjusting the reflector. (Jarrett 190).

Firing Mechanism

The period gun has a vent (touch hole) that connects the powder chamber to the outside world. In preparing to fire the gun, the touch hole was filled with a "priming" powder, and some powder was deposited on the barrel just behind the touch hole. A linstock (forked staff) was used to bring a lit "slow match" (a slow-burning fuse, made by impregnating a rope with a saltpeter solution) over to the surface powder, igniting it. It, in turn, ignited the powder in the touch hole proper, which ignited the powder in the chamber. (Little 145).

Unfortunately, this process tended to erode the vent. Consequently, come 1697, gunners inserted disposable metal (tin) tubes into the vent. The tubes were filled with a paste of powder, gum and water, and loose powder was sprinkled on top. In 1778 the British Navy replaced the metal tubes with goose quills. (Rufell).

After 1700, it became customary to use the slow-match just to light a "portfire," a paper tube, closed at one end, filled with a mixture of gunpowder, sulfur and saltpeter in a linseed oil base; it burned rather like a motorist's emergency flare. (Peterson 66).

I imagine that we will leapfrog portfires and proceed to mechanical ignition. The first such was the Douglas flint lock (1778), which was actuated by a lanyard that pulled its trigger. In 1842 it was replaced by the Hiddens percussion lock; a hammer struck a percussion cap. (EB11/Ordnance).For the reasons why the 1633 NUS army was armed with flintlocks, not percussion locks, see Grantville Firearm Roundtable, "Flint's Lock" (Grantville Gazette 3).

The "firing interval" is the time elapsed from when the gun captain activated the ignition mechanism to when the primer actually ignited. (There would of course be a further delay until the projectile actually left the gun barrel). With the percussion lock, the firing interval averaged 0.13 seconds. (Meigs 195).

The percussion cap contains a primer, a fairly sensitive explosive mixture that in turn sets off the explosive. The first primer developed was mercury fulminate (1807). According to canon, certain reckless souls are making it. See Offord, "Dr. Phil Zinkens A Bundle" (Grantville Gazette 7); Offord and Boatright, "The Dr. Gribbleflotz Chronicles, Part 2: Dr. Phil's Amazing Essence Of Fire Tablets" (Id.); Mackey, "The Essen Steel Chronicles, Part 2: Louis de Geer" (Grantville Gazette 8); Evans, "Thunder in the Mountains" (12); Zeek, "One Fine Day" (20); Offord, "A Change of Hart" (25); Howard, "The Baptist Basement Bar and Grill" (32).

While these stories emphasize the dangers of manufacturing mercury fulminate, there are other problems. Specifically, it was found (in 1897) that the mercury in the primer became amalgamated with the brass of nineteenth-century cartridge cases, embrittling them. These cases were a large part of the cost of a cartridge and the "brass" (couldn't resist) wanted to be able to reuse them.

Accordingly, mercury fulminate was replaced with potassium chlorate (historically, first synthesized in 1786). That, too, has appeared in canon, in the percussion caps for the French "Cardinal" rifles. (TBW Chap. 27, 45).

It's not a panacea. When a gun using a potassium chlorate primer is fired, the priming reaction generates potassium chloride, which is deposited on the bore. This salt greedily absorbs water, causing rusting. In OTL, it wasn't until 1922 that potassium chlorate was identified as the cause of the rust, but Grantville's gun buffs may already know about the problem.

A non-corrosive primer, based on lead styphnate, was patented in 1928. It's likely that gun owners in Grantville have heard of it. Condensed Chemical Dictionary reveals that this is the legal label name for lead trinitrosorcinate (311), that the latter is made from magnesium styphnate and a lead salt, the former in turn being made from magnesium oxide and styphnic acid (312), and that styphnic acid is made by nitration of resorcinol (830; cp. 759).

An alternative to the percussion cap is the friction tube. This is described in detail in EB11/Ammunition; essentially this is a T-shaped device, the vertical branch communicates with the vent hole, and the horizontal branch contains a copper friction bar surrounded by a "friction composition." The lanyard causes the friction bar to be pulled out, igniting the composition which ignites the powder in the vertical tube.

The great advantage of electric ignition was that it reduced the firing interval. However, the reliability of the power source is the sticking point. While it would be possible to have the ship carry a generator and run lines from it to all the guns, that would mean that a shot that took out the generator rendered them useless. Hence, each gun must have its own battery. And developing a working battery itself took some time. An 1894 article (Morgan) noted that while electrical ignition had until then been in limited use, the Bureau of Ordnance had recently adopted a zinc-carbon dry battery as well as a new electric primer design. By WW I, electric ignition was the norm, with percussion systems as backup.

Internal Ballistics

The term "ballistics" was coined by Marin Mersenne in 1644. Ballistics may be divided into three broad categories: interior (internal) ballistics, explaining what happens inside the gun barrel; exterior ballistics, describing the flight of the projectile through the air; and terminal ballistics, dealing with its penetration of the target.

Gun designers manipulate the internal ballistics of a gun so that it projects the desired projectile at the desired muzzle speed without bursting the gun.

A good propellant is one whose ingredients react very quickly ("deflagrate") to form a gas. At normal temperature and pressure, this gas would occupy a much greater volume than the original ingredients; but initially the volume of the gas is limited by that of the propellant (powder) chamber, and so there is instead an increase in pressure. The deflagration reaction also generates heat, which further increases pressure.

As the reaction continues, the pressure reaches the point that it's sufficient to overcome the friction holding the projectile in place ("shot-start force"), and it starts traveling down-bore.

The propulsive force on the projectile is the pressure times the area of the projectile base; the acceleration it feels is the force divided by the mass of the projectile. For spherical shot, the base area is proportional to the square of the diameter, and the mass to the cube, so acceleration is inversely proportional to the diameter.

You can cheat to some degree by using a sabot as a gas check. The sabot ensures that the pressure is exerted on the largest possible area, but the projectile may be subcaliber (narrower than the bore) and therefore less massive.

For a given caliber and shape, stone projectiles have a lower sectional density (mass/frontal area) than lead or iron and that means that for a given barrel length, they require less force to accelerate them to a given muzzle velocity. Less force means less pressure which means a smaller charge. Stone projectiles can therefore be fired from lighter cannon than metal ones of the same weight. As of the early-seventeenth century, stone throwers (pedreros) were being phased out in Europe, but they remained popular in the Ottoman Empire.

As the projectile moves, the volume available to the gas increases, which tends to reduce the pressure. On the other hand, if the deflagration reaction is still going on, the newly-produced gas and heat will tend to increase the pressure. One can thus draw a pressure-time or pressure-travel curve, and the location of its peak will depend on the specific characteristics of the powder. Likewise one can draw velocity-time or velocity-travel curves for the projectile. Sample curves appear in EB11/Ballistics.

Once the powder is completely consumed, the propulsive force on the projectile can only decrease as it moves down-bore, and once that propulsive force is less than the resisting forces, any further travel will reduce the projectile's speed.

After the projectile exits the muzzle, the pressure on it drops precipitously, although it may experience a brief period of additional acceleration from the escaping gases.

Internal Ballistics: Barrel Stress

A gun barrel, in essence, is a pressure vessel, containing the gases generated by the rapid combustion of the powder. We want to design the barrel so the gun is safe to fire, without inordinately increasing its weight and cost.

One way to do this was to put the metal where it was needed, i.e., where the pressure was greatest. It was certainly known to the down-timers that the thickness had to be greater at the breech than at the muzzle-they figured twice as much (see Manucy 37 for the detailed thickness variation)-but they had no quantitative knowledge of the pressure variation. That was revealed by nineteenth-century experimentation, as discussed below.

It is also important not to impair the barrel's function. Until the mid-nineteenth century, it was customary to bedeck cast cannon with a variety of ornamentation. However, these protuberances acted as "stress raisers," weakening the gun. (Hazlett 147-8, 221).

For a thin-walled (thickness not more than one-tenth diameter) cylindrical pressure vessel, the hoop stress is pressure * radius / thickness, in which case thickness should be proportional to bore diameter if pressure held constant. However, a cannon can't be considered thin-walled; the cannon of the Santissimo Sacramento (sunk 1668) had a maximum barrel thickness about equal to the bore diameter. (Guilmartin).

The thick-walled tube hoop stress formula, if external pressure is ignored, is

(Ri2*p/(Ro2-Ri2)) * (1+ Ro2/r2)

with

Ri inner radius

Ro outer radius

p internal pressure

r radius at which stress is calculated. (Labossier; McEvily 53).

So, at r=Ri, stress is

p*(Ro2+Ri2)/(Ro2-Ri2)

and at r=Ro, it is

2*p*Ri2/(Ro2-Ri2)

It's immediately evident that the stress is greater at the inside radius (Ri) than at the outside radius (Ro); the gun will crack first on the inside and the crack will grow each time the gun is fired.

Wall thickness of course is Ro-Ri and bore diameter is 2*Ri. When increasing the barrel thickness, each additional layer decreases the stress inflicted by a given internal pressure, but with diminishing returns (Table 2–1):

If we express Ro as k*Ri, so thickness is (k-1)*Ri, then the inside stress is proportional to

(k2+ 1)

– -

(k2- 1).

The even more complex "Gunmaker's formula," for built-up guns (see part 1), appears in EB11/Ordinance.

I mentioned pre-stressing in connection with cannon manufacture; this is to "make the outer layers of metal in the barrel bear a greater proportion of the bursting load." (Payne 264).

****

With real guns, the pressure varies according to the position of the projectile. In 1861, the distance-pressure curve for a 42-pounder with the powder of that time might feature a maximum pressure of 45,000 psi, dropping to one-tenth that by the time the shot exited the muzzle. (Bruce 138). Hence thickness (and thus weight) can be reduced if you know how pressure varies.

It is possible to control the curve to some degree by powder design. A progressive powder (burn rate increases with time) reduces the peak pressure, and thus the required barrel strength. This also reduces barrel wear, which tends to be more dependent on peak pressure than average pressure (Rinker 43). And it's likely to provide the highest exit velocity. On the other hand, if you have a short barrel, then use a degressive propellant, so you develop high projectile velocity quickly. (ES310).

Pressure Measurement. In 1842, U.S. Army Chief of Ordnance George Bomford "had holes drilled at regular intervals along a cannon barrel. Pistol barrels were then fastened into the holes, each loaded with a bullet. Opposite each barrel he placed … a ballistic pendulum" (see below). This allowed him to generate a projectile displacement-pressure curve. That, in turn, permitted the design of guns to have metal exactly where it was needed. It's not clear to me how much attention the rather hidebound Navy paid to these newfangled Army notions, but by 1850 John Dahlgren had designed a 135-pounder shell gun with a soda bottle shape. (Park 113).

A somewhat less Rube Goldbergesque sensor was the Rodman indenting gauge (1858). Its tube, like Bomford's pistol barrel, fitted into a drilled hole in the barrel wall, and the expanding gases moved a piston with a gas check, which in turn moved a knife that indented a copper disc. The depth of the indentation was compared to that achieved with a matching disk (from same copper bar) and knife using a standard testing machine. (VNEM). In the Noble crusher gauge (1860), the Rodman disc was replaced with a cylinder of copper, resulting in the pressure being expressed as so many "copper units of pressure" (CUP). For guns developing lesser pressures, lead cylinders were used. (EB11/Ballistics; Barnett 195ff; Buchanan 306).(The Rodman or Noble gauge could be inserted behind the cartridge, but this had its own limitations.)

We've been focusing on pressure, but the deflagration also results in an increase in temperature. The temperature can reach 5,550°F, and barrel steel melts at 2,500°F (Rinker 62). Fortunately, the projectile is only in the barrel for something like ten thousandths of a second. Still, gun barrels can definitely overheat. It's therefore very important that barrels have a high thermal conductivity so heat is dissipated quickly.

Gustavus Adolphus experimented in the 1620s with "leather cannon" for field use. This was actually a thin copper barrel with leather wrapped around it and bound with wire, cord and canvas; we know this because one prototype (test-shot in 1628) survived. (Brzezinski 18). Leather-like ceramics, glass and plastic-is a poor conductor of heat, and the leather cannon had a tendency to overheat and burst; they were superseded by bronze pieces. A Mythbusters version fired a cannonball at 450 mph, but blew out its breech in the process (episode 141).

Guns often were designed with separate powder chambers; these were narrower than the bore (to reduce stress) but communicated with it. They could be cylindrical, spherical or conical in shape. Spherical chambers offered the greatest muzzle velocity, but were difficult to construct, load and clean, and strained the gun most. Conical offered the worst muzzle velocity, so cylindrical became the happy compromise. (Jeffers 98).

The maximum quantity of powder that could be used in the gun was limited by the gun's bursting strength and the size of its powder chamber). One pound of 1820s powder occupied 30 cubic inches. (Beauchant 104).

Barrels can suffer permanent bore expansion as a result of exceeding the "elastic limit," catastrophic rupture, gas leakage, fatigue (micro-cracking), and erosion/wear. Barrels can be inspected for deterioration in a number of ways, including measuring the bore diameter deep inside the barrel with a long-handled inside caliper, and visually inspecting it with a borescope. A rigid borescope would be something like a periscope with a magnifier and a light attachment. A flexible borescope uses optical fibers and thus requires a higher tech level.

Internal Ballistics and Windage

Bore-windage had several effects. First, gas could escape around the ball, reducing the effective pressure driving the projectile. This reduced muzzle velocity and wasted energy, but also eased the stresses on the gun barrel. Secondly, as the ball progressed down-bore, it would glance off the walls of the bore. Each bounce drains some of the kinetic energy of the ball, thus further reducing muzzle velocity. Also, the direction and spin the ball emerged from the muzzle would be dictated by its last bounce. Obviously, this affected range and accuracy. All the bouncing around was also bad for the gun barrels. (Douglas 81).

The direct energy loss from escaped gas is proportional to the ratio of the annular area to the bore's cross-sectional area. Since windage is small, this ratio is roughly inversely proportional to the bore diameter. By my analysis, the indirect loss, from inelastic collision with the bore wall, will be proportional to 1-r? where r is the "coefficient of restitution" (the kinetic energy after collision as fraction of that before collision, for each collision) and n is the average number of bounces, which is proportional to the barrel length divided by the windage (as diameter difference).

Well, that's all theoretical. In practice, Douglas (70) says that one-quarter to one-half of the force of the powder was lost in consequence of the early-nineteenth-century standard windage. Douglas urged that windage should just be a fixed allowance, rather than one proportional to the gun's caliber. Only the degree of expansion due to heat, he reasoned, would be dependent on caliber (amounting to 1/70th caliber at white heat); rusting of the shot and fouling of the bore wouldn't be. He suggested reducing windage to 0.1–0.15 inches. (74ff).

The maximum pressure usually obtained in the late-nineteenth century was 15 tsi in rifled guns and 3 in smoothbores-this shows how much difference windage makes! (Barnett 196).

Muzzle Velocity

Range is definitely a function of muzzle velocity. The following table shows expected ranges for an early-nineteenth-century 24-pounder fired at a 45° elevation:

(Douglas 43).

Suppose that the work done by the powder in moving the projectile down the bore is proportional to the powder charge. If so, then the kinetic energy obtained must be proportional to the charge, and the muzzle velocity is then proportional to the square root of the powder charge relative to the weight of the shot. (Sladen) and this was generally assumed by early-nineteenth-century writers on gunnery (Beauchant 45; Douglas 53, 57).

In 1828, Beauchant proposed the following formula:

MV = 1600 sqrt (2 powder weight / shot weight)

This leads to the following results:

(Beauchant 45, 133)

This rule is probably good enough for our purposes, although I suspect that "1600" is a bit high for 1630s guns. Assuming powder quality is 75 % of early-nineteenth-century levels, we could use "1200" instead.

However, the work done on the projectile per pound of powder is not really constant regardless of the charge. It's dependent on the expansion ratio of the full bore relative to the initial charge volume, and thus depends on the length of the bore and the size of the charge. (Sladen 32).

Grantville has the Encyclopedia Britannica 9th edition, and its "Gunmaking" article provides Noble's table of the theoretical maximum work done by gunpowder per pound of charge ("specific work"), as a function of the expansion ratio. One can therefore calculate the expansion ratio, interpolate the "work/pound" from the table, and plug it into this formula:

Vmuzz= sqrt (2 g k e wp/ ws)

where g is gravitational acceleration (322 fps), k is the specific work per pound, e is the efficiency of the powder relative to the theoretical maximum, wpis the weight of the powder, and wsthe weight of the shot.

The efficiency of a gun is less than 100 % because some energy will be lost by heating the barrel and, for rifled guns, in rotating the projectile. EB9 suggests an efficiency ("factor of effect) ranging from 0.6–0.65 for field guns up to 0.85-0.95 for heavy guns.

In the nineteenth century, the "gold standard" for predicting muzzle velocity was Sarrau's monomial (for quick powders) or binomial (for slow powders) approximation. This had a couple of adjustable parameters to account for the differences between powders and these were determined by measuring the muzzle velocity for the same powder fired in two dissimilar guns. You could then apply the same formula to any other gun using the same powder.

The Sarrau formula was available in a few texts for general readers, including Johnson's Universal Cyclopaedia (1895), and the Encyclopedia Britannica 10th edition (the 1902 supplement to the 9th edition), but these are not, as far as I know, among the books that traveled back with Grantville.

Optimal Bore Length. Bore length is probably 92–94 % of the length of the piece. (Douglas 293). In general, the longer the effective bore (from projectile starting position to muzzle), the greater the muzzle velocity for a given powder charge; the muzzle velocity in turn determines range and penetrating power.

But there are definitely diminishing returns. Experiments have been conducted in which a barrel is successively cut down and the new muzzle velocity determined. In 1862, Benton (130) reported that for a small change in length of a 12-pounder, the velocity was in fact proportional to the fourth root of the length. Another writer says that it's proportional to something between the square and cube root of the length of the bore (Douglas 101). I have seen the opinion expressed that there was no advantage to making a sixteenth-century gun longer than ten feet (Rodger 215). A 24-pounder of Douglas' time would have a bore length of 5.5–8.92 feet (293).

Theory also predicts diminishing returns. If the powder burns at a constant rate, slowly enough so the last of the powder is consumed just as the projectile exits the barrel, and the gas expansion is isothermal, the muzzle velocity will be proportional to the cube root of the barrel length. If we instead assume that the gas expansion is adiabatic (no heat lost), then it will be proportional to the fifth root of the length. (Denny 183-5). Note that this requires that the powder charge be proportional to the length of the barrel, which was not usually the case!

The analysis above is for black powder propellant; with smokeless powder, the pressure-position curve is different, and the optimal barrel length depends on the shape of the curve. (Denny 67ff, 188ff).

The advantage of increasing length is not so much the increased muzzle velocity, but rather that one can then use a slower-burning powder and thus reduce the maximum pressure-permitting reduction of barrel thickness and increasing barrel life. (Sladen 34).

Is there a limit beyond which increasing length has no effect or even reduces muzzle velocity? If the force propelling the projectile merely diminished as it traveled down bore, then there would be no bore length at which muzzle velocity was maximized, merely diminishing returns from lengthening it. But there is such a length, because the projectile's movement faces opposition even as the propulsive forces decline.

Benton (128) suggested three opposing forces: (1) friction, (2) inelastic collision, and (3) the pressure of the air in front of the projectile, and urged that if the length is increased too much, keeping the charge constant, the muzzle velocity will decrease.

Friction comes into play only for rifled barrels, where the projectile engages the rifling. The frictional force is presumably constant throughout the length of the barrel, whereas the propulsive force declines as the projectile moves down-barrel. It's possible to show that if you assume constant burn rate, isothermal expansion, constant frictional force along barrel, and optimal projectile length (powder completely burnt, and frictional force equal propulsive force, just as projectile reaches muzzle), the length at which the frictional force equals the propulsive force must be proportional to the mass of the projectile and the square of the muzzle speed, and inversely proportional to the frictional force in the barrel (this results from combining Denny equations N7.6, N7.9, and N8.2). Since the length of the region of contact is kept small, the frictional force at any given moment should be proportional to the circumference of the bore and thus to the diameter.

For smoothbores, interior collisions slow down the projectile, but as noted in the discussion of "windage," they should be less common as the diameter increases.

Like friction, outside atmospheric force is a constant resistive force, but it's proportional to the area and thus to the square of the diameter of the bore.

Powder charge. The expectation was that up to a point, increasing the powder charge (relative to the shot weight) would increase muzzle velocity. Obviously, once the projectile left the muzzle, any unconsumed powder would fail to provide any further boost to its speed.

There was great controversy, however, as to whether a point could be reached where any further increase in charge would actually reduce the muzzle velocity. Robins was insistent that this could not possibly be the case. However, Benton (130) reported a progressive decrease in muzzle velocity for a 36-pounder firing charges ranging from 36–77 pounds, and Farrow (289) suggests that the charge yielding the maximum velocity is half to two-thirds projectile weight. Still, it's not clear from the underlying physics why this diminution should occur.

Even if there weren't diminishing returns vis-a-vis muzzle velocity, the amount of powder used would be constrained by the size of the powder chamber, fear of bursting the gun, and the recoil.

It has also been reported that the maximum velocity charge increases with the length of the gun. This makes sense as, for the same rate of acceleration, it gives more time for useful consumption of powder.(Simpson 177).

Multi-Chamber Guns

High-Low Pressure Gun. These have a divided propellant chamber, with two compartments separated by a plate with holes. The powder is ignited in the first compartment, generating a high pressure. Because of the constricted communication with the second, the pressure there is lower, resulting in a lower muzzle velocity but also a lower recoil. If you are wondering why not just use a conventional gun with a low powder charge, it's because the high pressure results in a better "burn" curve, and only the first chamber needs a thick wall. The concept was first implemented in the Panzerabwehrwerfer 600 (1945) and copied in the British Limbo depth charge launcher (1955) and later the American M79 grenade launcher.

Lyman-Haskell Multicharge Gun. The American government tested a 6-inch multicharge gun in 1883. This had five powder chambers, one at the breech, and the remaining four distributed along the length of the bore. The charge at the breech was smaller than the others, and the nearer the powder chamber to the muzzle, the faster burning the powder used. The theory was that the pressure created by their deflagration would also be distributed, allowing one to achieve a much higher muzzle velocity without overstressing the barrel. The breech charge was ignited in the usual way and the other charges by the passage of the combustion gases propelling the projectile.

The multicharge gun, with 119 pounds of powder, accelerated a 111-pound projectile to a muzzle velocity of 2004 fps, but with a barrel pressure of only 31,550 psi. In contrast, the Krupp 5.9 inch gun used a single charge to propel a 112.2 pound shell, achieving a muzzle velocity of 1676 fps with a pressure of 40,320 psi. So what's the catch, other than the profligate use of powder?

Well, the multicharge gun was 25 feet long (50 calibers). It therefore was quite heavy (25 tons), whereas the Krupp gun weighed only 3.8. The Ordinance Board was of the opinion that the multicharge gun's performance should be compared, not to guns of equal caliber, but to those of equal weight. While the 10-inch gun, weighing 18 tons, had a lower muzzle velocity (1400 psi), its 400 pound projectile carried greater kinetic energy and, in the Board's opinion, was likely to have more penetrating power. (Walker; Haskell).

Propellants (Gunpowder, etc.)

Gunpowder is a mixture of saltpeter, charcoal and sulfur. The saltpeter (potassium nitrate) is an oxidant, and it burns the charcoal (carbon), forming carbon dioxide gas. The sulfur combines with the potassium ion of the saltpeter, forming potassium sulfide, and in the process generates a lot of heat. Since the heated gas is confined by the gun, that results in an increase in pressure. And that's what pushes the projectile out. It also stresses the barrel, so you can't use too much powder and how much can be used depends on its burn rate.

Among the down-timers, there's no consensus as to the proper formula for gunpowder (black powder). Just one master gunner, Peter Whitehorne (1560), presented 20 different recipes, with saltpeter content of 16–84 %, charcoal of 8-64 %, and sulfur of 8-28 %. (Walton 123). EB11/Gunpowder says that the following formula was used in Britain in 1647: 66.6 % saltpeter, 16.6 % charcoal, 16.6 % sulfur. By 1781, the proportions were 75-15-10, the ones given in H. Beam Piper's Lord Kalvan of Otherwhen. Other formulae of possible interest included 52.2-26.1-21.7 (Germany 1596), 68.3-23.2–8.5 (Denmark 1608). 75.6-13.6-10.8 (France 1650), and 73-17-10 (Sweden 1697). Even in the nineteenth century, different countries had different preferences, with saltpeter 70–80 %, charcoal 11–18.5 %, and sulfur 9.5-13 %. (Beauchant 149). The proportions given in the modern EB (2002CD) is 75-14-11. The Medieval Gunpowder Research Group, using a replica of the Loshult Gun, found that muzzle velocity peaked at a saltpeter content of about 72 %. (MGRG2).

The burn rate is proportional to the burning surface. It thus is dependent in part on initial particle ("grain") size; the smaller the particles, the greater the total surface area for a given weight of powder, and the faster the "deflagration" reaction. However, the reaction shouldn't be too fast; you want it to continue until the projectile reaches the muzzle. Thus, the grain size must be matched to the barrel length; muskets used finer powder than did "great guns." The term "powder" became a bit misleading; the "grains" can be several inches in diameter-please look at Fig. 1 in EB11/Gunpowder.

The quality of gunpowder has improved over time. In 1587, gunners used "serpentine," which was floury. Because of the small particle size, it was necessary to leave part of the powder chamber empty, to provide oxygen. The powder also absorbed moisture readily. The charge for a culverin was equal to the shot weight, and for a cannon, half that weight.

By 1625, "corned" powder, which was granulated, was common. (Lavery 135). The size of the grains could be controlled by sieving. In 1673, a culverin used a two-thirds shot weight charge, and a cannon, one-half.

Improvements were also made in the preparation of the components of gunpowder. By 1740, the charges ranged from 40 % for a 42-pounder to 66 % for a 9-pounder. (Id.) In 1783, "cylinder powder" was introduced, although it didn't come into common use until 1803 (Rodger 421). It incorporated a better grade of charcoal. The wood was placed in cast iron cylinders, and heated over a stove, rather than charred in a kiln. (Id.; Douglas 201). This permitted reducing the standard charge to one-third the weight of the ball for ordinary guns, and a mere 8 % for carronades (Lavery). The method is described by EB11/Gunpowder but without discussion of its advantages over former practice.

You could use less if you were trying to conserve powder, or were hoping to produce more splinters if the shot didn't hole the target. A one-sixth charge is sufficient to "drive a ball from any large gun through the side of a ship at 1100 yards" but for a 24-pounder would require twice the elevation as a one-third charge, thus reducing accuracy. (Douglas 54).

In the mid-nineteenth century, the increase in gun size led to incompatibility with the ordinary black powder; it burned too quickly, creating conditions that strained the gun. A slower-burning "brown powder," described in EB11/Gunpowder, was introduced.

The shape of the grains is also significant. Normally, as deflagration continues, the particles are consumed inward, reducing the total burning surface and thus reducing the burn (regressive burn). This is experienced with all solid grains, whether they be spheres, cylinders or plates.

In 1860, what EB11 calls "shaped powders" were introduced. The grains had one or more perforations so they were consumed both inward and outward, resulting in a constant (neutral burn) or even increasing (progressive burn) burn rate. EB11 describes how they were made.

****

In the late-nineteenth century, gunpowder was largely replaced by nitrocellulose-based propellants (the so-called "smokeless powders"). These produced less smoke and flash, burned progressively, and caused less erosion to the barrels. They are classified as being single-base (nitrocellulose) or double-base (nitrocellulose combined with nitroglycerin or some other liquid organic nitrate).

Ballistite (1887) was 40 % nitrocellulose and 60 % nitroglycerin (EB2002CD/explosive). Cordite was similar; 37 % nitrocellulose, 58 % nitroglycerin, 5 % Vaseline (Rinker 34) or later 65-30-5 (EB11/Cordite). EB11 doesn't say anything about stabilizers, but EB2002CD suggests diphenylamine.

A member of a Civil War reenactment group would probably be familiar with Pyrodex, which was developed in the 1970s. It's essentially black powder with various additives so it burns more cleanly-less fouling of the bore, less smoke. However, the formula of Pyrodex is proprietary, and the person who developed it (Powlak) lost his life in the process.

The decomposition products of black powder are 43 % gaseous and 57 % solid, the latter being responsible for the smoke of the proverbial "smoking gun." In contrast, modern smokeless powder is more than 99 % gaseous. Gases can be accelerated to higher velocities than solids, for a given internal pressure. Consequently, black powder has a low "specific impulse" (pounds thrust produced per pound propellant burned per second)-~50–70 seconds-whereas double base powders provide ~180–210 seconds. (Guilmartin 300).

****

Average muzzle velocities increased over the nineteenth century, from 1575 fps for ordinary black powder, to 2133 fps for prismatic powder and 2225 fps for early (1885) smokeless powder. (Breyer 38).

****

With black powder, the principal manufacturing considerations were "strength", freedom from fouling, and proneness to deterioration. These were affected by composition, density, moisture content, and grain size, shape, hardness and "glazing."

Until 1868, powder density was measured by "cubing"-weighing it in a box of standardized volume. This was improved upon by the mercury densimeter. (Farrow 313).

There was no quantitative test for hardness; the grain would be broken between finger and thumb. (Smith).

Powder strength will vary from manufacturer to manufacturer, from lot to lot, and even from barrel to barrel. (Dahlgren 180). Even at the end of the black powder era, powder manufacture was an art, not a science. In 1881, 150,000 pounds of Westphalian Company prismatic powder was rejected because it didn't meet the standards; the representative blamed it on manufacturing "during very cold weather." (Buchanan 325).

Powder strength was originally tested by setting a small amount afire in the open air, and observing the results. Eprouvettes ("provers"), which ignited the powder in a confined space simulating a cannon barrel, provided more useful data (von Malitz 163ff). An early eprouvette was described by William Bourne (1578). This was essentially a box with a hinged and ratcheted lid and a small fuse hole. A set quantity of powder was placed inside, and set off. The force of the combustion gases would drive the lid upward, and the lid would be kept from dropping back into place by the ratchet. The angle reached by the lid was a measure of the strength of the powder.

In Bourne's eprouvette, the propulsive force was resisted by the weight of the lid, but some later devices used a spring mechanism, and Du Me's eprouvette (1702) employed water resistance. Also, some were engineered so the propelled object moved linearly rather than angularly. And, instead of measuring that movement, one could measure the eprouvette's recoil.

Most of the eprouvettes just worked on an indicator object like Bourne's lid, but the mortar eprouvette actually fired a projectile at a fixed angle, usually 45°, so the power was inferred from the range achieved.

In storage, gunpowder could become damp, and once its moisture content rises above 1 %, it begins losing explosive power. (Kelly 59). Keeping it away from seawater isn't enough because it can actually absorb water vapor. (Douglas 199). It follows that what's needed is airtight storage or, if that isn't possible, storage together with some desiccant.

Powder was examined for dampness and if damp, it was dried. This was a ticklish operation as the drying could melt the sulfur or even explode the grains. (200). If the powder were past redemption, one could at least attempt to recover the saltpeter, which was a rare and valuable commodity in Europe (201).

Alternative Propellants

Steam. Jacob Perkins received a British patent in 1824 for a steam gun. This was no "paper patent"; in an 1825 demonstration an 800 (or 900) psi boiler projected one ounce musket balls out a barrel, achieving penetration of quarter-inch iron plate and eleven inches of pine at a range of 35 yards. Moreover, he developed a rapid-fire gravity feed enhancement. (Smith). The rapid fire version was later a major attraction at the National Gallery of Popular Science (1832). Some outrageous claims were made for how fast it was, but I am inclined to believe the ten balls/minute that Perkins' son asserted in 1861. (Bruce 138).

In 1828, Perkins designed for the French a 1500 psi steam gun, with a barrel six feet long and three inches caliber, firing four pound balls. It worked, but its range was only half that of a conventional cannon of the same caliber. Not only was the barrel pressure much lower than in a "powder" gun, it may have suffered much more acutely from bore-windage because of that difference. Another problem was weight; the 1825 model had a five-ton boiler. (BPHS).

EB11/Explosives alludes to the Winans (Dickinson) steam gun, built for the Confederacy. It was never put to use; Mythbusters Episode 93 suggests that it would have gotten off five rounds a second and had a maximum range of 700 yards, but expressed doubt that the impact velocity beyond point blank range was high enough to be lethal.

The concept of using steam to throw a projectile wasn't new; Leonardo da Vinci had speculated that Archimedes had used a steam cannon at the siege of Syracuse, and drew one. In 2006, an MIT team figured out how to implement Leonardo's concept. They were deliberately coy about the particulars of steam generation, but they built a steam cannon designed for 3,500-4,000 psi, and fired a one pound projectile (i.e., equivalent to that of a robinet) with a muzzle velocity over 300 m/s. The bore was 2 feet long and 1.5 inches diameter. They were able to fire one round every two minutes. (MIT).

While I am sure the projectiles made a satisfying whizz, the fact remains that "steamer" muzzle velocity is low compared to that achieved with powder guns. A bit of a back-of-the-envelope calculation puts this into perspective. Let's assume that we have a large enough reservoir of steam so that we can maintain constant pressure. Let's also assume that the barrel is horizontal (so we can ignore gravity), frictionless, and without windage. If so, the projectile accelerates at a constant rate and the muzzle velocity will therefore be

sqrt (2*L*P*A/m),

where L is bore length, P pressure, A cross-sectional area of the projectile and m mass. For a standard projectile (one pound, one inch diameter) this reduces to

24.56 sqrt(LP) (L inches, P psi).

Perkins' 1828 gun thus has a theoretical ideal muzzle velocity of 1345 fps, and the MIT gun, 951. But note that the actual muzzle velocity for the MIT gun was a bit less than a third of the theoretical value.

Compressed Air. The blowgun is the earliest compressed air weapon, limited in propulsive force by the ratio of the volume of air one can huff (about 60 cubic inches) to the bore volume of the blowgun (14 cubic inches for a six footer with a half inch caliber). (Gurstelle 142). A "pneumatic rifle was built at the beginning of the seventeenth century," and some Austrian jaegers carried the model 1780 rifle (300 m/s muzzle velocity), which was a great weapon for covert operations against French occupation forces. (Rossi 232).

The USS Vesuvius (1888) carried three 15-inch pneumatic "dynamite" guns. Compressed air from a 1000 psi reservoir was fed into the barrels, which were only 55 feet long (!), partially below deck, and mounted at a fixed elevation of 16 degrees. Range was changed by adjusting the pressure. The guns couldn't be traversed; you aimed the ship to aim the gun. The guns fired finned projectiles filled with up to 600 pounds of dynamite; this high explosive was too sensitive to be used in an ordinary gun and indeed even the muzzle velocity of the pneumatic gun had to be limited. The maximum range was 5,000 yards, with a subcaliber (6") shell. (NAVWEAPS; NAVSOURCE; Hamilton; Clark).

Because of the low pressure, a 20-inch gun could have a steel or aluminum bronze barrel that was one half an inch thick. In trials, the gun had good accuracy, and could fire about one round a minute. (Zalinski). The Zalinski gun is discussed approvingly in EB11/Pneumatic Gun.

The secret to understanding the dynamite gun is to think of it, not as a gun, but as a torpedo launch system. Ship armor had reached the point at which ordinary shells weren't reliably penetrating it. The projectiles fired by the dynamite gun were conceptualized as "aerial torpedoes," traveling faster and farther than any underwater torpedo and exploding underwater against the unarmored bilge of the enemy craft (Parkerson 83).

At a U.S. Naval Institute proceeding, the commentators conceded that the gun would be useful for countermining, that is, using explosives to set off enemy mines-stationary targets. They were less sanguine that it could be used effectively against a rapidly closing foe, as the elevation limited the zone of danger for the target and ranges are difficult to estimate. If the pressure were reduced because the enemy was close, the projectile would have a lower velocity and be more vulnerable to deflection by the wind. (Zalinski). The naysayers doubted that the countermining advantage was sufficient to justify building a ship with the dynamite gun as the main armament

In practice, USS Vesuvius proved reasonably useful for shore bombardment-the quietness of the pneumatic action meant that the enemy didn't hear the guns fire-but the system was quite obviously impractical for use against another warship. USS Vesuvius would have been outranged by conventional guns, and the inability to traverse the gun other than by turning the ship meant that a fast attacker could evade its fire. (McSherry).

It doesn't appear that scaling down the gun to a size suitable for turret mount would have been productive. The US Army tried out the Sims-Dudley dynamite gun, which fired a 2.5 inch caliber shell carrying five pounds of nitro-gelatin. Since the army couldn't carry compressors around, the gun used black powder to compress air, and then the compressed air to project the shell. The length of the gun-and-carriage was 14 feet and the muzzle velocity was just 600 fps, yielding a range of just 900 yards. (McSherry).

Compressed air projection reappeared in an anti-aircraft gun format in World War II. The Mark I Holman projector had a 4.5 foot smoothbore barrel and used compressed air bottles to fire fragmentation grenades up to 30 rounds/minute to perhaps 600 feet. Its advantages were that the low barrel pressures meant that it didn't need high-strength steel, its recoil was small, and of course it didn't need any cordite. Its disadvantage was that it was quite inaccurate. (Wikipedia/Holman Projector).

Liquid Propellants. These became popular in rocketry, but for artillery, despite a half-century of effort, their time hasn't yet come. (McCoy).

This article continues in Part 3, "Hitting the Target."

Long Ago and Far Away

Kristine Kathryn Rusch

I write mysteries under the name Kris Nelscott. I’m currently working on the next.

These mysteries are set in an alien world, with unfamiliar technology, and inexplicable cultural attitudes. You’re thinking, She does that in her Retrieval Artist sf/mystery series. Why the pen name? What’s so different about these books?

What’s different is this: The Kris Nelscott novels, about black private detective Smokey Dalton, are set in Chicago 45 years ago.

I wrote the first novel in 1997, and my editor at the time called it “historical.” I was offended. I was alive in 1968, when the first novel was set. I was eight, but I was alive. The first novel takes place in the days surrounding Dr. Martin Luther King, Jr.’s assassination, and I remember that day clearly. (I was trying on a bunny costume-not Playboy bunny. Easter Bunny bunny-and no one wanted to look at it. They were all staring at the TV.)

I had no idea how 1968 could be historical. It wasn’t that different from 1997. Yeah, in 1997, we worked on computers, but they weren’t that common for blue-collar folks. Some people could afford cell phones, but in reality, the differences weren’t extreme. Most people still smoked in restaurants, most cars could be fixed by a hands-on mechanic, and many of the chains that existed in 1968 still existed.

Not any more.

The book I’m currently writing, which will be out next year, takes place in January 1970. I spent most of this month digging in old newspapers like I always do, because I get great details from old newspapers.

And here’s the first major difference. In 1998, I had to go to Chicago to get my hands on the biggest black newspaper in the country, The Chicago Defender. (The first book, set in Memphis, didn’t use the Defender.) I spent my days either in the public library searching microfiche or in the Museum of Radio amp; Television, watching old video tapes, streamed through their library archive because they didn’t want patrons touching the materials.

Yeah, everything looked old, but not that old. Except the fashions. The fashions were horribly out of date.

Attitudes weren’t as out of date as we would have liked. People still used the N-word in regular conversation-and they didn’t call it “the N-word.”

Now, to dig through the Defender’s archive, I contacted my local library-via e-mail-and they gave me-via e-mail-the password to a library reference account so that I could view issues of The Defender at home. On my laptop. On my computer. On my television. On my iPad. The only thing I couldn’t do with those issues was copy and paste them or excerpt them without some electronic watermark.

I ordered all of my research books from various online sites, and had them shipped to me. I watched videos directly from the TV stations that made them, online, at home, in the comfort of my office. I could’ve watched them on my phone for heaven’s sake. When the stations didn’t have the archive footage I wanted, I went to the Museum of Radio amp; Television. Not just Chicago’s great archive, but also the ones in New York and Los Angeles. They let me search their archives as well.

I started my research Super Bowl weekend, and you know what the hype was like. Biggest This, Biggest That. Commercials! Commercials pre-aired on YouTube! Online Discussions! Local casinos, taking bets. Every bar and restaurant with a Super Bowl Party somewhere.

My 1970 research included Super Bowl IV, which took place a month earlier than it did in 2013, and had almost no hype. Yeah, it was a big football game, but it didn’t mean a lot in Chicago because Chicago wasn’t playing. So who cared about the Vikings or the Chiefs? Who cared about New Orleans-or the fact that the very first celebrity (Carol Channing) actually showed up for the half-time show. The show was a tribute to Mardi Gras, which Chicago did not celebrate.

In fact, the only thing recognizable about my 1970 research was, of all things, the fashion. Yep, it’s back. With the exception of the hair. Everyone says hair was big in the 1980s. They should look at the afro circa 1970. They really should.

I started a list on my Facebook page-phrases you wouldn’t understand (or meant something different) in 1970. One-hundred plus people participated, some I’ve never met in person. Heck “Facebook page” is a phrase no one would have understood in 1970. The phrase that started it all for me? “Tweeting The Grammys.” My brain is locked in 1970 at the moment, but I live in 2013. “Tweeting the Grammys” seemed really weird to me.

We are, as my husband said after I mentioned this, truly in a science fiction universe. The world is smaller-I’ve been corresponding with a friend in Bulgaria all day (that’s not a 1970s phrase either)-and more accessible. We carry more information on our phones than the nonfiction section in my local library has on its shelves.

I am writing this essay on a computer in Oregon. I’ll then e-mail the essay to my husband who is traveling in Idaho. He reads everything first. If he likes it, I’ll then e-mail it to Florida. Once accepted, the essay will get uploaded, and you folks will read it, from wherever you are.

Explain that to someone in 1970. They’ll call it science fiction, and it is.

Just like 1970 is history. It’s a lot easier for me to understand that I am not ten years old any more and ten is a long, long, long time ago than it was to look back at eight from the distance of my mid-thirties. It’s pretty clear that my past took place in a historical time period, because the world looks-and sounds-nothing like it did then.

Except for the platform shoes. And seriously, why would someone revive those things?

Of course, they’re reviving the TV shows too. And that’s about it.

Because really, there isn’t much about 1970 that’s better than 2013. 1970 was smelly (cigarettes, cigars, b. o.), violent (5,000 successful bombings in the US alone), and isolating. Women were second-class citizens. In some parts of the country, minorities weren’t considered citizens at all.

It’s a great place, in some ways a natural place, to set a mystery. But it sure isn’t a place I’d like to live in again.

I like my science fiction world.

I can’t imagine what another 45 years will bring.

Online War

Frances Silversmith

With growing horror, Basil watched the tanks roll up to the former UN buffer zone separating the two parts of Nicosia. Enemy troops approached from the Turkish north. Greek ordnance advanced through the southern part of town, which belonged to the Republic of Cyprus. Basil's ears rang with the sound of the commands sergeants on both sides shouted to their soldiers.

Weapons were trained across the buffer zone, making it seem as if he stood directly in the line of fire. He adjusted the reality-mode setting on his Neural Interface. There was such a thing as too much realism, after all.

The newscast he was playing on his NIF turned from a real-life experience into a remote vid, but his fast-beating heart didn't slow. Ten months ago, things had been fine. And then a single incident involving a Turkish tourist attacked by street-toughs in Greece had triggered a series of ever-increasing violence.

Until it came to this. Athens would not tolerate the Turkish attack on the Republic of Cyprus. It was all too likely that they'd answer with a nuclear strike against Ankara. In which case Iraq would retaliate, which would cause the European Union to enter the war, which would draw the African League in. .

Basil cut that thought off before he could brood himself into a panic attack.

He activated his NIF's comm app and pinged his friend Daphne. Almost immediately, her pale face appeared before his inner eye.

"Hi Basil. I take it you've watched the news?"

"So I have. I think I'll go on a long vacation, say-to Antarctica, or somewhere equally far away. So should you."

She brushed a lock out of her eyes with unsteady hands. "Hmm. Actually, I've got a different idea. Mind if I visit you in person to discuss it?"

Basil felt his eyebrows rise. In all the years of their online friendship she had never suggested such a thing. "You want to come all the way to Cyprus just to meet me?"

She nodded. "I want to talk in private, where nobody can hack in and listen."

Had she still not forgiven him for his little demonstration a few months back? "Hey, just because I hacked into your Neural Interface that doesn't mean everybody can."

"It proved to me that my NIF isn't as secure as I thought. I'm not going to take any chances. So can I visit you, or not?"

Basil agreed, and they broke the connection.

He took a look around the room-and went into a cleaning frenzy. When the doorbell rang two hours later his apartment looked almost presentable. He picked up a sock he had overlooked and stuffed it into his pocket. Then he opened the door, and Daphne swept past him into the apartment.

She had an even more impressive presence in person than on the cloud. Her face wasn't exactly beautiful, and her curves weren't ample enough to suit current fashion. But she radiated an intense-and infectious-energy. Just watching her pace the length of his living room eased his exhaustion from that hurried housecleaning feat.

She turned and fixed him with a glower. "We've got to do something about this war."

He stared at her. "Do something? We? What could we do? I'm a cloud security expert, not a peacemaker. And you're an online game designer, for God's sake. What exactly do you think the two of us could accomplish that all the powerful politicians can't?"

Her glower grew darker, but all she said was, "Well, we won't know until we try, will we?" She plunked herself down on his sofa. "I've got an idea."

****

Around midnight three days later, Basil withdrew from a false persona he'd set up in the cloud environment the Neural Interfaces around the world connected to. This was the last fake user in a trail of other false identities, designed to keep people from tracing his activities back to him. If they went through with Daphne's crazy plan, he'd need those protections.

Daphne wanted him to hack into the NIFs of every powerful politician and military leader in Cyprus, Greece, and Turkey, and install an online war game she and her co-workers at Shooting Star Games Ltd. had worked on over the last few months. The idea was to trap all the major players in the game, and have them start their war in the virtual world instead of the real one.

"Are you sure your war game will feel like the real thing to our victims?" he asked.

"I'm sure." Daphne sat in the corner of the sofa, working on the game design. "The app was developed by Shooting Star, after all. We're good at realistic games."

"I know," he said. He had played those games himself. A NIF game interacted directly with the user's brain. If the game was detailed enough, the experience was indistinguishable from reality. And Shooting Star was justly famous for its realistic war games. "But that's for settings outside the user's real-life experience. What we're trying to do is different. How can you convince people that they're in the real world when you don't know a thing about their actual surroundings?"

"But I do know everything about their current location. Every single one of our targets has retreated to their respective emergency bunkers. And I've got experience recordings for those bunkers."

"Somebody actually recorded their stay in a high security bunker and made it available to you?" Basil shook his head.

She gave him a forced smile. "There's a lot of money in the game industry, and the people who maintain those bunkers don't earn all that much. So yes, Shooting Star has been able to acquire top-security information on most of those bunkers world-wide.

"You didn't hear that from me, of course," she added as an afterthought.

"Of course," he echoed, still chewing on that unexpected piece of information.

The more he thought about it, the more feasible this insane plan seemed. He'd even found an outdated version of the Greek NIF security protocol, buried under terabytes of virtual trash at an obscure site that nobody claimed ownership to.

Based on what he'd been able to learn from that protocol, he thought he could see a flaw that he might be able to exploit-a flaw that any protocol evolved from that design was likely to share. And where there was a flaw, Basil was positive he could break in. If he dared.

Part of him wished that the plan was completely impossible. He did not sleep well that night.

He was bleary-eyed and depressed when Daphne knocked on the bedroom door the next morning.

"Have you watched the news?" she demanded.

"And a good morning to you, too," he said. "No, I've just woken up. What happened?"

Her cheekbones stood out on her pale face, making her look haggard. Basil wasn't sure she'd even registered his dig.

"Turkey is bringing in additional troops from the mainland, and Greece has no units close enough to match them. International analysts agree that the Turks will overrun the south within the week. If that happens, Greece will push the Button." Her eyes bore into his. "We've got to act, now."

Basil leaned back and pulled his pony tail with suddenly damp hands. His heart vibrated like a guitar string.

"Daphne, I'm just an ordinary guy," he said. "I've always had this nerdy tendency not to jump into adventures. You need a hero for this, not someone like me."

Daphne's shoulders slumped. "I know what you mean. I've always been a mousy little geek myself. But. . somebody has to do something, or we might literally face the end of the world!" The last few words came out as a squeak.

Basil stared at her. Melodramatic as that statement sounded, she was right. But he couldn't be the one to save the world. That kind of thing didn't happen to people like him.

Daphne returned his gaze imploringly, lips trembling.

Basil averted his eyes and exhaled. "Let's have some coffee, and I'll watch the news."

"You're not mousy," he added as an afterthought.

That earned him a watery smile.

Basil watched and re-watched the national and Greek news. Then he activated a translation app and tried the Turkish news, then Syria and Egypt. All the commentators agreed that things looked very grim indeed.

"So are we going to do this, or not?" Daphne asked.

Basil cleared his throat, but it stayed uncomfortably tight. "Even if everything goes perfectly, and we save the world from certain destruction, we'll still end up in prison. What you're proposing has to be against every law on privacy protection that was ever passed."

Her jaw muscles clenched and unclenched. "I know. Not to mention the fact that trapping someone in a virtual world is a morally despicable thing to do." She met and held his eyes. "I still think we should do it. We can worry about the law later, if we live long enough." Her eyes were wide, and a hint of moisture gathered in the corners.

Basil swallowed. And swallowed again. Then he forced air into his too-tight chest. "All right. Let's get to work."

"Is that a desktop computer?" Daphne exclaimed a few minutes later. "How quaint!"

In spite of himself, Basil grinned. "Yes, that's a genuine desktop computer, complete with keyboard and monitor. And, more importantly, an off-switch. Unlike the apps on your NIF, this relict can be powered down, and becomes completely untraceable as soon as it's switched off."

Daphne looked thoughtful. "Oh. That's handy, I suppose."

"So it is. Plus, this ancient machine still has a lot of outdated software that allows me to access low-level functions that have been buried under layers and layers of modern apps on a standard NIF. That gives me tools to work on a level that nobody ever bothers to check these days." He gave her a mischievous smile.

Her answering grin looked a bit lopsided, but it was the first genuine smile he had seen on her face since this whole madness started.

Heartened, he set to work. Daphne watched over his shoulder while he activated the first set of false identities and started probing a ministerial assistant's NIF security app.

Twenty hours later, he had checked out nineteen of his twenty-six Greek targets, and still had not found a single foothold from which to break into Greek security.

"Crap, another miss," he said, voice low and rough from exhaustion.

Daphne didn't look much better than he felt. "You almost triggered an alarm there on that last attempt," she said. "Go get some sleep. Is there something I can do while you rest?"

Basil shook his head, as much to clear it as to answer her question. "No, after that close call it's better to switch off the computer and disappear from the cloud for a while. You might as well get some sleep, too, and we'll start over with a new set of identities when we're both rested."

Since the sofa was laden down with dated computer manuals, discarded fast-food containers and half-eaten cookies, Basil made Daphne share his wide bed.

"I promise I'll be good," he said, and her lips twitched.

They fell into bed side by side and were almost instantly asleep.

****

Basil woke shivering from a confused dream-a nightmare of trapping someone in an endless war game. Or had he been trapped himself? His heart still raced, but the memory of the dream was already fading. He opened his eyes and met Daphne's wide-eyed gaze. She, too, was shivering.

"Nightmares?" he whispered.

She nodded.

He gave her shoulder a tentative caress. When she didn't object, he took her in his arms. They fell asleep clinging to each other like a pair of frightened children. It helped-there were no more dreams that night.

"You know," Basil said, "even if we managed to pull this off without a hitch, how do you think the rest of the world will react?" Why hadn't he thought of this earlier? "We can't have three whole governments drop off the face of the earth with no-one noticing."

Daphne nodded. She obviously had considered the question, and come up with an answer. "We'll need to broadcast what we're doing just as soon as we've trapped all the major players into the war game. Then the rest of the world can watch them screw up. Maybe someone, somewhere, will actually learn something from this mess."

Basil's stomach cramped. If they publicly confessed what they'd done, how could they keep their identities secret and escape unscathed? He wanted desperately to shake his head, jump up and scream his denial at Daphne.

Instead he stared down at his hands and nodded.

The days passed in a flurry. One by one, Basil fingered all of their Greek targets' security apps. None of the Greeks had left their NIF access conveniently open, and neither had any of the Turkish government officials. Basil started in on the Cypriots while Daphne worked on removing the emergency off-switch from her nuclear war game.

They worked themselves into exhaustion, slept for a few hours, started over. And again.

And then the breakthrough came.

Alexis Tsirgiotis, undersecretary to the Cyprus Minister of Finance, had neglected to change the password for the admin access to his NIF security app. It still was the old generated code that the app had been delivered with. Finally, Basil had an entrance.

Sleep ceased to be an option. Daphne kept him in coffee and pizza while he used Mr. Tsirgiotis' NIF to launch a virus that would attack the NIFs of every other Cyprus government official. That done, he decoded and searched every file on every Cyprus NIF he could lay his hands on-and struck pay dirt again. The Cyprus Foreign Minister had ignored every rule of NIF security and had stored his access codes to the Greek security network in an inadequately encrypted file on his NIF.

Thirty hours later, Basil was a barely conscious wreck-but he had an access to all the Greek and Cyprus NIFs in question. He fell into bed but was too exhausted to sleep. He tossed and turned, trying to think of a way to break into Turkish security.

Only when Daphne climbed into bed with him and held him tight did he sink into a dreamless slumber.

"After the last days of valiant efforts on our brave defenders' part, our troops have been forced to give ground, and the Turkish aggressors have advanced past the former UN buffer zone," the news speaker said. "The Cypriot and Greek forces were able to fight the enemy to a standstill along Grivas Dhigenis Avenue, but nonetheless, the general population is strongly encouraged to leave Nicosia.

"The international airport in Larnaka has been locked down. ."

Basil shut down the newscast on his NIF. Daphne had stopped watching some time ago and sat staring straight ahead, hugging herself. Basil laid a tentative arm across her shoulders, and she sagged against his side, holding on to his other hand.

"We need to leave. Where can we go? You don't have a car, do you?" The hand gripping his was clammy.

"I have my motorbike. We could leave on that, but there's no way we could take my computer." The computer itself wasn't large, but old as it was it used a huge amount of energy, and it required a bulky set of solar collectors to keep it running.

"We cannot leave the computer," he continued. "I don't think I can manage to break into the Turkish security apps without the software I have on there."

He was astounded how calm he felt. He should be quivering with fright, but all he could manage was a kind of weary resignation.

Daphne shivered, and he pulled her closer. "So we need to stay." Her voice wavered, then firmed. "So be it. We have to see this through, no matter what."

She turned her head and kissed him. It took him a moment to react, but then he responded with an enthusiasm not entirely born of desperation. For the next hour neither of them thought about the war.

"The war game is as good as it's going to get," Daphne said, "And I've removed access to the game menu, as well as the emergency interrupt."

"That was quick." Basil was impressed. "So now there's no possibility of someone stumbling across the exit function and leaving the game before we're ready?"

"Not anymore, no. I'm free to work on something else. What can I do to help you with your work?"

"You could search the cloud for personal information on our Turkish targets." He smiled at her raised eyebrows. "I haven't found an unsecured access on any of their NIFs, so it's down to guessing at their security passwords."

The brows stayed up, but all she said was, "So what sort of personal information do you need?"

"Everything from their children's birthdays to the name of their favorite cat. Vids they watched recently, actors they admire, that kind of thing."

"So you'll just try one password after the other?" She frowned. "Won't the security apps lock themselves down if you do that?"

"They would, if I used the normal user interface for my attempts." He pointed his chin towards his computer screen. "That's what the apps on this ancient darling are for. One of the things I've found when I searched the cloud last week was the encryption key the Turkish security apps use to store passwords. My programs encrypt the passwords I want to try, using that key, and compare the result directly with the password file the security app has stored in the cloud."

"It's as easy as that? Why doesn't everybody break into other people's NIFs all the time, then?"

"Because the software to access data at the file level is buried so deeply in the cloud that almost nobody can access them anymore." He couldn't quite suppress his smug grin. "That's why I'm one of only three or four people in the world who can break into a NIF. I've spent the last ten years writing apps which access the software that can identify and read individual files in the cloud."

She studied him for a moment. Then she nodded and without another word leaned back and closed her eyes. The movement of her eyeballs behind closed lids showed her already hard at work.

Basil watched her for a moment, feeling his heart lift despite himself. She was so lost in concentration, she didn't notice his intense stare. She was beautiful, intent on her task as she was. She had the same capacity of losing herself in her work that he had. She laughed at the nerdy jokes he loved. She was warm-hearted and caring. And for some unfathomable reason she seemed to like him.

If only they had a future together, if only they weren't throwing away their freedom, maybe their lives, on this quest of hers. But that, too, was part of the attraction. She had a strong sense of responsibility, and she acted on it. A very unusual person, his Daphne.

He smiled to himself and turned back to his own work.

Finally, all those hours they'd spent researching their Turkish targets bore fruit. Second Secretary of Internal Affairs Mehmed Ozcan had a ten-year-old daughter called Meltem. And, in violation of every security standard ever written, his password was Meltem10.

Basil launched his virus, shut off his computer and indulged in a full night of uninterrupted sleep. Then he got back to work, analyzing the data his virus sent him, and trying to worm his way into the other Turkish NIFs.

". . and so, the Turkish aggressors leave the nations of Greece and Cyprus no choice but to defend ourselves. My heart bleeds at having to do this, but for the good of our Motherland, I must." Prime Minister Anastassopoulos' right hand found the red button-and pressed down. External cameras showed hundreds of mid-range missiles taking off, each one carrying a nuclear warhead. In nine and a half minutes, they would reach their targets in Turkey, killing millions of people.

Turkish satellites reported the launch, and a hurried conference was held. It took four minutes for the Turkish government to reach a consensus. Another red button was pressed, and several hundred nuclear missiles sped off towards Greece. Maybe by accident, maybe by design, the missiles aimed for Kurdistan and Russia were also launched.

Panicked conferences ensued all over the world. More bombs were launched, each country hoping to destroy their enemies before they in turn could attack. It took less than a day for every major city around the world to be destroyed.

"No. No! I don't believe this. Things wouldn't really have turned out this way, would they?"

Basil's stomach churned as he watched the recording Daphne had made of the war game. They had activated the game just in time to save the world from total destruction, it seemed.

"How the rest of the world would have reacted is anyone's guess," Daphne said. "The app only simulated the most likely response, based on the psychological profiles we have on the world's leading government officials. But the Greek and Turkish reactions were genuine, including the launches on Kurdistan and Russia." She looked just as sick as he felt. "So yes, I think this is exactly how things would have turned out."

They stared at each other, unable to do anything but sit and control the gorge that was trying to rise. Then they both swallowed convulsively, and set to recording their broadcast. Not that they needed to do more than tell the world what they had done. The game recordings said everything that needed to be said-and then some.

The soldiers were coming for them.

After their broadcast it had only been a matter of time before they were caught, so Daphne and Basil were ready. Daphne activated the hidden interrupt switch in the game and freed their victims on both sides. Now the matter lay in the hands of the UN officials who had been sent to Greece and Turkey. Basil prayed that they would be able to keep the opponents from starting the war all over again-for real this time.

Two military trucks came to a stop in front of the house, disgorging soldiers. A few more seconds, and they'd come storming through the door, which Daphne had opened so the soldiers wouldn't have an excuse to come in shooting. Basil stared through the door and reached blindly for Daphne's hand. She grabbed it with crushing force.

"Did we do the right thing?"

He turned his head, met her eyes. Eyes full of all the insecurity and doubts she had so bravely hidden over the last week.

"Yes, love," he said. "We did the right thing. I'm sure of it."

An army officer walked in through the open door. Four armed soldiers followed him in and took position flanking him, two on each side. Many more soldiers stood in the hallway, just outside the door.

The officer had a scowl on his face."Are you Basil Papadakis and Daphne Nikopolidou?"

"Yes," Daphne said.

Basil nodded, not trusting his voice.

The officer smiled.

In unison, the officer and his squad saluted.

Content

Paula Goodlett, Meriah L. Crawford, Robert E. Waters, Timothy Roesch, Sam Hidaka Hunter, Griffin Barber, Kerryn Offord,Gorg Huff, Rainer Prem, Enrico Toro,David Carrico, David Carrico
Grantville Gazette 46

The Persistence of Dreams

The Things We Do for Love

Hunter, My Huntress

A Star is Born

Bartley's Man, Episode One

Ein Feste Burg, Episode 7

The Duelist, A Continuation of the Euterpe Stories

After the Ring: A Musical Perspective

Naval Armament and Armor, Part Two: Ready, Aim, Fire

Long Ago and Far Away

Online War