The creatures have no particular fear of elves, but nor do they seek them, and none of her party have been attacked; she feels safe enough traveling through the forest on her own, stepping lightly, looking for the sweep of the treeline and any springs that might be useful for settlers if elves settle here. Besides, she is a student of the small magics, some of which may be cast quite rapidly if there is need; she could frighten away an animal that took too much interest in her. The ribbons tied around each of her knees and ankles (blending seamlessly with the rest of her travel outfit) are some of her finest small magic, guiding her steps so that she may place her feet as elves ought to be able to and bring no embarrassment to her House. They don't make her truly graceful, but she can walk, and care will do the rest.
She's deep into the forested part of the Unknown Island when she starts finding statues. Old statues. The trees have grown up around them, it looks like, they've been here that long; they're worn and weathered and have lichen growing on them.
And they're all of unicorns.
The oldest sculptures are none too skillful, but as she proceeds inward towards the center of the island, they become newer and better and it's plain to see that they're not of unicorns, but a unicorn. A unicorn with a broken horn; this is not, it soon becomes apparent, random damage to early statues. Someone has carved a specific unicorn, dozens - hundreds? thousands? - of times. And the art has been made with such intense love, and the newest of the statues are so delicately done that they look almost like real unicorns, with all the magic that implies, though they hold still and are on closer inspection all still carved from stone.
Someone loved this unicorn, and lived on this island, and made a thousand statues of her, and now the place is inhabited only by giant animals that certainly could have done no such thing. Isibel wonders what happened to the sculptor. To the unicorn, too.
On she walks.
And floating on his back in the middle of the pond, a naked man with skin as red as apples balances a basket on his stomach with one hand while his other hand dips into the basket to retrieve a berry. His hair is dark and curly, his eyes are closed against the glare of the sun, and he has a pair of enormous scarlet wings that fan lazily in the water to keep him afloat.
She holds very still.
Endarkened.
But - there have been no Endarkened in the world for two thousand years.
How?
(They were truly immortal, though, weren't they, if one chose not to fight but instead hid -
- but the unicorn -
- but Taint, Darkness -
- but he looks so peaceful -
- but they are masters of deceit -
- but if one wanted to deceive her would he not hide the wings, the horns, the color? -
- but there he is. He doesn't even seem to have heard her approach -
- didn't the Legendary Vestakia look Endarkened herself? Was she not the spirit-child of her human mother? -
- but the Legendary Vestakia was not immortal, and there have been no Endarkened to father any more like her for two thousand years.
Isibel simply has no idea.)
She stands still.
She watches and she waits, for him to do something, for - clues. Perhaps she should turn, run, fetch the rest of the exploratory party and summon them all here, perhaps she should try to think of a way to kill him herself.
But he looks so peaceful, and this is not a disguise he is wearing -
And the unicorn.
He eats another berry. (His fingernails, and toenails too for that matter, are sharp pointed talons.)
Slowly, peacefully, he opens his eyes.
When he catches sight of Isibel, he yelps and flails, scattering his basket of berries into the water. It is apparently difficult for him to drag those wings above the surface in a hurry, because in the process of trying he manages to sink completely for a few seconds; he comes up coughing and spluttering amid the floating wreckage of his basket, his scarlet skin streaked with purple-black juice from the explosion of berries.
She shakes her head slowly. "I don't know that language," she says carefully. Enunciating.
His mouth quirks into a wry half-smile.
He speaks again, glancing to the side, as though addressing himself more than her. Some of the words sound almost like the old elven language, the one from which elven names are still regularly drawn but which retains no other common use.
She steps out from behind the tree. He hasn't tried to convince her to give over the world to stop some horrific deed, or attempted to eat her skin, or infected her with Taint. As far as she knows, anyway.
She points at herself. "Isibel," she says.
She puts her hands by her sides. "I remain unable to understand you," she points out. (She doesn't try pointing at him. That would be rather like a question. If he doesn't want to share his name, he needn't; it's not even particularly relevant to the question of whether he needs to be killed or not.)
The probably-a-demon hauls himself ungracefully back onto land, shakes out his hair and his wings (spraying droplets of water in every direction), and starts picking bits of ex-basket from where the water has stuck them to his skin. He speaks again, in amicable tones, while he does this. His tail flicks back and forth like a contented cat's.
Oh yes. Yes she does.
She knows how to say Unicorn Knight and she knows which part of that phrase means "knight" and which part does not.
"I saw the - unicorn -" she says, gesturing back the way she came. Normally she'd go on - and I had cause to speculate about the carver - but she doesn't have any old language to compose such suggestive unquestions out of.
But he seems to find talking productive, maybe he'll pick up on some of her language if she goes on talking. "I speculated about the carver of the statues of Tialle the unicorn. The sculptures were clearly made with love."
Since he is making no particular effort to hide any part of his body, his numerous scars are fully visible as he walks. The membrane between the ribs of his wings is the most spectacular example; if those shiny wandering streaks represent old damage, it must have been shredded almost completely at some point in the past, and regrown since.
Not like Vestakia, then.
She takes a step back.
"I don't understand," she murmurs.
(Her mother considers it a rude borderline-questioning habit on her part to say I don't understand when she wants more explanation than she's freely given, but Isibel is young yet, and it was not so long ago that she was a child, free of all such constraints. Perhaps she'll learn to more cordially weigh curiosity against manners later in her life. In this case it hardly matters. He cannot understand her.)
Then he starts telling a story.
He speaks the whole time, but with the language barrier, the only words that come through are an occasional 'Tialle' or 'unicorn', neither of which is present in the introduction; he seems to understand as much, and supplements the largely incomprehensible narrative with extensive gesturing.
First he points off into the distance and makes a repeated throwing-like gesture: far, far away. Then he sketches the shape of a mountain range in the air, and spreads his hands slowly under it, then brings them fluttering back together. Far, far away in a lot of caves under some mountains.
He points at himself, touches his horns, his wings, brings his tail curling forward around his legs, then makes gestures to indicate a repeated series of similar things. His expressive hands then tuck the series-of-similar-things into the space under the previously established mountains, of which he reminds her with another quick trace of their skyline. Many demons living in a lot of caves under some mountains.
Here he pauses and looks at her, as though to gauge her comprehension, or maybe her willingness to listen.
A pushing-apart gesture, one hand pressing in toward his chest and the other sweeping outward through the airspace nominally occupied by the caverns, indicates a separation between him and the others. He pauses again, considering, and then shrugs and shakes his head; perhaps the details of this separation are not something he feels he can get across in mime.
Its results, however, are.
He traces a circle around his neck, two more around each wrist, draws lines through the air from each of these: chains. In a few quick gestures he bundles up the imaginary chains and shoves them into the depths of the imaginary mountain, drawing a long twisting pathway in the air-representing-stone to indicate the remoteness of the place where he was kept. His hands clap together firmly around his prison and squeeze, sealing his imaginary self inside.
Then he takes a half-step back and opens his hands. This chapter of the story is over.
He folds his wings tightly, tucks his tail against one leg, scrubs his hands through his hair until it hides the short arcs of his horns: he is playing the part of someone without any of these things. Someone shorter, too, or perhaps the way he hunches is meant to denote furtive concealment. His hands sketch a coil of rope in the air, knot it into a noose, and then fling it over the statue's neck and pull it tight. Another bundling-up gesture, and Tialle is tucked into the depths of the mountain.
So: himself and Tialle, imprisoned together, her horn being broken either before she got there or just as she arrived. At first he cowers away from her, and (he indicates with more mime around the statue) she from him. Then they come closer together. Closer.
He lays his hand slowly, deliberately, against her horn. A hiss and an artful shudder remind Isibel that this would have hurt quite a lot.
Moving quickly, he breaks the imaginary chains around each of their necks, then the ones around his wrists. Creative mime, with some limping and fluttering, indicates that he was too weak or injured to stand; he crawled to the door of their prison and broke it open with only a little more difficulty than he had with the chains.
And then, apparently, Tialle stood still with some reluctance while he hauled himself onto her back, and he guided the pair of them all the way through the tunnels and up to the surface, and they proceeded in this way across a considerable distance before they finally parted ways. (A hand clawing illustratively down the scarred membrane of his wing indicates why he did not just fly away at that point.)
The pencil seems to puzzle him.
He peers at it, rubs his thumb over the point, sniffs it, and only then deigns to make marks on a page.
An extremely crude map of a continent she should be familiar with. The shape is vague and partly wrong, but he gets most of the mountains right, and he draws Shadow Mountain up in the far north where it should be. From there, the point of the pencil wanders down over the continent in a meandering pathway. He mimes people, then himself hiding from them. This, apparently, was his primary method of navigation: flee from anyone who walks upright.
After some time spent doing this, he ended up deep in a forest (indicated by gesturing around them and patting a tree, then pointing at the map).
He turns the page.
He draws a dragon, crude but unmistakable.
He touches his face, the pad of his thumb just under one eye and his first two fingers just under the other; he brings that hand down to touch the dragon; he makes a circling gesture, then brings it back up to touch under his eyes again.
Then he stretches his wings, and draws the dragon in flight with a winged bipedal figure beside it, and turns back to the map and drags the pencil right off the edge of the continent and over the ocean and around the edge of the page to pass under the flying figures and end in a small blob shaped more or less like this island.
(Isibel thought long, long and hard before deciding not to present herself to any of the young unbonded dragons, or any of the old dragons with old bondmates. The trouble is - whatever power they offer, however much she'd like to wield it - the dragons read their bondmates' minds. She has met dragons, but only dragons who are not due for a handoff anytime in the near future, and keeps her distance from the others.)
But apparently there is another. And if the dragon is not Bonded, of course he's immortal -
No. That's not the only way.
If the dragon is bonded to something immortal -
Her eyes fly open as she realizes that this dragon may not just be this Endarkened's friend, but his bondmate. Could that be what he meant? It's never happened before that she knows - there have been dragons fighting on the side of demons, but only at the command of Tainted bondmates -
If this Endarkened is actually bonded to his dragon then he's some kind of mage, and he's got an unlimited wellspring of power.
And he's chosen to live on an island with his dragon completely alone fondly sculpting Tialle for at least the last two thousand years.
Isibel does not understand.
She taps the paper with her pencil, thinking; this demon is not the Legendary Vestakia, but there is some precedent for red-skinned demonic-looking entities living peacefully among elves.
Isibel nods. There aren't any live unicorns around anyway. She draws a mini family tree for Vestakia: demon doodle plus human doodle equals Vestakia with Shalkan's head in her lap. She draws circles around the demon father's horns and the human mother's heart. Then she draws this demon under all that, and an arrow from him to the family tree, and crosses it out firmly, and throws up her hands again, he's not Vestakia, he can't prove himself like Vestakia could, she doesn't know what to do.
Eventually, they come upon a cave.
He ducks inside.
When he emerges a few moments later, he is followed by a smallish dragon with indigo scales and bright green eyes.
He is very, very beautiful. Well, most dragons are.
The demon hugs the base of the dragon's neck and murmurs something to him affectionately, and the dragon lets out a snort that stirs the grass all the way to Isibel's feet.
Isibel stops.
She checks herself: quick assessment of what was going through her head a moment ago and how she is feeling now.
She backs a step away, then another step, then she turns tail and runs back the way they came until she can't see the dragon anymore if she turns her head over her shoulder.
She comes to a stop and touches a tree and leans, breathing hard.
She goes back to where she drew a generic bonded elf, and draws a line between him and his dragon, and another line to a human with - she supposes the easiest symbol to draw is three books, with the sun, moon, and star symbols on their covers, dancing illustratively around their Wildmage. This is a thing that happens, now.
Isibel shrinks into herself. She doesn't want to Bond. She doesn't want unfathomable power housed in a mind too terrified and trapped in unrelenting scrutiny to use it. Others handle it. She couldn't. She'd wind up disintegrating, if not physically then as a person, driving her dragon mad with unremitting mental screams. She firmly crosses out the line between doodle-her and the demon's Bondmate.
Then he speaks, abruptly and sharply, like someone cursing, and he holds up a hand—pay attention—and stoops to pick a berry from a nearby bush, the same kind he was eating earlier.
Holds it up, holds it out to her - snatches it back and crushes it and shakes his head emphatically.
She draws a box around the blank space under the berry drawing in case he wants to show her more poisonous-to-elves plants.
Then he takes a few steps away and snatches up a small brown mouselike creature from the forest floor. It squeaks in alarm and wriggles frantically, but he holds it gently and pets it until it stops struggling. He looks at Isibel to see if she is paying attention.
He holds the tiny rodent close to his chest, closes his eyes, and tilts his head as though listening to it. For a few seconds, he stands very still, just like that. Then he opens his eyes, and touches a berry on the bush, and touches the mousealike (with the pads of his fingers, not with his claws), and shakes his head. Touches his forehead, touches the mouse, touches the berry: this is knowledge he has, that the berry is not edible to the mouse. Touches the mouse, touches his forehead, does the closed-eyes-listening-pose: this is how he acquired that knowledge.
Then he takes her hand in both of his. His skin is very warm. He closes his eyes and... does whatever it is he does; whatever he's getting out of it, it does not produce corresponding sensations in Isibel.
The enormous brightly coloured lizards are apparently venomous (he draws a person being bitten by one and dying gruesomely), but good to eat as long as you avoid the venom glands. The large beavers and turtles likewise check out; in fact, later sketches seem to indicate that any animal larger than she is will make a good meal.
Most berries are in the poisonous category, but there are a few he declares safe. Most kinds of large fruit are safe, but two are poisonous. He identifies several kinds of nuts as safe.
All frogs, apparently, are poisonous. So are a lot of small snakes and lizards. The mousealikes are safe, though.
He hums and talks to himself while he draws.
She reads through it, nodding her comprehension, and then looks back the way she came, frowning. She mimes showing the notebook to an imaginary elf and then splutters (may as well talk aloud, for effect) - "No, I only have a feeling about these things, no, I didn't find a Wildmage on the island, please just don't eat the berries." She throws up her hands again and sighs.
Then she mimes showing the whole notebook to an imaginary other elf. Start to finish. And she then tucks the notebook under her arm to clasp her hands in a pleading motion, also directed at the imaginary elf.
She's not sure if they'd believe her, but she thinks they'd probably at least ask a Wildmage to check her for Taint before killing her, and it might work.
She thinks of something herself. She draws the island, and a vague sketch of half her path to the camp on the beach (not that they'd be hard to find, but she doesn't want or need to direct him right to them) and then a path back. Then she looks at him. Where will he be if they come looking? (So she can direct, or misdirect.)
Isibel sits and accepts tea. "Thank you. I went into the forest along the south side of the island, exploring, and I found a great many lovingly-carved statues of a unicorn, and when I went further in, I found their carver. We shared no language, but communicated through mime and pictures, and he was able to tell me which things that grow here will be edible to elves." And Magania's certainly not going to ask her what the sculptor was if not an elf. She can come at this information as slowly as she likes. "He has been living here for many centuries, and did not volunteer his name."
"It is," agrees Isibel. She turns to the relevant portions of her book and tears out the color-touched index of potential food and potential deadliness. "He first showed me by gestures the berry that appears in my own lines, and then drew the remainder himself; without a language in common to describe the items beyond their shapes, he changed the color of the paper instead."
"Thank you." Isibel looks down at the rest of the notebook, still in her hands. "He - fears for his safety if others find him. He has been alone save for his Bondmate for what I believe to have been thousands of years, fleeing those who wished him harm - the unicorn he sculpted, called Tialle, aided his escape." There, more tidbits to postpone telling her about the demon part; maybe the unicorn's name is known or the existence of a previously unknown dragon will be distracting or Magania will rashly issue a guarantee of his safety.
"If he fears for his safety," she says, "then surely it would be a kindness to leave him alone until we have had time to fully consider his advice. You have told me many surprising things this afternoon. I am always pleased to hear the counsel of the young, and I thank Leaf and Star that I am not yet too old for surprises."
She sips her tea. "A life without surprises would be a dull one," she agrees lightly.
It is time for after-dinner tea when someone mentions to Isibel that if it happened to be convenient for her, she'd be welcome to take tea with Magania and then perhaps go for a walk.
Of course this will be convenient for Isibel.
Tea is had. Small talk is had.
"I am not surprised," she says. "During my time with the Unicorn Knights, I had many fascinating conversations with my partner about history and genealogy among unicorns and elves; he was a student of both, but preferred the former. Through him, I heard numerous stories of unicorns in ages past whose lives and deeds are preserved in the memories of their descendants."
She is not still seven years old. (If she were, she wouldn't be here; the elves on this expedition are many of them young but none of them children.)
"I believe he and the sculptor may be one and the same."
"I believe this also," says Magania. "And I believe that everyone's interests would be best served did we remain the only people on this island who knew as much. You mentioned a Bondmate. From what little I know of Their magic, with that kind of power at his command Tialle's friend could at need cause the seas to rise and swallow this island whole. I would rather he did not perceive such a need, at least not while we are all still on it."
"He asked me who I am, and why I speak his language but you do not, and then he wished to be reassured that I do not plan to have him killed," she murmurs back. "I told him that I know Tialle's story, and he asked me what more I might tell of her, and I told him that she remembered him fondly all her life and spoke well of him to her children."
"I do not know how our expedition could be turned aside without explaining to any of our companions why," Isibel says. "Nor do I know a place that would readily welcome him, perhaps not even with our vouchers for his - his character and the history leading us to believe in it. I do not know where he and his Bondmate might go or how the island might be left to them."
"Tialle's friend has no house," she says, "but he considers this island his home. He says we may let this be known, without including any... troublesome details, if it will keep curious people from entering his forest and discovering him for a time."
Isibel nods. "This will prevent any of our expedition from crossing the border into his forest. But if we settle on the unforested parts of the island, then others may come and go, and some of these include those who are not elves. One day there may be children on the island, too, who are not so careful about protocols of privacy."
Isibel finds a good place to sit and opens up her notebook and debates whether to begin with the alphabet - so that she can bring along a book on her next visit and have that as source material - or with drawings and vocabulary words - so that they can have rudimentary conversations quicker. Eventually she decides on the second option. She flips to the early pages of the notebook and starts teaching him the modern words for "unicorn", "elf", and "demon", assuming he's attentive to this exercise.
She peers at the wing when it encroaches into her personal space, but as long as it doesn't settle onto her familiarly she'll leave it be. With the obvious nouns established she moves on to other things (the word for "wing"; how to pluralize; creatures with wings "fly" and creatures without wings "walk" and fish "swim"; she's getting noticeably better at doodling with so much practice.)
He picks things up very quickly, although he often makes small errors in pronunciation and sometimes mixes up two words.
Isibel corrects him patiently as she goes, and because he is not an elf and will not be - apparently - mortified by working above his current skill level, she carries on adding new material instead of insisting on repeating what they've already covered. "Sun", "moon", "star", "leaf", "day", "night", "island", "ocean". The sun "rises" and "sets", the moon "grows" and "shrinks" (she's not getting into advanced vocabulary like "wax" and "wane" yet), stars "travel" (and so do boatsful of elves in search of islands. "Boat".)
Isibel has never taught a language before, so she's making this up, but she adopts a general strategy of talking to him idly, as though he's a toddler who may understand simple utterances but nothing conceptually difficult, using mostly words she has taught him and - after uttering a sentence with new words - finding ways to go back and teach him those, then repeating her sentence and carrying on. She doesn't ask him questions - of course - but there are gaps when she's making new, increasingly busy little doodles during which he could interject if he so chose.
With an arsenal of nouns and some verbs, Isibel moves to prepositions (tree on island, elf in boat, that one poisonous tuber under earth, stars above everything, Bonded pairs with each other, and so on). She's really not sure how to get from here to anything conceptual. Perhaps it will involve theatrical facial expressions or help from Magania.
"Magaria knows both languages," Isisbel says. "I know only one language." Oh dear, has she neglected numbers? She draws dots, teaches him to count to twenty. "Magaria knows -" Well, Magaria could easily know more than two languages, but for simplicity - "two languages. I know one language."
"I am talking one language. I don't know your language," Isibel replies. "You will know my language and then you will know two languages. Then we can talk more easily." She's not sure how to illustrate easy; eventually she decides on "If twenty elves are on a dragon, it is hard for the dragon to fly. If one elf is on a dragon it is easy for the dragon to fly. It is easy for you to talk your language. It is hard for you to talk my language, but later, it will be easy."
She waves. At some point today she's going to ask him if he wants some clothes. She'll introduce the relevant vocabulary. But not first. "When the sun was down, at night, I slept," she says, miming sleep. "Now I am awake again." She opens her eyes. "And I am here to talk to you and teach you my language." It feels inane, but how else is he going to pick up conversational fluency?
He kneels at the water's edge and presses his hands to a bare patch of rock, then raises them. The rock follows. It forms a curved stone bench, half of a good height for Isibel and half a little higher, with a smooth transition between; when the shape of the bench is settled, he encourages a thick moss to grow all over it and provide a padded covering. Then he sits.
No, he's certainly demonstrated enough ability to pick up on subtext that he'd have volunteered the information if he wanted her to have it, wouldn't he? But he does know the word for "dragon". It wouldn't just mean "my dragon".
She repeats the unfamiliar word, slowly, not quite questioningly.
(She's heard the things dragons and Bondmates sometimes wind up calling each other, and beloved may be the least sickly-sweet; she's not going to pick up this non-name appellation for her own use.)
She thinks she's exhausted that topic and looks around for more things to name while she waits for inspiration on conceptual or verb vocabulary. Oh, right, she was going to do clothes. She names her various garments, from her smallmagicked ribbons to her boots and her travel robes, in the simplest applicable words. (She doesn't even know the technical vocabulary around clothes. She's the Silverbranch clothier's favorite person, never second-guessing her expertise; she walks into the workshop and mentions a need and takes whatever the seamstress chooses to give her.)
She names the entire collective clothes. Then she thinks of another verb. "I brought this book here with me when I came here," she says, indicating the notebook she brought. "I can bring clothes here, later, tomorrow, for you." They don't have a vast array of spares, but she can collect at least one serviceable outfit.
"I can eat this, because elves can eat this and I am an elf. I cannot eat this. If I did, I would be sick."
She goes next through some adjectives and some sensing verbs (when you talk, I hear with my ears; when the sun is up it is easy to see because the sun gives off much light and when the sun is down it is hard to see because the moon and stars give off little light; with no light I could not see; we use our eyes to see; etc.)
All right then, she's stuck with whatever curriculum she can devise. Let's see. What would she need to tell him the story of her life? Well, "life", for one thing. She thinks, then goes back to the poisons. "If I eat a berry I cannot eat anyway, I will get sick. If I get sicker, I might die. If I don't eat anything, I will die. If I eat things I can eat I will live. I am alive right now. You are also alive."
She laughs. "To be alive I need to eat food that is food elves can eat, and I need to drink water -" She mimes, both drinking from a cup and then from cupped hands in case he is not familiar with dishes - "and I need to sleep, and not fall, and I need other things not to eat me."
She nods. "The other demons died." She sketches a square of dots, ten to a side, one hundred in total. "Ten times ten is one hundred. Four hundred sunrises is one year. One hundred times one hundred is ten thousand. Magania said you have been on this island for ten thousand years. Two thousand years ago, the other demons died."
Isibel moves on. Wood floats. Rocks sink. She can demonstrate by tossing examples of each into the pond. All this doodling she's doing is drawing; if she writes instead that's writing, and when she looks at the letters again later that's reading. "I could teach you to write," she says.
Well, time to draw little elf doodles in crowns and explain kings and queens and princesses and princes.
She grins and turns the page and now she's drawing weather. Clouds, rain, snow - she's not sure if it snows this far south, but it may, and he may have seen it, and in ten thousand years the weather patterns could have changed. Wind. Wind is made of air. Winged creatures fly in the air.
Isibel decides she has the vocabulary for a history lesson and starts telling the story of Idalia Wildmage and Kellen Knightmage and Jermayan Dragonrider and their war, and the next war with Tiercel Highmage and Harrier Wildmage, and Ancaladar who switched from Jermayan to Tiercel to Tiercel and Harrier both to, on Tiercel's death, an elfmage -
Isibel blinks. "No. Jermayan died, but Ancaladar Bonded to Tiercel, and then to Harrier, and then Tiercel died but Harrier and Ancaladar lived, and Ancaladar bonded to Peraviel, who is alive." She smiles slightly. "I met Ancaladar once. He thinks I would have liked Harrier." She swallows. "I - I won't, I can't, I'd - but maybe someone else could Bond to your dragon instead - and then even if you die, your dragon could live."
And then she draws the entire known dragon family tree.
It is small. She has it memorized.
Eventually they reach the extent of her history knowledge and she teaches him some more numbers - there's a pretty consistent system from twenty up through ninety-nine - and tries to think of what's next. She knows perfectly well he's not conversationally fluent, however fast he learns, but she's not sure what to cover; she wishes she had a textbook, or even a dictionary to allow to fall open.
She tilts her head. "Maybe when I've taught you more you'll know how to say what you want to know," she shrugs. And then she teaches him systems of measurements, and "heavier" and "lighter" and "farther" and "nearer", and when that's exhausted she draws and names houses, temples, chairs, tables, and the things that may be done with these and other objects. And then she thinks of a historical event she forgot, and goes back and covers that.
"I was born in Silverbranch, and my mother teaches little elves - she travels, when there are small elves five or six years old in other cities, and she teaches them there, and then she comes home to Silverbranch, and the rest of the time she makes shoes," says Isibel. "My father is a knight, but there have been no wars in our time, and so sometimes he catches fish for the elves in Silverbranch to eat. And I am the youngest person in Silverbranch - everyone else there has lived for more years than me; they are older than I am - and I read books, and I write about my thoughts, and I study the small magic, and I am also the person who talks to people who come to Silverbranch and are not elves - visitors, usually humans, sometimes centaurs or other people. And three moonturns ago there was a letter-rider - letters are written by one person, then brought to another town for someone there to read, and letter-riders are the ones who bring them where they need to go - who brought a letter to the elves of Silverbranch that said there was going to be an expedition - a traveling of many elves - to this island, to see if it would be a good island for elves to live on. And they wanted young elves, who might move away from their homes, and they wanted someone who knew the small magic well, and so I went along, and then I came here, and then I found you." She spreads her hands. "That's my life."
She brings the blue fruit with her, and everyone likes it.
Isibel continues to visit the demon for most of each day until the expedition's time is up after three weeks. They are all to get on a boat and go home at first light the next morning.
"We're leaving tomorrow," Isibel tells the demon when she goes in to see him.
And then he scoops her up and holds her gently but securely in his arms, and wraps magic around them both that makes them seem as insubstantial as wisps of smoke to the eye, and he flies.