Homes for the Holidays by Heather Shaw & Tim Pratt   I stood on the slumlord’s doorstep and took a deep breath — one of the last I would take in this body, which had served me well despite being treated badly. It’s not the body I was born with — I don’t think I […]

Her family brings their best to the table and talk unreservedly in their first language. Rviv cannot keep up with the conversation. She understands the words, the phrases, but not why they make her parents laugh or grimace. They reference a place Rviv has never seen and a history she has not lived. The stranger and her parents commiserate about living in such a strange country. Together they laugh at the way the Cuialo smile with their teeth and eat meat with their hands. Her parents wait with excruciating patience to ask what news of home.

The Poet Laureate was fetched from his retirement in a lighthouse on the far shore of the Founder Mer to compose a song of eighty-six interlocked stanzas like steps on a stairway spiraling down into a cool dim quiet. But on the forty-seventh stanza of its recitation, the Governor squinted into the space over the Poet's shoulder and said, "listen, any deeper and we shall hear the words those beasts sing as they pass" and demanded that the previous stanzas be read in reverse; "back to the surface," he said.

On the island of Manhattan, there’s a building out of time. I can’t tell you where it is, exactly. It has an address, of course, as all buildings do, but that wouldn’t mean anything to you. What I can tell you is that the building is called The Oakmont.

Rugg was ready to turn back and try to make Ganvill when a bright dot of light appeared through the churning murk of the storm: a campfire. Never trust a light too bright in a dark hole, the speaking goes, but then he smelled roasting meat. And then he heard the flute. A sweet, sad little song, a flutter of music. Bone flutes had a tone distinct from those carved of wood or reed; lonelier, somehow. A sweet breath of music sighing out to the wild.