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a contracted serving-man, they became friends.

Together they poured hot wax on the stairway, which nearly killed Bergen's sister when she slipped on it-- and Bergen stoically took the full blame, since he would be confined to his room and Dal, if caught, would be beaten and dismissed. Together they hid in the bushes and watched as a couple who had ridden nude on horseback copulated in the gravel on the edge of a cliff-- they marveled for days at the thought that this was what Bergen's parents did behind closed doors. Together they swam in every untrustworthy waterhole on the estate and started fires in every likely corner, saving each other's lives so often they lost track of who was ahead.

And then, when Bergen was fourteen, he remembered that he had painted as a boy. An uncle visited and said, "And this is Bergen, the boy who paints."

"His painting was just a childish whim," Bergen's mother said. "He outgrew it."

Bergen was not accustomed to getting angry with his mother. But at fourteen, few boys are able to accept the word childish without wrath. Bergen immediately said, "Did I, Mother? Then why is it that I still paint?"

"Where?" she said, disbelieving.

"In my room."

"Show me some of your work then, little artist." The word little was infuriating.

"I burn them. They aren't yet representative of my best work."

At that his mother and the uncle laughed uproariously, and Bergen stomped off to his room, Dal a shadow behind him.

"Where the hell is it!" he said angrily, hunting through the cupboard where the art supplies had been.

Dal coughed. "Bergen, Sir," he said (at twelve Bergen had halfway come of age, and it was the law that he had to be called sir by anyone under contract to him or his father), "I thought you weren't using your painting stuff anymore. I've got it."

Bergen turned in amazement. "I wasn't using it. But I didn't know you were."

"I'm sorry, sir. But I didn't get much chance to try while the instructor was coming. I've been using the materials ever since."

"Did you use them up?"

"There was a good supply. There's no more paper, but there's plenty of canvas. I'll get it."

He went and got it, brought it into the big house in two trips, being careful to use the back stairways so Bergen's parents wouldn't see. "I didn't think you'd mind," Dal said, when it was all brought back.

Bergen looked puzzled. "Of course I don't mind. It's just the old biddy's taken it into her head that I'm still a child. I'm going to paint again. I don't know why I ever quit. I've always wanted to be an artist."

And he set up the easel at the window, so he could see the yard below, dotted with the graceful whiptrees; of Crove that rose fifty meters straight up into the air-- and then, in a storm, lay over completely on the ground, so that no farmer of the Plains could ever be free of the worry of having a whiptree crash against his house in the wind. He began with an undercoat of green and blue, and Dal watched. Bergen hesitated now and then, but it came back quickly, and, in fact, the long separation from art had done him no harm. His eye was truer. His colors were deeper. But still an amateur.

"Perhaps if there were more magenta in the sky under the clouds," Dal offered.

Bergen turned to him coldly. "I'm not through with the sky."

"Sorry."

And Bergen painted on. Everything went well enough, except that he couldn't seem to get the whiptrees right. They kept looking so brown and solid, which wasn't right at all. And when he tried to draw them bent, they were awkward, not true to life. Finally he swore and threw the brush out the window, leaped to his feet and stormed away.

Dal walked to the painting and said, "Bergen, sir, it isn't bad. Not at all. It's good. Just the whiptrees."

"I know about the damned whiptrees," Bergen snarled, furious at his failure to be perfect in his first attempt in years. And he turned to see Dal taking swipes at the canvas, quick strokes with a slender brush. And then Dal turned around, and said, "Perhaps like that, sir."

Bergen walked up to the canvas. The whiptrees were there, by far the most lifelike, most dynamic, most beautiful thing in the painting. Bergen looked at them-- how effortless they seemed, how effortlessly Dal had stroked them into the painting. This was not how