names are Erin and Darren, and they are five years old, and there is nothing about them that has not been done by design.
But the focus of this day is outside the cells. It’s on the men, three of them, soft, balding creatures in respectable business suits and sensible shoes. They would fit perfectly into a boardroom or stockholder’s meeting. Here, in this precise, perilous place, they are as out of their element as a blizzard in a volcano. They cluster together, uneasy. This is their doing as much as anyone else’s; they were the ones who dotted the i’s and crossed the t’s and signed the checks that made it all possible. They own this. They own every inch of it. And yet . . .
James Reed smiles as he watches them. Their unease is intentional, part of the balance of power. These investors may own everything they see, but he created it: here, he is God Almighty, capable of bringing life out of nothingness, able to command the forces of the universe. They would do well to remember that, these small men with their narrow minds and unstained hands. They would do very well indeed.
Behind the glass, a boy with eyes the color of concrete is rocking back and forth, looking at nothing. He has been humming for the last seven hours. Tiny microphones in his room—never “cell,” this is not a prison, this is a breeding ground for the future, and language is incredibly important here—have recorded every second of his meandering tune. Nothing is wasted, ever. Nothing is allowed to slip away.
(Later, cryptographers will reduce his song to its mathematical components, eventually determining that he’s been offering them a chemical formula, one atom at a time. The formula will yield a novel painkiller derived from several unexpected sources, nonaddictive and capable of offering relief to cases previously thought hopeless. Patenting and marketing the drug will take another twelve years, but the results will make billions for the shell company that handles the pharmaceutical side of things. Bit by bit, because of moments like this one, the lab becomes self-sustaining. It is already vast, and sprawling, and unspeakably expensive in the way of vast, sprawling things. And it must sustain itself, it must. If the Alchemical Congress paid a penny for its creation and upkeep, they would expect their investment to turn into ten times its weight in gold—and that cannot be allowed. Not now. Not with the Doctrine so close at hand.)
“Gentlemen.” Reed times his speech carefully: it emerges from the shadows and he emerges on its heels. Each step he takes highlights the disparities between him and his investors. They wear cufflinks purchased by their wives, their balding pates polished to a mirror sheen. He dresses like a character from a Ray Bradbury story of the endless American twilight: tight black trousers, a buttoned-up shirt in sapphire blue, even a tailcoat with bands of strange glyphs embroidered around the cuffs and bottom hem. The embroidery is gold, a reminder of the promises that drew these men to his side, moths lured by the promise of an all-consuming flame.
Asphodel—master, mentor, martyr—taught him the value of showmanship. He was always an eager student, and he understands his audience. They must think him a distracted dandy, a character from a children’s story, something to be tolerated and disdained. They must allow their arrogance to treat him as a synecdoche, using his little affectations to complete an inaccurate picture.
They forget, these pampered creatures of the corporate veldt, that always there are predators, and always there is prey. They think themselves lions when even a casual onlooker can see that they are zebras, weak and plentiful and ready for the kill.
His claws, draped in velvet and wrapped in affectation, are sharp enough to slaughter the world.
“Gentlemen,” he says again, and his accent is all things and nothing at all. He has honed it over the span of a century, choosing plosives and sibilants to make him sound exotic and exciting without tipping over the line into “foreign.” There is a reason the children on display in this hall are pale, made of milk and bone, rather than earth and stone and all the other things his subjects are rooted in. The white children seem almost like human beings to these greedy, grasping men, and here, in this cold, sterile hall bridging science and alchemy, reason and religion, appearances matter almost as much as words.
Children who seem human create guilt in