me."
IN BASILICA, AND NOT IN A DREAM
Kokor could not understand why she should be in seclusion. For Sevet it made sense-she was recuperating from her unfortunate accident. Her voice wasn't back yet; she was no doubt embarrassed to appear in public. But Kokor was in perfect health, and for her to have to hide out at Mother's house made it look as if she were ashamed to come out in public. If she had deliberately injured Sevet, then perhaps such isolation might be necessary. But since it was simply an unfortunate accident, the result of a psychological disturbance due to Father's death and the discovery of Sevet's and Obring's adultery, why, no one could blame Kokor. In fact, it would do her good to be seen in public. It would surely speed her recovery.
At least she should be able to go home to her own house, and not have to stay with Mother, as if she were a little girl or a mental incompetent who needed a guardian. Where was Obring? If he ever intended to make things up with her, he could begin by coming and getting her out of Mother's unbearably staid environment. There was nothing interesting going on here. Just endless classes in subjects that hadn't interested Kokor even when she was failing them years ago. Kokor was a woman of substance now. Father's inheritance probably would enable her to buy a house and keep her own establishment. And here she was living with mother.
Not that she saw that much of Mother. Rasa was constantly in meetings with councilors and other influential women of the city, who were making virtual pilgrimages to see her and talk to her. Some of the meetings seemed to be somewhat tense; Rasa began to gather the idea that some people, at least, were blaming Rasa for everything. As if Mother would try to kill Father! But they remembered that it was Rasa's current husband, Wetchik, who had his inflammatory vision about Basilica in flames, and then her former husband, Gaballufix, who put tolchoks and then mercenary soldiers on the streets of the city. And now the word was that her youngest son, Nafai, was the killer of both Roptat and Gaballufix.
Well, even if all that was true, what did that have to do with Mother? Women can't very well control their husbands-didn't Kokor have proof of that herself? And as for Nafai killing Father-well, even if he did it, Mother wasn't there, and she certainly didn't ask the boy to do it. They might as well blame Mother for what happened to Sevet, when anyone could see it was Sevet's own fault. Besides, wasn't Father's death his own fault, really? All those soldiers-you don't bring soldiers into Basilica and expect not to have violence, do you? Men never understood these things. They could turn things loose, but they were always surprised when they couldn't tame them again at will.
Like Obring, poor fool. Didn't he know that it wasn't a clever thing to come between sisters? He was really more to blame for Sevet's injury than Kokor was.
And why doesn't anybody have any sympathy for my injury? The deep psychological harm that has come to me because of seeing Obring and my own sister like that! No one cares that I'm suffering, too, and that maybe I need to go out at night as therapy.
Kokor sat painting her face, practicing looks that might project well in her next play. For there would certainly be a next play now, once she got out of Mother's house. Tumannu's little attempt to blacklist her would certainly fail-there wasn't a comedy house in Dolltown that would refuse an actress whose name was on the lips of everyone in Basilica. The house would sell out every night just from curiosity seekers-and when they saw her perform and heard her sing, they'd be back again and again. Not that she would ever dream of deliberately hurting someone in order to advance her career; but since it had happened, why not make use of it? Tumannu herself would probably be in line to beg Kokor to take the lead in a comedy.
She had drawn a little pout on her mouth that looked quite fetching. She tried it out from several angles and liked the shape of it. It was too light, though. She'd have to redden it or no one would see it past the first row.
"If you make it any rounder it'll look as though somebody made a