The Cruel Prince (The Folk of t -(The Folk of the Air #1) - Holly Black Page 0,108

knock on it. I have to say something to her before the world turns upside down again. I have to make things right between us. But no one answers, and when I turn the knob and enter, I find her chamber is empty.

I head down to Oriana’s rooms, hoping she might know where I can find Taryn. I peek in through the open door and find her out on her balcony, looking at the trees and the lake beyond. The wind whips her hair behind her like a pale banner. It balloons her filmy dress.

“What are you doing?” I ask, coming in.

She turns, surprised. And well she might be. I am not sure that I have ever sought her out before. “My people had wings once,” she says, the longing clear in her voice. “And though I’ve never had a pair of my own, sometimes I feel the lack of them.”

I wonder if, when she imagines having wings, she pictures herself flying up into the sky and away from all this.

“Have you seen Taryn?” Vines curl around the posts of Oriana’s bed, their stems a vivid green. Blue flowers hang down in clumps over where she sleeps, making for a richly perfumed bower. There is nowhere to sit that doesn’t seem crawling with plants. It’s hard for me to picture Madoc comfortable here.

“She’s gone to the house of her betrothed, but they’ll be at the High King Balekin’s manor tomorrow. You will be there, too. He’s throwing a feast for your father and some of the Seelie and Unseelie rulers. You’ll be expected to be less hostile to each other.”

I cannot even imagine the horror, the awkwardness, of being dressed in gossamer, the smell of faerie fruit heavy in the air, while I am supposed to pretend that Balekin is anything but a murdering monster.

“Will Oak go?” I ask her, and feel the first real pang of regret. If I leave, I won’t get to see Oak grow up.

Oriana clasps her hands together and walks over to her dressing table. Her jewelry hangs there—slices of agate on long chains of raw crystal beads, collars set with moonstones, deep green bloodstones strung together, and an opal pendant, bright as fire in the sunlight. And on a silver tray, beside a pair of ruby earrings in the shape of stars, is a golden acorn.

A golden acorn, twin to the one I found in the pocket of the gown that Locke gave me. The dress that had belonged to his mother. Liriope. Locke’s mother. I think of her madcap, joyful dresses, of her dust-covered bedroom. Of how the acorn in her pocket opened to show a bird inside.

“I tried to convince Madoc that Oak was too young and that this dinner will be too dull, but Madoc insisted that he come. Perhaps you can sit beside him and keep him amused.”

I think about the story of Liriope, of how Oriana told it to me when she believed I was getting too close to Prince Dain. Of how Oriana had been a consort to the High King Eldred before she was Madoc’s wife. I think about why she might have needed to make a swift marriage, what she might have had to hide.

I think about the note I found on Balekin’s desk, the one in Dain’s hand, a sonnet to a lady with sunrise hair and starlit eyes.

I think about what the bird said: My dearest friend, these are the last words of Liriope. I have three golden birds to scatter. Three attempts to get one into your hand. I am too far gone for any antidote, and so if you hear this, I leave you with the burden of my secrets and the last act of my heart. Protect him. Take him far from the dangers of this Court. Keep him safe, and never, ever tell him the truth of what happened to me.

I think again about strategy, about Dain and Oriana and Madoc. I recall when Oriana first came to us. How quickly Oak was born and how we weren’t allowed to see him for months because he was so sickly. About how she has always been protective of him around us, but maybe that was for one reason, when I had assumed another.

Just as I’d assumed the child Liriope wanted her friend to take was Locke. But what if the baby she had been carrying didn’t die with her?

I feel as though I’ve been robbed of breath, as if getting out