Ever (29 page)

What interested you most about that period?

How close the very civilized ancient Mesopotamians were to prehistory, even savagery. Documents of the time mention invaders who didn't cook their food and abandoned their dead. I've always been fascinated by early humans, and these encounters thrilled me.

Did this distant past seem entirely foreign?

In some ways, yes. I am not an expert, but in my understanding, Mesopotamian medicine was extremely primitive, based more on prophecy than on observation. Some effective remedies were known, but not many. A patient's prognosis was arrived at by examination, not of the patient, but of the liver of a sacrificed animal.

Plumbing, on the other hand, was pretty good, much better than in Europe centuries later. And the Mesopotamians were excellent mathematicians. Our sixty seconds in a minute and sixty minutes in an hour, for example, come directly from them. Above the chapter numbers in
Ever
, you'll see the same numbers written in cuneiform, the Mesopotamian writing system.

The Mesopotamians were deeply superstitious. Augury was woven into daily life. Prophecies were based on the properties of the organs of sacrificed animals or on the curling of smoke out of a censer or on the whorls of oil poured into water. These methods seem strange, but we depend on forecasters too, for weather, earthquakes, the economy, and much more. We even have futurologists, who claim to use science for their predictions. We're better at seeing ahead today, but we're spurred on by the same insecurity ancient people felt. We can lose money or come into money, get sick or recover, die or live. We're as vulnerable as they were. Our shared vulnerability drew me to them. It's that, I think, that made me write the book.

Where did the mythology come from?

I read Mesopotamian myths, many of which are fragmentary and are still being discovered by archaeologists. I also reread the Greek myths. Although I didn't use any of them in their original form, they filtered into my ideas. Wadir mostly comes from the Mesopotamian notion of the underworld.

How did writing
Ever
differ from writing your other novels?

I've never used the Bible as a source or included religion as a theme, but the biggest difference in the experience of writing
Ever
was in point of view. My other books are told in third person or in first person by a single character, but
Ever
alternates between two first-person narrators. This was probably the most fun aspect of the writing. I felt mischievous when I showed Olus's or Kezi's misunderstandings, and I enjoyed setting it up so that the reader was in the know even when the characters weren't.

How did you come up with the characters' names?

I looked at Mesopotamian names, which are very, very, very, very long, incorporating ancestors' names into each new generation. Sometimes I chopped up the old names for my characters. Olus's father's name, Arduk, is a variant of Marduk, an actual Mesopotamian god's name. Olus is based on the Greek god of the winds, Aeolus.

When I'm trying to come up with a name, I list possibilities in my notes. Here's what I wrote for Kezi:

Keilah

Sheera

Tikvah

Yona

Anka

Damaris

Dorcas

Hedi

Jobina

But Kezi wasn't on the list, so I have no idea where she
came from.

Is it difficult for you to get inside the minds of your characters, especially when, like Kezi, they encounter tragedy or misfortune?

I never know if I'm getting it right. How would I feel in Kezi's place? Luckily, I haven't been close to dying. And no one has wanted to sacrifice me to a god! I can only use my own experiences of fear and the death of people I loved. When I've been frightened or grieving, I've surprised myself by the incongruity of my feelings: a heightened sense of humor, a weird attention to unrelated details, my mind wandering from the awful present. So I put those memories into my characters and hope the reader relates.

The issue of sacrifice is a powerful theme in
Ever
. Do you have any longstanding views on animal sacrifice or human rights that have affected the way you portrayed Kezi's fate in the novel?

I'm pretty much a pacifist, although I think there are a few circumstances where killing is justified—self-defense for one. But taking a life in any situation, even self-defense, horrifies me. I hardly ever even squash a bug! Before
Ever
, I never wrote about people killing people. Ella, Aza, and Addie slay ogres or other monsters, not humans. People die in my books, but they're not killed deliberately by other human characters. Even in
Ever
, the sacrifice isn't successful. Right now I'm writing a mystery, but I'm not sure if I can bring myself to make it a murder mystery. We'll see. And I may write a book one day that includes war, and then slaughter will be inevitable.

Do you like all your characters equally?

I don't admire Nia, the pious servant who cares only for Admat and not for the people she's lived with most of her life. I'm crazy about Senat, even though he swears his awful oath and then tells the priests about it. The mistakes he makes are made out of love—love for his family and love (as well as fear) of his god. My favorite characters are Olus and Kezi, and, after them, Puru.

Did you want Kezi and Olus to live “happily ever after”?

I wanted Kezi at least to live a full life. In an earlier version, I imagined something called lij time, which moves much faster or much slower than ordinary time. I had Olus become a lijok, a god who can control lij time. He puts himself and Kezi into fast lij time so they can be together for many years before her sacrifice. This would have been a happy ending of sorts.

The real ending that I used is happy but bittersweet, because Kezi loses her family. I can't guess at the ever-after for Olus or Kezi. Both of them care deeply about mortals, and we can be disappointing creatures. For example, they would be miserable if future generations of their descendants warred against each other. What's more, immortality is beyond my imagining. Could one remain the same for a thousand years? Seems to me a god might become more joyous or might descend into misery or endure long patches of each. They might evolve into different people entirely, so I can't predict if Kezi and Olus stay happy.

What books influence your writing process? Do you have
any favorites that have shaped the way you write?

Writing on Both Sides of the Brain
by Henriette Anne Klauser is the book I go to when I'm stuck. It's enormously helpful for relaxing my writing cramps.
Bird by Bird
by Anne Lamott comforts me with reminders that writing a novel is hard and that I'm not the only one struggling. Of course I also use reference books, the thesaurus, and the dictionary constantly, sometimes my two books of English usage (I love when they disagree, because then I can do what I want), and occasionally
The Chicago Manual of Style
.

A sneak peek at Gail Carson Levine's next novel,
A Tale of Two Castles

M
other wiped her eyes on her sleeve and held me tight. I wept onto her shoulder. She released me while I went on weeping. A tear slipped into the strait through a crack in the wooden dock. Salt water to salt water, a drop of me in the brine that would separate me from home.

Father's eyes were red. He pulled me into a hug, too. Albin stood to the side a few feet and blew his nose with a honk. He could blow his nose a dozen ways. A honk was the saddest.

The master of the cog called from the gangplank, “The tide won't wait.”

I shouldered my satchel.

Mother began, “Lodie—”

“
E
lodie,” I said, brushing away tears. “My whole name.”

“Elodie,” she said, “don't correct your elders. Keep your thoughts private. You are mistaken as often—”

“—as anyone,” I said.

“Elodie . . . ,” Father said, sounding nasal, “stay clear of the crafty dragons and the shape-shifting
ogres.” He took an uneven breath. “Don't befriend them! They won't bother you if you—”

“—don't bother them,” I said, glancing at Albin, who shrugged. He was the only one of us who'd ever been in the company of an ogre or a dragon. Soon I would be near both. At least one of each lived in the town of Two Castles. The castle that wasn't the king's belonged to an ogre.

“Don't finish your elders' sentences, Lodie,” Mother said.

“Elodie.” I wondered if Father's adage was true. Maybe ogres and dragons bothered you
especially
if you didn't bother them. I would be glad to meet either one—if I had a quick means of escape.

Albin said, “Remember, Elodie: If you have to speak to a dragon, call it
IT
, never
him
or
her
or
he
or
she
.”

I nodded. Only a dragon knows ITs gender.

Mother bent so her face was level with mine. “Worse than ogres or dragons . . . beware the whited sepulcher.”

The whited sepulcher was Mother's great worry. I wanted to soothe her, but her instruction seemed impossible to follow. A sepulcher is a tomb. A whited
sepulcher is someone who seems good but is, in truth, evil. How would I know?

“The geese”—Mother straightened, and her voice caught— “will look for you tomorrow.”

The geese! My tears flowed again. I hated the geese, but I would miss them.

Mother flicked a gull's feather off my shoulder. “You're but a baby!”

I went to Albin and hugged him, too. He whispered into my hair, “Be what you must be.”

The master of the cog roared, “We're off!”

I ran, leaped over a coil of rope, caught my foot, and went sprawling. Lambs and calves! Behind me, Mother cried out. I scrambled up, dusty but unharmed. I laughed through my tears and raced up the plank. A seaman drew it in.

The sail, decorated with the faded image of a winged fish, bellied in the breeze. We skimmed away from the dock. If fate was kind, in ten years I would see my parents and Albin again. If fate was cruel, never.

As they shrank, Mother losing her tallness, Father his girth, Albin his long beard, I waved. They waved back and didn't stop. The last I could make out of
them, they were still waving.

The island of Lahnt diminished, too. For the first time it seemed precious, with its wooded slopes and snowy peaks, the highest wreathed in clouds. I wished I could pick out Dair Mountain, where our Potluck Farm perched.

Farewell to my homeland. Farewell to my childhood.

Mother and Father's instructions were to apprentice myself to a weaver, but I would not.
Mansioner
. I mouthed the word into the wind, the word that held my future. Mansioner. Actor. Mansioner of myth and fable. Mother and Father would understand once I found a master or mistress to serve and could join the guild someday.

Leaning into the ship's hull, I felt the purse, hidden under my apron, which held my little knife, a lock of hair from one of Albin's mansioning wigs, a pretty pink stone, a perfect shell from the beach this morning, and a single copper, which Father judged enough to feed me until I became apprenticed. Unless the winds blew against us, we would reach Two Castles, capital of the kingdom of Lepai, in two or three days, in time for Guild Week, when masters took on new apprentic
es. I might see the king or the ogre, if one of them came through town, but I was unlikely to enter either castle.

I had no desire to see King Grenville III, who liked war and taxes so much that his subjects called him Greedy Grenny. Lepai was a small kingdom, but bigger by half than when he'd mounted the throne—and so were our taxes bigger by half, or so Mother said. The king was believed to have his combative eye on Tair, Lahnt's neighbor across the wide side of the strait.

Queen Sofie had died a decade ago, but I did hope to see the king's daughter, Princess Renn, who was rumored to be somehow peculiar. A mansioner is interested in peculiarity.

And a mansioner observes. I turned away from home. To my left, three rowers toiled on a single oar. The one in the center called, “Pu-u-u-ll,” with each stroke. I heard his mate across the deck call the same. Father had told me the oars were for steering and the sail for speed. The deck between me and the far hull teemed with seamen, passengers, a donkey, and two cows.

A seaman climbed the mast. The cog master pushed
his way between an elderly goodman and his goodwife and elbowed the cows until they let him pass. He disappeared down the stairs to the hold, where the cargo was stored. I would remember his swagger, the way he rolled his shoulders, and how widely he stepped.

The deck tilted into a swell. I felt a chill, although the air was warm for mid-October.

“Go, honey, move. Listen to Dess. Listen, honey, honey.” A small man, thin but for fleshy cheeks and a double chin, the owner of the donkey and the cows, coaxed his animals into a space between the hull and the stairs to the rear upper deck. He carried a covered basket in his right hand, heavy, because his shoulder sagged. “Come, honey.”

His speech reminded me of Father with our animals at home.
Good, Vashie
, he'd tell our cow,
Good girl, what a good girl
. Perhaps if I'd repeated myself with the geese, they'd have liked me better.

The elderly goodwife opened her sack and removed a cloak, which she spread on the deck. Holding her husband's hand, she lowered herself and sat. He sat at her side on the cloak. The other passengers also began to mark out their plots of deck, their tiny homesteads.

I wasn't sure yet where I wanted my place to be.
Near the elderly couple, who might have tales to tell?

Not far from them, a family established their claim. To my surprise, the daughter wore a cap. In Lahnt women wore caps, but not girls, except for warmth in winter. Her kirtle and her mother's weren't as full as mine, but their sleeves hung down as far as their knuckles, and their skirt hems half covered their shoes, which had pointed toes, unlike my rounded ones.