Soundless (16 page)

I rise from where I'm sitting on Zhang Jing's bed, beckoning her forward.
Come on
, I say.
I'm going to need your help.

With what?
she asks, startled.

It's time to make the record.

ZHANG JING FOLLOWS ME
as we head to the school's work studio. Along the way, we encounter two servants patrolling the halls. I hear them before they see us and am able to dodge them each time, keeping us concealed. Zhang Jing observes all of this without comment until we're safely behind the closed door of the workroom. I begin lighting lanterns for us to work by.

Fei
, she says at last
. How are you able to do that? What's happened to you? Did you receive some kind of enchantment while you were down the mountain?

I smile, imagining how what I've been able to do would seem like magic. And really, for all I know, maybe there is some sort of magic involved, since I have yet to understand why this is happening to me.
I've regained my hearing
, I tell her. It surprises me how easily I am able to say those words. I guess after everything I've gone through and learned, my hearing is just one more incredible thing. And seeing as how Zhang Jing is having enough trouble believing the rest, I figure I have nothing to lose by sharing this too.

That's impossible
, she says. It's becoming her standard line.

Believe me, I know
, I say.
I'll tell you more about it later, when there's time. Right now, we need to get to work.

And so, as usual, Zhang Jing follows my lead. The room is set up the way it always is, with the previous day's record still in progress on assorted pieces of canvas. A glance at what my fellow apprentices have been working on confirms Zhang Jing's earlier story. It is an accounting of yesterday, covering the rejection of the metals and refusal of food. Even Li Wei and I are mentioned—probably the first time we've been included in the record since our birth announcements. There are also recaps of emergency meetings and arguments that have already broken out since the food shortage began. Elder Chen's other apprentice, Jin Luan, has done a commendable job of painting a scene of some disgruntled miners gathering for a meeting in the village's center. She's probably the only person glad for my disappearance.

I direct Zhang Jing to help set up new canvases for me to paint. I visualize the layout of the various pieces of the record and how I want to create my message. It is going to be a daunting task, and there is no time for any of the skill and fine detail I've been so painstakingly trained to use. I must get my message out, and the only thing that really matters is its truth.

I start with the words, drawing characters in big, bold calligraphy to tell my story. Zhang Jing stays nearby, watching as I work, ready to mix fresh ink when she sees I am running low. First, I tell how Li Wei and I climbed down the mountain. I gloss over the details, for time's sake, emphasizing that it was
dangerous but possible. If there's a chance our village may be leaving this place, I want them to know it can be done without scaring them too badly—at least not about this. There are plenty of other things for them to be scared of.

When I reach the part about Nuan's village, I include more detail, about the dead bodies and the records of a village in chaos—a village just like ours. It is a grim memory, one I don't like repeating, but it too must be told. When I get to the point where Li Wei and I make it to the bottom and see the township for the first time, I pause. The artist in me, the one who sees the world and wants to capture it, wishes I could spare the time to truly describe the township. For all its evils, it is still a remarkable place, the closest thing to a real city any of us will ever get to. I want to paint pictures of those embellished buildings, list all the things for sale, convey the singing children . . . but there is no time. I simply describe it as a busy, vivid place—emphasizing that it has plenty of food—and then go on to Nuan's tale.

This is the part I elaborate on in the greatest detail, pointing out the similarities between our peoples and how the mines destroyed them—and how the township gave up on them. I tell of their encampment and treatment by the others, how many have given up hope and are just as hungry as they were when they still lived on the plateau. Finally, I close my account with a brief recap of how the soldiers chased us, and how Li Wei and I split up. Although it is certainly a thrilling part of the tale, I again use brevity. My own hardships don't matter at this point. It is Li Wei's sacrifice and the township's ruthlessness I want my village to know about.

When I step back, I am amazed at the amount of calligraphy I've painted. This much text normally would be the work of at least half a dozen apprentices. It would also have been painted with much more precision, each brushstroke placed with care and beauty. My work, though not entirely neat, is thorough and legible. I used big, broad strokes, ensuring it can be read from a distance.

Zhang Jing now supplies me with colored paints as I start the illustrations. My pictures are even more hurried than my text, but I'm a strong enough artist that my skills still shine through. For one picture, I depict the house in Nuan's village, showing the room in disrepair and the bodies of the family that starved to death. It is a gruesome creation, but the shock in Zhang Jing's face tells me it's effective. For my second image, I paint where Nuan's people live now: the dilapidated village of tents, its people thin and dirty. It is something else my people need to see.

I don't know where I find the energy to do all this painting. The earlier harrowing climb has left me in a state far past exhaustion. It is Zhang Jing's future—hers and others like her, I decide—that gives me the added rush of adrenaline and inspiration to complete this frantic, ominous masterpiece. And Li Wei, of course. Always, always he is in the back of my mind, urging me on. My sister keeps me supplied with paint, so I have no delays, save for pausing and dipping my brush or switching colors.

It is almost a shock when, at long last, I realize I've accomplished all I can possibly do in this time. Standing still after such
frenetic work feels almost unnatural, but I force myself to take in all the pieces of canvas, my greatest and most terrible work.

We must take this to the village's center
, I tell Zhang Jing.

Her eyes are wide as she takes in the extent of my work. She has been watching the entire time, making no comment until now.
It really is true, isn't it?
she asks at last.
All of this. What happened to those people. What will happen to us.

Yes
, I say.

You say nothing about your hearing
, she points out.
Isn't that important?

I hesitate before answering.
Not to our village's fate. There will be time later to figure out what's happening to me. For now, we must help the others.

Zhang Jing nods in acceptance.
Tell me what you need me to do.

For a moment, the love and faith in her eyes overwhelms me so much that I fear I'll break down and start crying. I hide my discomfort with a hug so that she is unable to see me blinking back tears. When I step away, I hope I look more confident than I feel about what is to come.
Okay
, I tell her.
Now we need to carry these out to the center of the village.

The task is a bit more complicated than it might appear. Although most of the patrolling servants are staying near the kitchen to guard the food, there is still the chance one might wander into the wing where the workroom is. That requires extra caution as we smuggle the canvases outside. Equally challenging is handling the canvases themselves. Even when the apprentices
do touch-ups to the record in the morning, most of the work has had time to dry overnight. Now Zhang Jing and I must manage still-wet paint, taking care not to ruin the words and images I have just labored over.

It also requires many trips. I never thought of that daily morning trek as particularly long or difficult, but now, doing it multiple times in my current state, my mind starts to think it's almost as taxing as the climb down the mountain. Many beggars sleep in the town's center, their bodies huddled together in piles for warmth. We are careful to step around and not disturb them, but the sight of them makes my insides twist when I think how it's a very real possibility that others—including Zhang Jing—may share their fate if we don't take action.

Zhang Jing and I finish assembling my record just as the eastern sky turns purple. Soon the villagers will be waking. Soon they will see what I've created.

You must go back before anyone realizes you've been a part of this
, I tell her.
Go wake with the others, have breakfast as normal. Then we will see what happens.

My sister gives me a sweet, sad smile.
I would rather stand with you. Besides, there is no food for breakfast.

The words hit me hard. I kneel down on the dais and open up my pack, pulling out some of the rations I brought back with me to show the others. Zhang Jing gasps at the sight of it, her hunger obvious in her eyes. I give her some fruit and the last bun.

Take these and go back
, I insist.
I know you support me, but I'll feel better if you're back at the school. I don't know how
people are going to react to this—to me. Especially if they think I've cost them their food.

Zhang Jing places her hand over mine as I begin repacking my bag, giving me a brief squeeze.
If you need me, tell me.

I will. The best way you can help at this point is to stay safe.

What is that?
she asks, pointing at a flash of red in my bag.

I clench some of the red silk dress in my hand, my heart swelling as I think of Li Wei.
It's a gamble that paid off. Pray ours does as well. Now go.

After another fierce, quick hug, Zhang Jing obeys and hurries off down the main village track, back to the school. I know I should probably eat as well, but for once I have no appetite. I'm too keyed up, my nerves frayed and on edge. I settle for water and then sit cross-legged, watching as the sky grows lighter and lighter, waiting for my village to waken.

The first person I see, aside from the sleeping beggars, is the lamplighter. He trudges down the main track with his torch, stifling a yawn. He's usually the first person up in our village, lighting the various lamps that will illuminate our paths until the sun is up. When he reaches the village's center, he comes to a complete standstill, frozen as he recognizes me and undoubtedly thinks of all that I've been accused of. Then, slowly, his eyes shift to the record beside me. Although it is still early, the stark black-on-white calligraphy is easy to discern. He reads, his jaw dropping as he goes further and further.

When he finishes, he says nothing to me, but his astonishment is obvious. The torch slips from his hand, burning harmlessly in
the packed dirt. He turns around and goes running as fast as he can, back toward the residential part of town.

It isn't long before others begin filing in to the center. Some appear to be people out on their normal morning errands. Others arrive in haste, and I suspect they have heard the lamplighter's story. Word is spreading quickly, and when I see the elders and artist apprentices hurrying in ahead of their normal time, I know that my presence and unexpected creation have completely thrown the village off its schedule. Zhang Jing stands with the other servants behind the apprentices, and much to my relief, no one seems to be paying her any special attention.

The crowd swells, and soon I'm fairly certain the entire village is here. This isn't the first time I've stood on the dais, facing them all beside a completed record. But this is the first time that I'm as much of the draw as what's on the canvas. I meet their gazes as impassively as I can, proud of what I've done—both in ink and in my recent journey. I stand by my actions and what I must do to help these people.

For a long time, the gathering crowd simply takes me and my story in. A few brief signed conversations flutter, but for the most part, everyone seems to be coming to terms with what I'm telling them. This emboldens me enough to step forward and address the crowd. I'd originally thought I would let my work speak for me. But now I realize I must add my own plea to it. Facing all these people is terrifying, but I remind myself I can be no less brave than Li Wei, trapped somewhere in the township. I don't know what happened after the soldiers seized him, but I refuse
to believe he's in some horrible prison—or dead. It strengthens me to think he's just waiting in one of those tents with Nuan, waiting for me to come join them with our people. Or maybe he's escaped, run far away, already planning a new life free of all this. It is the memory of his face, of the strength in his eyes, that pushes me as I speak.

Everything you see here is true
, I sign to the crowd.
This is what Li Wei and I have learned over the last few days, what we have risked our lives for. The township is deceiving you. We need to come together and think of a way to save ourselves and our future. I know it is difficult to hear. I know how overwhelming it must seem. We can't let fear—or the township—rule us any longer. It may seem impossible, but it's not—not if we unite and work together.

My hands slowly return to my side, and my heart aches as I recall Li Wei's brave, handsome face telling me:
We're pretty good at the impossible.
I have to force myself to remain calm and serious as I regard my people.

No one responds right away. Mostly they seem to again be processing what I've told them. Hope rises in me, and I dare to believe that my people are taking heed and will believe me so that we can all find a reasonable course to save ourselves.

As it turns out, I am wrong.