With a great effort of will, Lake said, "I understand. I'll come visit again in a few months."

The invitation to a beheading was looking better to Lake all the time.

When Lake returned to his apartment to work on Mr. Kashmir's commis sion, he was decidedly out of sorts. In addition to his disappointing trip to the gallery, he had spent money on greasy sausage that now sat in his belly like an extra coil of intestines. It did not help that the image of the man from his nightmares blinked on and off in his head no matter how hard he tried to suppress it.

Nevertheless, he dutifully picked up the pages of ill.u.s.trations he had torn from discarded books bought cheap at the back door of the Borges Bookstore. He set about cutting them out with his rusty paint-speckled scissors. Ideas for his commissions came to him not in flashes from his muse but as calm re-creations of past work. Lately, he knew, he had become lazy, providing literal "translations" for his commissions, while suppressing any hint of his own imagination.

Still, this did not explain why, following a period of work during which he stared at the envelope and the invitation where it lay on his easel, he looked down to find that after carefully cutting out a trio of etched dancing girls, he had just as carefully sliced off their heads and then cut star designs out of their torsos.

In disgust, Lake tossed the scissors aside and let the ruins of the dancing girls flutter to the floor like exotic confetti. Obviously, Mr. Kashmir's a.s.signment would have to await a spark of inspiration. In the meantime, the afternoon still young, he would take Raffe's advice and work on something for himself.

Lake walked over to the crowded easel, emptied it by placing four or five canvases on the already chaotic bed, pulled his stool over, retrieved a blank canvas, and pinned it up. Slowly, he began to brushstroke oils onto the canvas. Despite three years of endless commissions, the familiar smell of fresh paint excited his senses and, even better, the light behind him was sharp, clear, so he did not have to resort to borrowing Dame Truff's lantern.

As he progressed, Lake did not know the painting's subject, or even how best to apply the oils, but he continued to create layers of paint, sensitive to the pressure of the brush against canvas. Raffe had forced the oils upon him months ago. At the time, he had given her a superior, doubtful look, since her last gift had been special paints created from a mixture of natural pigments and freshwater squid ink. Lake had used them for a week before his first paintings began to fade; soon his can vases were as blank as before. Raffe, always trying to find the good in the bad, had told him, when next they met at a cafe, that he could become famous selling "disappearing paintings." He had thrown the paint set at her. Fortunately, it missed and hit a stranger-a startled and startlingly handsome man named Merrimount.

This time, however, Raffe's idea appeared to be a good one. It had been several years since he had used oils and he had forgotten the ease of creating texture with them, how the paint built upon itself. He especially liked how he could blend colors for gradations of shadow. a.s.suming the current troubles were temporary-and that a drop cloth would suffi ce until that time-and even now giving a quick look over his shoulder, he worked on building color: emerald, jade, moss, lime, verdigris. He mixed all the shades in, until he had a luminous, shining background. Then, in dark green, he began to paint a face . . .

Only the Religious Quarter's evening call to prayer- the solemn tolling of the bell five times from the old Truffidian cathedral-roused Lake from his trance. He blinked, turned toward the window, then looked back at his canvas. In shock and horror, he let the brush fall from his hand.

The head had a brutish mouth of broken gla.s.s teeth through which it smiled cruelly, while above the ruined nose, the eyes shone like twin flames. Lake stared at the face from his nightmare.

For a long time, Lake examined his work. His first impulse, to paint over it and start fresh, gradually gave way to a second, deeper impulse: to finish it. Far better, he thought, that the face should remain in the painting than, erased, once more take up residence in his mind. A little thrill ran through him as he realized it was totally unlike anything he had done before.

"I've trapped you," he said to it, gloating.

It stared at him with its unearthly eyes and said nothing. On the canvas it might still smile, but it could not smile only at him. Now it smiled at the world.

He worked on it for a few more minutes, adding definition to the eyelids and narrowing the cheekbones, relieved, for now that he had come around to the idea that the face belonged in the world, that perhaps it had always been in the world, he wanted it perfect in every detail, that no trace of it should ever haunt him again.

As the shadows lengthened and deepened, falling across his canvas, he put aside his palette, cleaned his brushes with turpentine, washed them in the sink across the hall, and quickly dressed to the sounds of a busker on the street below. After he had put on his jacket, he stuck his sketchbook and two sharpened pencils into his breast pocket-in case his mysterious host should need an immediate demonstration of his skills-and, running his fingers over the ornate seal, deposited the invitation there as well.

A few moments of rummaging under his bed and he had fished out a collapsible rubber frog head he had worn to the Festival of the Freshwater Squid a year before-it would have to do for a costume. He stuffed it in a side pocket, one bulbous yellow eye staring up at him absurdly. Further rummaging uncovered his map. Every wise citizen of Ambergris carried a map of the city, for its alleys were legion and seemed to change course of their own accord.

He spent a nervous moment adjusting his tie, then locked his apartment door behind him. He took a deep breath, descended the stairs, and set off down Alb.u.muth Boulevard as the sky melted into the orange-green hue peculiar to Ambergris and Ambergris alone.

We find this quality of illumination in almost all of Lake's paintings, but nowhere more strikingly than in the incendiary "The Burning House," where it is meshed to a comment on his fear of birds-the only painting with any hint of birds in it besides "Invitation to a Beheading" and "Through His Eyes" (which I will discuss shortly). "The Burning House" blends reds, yellows, and oranges much as "Invitation" blends greens, but for a different effect. The painting shows a house with its roof and front wall torn away-to expose an owl, a stork, and a raven that are burning alive, while the totality of the flames themselves form the shadow of a fire bird, done in a style similar to Lagach. Clearly, this is as close to pure fantasy as Lake ever came, a wish fulfillment work in which his fear of birds is washed away by fire. As Venturi wrote, "The charm of the picture lies in its mysteriously suggestive power-the sigh of fatality that blows over the strangely contorted figures." Here we may hold another piece of the puzzle that describes the process of Lake's transformation. If so, we do not know quite where to place it-and whether it should be placed near or far away from the puzzle piece that is "Invitation to a Beheading."

A less ambiguous link to "Invitation" can be found in the person of Voss Bender, the famous opera composer nee politician, and the tumult following his death-a death that occurred only three days before Lake began "Invitation." In later interviews, the usually taciturn Lake pro fessed to hold Voss Bender in the highest regard, even as an inspiration (although, when I knew him, I cannot recall him ever mentioning Bender). More than one art historian, noting the repet.i.tion of Bender themes in Lake's work, has wondered if Lake obsessed over the dead composer. Perhaps "Invitation" represents a memorial to Voss Bender. If so, it is the first in a trilogy of such paintings, the last two, "Through His Eyes" and "Aria to the Brittle Bones of Winter," clear homages to Bender. -From Janice Shriek 's A Short Overview of The Art of Martin Lake and His Invitation to a Beheading, for the Hoegbotton Guide to Ambergris, 5th edition.

The dusk had a mingled blood-and-orange-peel scent, and the light as it faded left behind a faint golden residue on the bra.s.s doork.n.o.bs of bank entrances, on the coppery flagpoles outside the emba.s.sies of foreign dignitaries, and on the Fountain of Trillian, with its obelisk at the top of which perched a sad rose-marble cherub, one elbow propped atop a leering black skull. Crowds had gathered at the surrounding lantern-lit square to hear poets declaim their verse while standing on wooden crates. Nearby taverns shed music and light in equal quant.i.ties, the light breaking against the cobblestones in thick shafts, while sidewalk vendors plied pa.s.sersby with all manner of refreshments, from Lake's ill-starred sausages to flagrantly sinful pastries. Few outside of Ambergris realized that the great artist Darcimbaldo had created his fruit and seafood portraits from life-stolen from the vendors, who arranged oranges, apples, figs, and melons into faces with black grapes for eyes, or layered crayfish, trout, crabs, and the lesser squid into the imperious visage of the mayor; these vendors were almost as popular as the sidewalk poets, and had taken to hanging wide-angle lanterns in front of their stalls so that pa.s.sersby could appreciate their ephemeral art. Through this tightly-packed throng, occasional horse-and-carriages and motored vehicles lurched through like lighthouses for the drunk and disorderly, who would push and rock them at every opportunity.

Here, then, in the flushed faces, in the mixing of dark and light, in the swirling, shadowy facades of buildings, were a thousand scenes that lent themselves to the artist's eye, but Lake, intent on his map, saw them only as hindrances now.

And more than hindrances, for the difficulty of circ.u.mnavigating the crowds with his cane convinced Lake to flag down a for-hire motored vehicle. An old, sumptuous model, nicer than his apartment and pru dently festooned with red and green flags, it had only two drawbacks: the shakes-almost certainly from watered down petrol-and a large, very dirty sheep with which he was forced to share the back seat. Man and sheep contemplated each other with equal unease while the driver smiled and shrugged apologetically (to him or the sheep?), his vehicle racing through the narrow streets. Nonetheless, Lake left the vehicle first, deposited at the edge of the requested neighborhood. The nervous driver sped off at top speed as soon as Lake had paid him. No doubt the detour to deliver Lake had made the sheep late for an appointment.

As for the neighborhood, located on the southeastern flank of the Religious Quarter, Lake had rarely seen one grimmer. The buildings, four and five stories high, had a scarcity of windows that made them appear to face away from him-inward, toward the maze of houses and apartments that contained his destination. Such stark edifices gave Lake a glimpse of the future, of the decay into which his own apartment building might fall when the New Art moved on and left behind only remnants of unkept promises. The walls were awash in fire burns, the ground level doors rotted or broken open, the balconies that hung precariously over them black with rust. In some places, Lake could see bones worked into the mortar, for there had been a time when the dead were buried in the walls of their own homes.

Lake took out his invitation, ran his hand across the maroon-gold threads. Perhaps it was all a practical joke. Or perhaps his host just wanted to be discreet. He wavered, hesitated, but then his conversation with Raffe came back to him, followed by the irritating image of Shriek's face as she said, "Interesting." He sighed, trembled, and began to walk between two of the buildings, uncomfortable in the shadow of their height, under the blank or cracked windows whose dust-covered panes were somehow predatory. His cane clacked against rocks, a plaintive sound in that place.

Eventually, he emerged from the alleyway onto a larger street, strewn with rubbish. A few babarusa pigs, all grunts and curved tusks, fought with anemic-looking mushroom dwellers for the offal. The light had faded to a deep blue colder in its way than the temperature. The distant calls to prayer from the Religious Quarter sounded like the cries of men drowning fifty feet underwater.

By the guttering light of a public lamp, Lake made out the name of the street-Salamander-but could not locate it on his map. For a long time, the darkness broken by irregularly-posted lamps, he walked alone, examining signs, finding none of the streets on his map. He kept himself from thinking lost! by trying to decide how best the surrounding shad ows could be captured on canvas.

Gradually, he realized that the darkness, which at least had been broken by the lamps, had taken on a hazy quality through which he could see nothing at all. Fog, come off the River Moth. He cursed his luck. First, the stars went out, occluded by the weight of the shadows and by the dull, creeping rage of the fog. It was an angry fog, a sneering fog that ate its way through the sky, through the s.p.a.ces between things, and it obscured the night. It smelled of the river: of silt and brackish water, of fish and mangroves. It rolled through Lake as if he did not exist. And because of this, the fog made Lake ethereal, for he could no longer see his arms or legs, could feel nothing but the cloying moisture of the fog as it clung to and settled over him. He was a ghost. He was free. There could be no reality to this fog-ridden world. There could be no reality to him while in it.

Lost and lost again, turning in the whiteness, not sure if he had walked forward or retraced his steps. The freedom he had felt turned to fear-fear of the unknown, fear that he might be late. So when he became aware of a dimly bobbing light ahead, he began to fast walk toward it, heedless of obstacles that might make him turn an ankle or fall on his face.

A block later, he came upon the source of the light: the tall, green-hooded, green-robed figure of an insect catcher, his great, circular slab of gla.s.s attached to a round, buoy-shaped lantern that swung below it. As with most insect catchers, who are products of famine, this one was thin, with bony but strong arms. The gla.s.s was so large that the man had to hold onto it with both gloved hands, while gra.s.shoppers, moths, beetles, and ant queens smacked up against it, trying to get to the light.

The gla.s.s functioned like a sticky lens inserted into a circular bra.s.s frame; when filled with insects, the lens would be removed and placed in a bag. The insect catcher would then insert a new lens and repeat the process. Once home, the new catch would be carefully plucked off the lens, then boiled or baked and salted, after which the insects would hang from his belt on strings for sale the next day. Many times Lake had spent his evening tying insects into strings, using a special knot taught to him by his father.

Steeped in such memories and in the fog, his first thought was that this man was his father. Why couldn't it be his father? They would be ghosts together, sailing through the night.

His first words to the insect catcher were tentative, respectful of his own past.

"Excuse me? Excuse me, sir?"

The man turned with a slow grace to peer down at this latest catch. The folds of the insect catcher's robes covered his face, but for a jutting nose like a scythe.

"Yes?" The man had a deep, sonorous voice.

"Do you know which way to Archmont Lane ? My map is no help at all."

The insect catcher raised one bony finger and pointed upward.

Lake looked up. There, above the insect catcher's light, was a sign for Archmont Lane . Lake stood on Archmont Lane .

"Oh," he said. "Thank you."

But the insect catcher had already shambled on into the fog, little more than a shadow under a lantern that had already begun to fade . . .

From there, it was relatively easy to find 45 Archmont Lane -unlike the other entrances to left and right, it suffered few signs of disrepair and a lamp blazed above the doorway. The numerals "4" and "5" were rendered in glossy gold, the door painted maroon, the steps swept clean, the door knocker a twin to the seal on the envelope-all permeated by a sudsy smell.

Rea.s.sured by such cleanliness, Raffe's advice still whispering in his ear, Lake raised the doorknocker and lowered it-once, twice, thrice.

The door opened a crack, light flooded out, and Lake caught sight of a wild, staring eye, rimmed with crusted red. It was an animal's eye, the reflection in its black pupil his own distorted face. Lake took a quick step back.

The voice, when it came, sounded unreal, falsified: "What do you want?"

Lake held up the invitation. "I have this."

A blink of the horrible eye. "What does it say?"

"An invitation to a-"

"Quick! Put on your mask!" hissed the voice.

"My mask?"

"Your mask for the masquerade!"

"Oh! Yes. Sorry. Just a moment."

Lake pulled the rubber frog mask out of his pocket and put it over his head. It felt like slick jelly. He did not want it next to his skin. As he adjusted the mask so he could see out of the eyeholes that jutted from the frog's nostrils, the door opened, revealing a splendid foyer and the outstretched arm of the man with the false voice. The man himself stood to one side and Lake, his vision restricted to what he could see directly in front of him, had to make do with the beckoning white-gloved hand and a whispered, "Enter now!" He walked forward. The man slammed the door behind him and locked it.

Ahead, through gla.s.s paneled doors, Lake saw a staircase of burnished rosewood and, at the foot of the stairs, a globe of the world upon a polished mahogany table with lion paws for feet. Candles guttered in their slots, the wavery light somehow religious. On the left he glimpsed tightly stacked bookcases hemmed in by generous tables, while to the right the house opened up onto a sitting room, flanked by portraits. Black drop clothes covered the name plate and face of each portrait: a line of necks and shoulders greeted him from down the hall. The smell of soap had faded, replaced by a faint trace of rot, of mildew.

Lake turned toward the front door and the person who had opened it-a butler, he presumed-only to find himself confronted by a man with a stork head. The red-ringed eyes, the cruel beak, the dull white of the feathered face, merged with a startlingly pale neck atop a gaunt body clothed in a black-and-white suit.

"I see that you are dressed already," Lake managed, although badly shaken. "And, unfortunately, as the natural predator of the frog. Ha ha. Perhaps, though, you can now tell me why I've been summoned here, Mister . . . ?"

The joke failed miserably. The attempt to discover the man's name failed with it. The Stork stared at him as if he came from a foreign, barbaric land. The Stork said, "Your jacket and your cane."

Lake disliked relinquishing his cane, which had driven off more than one potential a.s.sailant in its day, but handed both it and his jacket to the Stork. After placing them in a closet, the Stork said, "Follow me," and led Lake past the stairs, past the library, and into a study with a decorative fireplace, several upholstered chairs, a handful of glossy black wooden tables and, adorning the walls, eight paintings by masters of the last century: hunting scenes, city scapes, still lifes-all genuine and all completely ba.n.a.l.

The Stork beckoned Lake to a couch farthest from the door. The couch was bounded by a magnificent, if unwieldy, rectangular box of a table that extended some six feet down the width of the room. It had deco rative handles, but no drawers.

As Lake sat, making certain not to bang his gimp leg against the table, he said, "Who owns this house?" to the Stork's retreating back.

The Stork spun around, put a finger to its beak, and said, "Don't speak! Don't speak!"

Lake nodded in a gesture of apology. The master of the house obviously valued his privacy.

The Stork stared at Lake a moment longer, as if afraid he might say something more, then turned on his heel.

Leaving Lake alone in his frog mask, which had become uncomfortably hot and scratchy. It smelled of a familiar cologne-Merri must have worn it since the festival and not cleaned it out.

Claustrophobia battled with a pleasing sense of anonymity. Behind the mask he felt as if he would be capable of actions forbidden to the arrogant but staid MartinLake. Very well, then, the new MartinLake would undertake an examination of the room for more clues as to his host's taste-or lack thereof.

A bust of Trillian stared back at him from a far table, its white marble infiltrated by veins of some cerise stone. Also on this table lay a book ent.i.tled The Architect of Ruins, above which stood the stuffed and bejeweled carca.s.s of a tortoise. Across from it, upon a dais, stood a telescope which, in quite a clever whimsy, faced a map of the world upon the wall. Atlases and other maps were strewn across the tables, but Lake had the sense that these had been placed haphazardly as the result of cold calculation. Indeed, the room conveyed an aura of artificiality, from the burgundy walls to the globe-shaped fixtures that spread a pleasant, if pinkish, light. Such a light was not conducive to reading or conversation. Despite this, the study had a rich warmth to it, both relaxing and comfortable.

Lake sat back, content. Who would have thought to find such refinement in the midst of such desolation? It appeared Raffe had been right: some wealthy patron wished to commission him, perhaps even to collect his art. He began to work out in his head an asking price that would be high enough, even if eventually knocked down by hard bargaining, to satisfy him. He could buy new canvases, replace his old, weary brushes, per haps even convince an important gallery to carry his work.

Gradually, however, as if the opening notes of a music so subtle that the listener could not at first hear it, a tap-tap-tapping intruded upon his pleasant daydream. It traveled around the room and into his ears with an apologetic urgency.

He sat up and tried to identify the source. It came neither from the walls nor the door. But it definitely originated from inside the room . . . and, although m.u.f.fled, as if underground, from somewhere close to him. Such a gentle sound-not loud enough to startle him, just this cautious, moderate tap, this minor key rap.

He listened carefully-and a smile lit his face. Why, it was coming from the table in front of him! Someone or something was inside the table, gently rapping. What a splendid disguise for the masquerade. Lake tapped back. Whatever was inside the table tapped back twice. Lake tapped twice, answered by three taps. Lake tapped thrice.

A frenzied rapping and smashing erupted from the table. Lake sucked in his breath and pulled his fist back abruptly. A frisson of dread traveled up his spine. It had just occurred to him that the playful game might not be a playful game after all. The black table, on which he had laid his invitation, was not actually a table but an unadorned coffin from which someone desperately wanted to get out!

Lake rose with an "Uh!" of horror-and at that moment, the Stork returned, accompanied by two other men.

The Stork's companions were both of considerable weight and height, and from a certain weakness underlying the ponderous nature of their movements, which he remembered from his days of sketching models, Lake realized both were of advancing years. Both wore dark suits identical to that worn by the Stork, but the resemblance ended there. The larger of the two men-not fat but merely broad-wore a resplendent raven's head over his own, the glossy black feathers plucked from a real raven (there was no mistaking the distinctive sheen). The eyes shone sharp and hard and heavy. The beak, made of a silvery metal, caught the subdued light and glimmered like a distant reflection in a pool of still water.

The third man wore a mask that replicated both the doorknocker and the seal on Lake's invitation: the owl, brown-gold feathers once again genuine, the curved beak a dull gray, the human eyes peering out from the shadow of the fabricated orbits. Unfortunately, the Owl's extreme girth extended to his neck and the owl mask was a tight fit, covering his chins, but constricting the flesh around the neck into a jowly collar. This last detail made him hideous beyond belief, for it looked as if he had been denuded of feathers, revealing the plucked skin beneath.

The three stood opposite Lake across the coffin-the top of which had begun to shudder upwards as whatever was inside smashed itself against the lid.

"What . . . what is in there?" Lake asked. "Is this part of the masquerade? Is this a joke? Did Merrimount send you?"

The Owl said, "A very nice disguise," and still staring at Lake, rapped his fist so hard against the coffin lid that black paint rubbed off on his white glove. The thrashing inside the coffin subsided. "A good disguise for this masquerade. The frog, who is equally at home on land as in the water." The Owl's voice, like that of the Stork, came out distorted, as if the man had stuffed cotton or pebbles in his mouth.

"What," Lake said again, pointing a tremulous finger at the coffi n, "is in there?"

The Owl laughed-a horrid coughing sound. "Our other guest will be released shortly, but first we must discuss your commission."

"My commission?" A thought flashed across his mind like heat lightning, leaving no impression behind: Raffe was right. I am to paint their s.e.x games for them.

"It is an unusual commission and before I give you the details, you must resign yourself to it with all your heart. You have no choice. Now that you are here, you are our instrument."

Raffe had never suggested that he must become part of the p.o.r.nography, and he rebelled against the notion: this was too far to take a commission, even for all the money in the world.

"Sirs," Lake said, standing, "I think there has been a misunderstanding. I am a painter and a painter only-"

"A painter," the Owl echoed, as if it were an irrelevant detail.

"-and I am going to leave now. Please forgive me. I mean no offense."

He began to sidle out from behind the coffin, but stopped when the Raven blocked his path, a long gutting knife held in one gloved hand. It shone like the twin to the Raven's beak. The sight of it paralyzed Lake. Slowly, he sidled back to the middle of the couch, the coffin between him and these predators. His hands shook. The frog mask was awash in sweat.

"What do you want?" Lake said, guarding unsuccessfully against the quaver in his voice.

The Owl rubbed his hands together and c.o.c.ked his head to regard Lake with one steel-gray eye. "Simply put, your commission shall be its own reward. We shall not pay you, unless you consider allowing you to live payment. Once you have left this house, your life will be as before, except that you shall be a hero: the anonymous citizen of the city who righted a grievous wrong."

"What do you want?" Lake asked again, more terror-stricken than before.

"A murder," croaked the Raven.

"An execution," corrected the Stork.

"A beheading," specified the Owl.

"A murder?" Lake shouted. "A murder! Are you mad?"

The Owl ruffl ed its feathers, said, "Let me tell you what your response will be, and then perhaps you can move past it to your destiny all the quicker. First, you will moan. You will shriek. You will even try to escape. You will say 'No!' emphatically even after we subdue you. We will threaten you. You will weaken. Then you will say 'No' again, but this time we will be able to tell from the questioning tone of your voice that you are closer to the reality, closer to the deed. And then the cycle will repeat itself. And then, finally, whether it takes an hour or a week, you will find yourself carrying out your task, because even the most wretched dog wants to feel the sun on its face one more day.

"It would save us all some time if you just accepted the situation without all the attendant fuss."

"I will not."

"Open the coffin."

"No!"

Lake, his leg enc.u.mbering him, leapt over the coffin table. He made it as far as the bust of Trillian before the Stork and the Raven knocked him to the floor. He twisted and kicked in their grasp, but his leg was as supple as a wooden club and they were much too strong. They wrestled him back to the coffin. The Stork held him face-down on the couch, the frog mask cutting so painfully into his mouth that he could hardly draw breath. The Raven yanked his head up and held the knife to his throat. In such a position, his eyeholes askew, he could see only the interior of the mask and a portion of the maroon-gold leaf ceiling.

From somewhere above him, the Owl said, with almost sensual sloth, "Accept the commission, my dear frog, or we shall kill you and choose another citizen."