The Hope Of His Heart

It's a story told a thousand ways on a thousand worlds.

Micha Krenshaw's Folklore Compendium records seven different versions in the system of Luminaire alone, and another forty in Crux. His students, and their students, have heard it told in Domain, in Heimatar, in Solitude, in Syndicate.  Different, each time.

And the same.

A girl, or a boy, it doesn't matter which, but human, that's the point of the story. A human girl, a human boy.

A door in the hill, or a gap in the hedge, or a mirror that reflects more than the face of those who look into it, or a pool of water, or a grove of trees. Whichever it may be, or something else entirely, it's always a gate - a gate from this world to another.

From the human, to the ... not.

Sometimes the human boy or the human girl finds a way through the door or the gap or the mirror.

Sometimes something else finds its way out.


They're always beautiful. More beautiful than humanly possible.

Because they're not human, that's the point of the story.

They stay a night, or two. Perhaps they come back, if it pleases them.  Only if it pleases them, though. It's for mortals to take care of the feelings of those around them.

Those from beyond the hedge or beneath the hill or behind the mirror take their pleasure and their leave.

Sometimes there's a child. A human woman left with broken heart and swelling belly, a human man woken by a midnight knock at the door nine months later to find a squalling bundle on the doorstep.

A changeling child, a half-breed, to raise and love but not to keep.

Not that the human mother or father weeping by the cradle need any reminder. They're beautiful, the ones from beyond, more beautiful than humanly possible, and even the sight of them condemns a human man or woman to pine forever, that glamor forever between them and the deed of their hand, between them and the hope of their heart.

It is possible to make them stay. Stay for a time, at least. Find the animal skin they shucked to take a more human form and hide it, or slip a rope woven from a single hair around their neck, or mark their forehead with a holy symbol in oil, or ash, or blood.  Lay cold iron on them.

Put a gold band on their finger.

They will stay human then, live and love in human form, at least until they search out their skin or pick apart the rope with a thorn from a rosebush planted by the light of the first full moon of spring, or gather  dew on the last day of the year three years in a row to wash away the mark.  And they will, always. That is one thing the stories all agree on.

They will love you, and stay with you, if you compel them, but they will never stop trying to be free.

Charles Etay watches the girl in his kitchen as she whisks a sauce and tastes it, pulls a face and adds salt. She is playing at being normal, here in his tiny apartment.  She's good at it, too.

The neighbors have no idea she's a pod-pilot and Charlie suspects they wouldn't believe him if he tried to tell them the truth. That nice young Cia Roth? Never!


She is playing at belonging in his world, with more success than he has when he's a visitor to hers.

And tomorrow, or the next day, she will leave. Return to her home between the stars.  Come back, as and when she choses, or summon him to her side.

He will wait, for the knock at the door, for the call, for the Interbus ticket in an envelope or the sight of her at the end of the street as he turns the corner for home.  He will wait, until the time comes when she stops calling, stops coming.

And then he will still wait.

It's a story told  a thousand ways on a thousand worlds.

It always ends the same.