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ABOUT SEAN
As I head down to the cliffs with my father, one of the race officials stops me. He says, "Sean Kendrick, you are ten years old. You haven't discovered it yet, but there are more interesting ways to die than on this beach."
I don't think often on my father's body strung out through the reddening surf. Instead, I remember him as he was before the race: afraid.
I won't make the same mistake.
I have worked in the Malvern Yard since I was ten, and some people say that I got the job out of pity, but those people are wrong. The Malverns' livelihood and their name are under the roof of their stable—they export sport horses to the mainland—and they won't have anything compromising that, far less something as humanitarian as pity.
"You're the one for the horses, Kendrick," Brian says. "I reckon someone's going to get killed unless we fetch you back there."
"Will you now?" Sean says softly. There's a long pause, full of the sound of muffled voices in the butcher's. "I saw you signed up for the races. But there's no horse there beside your name. Why is that, Mutt?"
Mutt's face purples.
"I think," Sean says, and as before, his voice is so quiet that all of us are holding our breath to hear him, "it's because, like every year, your father is waiting for me to pick a horse for you."
I hear a wail, and at first I think it is a scream, but then I hear my name. "Where's Kendrick?"
Someone is about to die.
"No sense going without, when there's unpleasant business making it unpleasant enough," Malvern says. He drinks his strange, frothy tea.
I am still and silent.
"You're a man of no words, Sean Kendrick," he says.
This close, [Sean is] almost too severe to be handsome: sharp-edged cheekbones and razor-edge nose and dark eyebrows. His hands are bruised and torn from his time with the capaill uisce. Like the fishermen on the island, his eyes are permanently narrowed against the sun and the sea. He looks like a wild animal. Not a friendly one.
We are shoulder to shoulder due to the size of the cab, and if Gratton is made of flour and potatoes, Sean is made of stone and driftwood and possibly those prickly anemones that sometimes wash up on shore.
I see a lone horse, stretched out to its fullest, galloping along the edge of the cliff, bits of turf plowed up beneath its hooves. I recognize the horse a moment before I recognize the rider—Sean Kendrick, folded up tightly along the stallion's back, moving as one with the horse. As the bloody red capall uisce pounds past me overhead, I see that Sean rides bareback, the most dangerous way of all. Skin to skin, pulse to pulse, nothing to protect you should the horse's magic seize you.
ABOUT CORR
I am dreaming of the sea when they wake me.
Actually, I am dreaming of the night that I caught Corr, but I can hear the sea in my dream. There is an old wives' tale that capaill uisce caught at night are faster and stronger, and so it is three in the morning and I am crouching on a boulder at the base of the cliffs, several hundred feet from the sand beach.
[...] I turn around and there is a horse.
It is close enough to smell the briny odor of it, close enough to feel the warmth off its still-wet skin, close enough to look into its eye and see its dilated square pupil. I smell blood on its breath.
[Corr] jerks his head toward me so fast that I have an iron rod out of my pocket before he's finished his turn. But he wasn't attacking, merely moving to study me with his good eye.
I trust Corr more than any of them.
I should not trust him at all.
For the first time in days, I laugh. In response to the sound, Corr shakes his head and neck like a dog shedding water. I back up a few steps in the water and he follows me, and then I come after him and kick a splash at his body. He winces, looking deeply wounded, and then paws to splash me in return. Back and forth we go—I never have my back to him—as he follows me and I him. He pretends to drink the water and tosses his head in mock disgust. I pretend to drink a handful and throw it at him.
I had tried the lunge line, in fact, with the pure bay mare, and though it hadn't been a disaster, it hadn't been pretty, either. Surely I wouldn't have wanted Holly or anyone else with me in the round pen that day. I'm not entirely certain that six years with either of the mares would end up the same way that six years with Corr has. I'm not sure, after all this time, if it's because he understands me better than they do, or merely because I understand him better than them.
Corr makes a night noise—a barely audible, descending wail. It's the sound of a scream underwater. But from Corr, it's a homing beacon. A confirmation that waits for an answer.
I cluck my tongue, once, and he immediately falls quiet. Neither of us moves toward the other, but we both ease our weight off one foot at the same time. I sigh, and he sighs as well.
ABOUT THE CAPAILL UISCE
Unharmed, I find myself facing the sea, surrounded on all sides by the capaill uisce—the water horses. They are every color of the pebbles on the beach: black, red, golden, white, ivory, gray, blue. Men hang the bridles with red tassels and daisies to lessen the danger of the dark November sea, but I wouldn't trust a handful of petals to save my life. Last year a water horse trailing flowers and bells tore a man's arm half from his body.
I have ridden him, this capall. On his back, the wind beating me, the ground jarring me, the sea spraying our legs, we never tire.
I lean close to the stallion's ear and trace a counterclockwise circle above his eye as I whisper into his soft ear.
I am here because the new men that Malvern has hired to feed the horses are afraid at best and incompetent at worst, and the hay has been poor and the cuts of meat even worse. There's been no blood to speak of for the capaill uisce, as if by treating them as regular horses the grooms hope to make them so. So I am here because I have to do things myself if I want them done properly.
Padgett is beginning to look improbable; something about him is starting to look less like a man and more like meat. I hear, plaintively, from one of the men: "Kendrick." I step forward, and right as I get to the horse, I spit on the fingers of my left hand and grab a handful of its mane at its poll, right behind its ears. Pulling a red ribbon from the pocket of my jacket with my right hand, I press it over the bones of the horse's nose. It jerks, but my hand on its skull and neck is firm. I whisper in its ear and it staggers back, punching a hoof into Padgett's body as it struggles to find its footing again. Padgett is not my concern. My concern is that I have two thousand pounds of wild animal being held by a string and it has maimed two men already and I need to get it away from the rest of them before I lose my tenuous grip.
Water horses come in every color that normal land horses do, but, like land horses, most are bay or chestnut. Less often dun or palomino or black or gray. It's very rare to find a piebald water horse, equally black and white, sharp white clouds across a black field. But flashy color doesn't win races.
As we charge across the sand, the magic in her calls to me, insidious. Precious little of my bare skin touches her—a wrist against her neck, perhaps, though my leg is guarded inside my boots. But still, her pulse hums through me. Lulling me to trust. Compelling me to join her in the sea. It's only a decade of riding dozens of the water horses that allows me to remember myself.
And only barely.
Everything in me says to abandon the struggle. Fly with her into the water.
Threes. Sevens. Iron across my palm.
I whisper: "You will not be the one to drown me."
Everywhere in it are clues to the stable's previous life. The stalls are so large that in all but three, Malvern has put up dividers so that he can accommodate more of the sport horses that he sells on the mainland. The door frames are iron, the door handles will turn only counterclockwise, and there is something written in red runes above one of the thresholds. The floor of the teind stall, the stall closest to the cliffs, is stained with blood, the walls arced with a spattered spray like sea foam. Malvern has repainted it many times, but when the morning light comes in full and strong, the stains are still visible. One of them is the print of a human hand, fingers splayed near the door handle.
It was not always stylish sport horses that were housed in this barn.
"Quite a remarkable structure. This was built just for the capaill uisce?" he asks. He's very careful with the last words, but his pronunciation is good. Copple ooshka.
[...] "Capaill uisce? Capall uisce?" The American frowns now, doubting his usage.
"Capaill is plural. Capall is singular."
I hear one of my mares scream, and I turn long enough to flip open my bag and throw a handful of salt in her direction. She jerks her head up as some of it sprinkles her face; she's offended but not hurt. I look her in the eye long enough that she knows there's more where that came from.
I drag myself closer with the floating hairs of his tail. I straddle his back and grab a handful of mane as I make my way up his neck. There is no time to trace the outlines of his veins with iron or push him widdershins. He is beyond anything I could whisper in his ear. There is only time for me to grip a handful of death-red holly berries from my coat pocket and to press them into his flared nostrils.
And to a capall uisce, the call of the sea is nearly as powerful one hundred feet above it as it is one hundred feet across a beach from it. More than one man has ridden that sinking ship over the edge and onto the rocks, just shy of the ocean.
ABOUT THE SCORPIO RACES
It is the first day of November and so, today, someone will die.
Even under the brightest sun, the frigid autumn sea is all the colors of the night: dark blue and black and brown. I watch the ever-changing patterns in the sand as it's pummeled by countless hooves.
They run the horses on the beach, a pale road between the black water and the chalk cliffs. It is never safe, but it's never so dangerous as today, race day.
The wind's torn the mist to shreds here by the ocean, so unlike on the rest of the island, the horses and their riders appear in sharp relief down on the sand. I can see the buckle on every bridle, the tassel on every rein, the tremor in every hand. It is the second day of training, and it's the first day that it isn't a game. The first week of training is an elaborate, bloody dance where the dance partners determine how strong the other ones are. It's when riders learn if charms will work on their mounts, how close to the sea is too close, how they can begin to convince their water horses to gallop in a straight line. How long they have between falling from their horses and being attacked. This tense courtship looks nothing like racing.
Somewhere close by, a man is moaning; he's been trampled or thrown or bitten. He sounds resentful or surprised. Did no one tell him that pain lives in this sand, dug in and watered with our blood?
ABOUT THISBY
We nod to each other before he turns back to his horse to finish saddling up. His small racing saddle is hand-tooled, and as he lifts the flap to give the girth a final tug, I see words burned into the leather: Our dead drink the sea.
I didn't actually realize there wasn't much to the island until a few years ago, when I started reading magazines. It doesn't feel it to me, but Thisby's tiny: four thousand people on a rocky crag jutting from the sea, hours from the mainland. It's all cliffs and horses and sheep and one-track roads winding past treeless fields to Skarmouth, the largest town on the island. The truth is, until you know any different, the island is enough.
Actually, I know different. And it's still enough.
Also, it's illegal to transport the capaill uisce from the island, but that doesn't seem like something that would stop someone like Holly. If he were a horse, I think I'd have to trot him around this round pen for a long time to take the edge off.
"Ah, that's the way of this island. Not everyone can stay, or we'd fall off the edges, wouldn't we?" Thomas Gratton's voice doesn't match his light words, though. "And not everyone belongs to this island. I can tell you do, don't you?"
The cliffs here aren't as high as the ones that border the racing beach, and they're not as pure white. The shore by the cove is a weird, awkward place to get to, and once Dove and I manage to creep down the narrow, uneven path to the beach, I find that it's no good for riding on. The beach here is rocky and uneven, and the sea hugs it closely. It's low tide, but still, there's only fifteen feet of rocks before the unruly sea smashes itself against them. it's the sort of place we were always warned against, because a horse could be up out of that ocean and back down with us before one wave had gone out and another taken its place.