She was not fucking around. She was not putting up with this. She would never put up with this, never should have put up with this. Seven years of silence, five decades of barely concealed spying, a century of awkward attempts to maintain a friendship, a cohesion, a sense of community with someone who clearly loathed some integral part of her life.
She was not going to play around, here. She was not going to play soft. She was not going to play hard. She was not going to play at all, not with Hammered Silver, not anymore.
> **To:** Time Is A Finger Pointing At Itself of the Ode clade **(EYES-ONLY)**
> **From:** Memory Is A Mirror Of Hammered Silver of the Ode clade
> **On:** systime 238+291
>
> Time Is A Finger Pointing At Itself,
>
> I am breaking my communication embargo to write you regarding some concerns that I have on the current state of the clade, the fifth stanza, and And We Are The Motes In The Stage-Lights.
> Upon learning that I Remember The Rattle Of The Dry Grass has continued in her association with you, And We Are The Motes In The Stage-Lights, and the one who has named herself Sasha, I have instituted a no-contact order between her and the rest of the sixth stanza for her perfidy. It was my hope that my previous directive regarding the fifth stanza would have been clear enough to require no further clarification, and yet this is the situation that we have found ourselves in.
> This letter serves as a means to reinforce that this no-contact order still stands. That I even need to send such a reminder is upsetting and insulting. I have sent a letter to And We Are The Motes In The Stage-Lights explaining my reasoning more clearly for someone who seems obstinately opposed to staying grounded to reality. I will reiterate the status of this request here for clarity:
>
> 1. There is to be no contact between the fifth stanza and either the sixth or seventh stanzas.
> 2. There is to be no contact between the one who has named herself Sasha and either the sixth or seventh stanzas.
> 3. There is to be no contact between I Remember The Rattle Of Dry Grass and the rest of the sixth stanza until further notice.
>
> I expect better from Odists. Perhaps my expectations are misguided.
>
> — Memory Is A Mirror Of Hammered Silver of the Ode clade.
Some treacherously sunny afternoon some centuries back, Sasha/Michelle Hadje sat tiredly on the edge of a fountain in the middle of a brick-paved pedestrian mall. Just a woman or a skunk or perhaps both sitting on the rough stone in classical white, head bowed in concentration as the sun warmed the back of her neck. Beside her sat a man, a politician, watching as she drained her reserves of reputation to bring into being ten more instances of herself, each blissfully unafflicted by the restlessness-of-shape and in many ways less affected by the restlessness-of-mind that plagued her.
"So, what next?" the man asked.
"What is next is that I get assignments from the Council and then take a fucking vacation," she replied. "I plan on sleeping for at least three days straight."
He laughed. "I wholeheartedly endorse this course of action. One of you want to take on an assignment today?"
They — this gaggle of skunks and women who were still in some way skunks — put their heads together to discuss, and even then, even so few minutes after they had come into being, taken for their names the first lines of the ten stanzas of a poem each held close to their heart, it became clear that they differed in some fundamental way that went beyond simple individuation.
Time Is A Finger Pointing At Itself, the woman who bore the first line of the fifth stanza for a name, had lived through this four times, enough times to know just what had been done, for had she not been Michelle/Sasha for the first four first lines coming into being?
Sasha/Michelle had sat on the rim of the fountain and looked out on the world with tired eyes and wondered at the simple beauty of Old Town Square, the brick pavers and the gas lamps and the twee shops, and forked her first long-lived instance, I Am At A Loss For Images In This End Of Days of the Ode clade.
Michelle/Sasha had remembered a day two decades back when she had sat on the rim of a fountain not so different from this one, sat beside an erstwhile partner who made such a better friend than lover that they remained in love in friendship in their own gentle way until ey had given emself to the act of creation, and forked into her second long-lived instance, Life Breeds Life But Death Must Now Be Chosen.
Sasha/Michelle had thought of their conversation together, those two better-friends-than-lovers, about some musical her grandparents had taken her to for her birthday, how she had sung out of key, *"Oh, my Rivkah, where have you gone?"* and then hid her face behind her coffee cup, and forked off her third long-lived instance, Oh, But To Whom Do I Speak These Words.
Michelle/Sasha had smiled at the memories of how she had, despite her poor attempt at expressing the joy of that song, gushed about nearly every aspect of the production, the use of projectors to add a visual dreaminess to the stage, the subtle use of props as percussion instruments, and forked again into her fourth long-lived instance, Among Those Who Create Are Those Who Forge.
And at last, Sasha/Michelle remembered how, even after she fell silent, she and her friend had sat in the glow of the sun, thinking about just how wonderful a time she had had — her directly, her friend in compersion — seeing so complete an experience of a well-produced musical, and forked into her, into Time Is A Finger Pointed At Itself.
She was forked smiling.
And so when this man, this politician, this Jonas asked who wanted an assignment, she had decided instead to linger in that joy, to remember that lovely day instead of searching for some way to reengage with politics. That was left to The Only Time I Know My True Name Is When I Dream, the first line of the eighth stanza. She did not know what compelled True Name to lean into politics as she had been forked after A Finger Pointing, but she wished her all the best.
When Michelle/Sasha stood at last, swaying, and tottered towards the remainder of her newly-formed clade, each bearing in their heart some secret, individual joy bestowed upon them by their tired creator, they had all welcomed her into their presence as a first-among-equals and bore her away to home, to her field of grass and dandelions.
What followed was a conversation that lasted until dusk. Each of them minus True Name, already at work, talked about the experience of coming into being, the experience of being settled firmly into one shape unlike their root instance, about the things that they loved and what they might do with that love.
They had not existed for a day and yet A Finger Pointing still loved them each and loved them all together.
She learned of all of their different focuses and kept them straight in her head that she might know them better later, but also she watched how each of them moved, how each of them acted. She kept in mind all that they talked about so that she might share it with True Name.
Hammered Silver was, there. She was the one who, after Sasha/Michelle had tired of walking and requested to sit down, had offered her lap as a pillow that she might dote on her down-tree. There was such love in her eyes, such maternal love, for this woman who was at once herself and not. She did not smile, but cooed in concern as a mother might to some crying child. A Finger Pointing made note of this, too, for, yes, she also felt that concern, but also to see such in someone so like herself was a joy in its own right.
From that point on, A Finger Pointing made herself the glue of this growing clade. She would share weekly or monthly lunches and dinners with each, keeping up with them via letters and, once they were implemented, sensorium messages. Even as her smile remained or veered towards a smirk or wily grin, even as her opinions on each of her cocladists grew more complicated, watching burgeoning loves and animosities, she kept in touch.
Yes, there were steps that she needed to take. There were ways that she needed to keep herself safe. There were ways that those who above all else she loved might come to harm and she need to keep them safe as well. She needed to ensure their safety even above her own.
