Did that validity defend the victors against their own annihilation?

Of course not.

'A civilization at war chooses only the most obvious enemy, and often also the one perceived, at first, to be the most easily defeatable.

But that enemy is not the true enemy, nor is it the gravest threat to that civilization. Thus, a civilization at war often chooses the wrong enemy. Tell me, Mappo Runt, for my two hypothetical kingdoms, where hid the truest threat?'

He shook his head.

'Yes, difficult to answer, because the threats were many, seemingly disconnected, and they appeared, disappeared then reappeared over a long period of time. The game that was hunted to extinction, the forests that were cut down, the goats that were loosed into the hills, the very irrigation ditches that were dug. And yet more: the surplus of food, the burgeoning population and its accumulating wastes. And then diseases, soils blown or washed away; and kings – one after another – who could or would do nothing, or indeed saw nothing untoward beyond their fanatical focus upon the ones they sought to blame.

'Alas,' she said, leaning now on the rail, her face to the wind, ' there is nothing simple in seeking to oppose such a host of threats.

First, one must recognize them, and to achieve that one must think in the long term; and then one must discern the intricate linkages that exist between all things, the manner in which one problem feeds into another. From there, one must devise solutions and finally, one must motivate the population into concerted effort, and not just one's own population, but that of the neighbouring kingdoms, all of whom are participating in the slow self-destruction. Tell me, can you imagine such a leader ever coming to power? Or staying there for long? Me neither. The hoarders of wealth will band together to destroy such a man or woman. Besides, it is much easier to create an enemy and wage war, although why such hoarders of wealth actually believe that they would survive such a war is beyond me. But they do, again and again.

Indeed, it seems they believe they will outlive civilization itself.'

'You propose little hope for civilization, Spite.'

'Oh, my lack of hope extends far beyond mere civilization. The Trell were pastoralists, yes? You managed the half-wild bhederin herds of the Masai Plains. Actually, a fairly successful way of living, all things considered.'

'Until the traders and settlers came.'

'Yes, those who coveted your land, driven as they were by enterprise or the wasting of their own lands, or the poverty in their cities.

Each and all sought a new source of wealth To achieve it, alas, they first had to destroy your people.'

Iskaral Pust scrambled to the Trell's side. 'Listen to you two! Poets and philosophers! What do you know? You go on and on whilst I am hounded unto exhaustion by these horrible squirming things!'

'Your acolytes, High Priest,' Spite said. 'You are their god.

Indicative, I might add, of at least two kinds of absurdity.'

'I'm not impressed by you, woman. If I am their god, why don't they listen to anything I say?'

'Maybe,' Mappo replied, 'they are but waiting for you to say the right thing.'

'Really? And what would that be, you fat oaf?'

'Well, whatever it is they want to hear, of course.'

'She's poisoned you!' The High Priest backed away, eyes wide. He clutched and pulled at what remained of his hair, then whirled about and rushed off towards the cabin. Three bhok'arala – who had been attending him – raced after him, chittering and making tugging gestures above their ears.

Mappo turned back to Spite. 'Where are we going, by the way?'

She smiled at him. 'To start, the Otataral Sea.'

'Why?'

'Isn't this breeze enlivening?'

'It's damned chilly.'

'Yes. Lovely, isn't it?'

A vast oblong pit, lined with slabs of limestone, then walls of brick, rising to form a domed roof, the single entrance ramped and framed in limestone, including a massive lintel stone on which the imperial symbol had been etched above the name Dujek Onearm, and his title, High Fist. Within the barrow lanterns had been set out to aid in drying the freshly plastered walls.

Just outside, in a broad, shallow bowl half-filled with slimy clay, basked a large toad, blinking sleepy eyes as it watched its companion, the imperial artist, Ormulogun, mixing paints. Oils by the dozen, each with specific qualities; and pigments culled from crushed minerals, duck eggs, dried inks from sea-creatures, leaves and roots and berries; and jars of other mediums: egg whites from turtles, snakes, vultures; masticated grubs, gull brains, cat urine, dog drool, the snot of pimpsAll right, the toad reflected, perhaps not the snot of pimps, although given the baffling arcanum of artists, one could never be certain. It was enough to know that people who delved into such materials were mostly mad, if not to start with, then invariably so after years spent handling such toxins.

And yet, this fool Ormulogun, somehow he persisted, with his stained hands, his stained lips from pointing the brushes, his stained beard from that bizarre sputtering technique when the pigments were chewed in a mouthful of spit and Hood knew what else, his stained nose from when paint-smeared fingers prodded, scratched and explored, his stained breeches from'I know what you're thinking, Gumble,' Ormulogun said.

'Indeed? Please proceed, then, in describing my present thoughts.'

'The earwax of whores and stained this and stained that, the commentary swiftly descending into the absurd as befits your inability to think without exaggeration and puerile hyperbole. Now, startled as you no doubt are, shift that puny, predictable brain of yours and tell me in turn what I'm thinking. Can you? Hah, I thought not!'

'I tell you, you grubber of pastes, my thoughts were not in the least as you just described in that pathetic paucity of pastiche you dare call communication, such failure being quite unsurprising, since I am the master of language whilst you are little more than an ever-failing student of portraiture bereft of both cogent instruction of craft and, alas, talent.'

'You seek to communicate to the intellectually deaf, do you?'

'Whilst you paint to enlighten the blind. Yes yes,' Gumble sighed, the effort proving alarmingly deflating – alarming even to himself. He quickly drew in another breath. 'We wage our ceaseless war, you and I.

What will adorn the walls of the great man's barrow? Why, from you, the usual. Propagandistic pageantry, the politically aligned reaffirmation of the status quo. Heroic deeds in service of the empire, and an even more heroic death, for in this age, as in every other, we are in need of our heroes – dead ones, that is. We do not believe in living ones, after all, thanks to you-'

'To me? To me!?'

'The rendition of flaws is your forte, Ormulogun. Oh, consider that statement! I impress even myself with such perfectly resonating irony.

Anyway, such flaws in the subject are as poison darts flung into heroism. Your avid attention destroys as it always must-'

'No no, fool, not always. And with me, with Ormulogun the Great, never. Why? Well, it is simple, although not so simple you will ever grasp it – even so, it is this: great art is not simply rendition.

Great art is transformation. Great art is exaltation and exaltation is spiritual in the purest, most spiritual sense-'

'As noted earlier,' Gumble drawled, 'comprehensive erudition and brevity eludes the poor man. Besides which, I am certain I have heard that definition of great art before. In some other context, likely accompanied by a pounding of the fist on table – or skull-top, or at the very least a knee in the kidneys. No matter, it all sounds very well. Too bad you so consistently fail to translate it into actuality.'