Wednesday, 25 February 2026

IV — The City of Stone Songs

Beyond the bridge, the land rose gradually until it became terraces of pale rock.

At first Liora thought the formations were natural — layered cliffs shaped by wind and time.

Then she heard it.

A note.

Low. Sustained. Perfectly held.

She followed the sound.

The terraces resolved into walls. The walls into towers. The towers into a city.

Every surface was stone — but not rough, not crude. The stone was veined with delicate striations, as though shaped by vibration rather than chisel.

At the gates stood figures robed in ash-grey cloth. Their hands rested lightly against the walls.

They were singing.

Not loudly.

Not passionately.

Exactly.

Their tones were steady, unbroken. Each voice aligned with the next in flawless harmony. No wavering. No improvisation. No deviation.

The sound passed into the stone.

The stone answered.

Not with new melody — but with amplification.

The city hummed.

Liora stepped inside.

The streets curved in concentric arcs. Archways bore inscriptions carved in flowing script — verses repeated along lintels and thresholds.

Children walked in measured rhythm, chanting softly as they moved. Elders stood at intersections, maintaining pitch with careful breath.

Everywhere: resonance.

It was beautiful.

It was immovable.

A woman approached Liora.

“You are new,” she observed gently.

“Yes.”

“Then you must learn the Song.”

“The Song?” Liora asked.

“The Founding Song. It holds the city together.”

She gestured upward.

Liora looked.

The towers were not merely constructed of stone — they were stone that had once been sound. The curves of the architecture followed the arc of melody. The buttresses thickened where harmonies deepened.

“Once,” the woman continued, “this was open land. Wind and shifting sand. We sang the Song. We sang it precisely. The sound condensed. The city formed.”

“And it endures?” Liora asked.

“So long as we keep singing.”

A bell chimed.

The citizens adjusted their posture collectively and began the next verse.

The harmonies were exquisite.

Every note fell into place with mathematical grace. There was no excess vibration. No wandering tone.

As the sound filled the air, the stone brightened faintly, reinforcing itself.

Liora listened.

The Song was ancient — layered with repetition. Each refrain returned exactly as before. The melody did not evolve. It did not drift.

It persisted.

She walked further into the city.

In a central square stood a monumental pillar of white stone. Carved into its surface were lines of the Song, etched in deep grooves.

A young boy stood beside it, tracing the carved notes with his finger.

He sang carefully, matching pitch to the inscription.

When he faltered — barely perceptibly — the stone near his hand dulled.

An elder corrected him gently.

He adjusted.

The stone brightened again.

“Does no one sing differently?” Liora asked quietly.

The elder looked startled.

“Differently?”

“Another melody, perhaps. Or an ornament.”

The elder shook her head, almost in pity.

“If we altered the Song, the structure would weaken.”

“Would it?”

The elder gestured to a distant building.

A small fissure ran along its base.

“A child once experimented,” she said. “A variation. The wall cracked.”

“And what did you do?”

“We restored the correct pitch.”

Liora approached the fissure.

It was hairline — delicate, almost beautiful.

Within it, something green shimmered.

Moss.

Tiny, vibrant, alive.

She crouched.

The moss pulsed faintly, as though responding to an inaudible rhythm.

Behind her, the Song swelled into its climactic refrain.

Stone solidified. Resonance intensified.

The fissure narrowed.

The moss dimmed.

Liora stood slowly.

The beauty of the city was undeniable. Its coherence, its endurance — astonishing.

But the air was thick.

Not oppressive.

Settled.

She walked to the edge of the square and began to hum.

Not loudly.

Not disruptively.

Between the notes of the Song.

The interval she chose was precise — neither dissonant nor compliant. It did not clash. It did not merge.

It hovered.

A few heads turned.

The elder stiffened.

“Please,” she said softly. “You will destabilise the structure.”

Liora did not raise her voice.

She adjusted her tone slightly, weaving it into the spaces the Song did not occupy.

Something shifted.

Not collapse.

A tremor.

The fissure in the distant wall widened by a breath.

The moss brightened.

The citizens faltered for half a heartbeat — not losing the melody, but noticing the gap.

The young boy at the pillar looked up.

He hesitated.

Then — cautiously — he let his voice slide, just slightly, along the edge of the carved groove.

The pillar did not shatter.

A fine crack appeared beside his fingertip.

Light entered.

The elder inhaled sharply.

But the tower did not fall.

The walls did not crumble.

Instead, the stone seemed to listen.

Liora’s hum continued — steady, respectful, unafraid.

She did not replace the Song.

She threaded through it.

The fissures multiplied — thin, luminous veins spreading gently across the surfaces of the square.

From each, green life emerged.

Not overwhelming.

Interwoven.

The harmonies shifted — imperceptibly at first, then with growing confidence. The melody retained its core, but its edges softened.

Resonance deepened.

The stone no longer hardened exclusively in reinforcement.

It breathed.

The elder approached Liora slowly.

“You risk everything,” she whispered.

“No,” Liora replied gently. “Only rigidity.”

The elder listened.

For the first time, she heard not only the solidity of the Song, but the space around it.

She closed her eyes.

Her voice — long disciplined to exact replication — trembled.

Then it curved.

A single ornamental note unfurled, delicate as moss.

The city did not collapse.

The towers shimmered.

Where cracks appeared, they did not signal ruin.

They signaled permeability.

By dusk, the city still stood.

Its architecture unchanged in outline.

But along its surfaces, life traced new patterns — green against white stone, movement against permanence.

The Song continued.

But now, between its verses, there was room to breathe.

As Liora walked toward the gates, the resonance followed her — not fixed, not dissolving.

Alive.

At the threshold, the elder called out.

“Will you return?”

Liora smiled.

“I never left.”

She stepped beyond the city walls.

Behind her, the stone sang — no longer immovable, no longer brittle — but resonant and open to the wind.

III — The Bridge That Refused to End

The plain narrowed into stone.

II — The Hall of Perfect Mirrors

Beyond the thinning plain and the echoing garden, Liora found a structure made entirely of light.

I — The Garden of Echoing Names

At the far edge of the plain, where the wind travelled without interruption and the soil thinned into almost-form, Liora found a gate.

It was not locked.

It did not even appear closed.

It was simply there, like a pause in the air.

Beyond it lay a garden.

Not orderly rows, not wild abandon — something in between. Blossoms rose in spirals, in lattices, in asymmetries that almost repeated. Petals shimmered in colours that refused to settle into single tones. Leaves held veins like branching rivers, each bifurcation precise, deliberate.

As Liora stepped inside, a sound rose.

“Velith.”

She turned.

A pale blue flower inclined toward her.

“Velith,” it said again, softly, as though reminding itself.

Liora smiled.

“Is that your name?” she asked.

The flower trembled, and the tremor changed its hue — now silver at the edges.

“Thalen,” it said.

From behind her, another voice called, brighter, sharper:

“Velith!”

A red blossom opened wider, petals curling back as though amused.

Liora looked from one to the other.

“You share a name?”

The blue flower dimmed slightly.

“I was Velith,” it said, almost apologetically.

The red blossom flickered.

“I am Velith,” it declared.

A third voice, somewhere deeper in the garden, whispered:

“Velith.”

And then laughter — not mocking, not cruel — a rustle of leaves shifting in windless air.

Liora walked further in.

Everywhere she stepped, the garden spoke.

“Anor.”

“Sereth.”

“Thalen.”

Sometimes the same name leapt from three different blossoms at once. Sometimes a single bloom spoke a new name each time the light shifted across its petals.

Near the centre of the garden, she found a group of travellers.

They stood with notebooks and measuring cords. Stakes marked the ground. Strings stretched between blossoms.

One traveller crouched before a cluster of violet flowers, brow furrowed.

“It’s inconsistent,” he muttered. “Yesterday this one was Anor. Now it insists it is Sereth.”

Another traveller shook her head. “No. You misheard. That one has always been Sereth. The red bloom beside it was Anor.”

“It was not.”

“It was.”

They began to argue — not loudly, but with tightening voices.

Liora knelt beside them.

“Are you mapping the names?” she asked gently.

“We are trying to fix them,” the first traveller said. “If each bloom would simply retain its designation, the structure would reveal itself.”

“The garden must have a stable taxonomy,” the second added. “Otherwise it is meaningless.”

As if overhearing, a golden blossom turned toward them.

“Taxo,” it sang.

Then, after a pause:

“Velith.”

The travellers groaned.

Liora did not.

She closed her eyes.

The garden was not random. Beneath the flux of naming she sensed rhythm — patterns of recurrence, spirals of sound. Certain syllables clustered near particular colours. Certain tonalities echoed across specific distances. Names shifted, but not arbitrarily.

The garden was not failing to stabilise.

It was refusing to reduce.

She opened her eyes and addressed the nearest blossom.

“Who are you?” she asked.

The blossom shimmered.

“Sereth.”

A breeze — or something like one — passed over it.

“Anor.”

Liora nodded.

“Thank you.”

She stood and began to walk slowly between the rows. Each step altered the light. Each alteration shifted the names spoken around her.

Where she lingered, certain sounds recurred. Where she turned away, new clusters emerged.

She began to hum — not a melody imposed from outside, but an echo of what she heard: Velith-Anor-Sereth-Thalen, braided together, rising and falling.

The garden answered.

Not with agreement.

With elaboration.

Behind her, one traveller looked up.

“She isn’t fixing anything,” he whispered.

“No,” said the other. “She’s listening.”

Liora reached a clearing at the heart of the garden. There stood a single white bloom, almost translucent.

It did not speak.

She waited.

Light shifted across its surface.

“Velith,” it said at last.

Then, softer:

“Anor.”

Then nothing.

Liora placed her hand near it — not touching, merely near.

“You do not need to remain,” she said quietly. “You are not held by a single sound.”

The bloom brightened, then thinned, as if exhaling.

Around the clearing, the chorus swelled — names overlapping, diverging, rejoining. Not chaos. Not fixed order. A field of patterned possibility.

Liora turned back toward the travellers.

“You will not find a final map,” she told them kindly. “But you may find a music.”

They looked at her, uncertain.

“Without stable names,” one protested, “how do we know what anything is?”

She smiled.

“You know it by how it answers.”

A pause.

A red blossom called, bright and clear:

“Velith!”

The blue one responded, laughing:

“Sereth!”

The golden one added:

“Anor.”

The travellers listened.

For the first time, they did not attempt to correct.

They heard recurrence.

Variation.

Constraint without fixation.

As Liora approached the gate once more, the garden grew quiet.

One last whisper followed her out onto the plain:

“Liora.”

She turned.

No single blossom claimed it.

The name hovered — not attached, not owned — a tone in the air.

She bowed her head in acknowledgment.

Then she walked on, leaving behind a garden that did not need to be fixed in order to flourish.