he never shared the rules, and the Strange Bird had already seen the three crosses that stood in the sand outside, which she thought were perches for other birds now long dead. She had seen the tiny garden and well next to the crosses, for she turned echolocation back on and cast out her senses like a dark net across a glittering sea to capture whatever lay outside her cell. The well and garden were both a risk, even disguised as abandoned, derelict, overgrown.
“I am Abidugun,” he said again. “You I will call Isadora, for you are the most dazzling bird I have ever seen and you need a dazzling name.”
* * *
So, for a time, the Strange Bird became Isadora and responded to the name as best she could—when the Old Man fed her scraps, when he decided to read her stories from books, tales incomprehensible to her. She decided that even as she plotted to escape, she would pretend to be a good pet.
But in the lab, the scientists had kept her in a special sort of light that mimicked sunlight and fed her in its way, and now that she had only the barest hint of any light, she felt the lack.
“You should eat more,” the Old Man said, but the kind of food he brought often disgusted her.
“Life is difficult,” the Old Man said. “Everyone says it is. But death is worse.”
And he would laugh, for this was a common refrain, and the Strange Bird believed someone had said it to him and now he was under the spell of those words. Death is worse. Except she did not know anything of death but what she had seen in the laboratory. So she did not know if death was worse. She wished only that she might be that remote from the Earth and the humans who lived upon it. To glide above, to go where she wished without fear because she was too high up. To reduce humans again to the size she preferred: distant ghosts trudging and winking out to reappear again, looped and unimportant.
* * *
Beyond the dune that hid the Old Man lay a ruined city, vast and confusing and dangerous. Within that city moved the ghostly outlines of monstrous figures the Strange Bird could not interpret from afar, some that lived below the surface and some that strode across the broken places and still others that flew above.
Closer by, etched in the crosshairs of her extra perception … a fox, atop the dune, curious and compact and almost like a sentry watching the Old Man’s position. Soon, others joined the fox and she glimpsed the edges of their intent and, intrigued, she would follow them using echolocation whenever she sensed them near, when there was nothing else to do, and for the first time she experienced the sensation of boredom, a word that had meant nothing in the laboratory for there had been nothing to test boredom against. But now she had the blue limitless sky to test it against, and she was already restless.
Her senses also quested down the many tunnels and levels of the prison when the Old Man went hunting, so she might test the bars, the planks of the wood, the wire in his absence. The Old Man often disappeared into the maze down below, with his machete, and hunted long, black weasel-like creatures that lived there. She listened to the distant squeals as he found them and murdered them, and she saw in her mind the bubbles and burrows that were their lives become smaller and smaller until they were not there at all.
How in their evasion and their chittering one to another did the Old Man not realize their intelligence? On the mornings when the Strange Bird woke to find the thin, limp bodies of the black weasels lying half-in, half-out of a massive pot on a table halfway across the room, she felt a sense of loss the Old Man could not share.
The Strange Bird knew, too, that the Old Man might find her beautiful, but should he ever be starving, he would murder her and pluck her dazzling feathers and cook her and eat her, like he would any animal.
She would lie half-in, half-out of the pot, limp and thoughtless, and she would no longer be Isadora but just a strange dead bird.
The Foxes at Night
The foxes came out at dusk and peered in through the slit of the Strange Bird’s cell at an angle where the Old Man could not see them. Their eyes glittered and they meant mischief, but not to her. They sang to the Strange Bird a song of the night, in subsonic growls and yips and barks. They were not afraid of the prison or of the Old Man, for they were not like most foxes, but more like the other animals she had known in the laboratory—alert in a specific way.
So she sang back silently to them, as a comfort, there in the cell, and when the moonlight lay thick and bright against the gritty cheek of the sand dune, the foxes would gambol and prance for the sheer delight of it and beckon her to join them, would let her into their minds that she might know what it was to gambol and to prance on those four legs, then these four legs, to see the world from a fox’s level. It was almost like flying. Almost.
The Strange Bird knew that in those moments, the foxes could see into her mind, too. That the pulsing compass allowed this, attracted them. Yet as time passed, this fact did not concern her, for the freedom was too exhilarating and her prison too dank and terrible. In time, she wanted them to know her mind, for fear she might never be free, that they might take with them across the sands some small part of her.
Soon, she understood the foxes better than the human beings of the laboratory, or her captor the Old Man, and could call to them from across the sands and they would gather at the top of the dune and talk to her. Querulous, they would ask her questions about where she had come from and what it felt like to drift so far above the Earth. Is that place better, where you came from? Would we like it? Worse than your prison? How did you escape?
At night, too, parts of her still drifted off as they had before, through the slit of window in her cell, microscopic tufts that would leave her to become something else somewhere else. She could not know what it meant, what agreement her body had reached with the biologists in the lab that she had never said yes to.
But the foxes celebrated this leaving, for they would jump up in ecstasy at those moments, and snap in play with faux ferociousness at the microscopic things that left her, as if to herd them on their way, up into the sky, to drift and drift, and to never rest.
The Old Man’s Story
The Old Man never opened the cell door but only slid the horrible food in through an opening that he closed with a nailed plank of wood. He seemed to know that the Strange Bird might be able to escape through such a space and into the room without hurting herself.
As he shoved the food in, the Old Man always said, “You’re good, Isadora. You’re good, I can tell. You are beautiful and good.”
But what was good and what was beautiful and why were these things important to the Old Man?
Nothing in the laboratory had seemed good to her, and beautiful was form without function. Anything that might be beautiful about her had a purpose. Anything that was good about her had a purpose, too. And still the compass pulsed within her and at times drove her frantic with the need to escape and thoughts of the dark wings, how they had disbanded and pulled apart and yet come back together.
The foxes had put the idea in her head—that she might escape by becoming a ghost. If she became a ghost, the Old Man could not see her and would think she had escaped and open the cell door so she could truly escape. The Strange Bird knew that the idea of ghost and ghosting meant something different to the foxes, but still she meant to try.
So she lay in the darkness at the foot of the metal bench, where the glimmer of sunlight could not reach, and she would grow very still and those neurons of her brain that lived natural in her feathers would alter her camouflage, dull the iridescence, practice matching the exact hues and tones of the prison cell. Her natural camouflage was meant to show dark from above and light from below while flying, so it took conscious effort to do otherwise.
All while the Old Man talked to her about his memories of people and places she did not know and did not care about, and eventually mention the gloom and put on more lights, which meant taking slow-writhing white grubs that glowed and shoving them into divots taken out of the ceiling. By how he still complained of the gloom the Strange Bird would count her progress in becoming less and less visible.
“My eyes must