“I asked it earlier,” Wit said. “You couldn’t hear. Do you know the answer?”
“You’re weird.”
“Right answer, but wrong question.” He walked the little doll along the broken street.
“For me?” the girl whispered.
“I need to leave the city,” he said. “And I can’t take her with me. Someone needs to care for her.”
A grimy hand reached toward the doll, but Wit pulled it back. “She’s afraid of the darkness. You’ve got to keep her in the light.”
The hand vanished into the shadows. “I can’t leave Mama.”
“That’s too bad,” Wit said. He raised the doll to his lips, then whispered a choice set of words.
When he set it down, it started to walk on its own. A soft gasp sounded inside the shadows. The little doll toddled toward the street. Step by step by step …
The girl, maybe four years old, finally emerged from the shadows and ran to get the doll. Wit stood and dusted off his coat, which was now grey. The girl hugged the patchwork creation, and he picked her up, turning away from the broken building—and the bones of a leg sticking from the rubble just inside.
He carried the girl back to the square, then quietly pushed the empty cradle away from Kheni and knelt before her. “I think, in answer to my question … I think it only takes one.”
She blinked, then focused on the child in his arms.
“I have to leave the city,” Wit said. “And someone needs to take care of her.”
He waited until, at long last, Kheni held out her arms. Wit put the child into them, then rose. Kheni’s husband took him by the arm, smiling. “Can you not stay a little longer?”
“I should think you are the first to ever ask me that, Cob,” Wit said. “And in truth, the sentiment frightens me.” He hesitated, then leaned down and touched the doll in the child’s hands. “Forget what I told you before,” he whispered. “Instead, take care of her.”
He turned and started up the steps toward the palace.
He adopted the act as he walked. The twitch of madness, the shuffle to his step. He squinted one eye and hunched over, changed his breathing to come raggedly, with occasional sharp intakes. He muttered to himself, and exposed his teeth—but not the one that was missing, for that was impossible.
He passed into the shadow of the palace, and the sentry hovering in the air nearby, wind rippling her long clothing. Vatwha was her name. Thousands of years ago, he’d shared a dance with her. Like all the others, she’d later been trained to watch for him.
But not well enough. As he passed underneath, she gave him the barest of glances. He decided not to take that as an insult, as it was what he wanted. He needed to be soup so bland, it was water. What a conundrum. In this case, his art was best when ignored.
Perhaps he would need to revise his philosophy.
He passed the sentry post, and wondered if anyone else thought it irregular that the Fused spent so much time here near this fallen section of the palace. Did anyone wonder why they worked so hard, clearing blocks, breaking down walls?
It was good to know that his heart could still flutter at a performance. He ducked in close to the work project, and a pair of more mundane singer guards cursed at him to move on toward the gardens, with the other beggars. He bowed several times, then tried to sell them some trinkets from his pocket.
One shoved him away, and so he acted panicked, scrambling past them and up a ramp into the work project itself. Nearby, some workers broke rocks, and a patch of blood stained the ground. The two singer guards shouted at him to get out. Wit adopted a frightened look, and hurried to obey, but tripped himself so he fell against the wall of the palace—a portion that was still standing.
“Look,” he whispered to the wall, “you don’t have many choices right now.”
Above, the Fused turned to look at him.
“I know you’d rather have someone else,” Wit said, “but it isn’t the time to be picky. I’m certain now that the reason I’m in the city is to find you.”
The two singer guards approached, one bowing apologetically to the Fused in the air. They still didn’t realize that sort of behavior would not impress the ancient singers.
“It’s either go with me now,” Wit said to the wall, “or wait it out and get captured. I honestly don’t even know if you’ve the mind to listen. But if you do, know this: I will give you truths. And I know some juicy ones.”
The guards reached him. Wit pushed against them, slamming himself against the wall again.
Something slipped from one of the cracks in the wall. A moving Pattern that dimpled the stone. It crossed to his hand, which he tucked into his rags as the guards seized him under the arms and hauled him out into the gardens, then tossed him among the beggars there.
Once they were gone, Wit rolled over and looked at the Pattern that now covered his palm. It seemed to be trembling.
“Life before death, little one,” Wit whispered.
THE END OF
Book Three of
THE STORMLIGHT ARCHIVE
ARS ARCANUM
THE TEN ESSENCES AND THEIR HISTORICAL ASSOCIATIONS
The preceding list is an imperfect gathering of traditional Vorin symbolism associated with the Ten Essences. Bound together, these form the Double Eye of the Almighty, an eye with two pupils representing the creation of plants and creatures. This is also the basis for the hourglass shape that was often associated with the Knights Radiant.
Ancient scholars also placed the ten orders of Knights Radiant on this list, alongside the Heralds themselves, who each had a classical association with one of the numbers and Essences.
I’m not certain yet how the ten levels of Voidbinding or its cousin the Old Magic fit into this paradigm, if indeed they can. My research suggests that, indeed, there should be another series of abilities that is even more esoteric than the Voidbindings. Perhaps the Old Magic fits into those, though I am beginning to suspect that it is something entirely different.
Note that I currently believe the concept of the “Body Focus” to be more a matter of philosophical interpretation than an actual attribute of this Investiture and its manifestations.
THE TEN SURGES
As a complement to the Essences, the classical elements celebrated on Roshar, are found the Ten Surges. These, thought to be the fundamental forces by which the world operates, are more accurately a representation of the ten basic abilities offered to the Heralds, and then the Knights Radiant, by their bonds.
Adhesion: The Surge of Pressure and Vacuum
Gravitation: The Surge of Gravity
Division: The Surge of Destruction and Decay
Abrasion: The Surge of Friction
Progression: The Surge of Growth and Healing, or Regrowth
Illumination: The Surge of Light, Sound, and Various Waveforms
Transformation: The Surge of Soulcasting
Transportation: The Surge of Motion and Realmatic Transition
Cohesion: The Surge of Strong Axial Interconnection
Tension: The Surge of Soft Axial Interconnection
ON THE CREATION OF FABRIALS
Five groupings of fabrial have been discovered so far. The methods of their creation are carefully guarded by the artifabrian community, but they appear to be the work of dedicated scientists, as opposed to the more mystical Surgebindings once performed by the Knights Radiant. I am more and more convinced that the creation of these devices requires forced enslavement of transformative cognitive entities, known as “spren” to the local communities.
ALTERING FABRIALS
Augmenters: These fabrials are crafted to enhance something. They can create heat, pain, or even a calm wind, for instance. They are powered—like all fabrials—by Stormlight. They seem to work best with forces, emotions, or sensations.
The so-called half-shards of Jah Keved are created with this type of fabrial attached to a sheet of metal, enhancing its durability. I have seen fabrials of this type crafted
using many different kinds of gemstone; I am guessing that any one of the ten Polestones will work.
Diminishers: These fabrials do the opposite of what augmenters do, and generally seem to fall under the same restrictions as their cousins. Those artifabrians who have taken me into confidence seem to believe that even greater fabrials are possible than what have been created so far, particularly in regard to augmenters and diminishers.
PAIRING FABRIALS
Conjoiners: By infusing a ruby and using methodology that has not been revealed to me (though I have my suspicions), you can create a conjoined pair of gemstones. The process requires splitting the original ruby. The two halves will then create parallel reactions across a distance. Spanreeds are one of the most common forms of this type of fabrial.
Conservation of force is maintained; for instance, if one is attached to a heavy stone, you will need the same strength to lift the conjoined fabrial that you would need to lift the stone itself. There appears to be some sort of process used during the creation of the fabrial that influences how far apart the two halves can go and still produce an effect.
Reversers: Using an amethyst instead of a ruby also creates conjoined halves of a gemstone, but these two work in creating opposite reactions. Raise one, and the other will be pressed downward, for instance.
These fabrials have only just been discovered, and already the possibilities for exploitation are being conjectured. There appear to be some unexpected limitations to this form of fabrial, though I have not been able to discover what they are.
WARNING FABRIALS
There is only one type of fabrial in this set, informally known as the Alerter. An Alerter can warn one of a nearby object, feeling, sensation, or phenomenon. These fabrials use a heliodor stone as their focus. I do not know whether this is the only type of gemstone that will work, or if there is another reason heliodor is used.
In the case of this kind of fabrial, the amount of Stormlight you can infuse into it affects its range. Hence the size of gemstone used is very important.
WINDRUNNING AND LASHINGS
Reports of the Assassin in White’s odd abilities have led me to some sources of information that, I believe, are generally unknown. The Windrunners were an order of the Knights Radiant, and they made use of two primary types of Surgebinding. The effects of these Surgebindings were known—colloquially among the members of the order—as the Three Lashings.
BASIC LASHING: GRAVITATIONAL CHANGE
This type of Lashing was one of the most commonly used Lashings among the order, though it was not the easiest to use. (That distinction belongs to the Full Lashing below.) A Basic Lashing involved revoking a being’s or object’s spiritual gravitational bond to the planet below, instead temporarily linking that being or object to a different object or direction.
Effectively, this creates a change in gravitational pull, twisting the energies of the planet itself. A Basic Lashing allowed a Windrunner to run up walls, to send objects or people flying off into the air, or to create similar effects. Advanced uses of this type of Lashing would allow a Windrunner to make himself or herself lighter by binding part of his or her mass upward. (Mathematically, binding a quarter of one’s mass upward would halve a person’s effective weight. Binding half of one’s mass upward would create weightlessness.)
Multiple Basic Lashings could also pull an object or a person’s body downward at double, triple, or other multiples of its weight.
FULL LASHING: BINDING OBJECTS TOGETHER
A Full Lashing might seem very similar to a Basic Lashing, but they worked on very different principles. While one had to do with gravitation, the other had to do with the force (or Surge, as the Radiants called them) of Adhesion—binding objects together as if they were one. I believe this Surge may have had something to do with atmospheric pressure.
To create a Full Lashing, a Windrunner would infuse an object with Stormlight, then press another object to it. The two objects would become bound together with an extremely powerful bond, nearly impossible to break. In fact, most materials would themselves break before the bond holding them together would.
REVERSE LASHING: GIVING AN OBJECT A GRAVITATIONAL PULL
I believe this may actually be a specialized version of the Basic Lashing. This type of Lashing required the least amount of Stormlight of any of the three Lashings. The Windrunner would infuse something, give a mental command, and create a pull to the object that yanked other objects toward it.
At its heart, this Lashing created a bubble around the object that imitated its spiritual link to the ground beneath it. As such, it was much harder for the Lashing to affect objects touching the ground, where their link to the planet was strongest. Objects falling or in flight were the easiest to influence. Other objects could be affected, but the Stormlight and skill required were much more substantial.
LIGHTWEAVING
A second form of Surgebinding involves the manipulation of light and sound in illusory tactics common throughout the cosmere. Unlike the variations present on Sel, however, this method has a powerful Spiritual element, requiring not just a full mental picture of the intended creation, but some level of Connection to it as well. The illusion is based not simply upon what the Lightweaver imagines, but upon what they desire to create.
In many ways, this is the most similar ability to the original Yolish variant, which excites me. I wish to delve more into this ability, with the hope to gain a full understanding of how it relates to cognitive and spiritual attributes.
SOULCASTING
Essential to the economy of Roshar is the art of Soulcasting, in which one form of matter is directly transformed into another by changing its spiritual nature. This is performed on Roshar via the use of devices known as Soulcasters, and these devices (the majority of which appear to be focused on turning stone into grain or flesh) are used to provide mobile supply for armies or to augment local urban food stores. This has allowed kingdoms on Roshar—where fresh water is rarely an issue, because of highstorm rains—to field armies in ways that would be unthinkable elsewhere.
What intrigues me most about Soulcasting, however, are the things we can infer about the world and Investiture from it. For example, certain gemstones are requisite in producing certain results—if you wish to produce grain, however, your Soulcaster must both be attuned to that transformation and have an emerald (not a different gemstone) attached. This creates an economy based on the relative values of what the gemstones can create, not upon their rarity. Indeed, as the chemical structures are identical for several of these gemstone varieties, aside from trace impurities, the color is the most important part—not their actual axial makeup. I’m certain you will find this relevance of hue quite intriguing, particularly in its relationship to other forms of Investiture.
This relationship must have been essential in the local creation of the table I’ve included above, which lacks some scientific merit, but is intrinsically tied to the folklore surrounding Soulcasting. An emerald can be used to create food—and thus is traditionally associated with a similar Essence. Indeed, on Roshar there are considered to be ten elements; not the traditional four or sixteen, depending upon local tradition.
Curiously, these gemstones seem tied to the original abilities of the Soulcasters who were an order of Knights Radiant—but they don’t seem essential to the actual operation of the Investiture when performed by a living Radiant. I do not know the connection here, though it implies something valuable.
Soulcasters, the devices, were created to imitate the abilities of the Surge of Soulcasting (or Transformation). This is yet another mechanical imitation of something once only available only to a select few within the bounds of an Invested Art. The Honorblades on Roshar, indeed, may be the very first example of this—from thousands of years ago. I believe this has relevance to the discoveries being made on Scadrial, and the commoditization of Allomancy and Feruchemy.
BOOKS BY
BRANDON SANDERSON
THE STORMLIGHT ARC
HIVE
The Way of Kings
Words of Radiance
Oathbringer
THE MISTBORN SAGA
THE ORIGINAL TRILOGY
Mistborn
The Well of Ascension
The Hero of Ages
THE WAX AND WAYNE SERIES
The Alloy of Law
Shadows of Self
The Bands of Mourning
Elantris
Warbreaker
Arcanum Unbounded: The Cosmere Collection
The Rithmatist
ALCATRAZ VS. THE EVIL LIBRARIANS
Alcatraz vs. the Evil Librarians
The Scrivener’s Bones
The Knights of Crystallia
The Shattered Lens
The Dark Talent
THE RECKONERS
Steelheart
Firefight
Calamity
ABOUT THE AUTHOR
Brandon Sanderson grew up in Lincoln, Nebraska. He lives in Utah with his wife and children and teaches creative writing at Brigham Young University. He is the author of such bestsellers as the Mistborn® trilogy and its sequels, The Alloy of Law, Shadows of Self and The Bands of Mourning; the Stormlight Archive novels, The Way of Kings, Words of Radiance, and Oathbringer, and other novels, including The Rithmatist and Steelheart for young adults, and the Alcatraz vs. the Evil Librarians series middle-grade readers. In 2013, he won a Hugo Award for Best Novella for The Emperor’s Soul, set in the world of his acclaimed first novel, Elantris. Additionally, he was chosen to complete Robert Jordan’s Wheel of Time® sequence. For behind-the-scenes information on all of Brandon Sanderson’s books, visit brandonsanderson.com, or sign up for email updates here.
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