The City of Woven Streets. Emmi Itaranta

to cover them like eyelids, to let the sleep in. But never the dreams.

      I plunge into the stream of people. The steps are slippery and wide under my feet, their edges rounded and worn hollow by the weight of all who have climbed them. The throng is already suffocating me. I sense the warmth and movements of human bodies forced too close together, their smells and impatience. Before me, I see other museum visitors disappear into a portico. The columns in front of the entrance shine pale as teeth against the dark stone-skin of the building.

      I walk into the monster’s mouth.

      It is always dim at first. I join one of the four long queues. They all trickle towards checkpoints where men in uniforms guard the gates. The light only begins beyond the iron bars dropping down vertically from the tall ceiling. There, I can see a group of visitors that has stopped on the landing halfway up the coral-red staircase. The skylight casts brightness upon them, separating them from us.

      My eyes focus on the bars again. They look like the weft of an enormous wall-web. I imagine a giant hand passing a warp through them.

      When my turn finally comes, I show the guard my birth tattoo. A cold draught brushes the hair of my neck. Although I checked my skin this morning, my breath runs tight as I pull up my sleeves and wait. Every year I fear that the guard will find more on my skin than the lines tattooed on my arm. Yet he counts the tattoos with the customary bored expression on his face and nods. He checks the house-tattoo on my other arm, finds my name on a list and draws a mark next to it. He opens the gate to let me through and closes it again before beginning to examine the next citizen. Two new groups are already gathering around the guides at the bottom of the staircase. I join the group appointed for me.

      Blood coral, amber and tapestries woven from dyed yarn glow around us, making the light pouring from the skylight grow and burst into flames. We wait until the previous group has disappeared into a room at the top of the stairs. The guide asks us to follow. We all know where to go.

      We walk across the entrance hall and climb halfway up the staircase, where we stop. The guide begins to talk and gestures towards the large mural on the wall above the top landing. Our gazes are turned to it, but I might as well be looking through a window, not noticing the unevenness of its surface or the stains left on it by weather. I have seen the mural too many times. Even as a child I did not like it. The tall Tower in the middle frightened me, as did the eight masked figures standing in front of it. I told my mother they were ghosts. She placed a hand over my mouth and ordered me to be quiet. I still remember the looks the guide and the other visitors gave me.

      It was only later that I understood how afraid my mother was then. My words could easily have been interpreted as an indication that it was common in my family to speak of the Council in blasphemous tones. But the image had come of its own volition and had not originated from my parents’ conversations. With their black cloaks and featureless, blood-coloured masks, the mural-Council looked like an image of death in my child’s eyes.

      The guide’s story about how the Council ended the Reverie Revolution, purged the island of Dreamers and restored peace and prosperity to our city is the same every year. I know parts of it by heart. And thus dream-plague was banished from our midst, with those spreading it sent to colonies or enclosed within walls where their disease could be contained. Night-maeres ceased to roam free and fled to the dark places they had come from, never to emerge again except for the cursed few who carried them within their blood.

      The group keeps their eyes fixed on the mural while the guide speaks. I take quick glances at the people around me. There is a young mother with two children. I wonder which one of them is here for the Ink-marking. I hope it is not one of the children; although if not today, they will have to endure the pain when their time comes. There is an old man in a grey waistcoat and brown jacket, with a powdery white stain on his dark trousers. A baker, perhaps. Another man is clearly from the Ink Quarters: his hands are tarnished with black and red dye. Several young women are among the group, wearing bonnets and dresses made from slightly finer fabric, and skilfully polished bone coral pendants. Daughters of merchants, I think.

      I notice a man glancing down to the entrance hall over his shoulder, as if searching for something. He is not young any more, and there is nothing about his looks that gives away his craft. Grey trousers, a brown hooded jacket, worn boots. No stains on fingers. Hair tied neatly to the nape of the neck with a leather ribbon, his hands clasped behind his back. He returns his gaze to the mural. The sky above shifts, the light falling from the glass ceiling burns deeper and hits the man’s hand mere steps away from me.

      The hollow of his palm bears a strange, gondola-shaped scar. It is wider in the middle, narrowing towards the ends.

      I raise my gaze before anyone sees me staring.

      As we walk up the staircase and proceed to the next room, I notice the man looking around again with the same searching face. I also notice something else: he is careful about the way he does it. Before looking away, he pays close attention to the guide and only turns his gaze for the briefest moment when he believes he will not be seen.

      A guard with a short spear stands beside one of the walls. His uniform carries the sun-emblem of the Council and the City Guard. The man’s eyes stop on him, then return to the pictures on the walls the guide is talking about. These too are words I have heard before. Once the island was a tangle of forest with wild beasts inhabiting it: a cruel and dangerous place where a man could easily be lost and never found again. But our ancestors brought their torches and swords to drive the beasts away, and with heroic courage and suffering great losses they laid the first foundations of the city we know today. From the cradle of the sea they harvested silkweed and blood coral, and they took their ships across wide waters and established the first trading routes, which you can see on these maps.

      We continue to walk through rooms filled with images of the past: weavers and scribes at work, the building of the Tower, codices spread on the square for the annual Word-incineration. I keep an eye on the man with the scarred palm. In each room he glances around as soon as he has entered, before turning his focus on the guide.

      We reach the room I have always liked the least. Glow-glasses hanging from the ceiling light the windowless space. The guide points to a picture on the wall, showing the bodies of those dead from dream-plague being burned. But there are more than paintings here. Glass cases hold medical instruments made from coral, both bone white and blood red. Their points and blades are sharp, their jaws wide and hard. Thick, spread-open books lie next to them under the glass. The illustrations show skin lesions and bulbous growths where the limbs meet the torso, like darkness boiling under the skin.

      The man with the scarred palm has stopped in front of a painting portraying a young woman. She is lying on a bed with her eyes closed, a hand fallen towards the floor over the edge of the bed. Her lips are cracked open in an anxious arc. A dark shadow sits upon her chest with hands reaching for the woman’s neck: a night-maere visiting a Dreamer. The man pulls his hand out of his pocket and scratches his head.

      That is when I see it. It is a mere glimpse, but I am certain that it is there.

      A tattoo glows white on his palm, where the scar was. I do not have time to discern any details, but the shape is similar to the scar’s: elongated, pointy at each end.

      He pushes the hand back into his pocket.

      The image rises within me like water: the injured girl’s hand holding the letters of my name.

      As in all the other rooms, there is a guard in here, too. When the guide urges us to move on, the guard steps closer to the group and speaks.

      ‘You,’ he says to the man. ‘Halt.’

      The man freezes. An alarmed expression appears on his face. He opens his mouth, but no sound comes out.

      ‘You may continue,’ the guard tells the guide. ‘This man will join you after I have had a word with him.’

      The guide gives a bow. We walk after him to the next room. I glance behind. The guard is speaking to the man in a low voice and quick words I cannot hear, his face less stern than I would have expected. They both notice me looking. The guard’s lips