Free Along the River by Adeline Yen Mah

together, one behind the other. “I don’t see any sails or oars, let alone anyone rowing.”
    “That’s because the smaller boat in front is a paddle-wheeled tugboat. Instead of sails or oars, these wooden paddle wheels are moving the two boats forward.”
    “How about those two big boats docked along the banks to our right? Are the workers loading or unloading?”
    “Who knows? The one with multiple decks that looks like a big house may be a merchant ship. Both of them are big enough to sail to the ocean or to other countries. See those gigantic masts? When all the sails are pulled up they look like great clouds in the sky.”
    “What are the sails made of?”
    “Bamboo matting. The sailors probably took some of them down for cleaning and repairs. The direction of those sails can be changed from moment to moment to catch the wind. That way, the sailors can go wherever they wish.”
    “How glorious! To go wherever one wishes!” Gege says longingly.
    “Wouldn’t it be wonderful if the three of us could board one of those boats and sail somewhere far, far away?” I say, mesmerized by the panoramic view and the possibility of travel.
    “How I long to be a sailor!” Gege exclaims. “I simply hate my lessons! As for those ancient books I have to learn by heart, I don’t know anyone who speaks like that. Why should I waste my time? Let’s run away instead!”
    “How will we support ourselves?” Ah Zhao says.
    “You can teach us how to paint, and we’ll sell our paintings. Or else we can stage cricket fights and make bets!”
    “What sort of life is that? You two have no idea what it’s like out there.”
    “Show us!” I cry. “I want to see everything, today!”
    “See everything in one afternoon? How much time do you have? Where’s your baba ?”
    “Baba says he’ll go home by himself,” Gege says. “We need to wake up Little Chen and tell him to wait here and take us home later. We have the whole day ahead of us.”
    “Let’s get started!” I shout, giddy with excitement. “This is the first time I’ve been out of the house without my parents. I want to see everything!”
    “Follow me!” Ah Zhao says. “With so much free time, you he bu ke (is anything impossible)?”
     
     
    Two queues stretch in front of the gate: a long line to the right for carriages and carts, and a much shorter line to the left for pedestrians, peddlers and riders. As we approach, the imposing city gate appears to grow taller and taller, looming up to a height of at least thirty men (approximately fifteen zhang . The name of our capital city, Bian Liangis written in beautiful, giant calligraphy and prominently displayed on a gold placard hanging from the roof of the building above the gate.
    Facing us are two sets of rectangular doors, one behind the other, each two zhang high. The outer door is made of a single thick sheet of iron. It’s controlled by heavy chains that hoist the door up or down; the inner double door is made of carved wood and opens inward. Above the doors is a traditional administration building, with flying eaves and upturned corners, enclosed by a balcony. Steep stone steps lead from the top of the wall to the building’s entrance. Parapets along the top of the wall act as lookout towers during times of trouble and provide shelter for archers to shoot arrows.
    A black-robed ticket official sits at a table inside the gate, counting coins with the help of a suan pan (abacus) and logging the sum into a ledger with brush and ink. He stamps a sheet of paper firmly with his tu zhang (chop or seal), gives it to the driver standing at his desk and waves him on before beckoning to the next driver to come forward.
    We queue behind a troupe of musicians dressed in black costumes with red sashes round their waists. They are carrying their musical instruments: bamboo flutes, reed pipes, drums, erhu (two-stringed fiddle), qin (zither), lute, cymbals and bells.
    “Carriages and carts have to pay tolls to go