Free Neveryona by Samuel R. Delany

raking sticks, each of which has a head carved into
three
prongs. From what we can see of the interchange, it looks as if the vendor will actually take them.
    ‘But come around here, and see the stall that sits just behind them. What a great stack of four-legged cooking pots! Even as we stand here, the barbarian women passing by have bought two; now three more – now another man is running up; and the helper has just sold another at the stall’s far side.
    ‘These challenges of commerce sign the endlessly extended and attenuated conflict of local custom against local custom, national tool against national tool, that progression of making about the land so slow only the oldest can see it, and then usually only to lament the passing of the good old days, the good old ways, the way things used to be, and be done.
    ‘Three-legged pots? Four-legged pots? Single-pronged yam sticks? Three-pronged yam sticks? We observe here stages in a battle that, in one case, may have been going on for decades and, in another, may only be beginning. Only after another decade or three or seven will wanderers in this market, ignorant of its beginnings, be able to see its outcome. But come down this way.
    ‘That’s right, along here. Next to the domestic and agricultural tools, this is my favorite stall. Do you see what’s spread out over this counter before us? This pair of calipers here is locked to a single measure and thus cannot really measure anything. Observe these mirrors, thonged at the four corners so they may be tied to various parts of the body. Those little disks of wood, you’ll see if you pick them up, mimic coins, though no weight or denomination is marked on center or exergue. Unfurl that parchment there; that’s right – the surprise on your face is a double sign, reminding me that you know how toread and at the same time announcing that you cannot read what is inked on that skin. (Yes, put it back, before the old man with the tattooed cheeks sees us – he is one of the touchiest vendors in the market.) The northern sage who went to the cave of Yobikon and sat with his ink block, brush, and vellum in the fumes issuing from the crevices in the cave floor to take the dictation of the goddess of the earth could not read those marks either, be assured. Still, he bears the honor of having been amanuensis to deity. These scripts are its trace. Those wooden carvings, with thongs on them like the mirrors, are tied about the bellies of male children in the tribes of the inner mountains of the outer Ulvayns. They assure prowess, courage, and insight in all dealings with goats and wild turtles. These metal bars? From the markings on them, clearly they are some sort of rule. But like the calipers, the graduations on them are irregular and do not come all the way down to the edge, so that it would be hard, if not impossible, to measure anything with them. But you have guessed by now, if you do not already know such trinkets from your own town market: each of these is magic. The one-eyed woman, the tattooed man’s assistant, back in the corner pretending to sort those bunches of herbs but really watching us, will, if she takes a liking to you, explain in detail the magical tasks each one of these tools is to perform. You would be astonished at the complexities such tasks can encompass or the skill needed to accomplish them – tasks and skills at least as complex as any of the material ones employing the tools we have already seen a single aisle away. But can you follow how such tools map and mirror the material tasks and skills we have left behind? How many of these are concerned with measurement! (Doubtless the scroll is an inventory of spiritual artifacts and astral essences.) Each is the sign of the thirst and thrust to know; each attempts to describeknowledge in a different form, each form characteristic of some place in the national mind: once again, this map does not indicate origins, only existences. But the one-eyed woman has