Heir of Troy: The Third Son Chapter 4: Lysander

The na had been following him for eight days.

Every morning the boy with the basin said it. Every training session the trainer barked it. Paris said it the way Paris said everything — too loud, slightly drawn out, like the word itself was entertaining. Even the servants who passed him in corridors sotis said it, a quick acknowledgnt, barely a sound.

Lysander.

Karim had been answering to it automatically, the way you answer to anything said in your direction often enough. But he hadn’t accepted it. In his head he was still Karim. Still the man from Cairo with the history degree and the cold coffee and the book with red margins.

He was going to have to stop doing that.

He knew it the way you know a tooth needs pulling — not imdiately, not today, but the day was coming and avoiding it only made the day worse.

He just hadn’t done it yet.

Hector found him on the ninth morning.

Not at the al, not at training, not in passing. He ca to Karim’s room.

He knocked — which was, Karim had noticed, sothing Hector did that Paris did not. Paris arrived. Hector announced himself first, a courtesy so habitual it had probably stopped feeling like one years ago.

Karim said: "Co in."

Two words he was very confident about.

Hector ca in.

He looked around the room with the brief assessing sweep he gave everything — the sleeping mat, the wooden chest, the clay shards lined up along the window ledge where Karim kept them organized by what he was confident about and what he wasn’t. His gaze stopped on the shards for a mont.

Then he sat on the chest, which was apparently how Hector sat when there was only one sleeping mat and he wasn’t going to take it from you.

He looked at Karim directly.

He said: "We need to talk."

Five words. Karim knew four of them with certainty and could infer the fifth from the others.

He said: "Yes."

Hector spoke slowly.

Not in the way people speak slowly to soone they think is stupid — in the way people speak slowly when they want to be understood and have decided that being understood matters more than how they sound. Each word placed carefully, pauses between thoughts, his eyes on Karim’s face to check if things were landing.

Karim understood, across the next few minutes, approximately this:

Since the fall in training — since the head — you are different. I see it. Not the way you move. Not the way you fight. The other things. The watching. The listening. The marks on the clay. The way you look at the palace like you are seeing it for the first ti.

A pause.

I am not asking what happened. I am asking — are you all right.

Karim sat with that for a mont.

He had prepared, in a vague ongoing way, for the conversation where soone noticed the changes and demanded an explanation. He had a story ready — the fall, the head injury, strange dreams, feeling different since waking up. Vague enough to be unfalsifiable, specific enough to sound like experience rather than invention.

He had not prepared for this particular version of the conversation.

Are you all right.

Not an accusation. Not a trap. Just a large man sitting on a wooden chest in a small stone room, asking his younger brother if he was okay, with the patient attention of soone who had decided to wait as long as it took for an honest answer.

Karim looked at him.

He thought about what to say.

What he wanted to say — what the honest answer was — existed in English and he couldn’t say it. I’m not all right in the way you an. I’m not the person who fell in that training ground. I am a stranger wearing your brother’s face and I know things about you that you don’t know about yourself and I can’t tell you any of it and I’m doing the best I can.

What he could say, in the two hundred and sixty-odd words he had, was much smaller.

He thought about it carefully.

Then he said, slowly: "Different. Yes. But — working."

Hector looked at him.

Karim touched the side of his head — the head injury gesture he’d been using all week. Then he pointed at the clay shards on the window ledge. Then he put both hands flat on his knees and made a deliberate, grounded gesture that he hoped communicated present, stable, here.

Sothing happened. I’m handling it.

Hector was quiet for a mont.

Then he said sothing short. Karim caught only the last word — a word he’d heard before in a context that had suggested it ant sothing like need or want.

He shook his head slightly. I don’t understand.

Hector considered. Rephrased.

This ti Karim got more: If you need — sothing — say. To .

He almost missed a word in the middle. But the shape was clear.

If you need anything. Tell .

Sothing happened in Karim’s chest that he didn’t have a na for.

It wasn’t grief exactly. It wasn’t warmth exactly. It was sothing in between — the feeling of being offered sothing real by soone who didn’t know yet what it would cost them to keep offering it. The feeling of accepting kindness under false pretenses.

He looked at Hector — the steady face, the absence of performance, the simple directness of a man who had decided that this conversation needed to happen and had co to have it — and thought about what he knew.

He knew the date, roughly, of this man’s death.

He knew the na of the man who would kill him.

He knew the specific choice Hector would make — the choice to go outside the gates when he could have stayed inside them — and he knew why Hector would make it, because Hector was exactly the kind of person who would make that choice, it was written all over him, and no amount of knowing in advance changed the fact that watching it approach from this side of it felt like standing on a cliff with no way down.

He held all of that.

Then he said: "Thank you."

Hector nodded once — the nod of soone who had asked a question, received what seed like a genuine answer, and was filing it as satisfactory for now while reserving the right to revisit.

He stood.

He said sothing else as he moved toward the door — shorter, different in register. Offhand, almost. Karim caught the word training and a ti reference and sothing that sounded like it might be conditional.

He pieced it together: Training later — if you’re coming.

"Yes," Karim said. "I’m coming."

Hector left.

Karim sat in the room with the morning light coming through the window and looked at his clay shards lined up on the ledge and thought, for a long ti, about nothing in particular.

Training that afternoon was different.

Not in structure — the sa drills, the sa trainer, the sa boys in the sa loose formation. But Hector was there again, and this ti he wasn’t in the corner running his own drills. He was in the middle of the ground, moving between the sparring pairs, correcting form, demonstrating technique.

He was teaching.

Karim watched him work.

The corrections were minimal and exact. No wasted speech. He would stop a boy mid-motion, position his arm or shift his weight with his hands, step back, gesture: again. Watch the motion repeated. Nod or adjust. Move on.

He was extraordinary at it.

Not because he was patient — he wasn’t particularly patient, Karim was beginning to understand. But he was accurate. He saw exactly what was wrong, corrected exactly that thing, and nothing else. No lectures. No philosophy. Just: this is the problem, this is the fix, do it again.

He worked his way around the pairs and eventually arrived at Karim.

He watched for a mont without speaking. Karim kept going — the sa diocre performance, the calibrated bad technique.

Then Hector stepped in.

He didn’t speak. He positioned himself behind Karim, reached around, and adjusted his grip on the wooden sword. Repositioned his elbow. Changed the angle of his shoulder by maybe ten degrees.

Then stepped back.

Karim executed the drill with the adjusted form.

It was, objectively, better. He let it be better. This wasn’t information Lysander shouldn’t have — this was simply being corrected correctly.

Hector made a sound of acknowledgnt and moved to the next pair.

Karim stood with his adjusted grip and thought: that took thirty seconds. He fixed sothing in thirty seconds that the trainer has apparently been trying to fix for months.

That’s who you are, he thought. That’s the whole of it.

After training, Damos found him.

He had finally confird the na — not Damos, but Damon. The wide-eyed boy from the first day, who laughed at everything including things that probably weren’t funny, who had been watching Karim’s gradual daily improvent with the fascinated attention of soone who had expected nothing and was getting sothing interesting instead.

He fell into step beside Karim as they walked back through the palace.

He said sothing at full conversational speed — Karim caught perhaps forty percent of it — and then slowed down when Karim’s expression didn’t shift.

More carefully: You are — better. Today. Different. Before — bad. Now — less bad.

Less bad. Karim allowed himself a small smile. Thank you, Damon. Truly.

He said, in his careful Mycenaean: "Still — learning."

Damon made a face that communicated complete disbelief that anyone who’d grown up in this palace was still learning its basic physical curriculum, but delivered it in a friendly way that made it amusent rather than mockery.

He said sothing else, pointing at Karim’s head.

The fall. The head injury. Did the fall do sothing to you?

Karim had used this explanation enough tis that it ca easily now: he touched his head, made a small uncertain expression, said "Maybe."

Damon looked at him for a mont.

Then he said: "It is not bad. The change. You are — more — " and here he used a word Karim didn’t have yet.

He scratched it on his shard.

Damon watched him do this and shook his head slowly — not in criticism, more in the quiet wonder of soone who had noticed sothing and couldn’t quite categorize it.

He said one final word, a farewell, and split off down a different corridor.

Karim looked at the new word on his shard.

He would work out the aning later. But from the context — the change is not bad, you are more — he had a guess.

Present, maybe. Or aware.

You are more present than you were.

That evening he sat in the library and thought about the na.

Cassandra was there, as she had been most evenings. She had stopped acknowledging him when he ca in, which he had co to understand was not rudeness but accommodation — she was saying, in the way she communicated most things, I know you’re here, you don’t need to announce yourself, we both have things to do.

He sat across from her and looked at his clay shards.

Lysander.

He turned the na over in his head.

The original Lysander — the boy whose body this was — had lived so number of years in this palace, spoken this language since birth, known these people since childhood. He had been the third son, the overlooked one, the boy the trainer shouted at and the history books forgot. He had existed in the space that exists for middle children in large families: present, loved probably, but not the axis anything turned on.

He had died young. Karim didn’t know how — illness, most likely, or a minor battle skirmish, or simply one of the thousand ordinary ways people died young in a world without antibiotics or trauma surgery. He had died before the war, before the wooden horse, before the fire. He hadn’t made it into the story.

Karim was using his na. His face. His history with these people, such as it was.

He had been treating that as a disguise.

He looked at the shards.

No.

That was the wrong way to think about it.

A disguise was sothing you put on and took off. Sothing separate from you, that you maintained and managed and eventually removed. A disguise was a performance.

This wasn’t that.

This body was his body. These walls were the walls he woke up in every morning. These people — Hector who knocked before entering, Paris who taught writing on a wall in the sunshine, Damon who said less bad as a genuine complint, Cassandra who sat across from him in libraries and occasionally said things that landed like stones — these people were his family now.

He hadn’t chosen that.

But he hadn’t chosen the accident either, and it had still been real.

He looked at the clay shard in his hand.

The na was there, scratched in the phonetic system he’d built — Ly-san-der — because on the first day he’d written down every word he heard, including his own na, because he hadn’t been sure yet what it was.

He looked at it for a long ti.

Then he crossed it out.

He scratched it again, underneath.

Not in his own phonetic system this ti. In Linear B, the way Paris had taught him. The actual script of this world, the one that belonged here.

𐀩𐀭𐀅𐀅.

He had looked up the Linear B signs for the na. He had looked them up weeks ago, in another life, in an academic context, because he had been studying an era and its script and this na had appeared in a source and he had noted the sign combinations the way he noted everything — automatically, archivally, without knowing he would ever need it.

He looked at it now.

Lysander.

Not a disguise. Not a label on sothing he was keeping at arm’s length.

A na.

His na.

He felt sothing shift — not dramatically, not in the way of a revelation. More like a door settling into a fra it had been slightly misaligned with. A small, functional click.

He was Lysander.

He was also Karim. He would always be Karim — the mories, the knowledge, the years in Cairo, the book with the red margins, the cold coffee, all of it. That hadn’t gone anywhere and he didn’t want it to.

But he was Lysander too. He lived in this palace, in this body, in this century, and the people around him were real people who deserved a real person in return, not a man in a costu managing a cover story.

You can be both, he thought. You have to be both. One gives you the knowledge. The other gives you the life.

He turned the shard over.

He scratched, on the blank side, in the best Mycenaean he could manage:

I am Lysander, son of Priam.

I know what is coming.

I will not let it co.

He looked at it for a mont.

Then he put the shard in his belt, where he kept the ones that mattered, and went back to his vocabulary.

Two hundred and eighty-three words.

He almost made it back to his room before Cassandra stopped him.

She ca out of a side corridor and fell into step beside him, which she had never done before. They walked in silence for a mont. Karim waited.

She said sothing.

He caught most of it: Today. Training. Hector — corrected you — and you — let — him.

He thought about that phrasing.

Let him.

As opposed to what? As opposed to already knowing and not needing the correction? As opposed to pretending you needed help you didn’t need, so that no one could see how much you already knew?

She had noticed that.

He said, carefully: "Yes."

She said: "Why."

Not a question. More like she was prompting him to confirm what she already suspected.

He thought about how to say it in two hundred and eighty-three words.

He said: "Because — he should teach. It is — good. For him to teach."

A pause while he reached for the next part.

"And — I should learn. From him. Not the — sword. The other thing."

Cassandra was quiet.

He wasn’t sure he’d said it right. The sentence was probably crooked — wrong word order, missing pieces, rough edges where the grammar hadn’t been smoothed yet. But the aning was there, or close enough to there.

I’m letting Hector teach because the teaching matters more than whether I need it. Because the relationship it builds matters. Because I need him to trust and this is how trust gets built, one small interaction at a ti.

She would have understood that in one word, probably.

She said: "Hector — trusts — slowly."

"I know," Lysander said.

She looked at him sideways.

He looked back.

"I have ti," he said.

She said nothing for a mont.

Then, so quietly he almost missed it against the sound of the corridor: "Less than you think."

The sa thing she’d said in the dream.

Except this was not a dream. This was the real corridor, the real lamp on the real wall, the real sound of the palace settling around them at the end of the real day.

He stopped walking.

She stopped beside him.

He said: "How much ti."

She said a word he didn’t know.

He reached for his shard.

She put her hand over his — not stopping him, just resting there for a second, the way you put your hand over soone else’s to get their attention before you say sothing important.

She said the word again. Clearly. Making sure he had it.

Then she removed her hand and walked away.

He stood in the corridor and scratched the word onto the shard and stared at it.

He would need to find its aning.

He had a feeling, from the way she’d said it — flat, factual, without drama — that he wasn’t going to like it.

Back in his room, he worked through his vocabulary list by lamplight until the oil ran low.

He ate the bread soone had left outside his door and drank the water and looked at the clay shards lined up on the window ledge.

Then he did sothing he hadn’t done since the first night.

He said his own na out loud. Both of them.

Karim.

Then:

Lysander.

He held them both in the air of the room for a mont.

They were different weights. Different sounds. Different histories.

But they were both, he decided, true.

Karim was who he had been — the man who had lived in the past because the past was safer than the present, the man who had cared about history from behind glass, academic and organized and slightly removed.

Lysander was who he had to beco — the man who lived in the past in the only way that actually mattered now. Not studying it. Not reading about it. Inside it, with skin in the ga, with people he was responsible to, with everything that ca after depending on what he did here.

He had spent his whole life knowing how the story ended.

Now he was in it.

He lay back on the mat and looked at the ceiling.

Lysander, he thought, trying the na from the inside, the way you try a new room — checking the corners, testing the floor, seeing if it holds.

It held.

All right, he thought.

Lysander it is.

Outside, the Aegean moved in the dark.

The stars that had no light pollution to compete with threw themselves across the sky in their thousands, the sa stars that had hung over this city for a thousand years and would hang over its ruins for a thousand more.

Inside a small stone room in the east wing of the palace, a man who had been two people for nine days finished becoming one.

He closed his eyes.

He slept without dreaming.

And in the morning, when the boy with the basin ca to the door and said Lysander — he answered without the half-second pause that had been there before.

Just: here.

Like he’d always been.

Two hundred and eighty-three words.

Tomorrow he would have more.