In which Daniel Waterhouse, fearless thinker and courageous Puritan, pursues knowledge in the company of the greatest minds of Baroque-era Europe -- in a chaotic world where reason wars with the bloody ambitions of the mighty, and where catastrophe, natural or otherwise, can alter the political landscape overnight.

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Quicksilver
The Baroque Cycle #1

Chapter One

Boston Common

October 12, 1713, 10:33:52 A.M.

Enoch rounds the corner just as the executioner raises the noose above the woman's head. The crowd on the Common stop praying and sobbing for just as long as Jack Ketch stands there, elbows locked, for all the world like a carpenter heaving a ridge-beam into place. The rope clutches a disk of blue New England sky. The Puritans gaze at it and, to all appearances, think. Enoch the Red reins in his borrowed horse as it nears the edge of the crowd, and sees that the executioner's purpose is not to let them inspect his knotwork, but to give them all a narrow -- and, to a Puritan, tantalizing -- glimpse of the portal through which they all must pass one day.

Boston's a dollop of hills in a spoon of marshes. The road up the spoon-handle is barred by a wall, with the usual gallows outside it, and victims, or parts of them, strung up or nailed to the city gates. Enoch has just come that way, and reckoned he had seen the last of such things -- that thenceforth it would all be churches and taverns. But the dead men outside the gate were common robbers, killed for earthly crimes. What is happening now on the Common is of a more Sacramental nature.

The noose lies on the woman's gray head like a crown. The executioner pushes it down. Her head forces it open like an infant's dilating the birth canal. When it finds the widest part it drops suddenly onto her shoulders. Her knees pimple the front of her apron and her skirts telescope into the platform as she makes to collapse. The executioner hugs her with one arm, like a dancing-master, to keep her upright, and adjusts the knot while an official reads the death warrant. This is as bland as a lease. The crowd scratches and shuffles. There are none of the diversions of a London hanging: no catcalls, jugglers, or pickpockets. Down at the other end of the Common, a squadron of lobsterbacks drills and marches round the base of a hummock with a stone powder-house planted in its top. An Irish sergeant bellows -- bored but indignant -- in a voice that carries forever on the wind, like the smell of smoke.

He's not come to watch witch-hangings, but now that Enoch's blundered into one it would be bad form to leave. There is a drum-roll, and then a sudden awkward silence. He judges it very far from the worst hanging he's ever seen -- no kicking or writhing, no breaking of ropes or unraveling of knots -- all in all, an unusually competent piece of work.

He hadn't really known what to expect of America. But people here seem to do things -- hangings included -- with a blunt, blank efficiency that's admirable and disappointing at the same time. Like jumping fish, they go about difficult matters with bloodless ease. As if they were all born knowing things that other people must absorb, along with færy-tales and superstitions, from their families and villages. Maybe it is because most of them came over on ships.

As they are cutting the limp witch down, a gust tumbles over the Common from the North. On Sir Isaac Newton's temperature scale, where freezing is zero and the heat of the human body is twelve, it is probably four or five. If Herr Fahrenheit were here with one of his new quicksilver-filled, sealed-tube thermometers, he would probably observe something in the fifties. But this sort of wind, coming as it does from the North in the autumn, is more chilling than any mere instrument can tell. It reminds everyone here that if they don't want to be dead in a few months' time, they have firewood to stack and chinks to caulk. The wind is noticed by a hoarse preacher at the base of the gallows, who takes it to be Satan himself, come to carry the witch's soul to hell, and who is not slow to share this opinion with his flock. The preacher is staring Enoch in the eye as he testifies.

Enoch feels the heightened, chafing self-consciousness that is the precursor to fear. What's to prevent them from trying and hanging him as a witch?

How must he look to these people? A man of indefinable age but evidently broad experience, with silver hair queued down to the small of his back, a copper-red beard, pale gray eyes, and skin weathered and marred like a blacksmith's ox-hide apron. Dressed in a long traveling-cloak, a walking-staff and an outmoded rapier strapped 'longside the saddle of a notably fine black horse. Two pistols in his waistband, prominent enough that Indians, highwaymen, and French raiders can clearly see them from ambuscades (he'd like to move them out of view, but reaching for them at this moment seems like a bad idea). Saddlebags (should they be searched) filled with instruments, flasks of quicksilver, and stranger matters -- some, as they'd learn, quite dangerous -- books in Hebrew, Greek, and Latin pocked with the occult symbols of Alchemists and Kabalists. Things could go badly for him in Boston.

But the crowd takes the preacher's ranting not as a call to arms but a signal to turn and disperse, muttering. The redcoats discharge their muskets with deep hissing booms, like handfuls of sand hurled against a kettledrum. Enoch dismounts into the midst of the colonists. He sweeps the robe round him, concealing the pistols, pulls the hood back from his head, and amounts to just another weary pilgrim. He does not meet any man's eye but scans their faces sidelong, and is surprised by a general lack of self-righteousness.

"God willing," one man says, "that'll be the last one."

"Do you mean, sir, the last witch?" Enoch asks.

"I mean, sir, the last hanging."

Flowing like water round the bases of the steep hills, they migrate across a burying ground on the south edge of the Common, already full of lost Englishmen, and follow the . . .

Excerpted from Quicksilver by Neal Stephenson
All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.