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If Miran had princesses, Ellisandra Takumar would be one. Smart, pretty, engaged to a high-profile man, everything a high-class Mirani woman should be. But things are not well in Miran. Many years of boycotts have taken their toll on society, and the regime becomes more desperate to keep its citizens under control. Revolt is brewing. As director of the state theatre, Ellisandra has been asked to stage a violent traditional play which stands stiff with threatening political messages for the populace. She hates it, but speaking out would risk that she'd be cast out from the only world she's ever known.
Next to her house is the burnt ruin of the house of another high-class family, the Andrahar family. They fled Miran for political reasons when Ellisandra was a little girl and the house has lain untouched ever since. One night, she spots a mysterious young man walking around the yard, putting out pegs and pieces of string. He's re-building the house. That makes no sense, because the family is no longer welcome in Miran, and who is he anyway?
She is curious and investigates. He seems too good-natured and naïve for his own good, so rather than telling her brothers, she tries to shield him from her own society. And so starts the slide that leads to her being cast out from the only life she's ever known.
Next to her house is the burnt ruin of the house of another high-class family, the Andrahar family. They fled Miran for political reasons when Ellisandra was a little girl and the house has lain untouched ever since. One night, she spots a mysterious young man walking around the yard, putting out pegs and pieces of string. He's re-building the house. That makes no sense, because the family is no longer welcome in Miran, and who is he anyway?
She is curious and investigates. He seems too good-natured and naïve for his own good, so rather than telling her brothers, she tries to shield him from her own society. And so starts the slide that leads to her being cast out from the only life she's ever known.
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