painted in anticipation of marriage negotiations, and if she grows into the girl the artists portrayed, she will count herself well-satisfied. It is not vanity, but practicality: her mother is beautiful, and Ivanova sees how men and women alike respond to that. Irina has held her throne for over a decade; a plain woman would have a harder time reigning unchallenged.
Ivanova, of course, will marry, whether she wishes to or not. Lorraine, on Aulun's throne far to the west, makes example of why a monarch must wed: the woman called the Titian Bitch is old now, without an heir, and ravens circle her throne, waiting for her death and a chance to pick away at her kingdom. Ivanova has no intention of allowing the same to happen in Khazar.
Voices lift in the room below, muffled by the tapestries that hide her, but Ivanova is accustomed to deciphering what's said through the heavy woven cloth. After a moment her mother cuts in, not so much loud as very firm, and male arguments fade away.
“There is no treaty,” Irina says, calmly. Wonderfully calm: her unflappability as much as her beauty, helps keep her court in rein. “It was negotiated with Sandalia, and Sandalia is dead. There will be new negotiations with Javier.”
“If he'll listen,” a man snaps. “The second pigeon says Akilina was found with Sandalia's body. He may well think her the murderer.”
Ivanova's heart seizes and she realises she's crushing the unfortunate bread in her hand. She puts it aside and leans toward the chamber below, as though a few scant inches of closeness might fill in all the details she's missed so far.
Sandalia is dead, murdered in Lutetia.
Ivanova knows that Irina has offered cautious treaties to Gallin and Aulun alike, and that she negotiates with Rodrigo in Essandia through slow-carried missives and hints of flirtatiousness. Neither Rodrigo nor Irina wishes to marry, but a nod toward conventionality must be made to keep the people happy and in gossip, if nothing else. It's a lesson Ivanova intends to take to heart.
If she's given the chance. Eyes closed, she listens to the discussion below; to Irina's dismissal of Akilina's potential hand in the Gallic queen's death; to the weight of what it means that there are papers missing, papers negotiated in Irina's name and signed by Sandalia and Irina's emissary Akilina Pankejeff. Those papers are a breath away from committing Khazarian troops to a war against Aulun, but that breath is what's important: Irina's hand has not signed them, and she is too astute a statesman to do other than express surprise should those papers come to light. It is well-known, after all, that Irina looks favourably on Aulun and its navy—
It is
not
well-known, someone protests; barely a six-month ago Irina dismissed Robert Drake with apologies for fearing Cordula's strength and a refusal to ally herself with Aulun and its heathen Reformation church.
A silence fills the chambers below, even Irina quieting at the reminder. Ivanova remembers the day; she discussed her mother's wardrobe with Irina that morning. Irina's words had said one thing to Robert, but her gown had been of Aulunian make and style, a gift from Lorraine on Ivanova's birth. On such subtleties were covert relationships built, details that hint of support without making it too obvious.
The problem, of course, is that subtleties are rather overshadowed by pieces of actual paper promising troops to a rival kingdom.
“Well,” Irina eventually says, “if we lose the game with Aulun, so be it. All we can offer Lorraine is troops. We can do rather better for Javier de Castille.”
Nerves flutter in Ivanova's belly, making her both aware of her hunger and grateful she hasn't eaten the bread, for fear it might come back up again. Her heartbeat feels light and fast, as though itmight wing its way out of her chest. She can anticipate the next words; can anticipate that they're why she's been summoned to listen in on this conversation between her
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