Music by Clockwork Quartet
By Cory Doctorow
Monty Goldfarb walked into St Agatha’s like he owned the place, a superior look on the half of his face that was still intact, a spring in his step despite his steel left leg. And it wasn’t long before he *did* own the place, taken it over by simple murder and cunning artifice. It wasn’t long before he was my best friend and my master, too, and the master of all St Agatha’s, and didn’t he preside over a *golden* era in the history of that miserable place?
I’ve lived in St Agatha’s for six years, since I was 11 years old, when a reciprocating gear in the Muddy York Hall of Computing took off my right arm at the elbow. My Da had sent me off to Muddy York when Ma died of the consumption. He’d sold me into service of the Computers and I’d thrived in the big city, hadn’t cried, not even once, not even when Master Saunders beat me for playing kick-the-can with the other boys when I was meant to be polishing the brass. I didn’t cry when I lost my arm, nor when the barber-surgeon clamped me off and burned my stump with his medicinal tar.
I’ve seen every kind of boy and girl come to St Aggie’s — swaggering, scared, tough, meek. The burned ones are often the hardest to read, inscrutable beneath their scars. Old Grinder don’t care, though, not one bit. Angry or scared, burned and hobbling or swaggering and full of beans, the first thing he does when new meat turns up on his doorstep is tenderize it a little. That means a good long session with the belt — and Grinder doesn’t care where the strap lands, whole skin or fresh scars, it’s all the same to him — and then a night or two down the hole, where there’s no light and no warmth and nothing for company except for the big hairy Muddy York rats who’ll come and nibble at whatever’s left of you if you manage to fall asleep. It’s the blood, see, it draws them out.