Selling out isn't an option for Lynn. Neither her muse nor her record company, small though it is, would allow that. And her loyal following, scaled as modestly as Advanced Jazz Records, wouldn't contemplate it either.Tomasz, her drummer, nods with a smile as he takes Lynn's cue to add his own improvised colour to the steady syncopated rhythm of the black notes on the keyboard. Paul strums the double bass with fingers as black as Lynn's, his eyes closed and the grin on his face revealing the quiet ecstasy that always accompanies his playing. What an international trio they are: reflecting the cosmopolitan nature of Lynn's adopted home of Manhattan. Tomasz from Poland, Paul from Alabama and Lynn from Peckham, a London suburb that seems bizarrely exotic set against the yellow taxis and steaming subways of the insomniac city.The passage leads naturally to one of Lynn's own compositions, but not one to which she is courageous enough to add lyrics. She knows she is no wordsmith, but she. Later in the day, I went to see Arianna in the dungeon. She was chained to the wall in a regular cell, not one of the special witch cells my father—or perhaps his father before him?—had built. I went to talk to her, but she continued to stare at the floor. I could sense her trembling inside, but it was the poison of utter despair that ate her tongue. I gave up, and returned to my chambers. I spent much time that evening trying to decide how I could get this girl to at least speak up on her own behalf. Unfortunately, time was not on my side. Next morning, the same mob returned, only now twice the size and escorting the Archbishop. ‘Your Excellency,’ I said coldly, rising to my feet. ‘Your Grace,’ he replied disingenuously, bowing as little as decorum would permit. ‘To what do I owe the privilege?’ I asked with a subtle sarcasm that the mob did not pick up on, but the Archbishop did. ‘I understand that you are holding a certain witch in your dungeons,’ he replied. ‘Witches are.
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