Agatha H. and the Airship City by Phil Foglio, Kaja Foglio Page B

up for the tightly guarded warehouses full of devices that made ants run backwards or could remove the rings from Saturn that they occasionally delivered in their free time.
    And of course, regular science marched on, if only in self-defense.
    The pulley caught. Adam grimaced and gave the chain a sharp tug, and links snapped with a sound like a gunshot, the tractor slamming back to the ground, shaking the entire building.
    Adam looked at the broken chain as if it had personally betrayed him, and then he dropped it to the ground. He walked over to the tractor and quickly inspected it to make sure there was no additional damage. Seeing none, he glanced around and, reassured that he was alone, grabbed the front of the tractor in one large hand, and slowly lifted it above his head. Satisfied, he hooked a foot around the bench that contained the spare parts, slid it over to his side, selected a wrench from a loop on his belt, and began working on the undercarriage.
    Adam was a construct. Whereas the term “construct” encompassed any and all biological creatures created by Sparks, Adam was an example of a “traditional old-school” construct, i.e., a patchwork collection of body parts that had been revivified by a massive dose of electricity. They were the simplest form of construct to make, and the vast majority of Sparks had started their careers by assembling one. Unfortunately, while reviving the corpus was simple enough, the brain remained a tricky thing, and most Patchworks, as they were called, were either dull-witted or homicidally deranged, which meant that a significant number of Sparks had their careers ended surprisingly soon after they started.
    As a result, there was a well-established tradition of such constructs being viewed with suspicion at best, discriminated against with impunity, and made the butt of jokes in sensationalist novels, such as those chronicling the adventures of the Heterodyne Boys. Their loyal construct companions, Punch and Judy, were portrayed as oafish clowns. Music halls and traveling shows across Europa also embraced this interpretation, and the two were solidly established as the personification of low humor. Constructs tended to avoid popular entertainments.
    Refreshingly, the Baron had long let it be known that blatant discrimination against constructs was officially frowned upon within the Empire, and he backed this policy up with force.
    But this was a rule that was often ignored in the small towns and rural villages that rarely saw the Baron’s forces or polysyllabic words. As a result, constructs moved into the larger, more cosmopolitan towns and cities. There they were reluctantly embraced. Those like Adam and his wife, who, with a bit of effort, could pass as human, tried to do so.
    And thus Adam and Lilith lived happily amongst the general populace of Beetleburg, and were respected members of the community. Adam impressed many with his ability to repair the simpler Spark creations, and did regular piece-work for the Tyrant. Lilith played the piano, giving lessons in music and dance, and provided entertainment at various functions. There were those in town who knew what they were, but usually they were constructs themselves.
    Suddenly the door slammed open behind Adam, and before he could react, he found a sobbing Agatha clutching at his chest. “Oh, Adam,” she cried, “I’ve had the most awful day in existence! Dr. Beetle is dead! And I was robbed! And I’m not allowed back in the University! Ever!”
    Adam strained to keep his balance, and the arm holding up the tractor began to shake. Agatha continued, “I can’t think of anything that could make it worse!” Sweat began to form on Adam’s brow as he tried to gently disengage Agatha from his shirt with one hand.
    The door to the inner house opened, and Agatha’s mother appeared. “What is all the noise out here?” She blinked at the scene before her. “Agatha? You’re back? What’s wrong child? Come