The snow arrives on a Tuesday.
I know it's a Tuesday because I've been keeping track of the days of the week since settling into the northern boundary records work — the specific rhythm of the project has its own weekly structure, certain sections on certain days, and the tracking is practical rather than anxious. Day ninety-something, mid-November, and the sky outside my window at Dara's boarding house is the particular grey I wrote for the onset of winter in the border region.
I wrote it as a world-building detail. I wrote: *The winters in the border territories arrive hard and stay long, snow from mid-November through early March, the kind of cold that makes the settlement pull inward and the stronghold's provisions list become a serious document.*
I'm looking at the first snow of this year on the rooftops across from my window.
I wrote this. I'm watching it happen.
Ninety-something days of living in a world I built and I'm still occasionally surprised by the gap between the texture of writing about a thing and the texture of being inside it. Snow, in a novel, is atmosphere — it shapes the scene, creates feeling, tells the reader something about setting and season. Snow, in the world I built and then fell into, is cold. It changes how you dress. It changes the quality of the light. It makes the specific stone of the settlement's buildings look different, cleaner, heavier.
I put on every layer I have and go to the archive.
---
Kael is there before me, as always.
And on the chair at my table — my table, where I've been sitting for ninety-something days — there is a heavy woolen cloak. Not mine. The fabric is too good for anything I own in this world, the kind of thing that comes from the stronghold's textile stores, made for someone who has to stand outside in the border winter for hours at a time.
I look at it. I look at Kael, who is at his table reading his morning correspondence and has not looked up.
"There's a cloak on my chair," I say.
"Yes," he says. He turns a page.
He doesn't elaborate. He doesn't need to. I understand the language of it — the same language as tea at the right temperature and a document retrieved from the inconvenient alcove before I thought to ask, the language of someone who noticed a thing and addressed it without making a production of having noticed.
I put on the cloak.
It's heavy and warm and smells of cedar and wool, the specific smell of good cloth properly stored, and it fits better than anything I've been wearing since I arrived in borrowed clothes.
I sit down at my table.
I open the northern boundary records.
We work.
The specific quality of this morning — the snow-light outside, the warmth of the archive's floor-heating, the weight of the cloak on my shoulders — is different from the ninety-something mornings that preceded it. Not dramatically. Just: winter has a texture that autumn doesn't, and I'm inside the first morning of the winter I wrote, wearing something he left for me before I arrived, and the northern boundary records are open in front of me, and this is my life.
I find the first discrepancy of the morning in the third record and note it in the correction log.
---
The morning has the specific quality that archive work takes on in winter — the amber light is the same but different against snow-grey outside, warmer by contrast. The heating in the archive comes from a system of stones that was described in one of the early records I corrected: *floor-heating, thermal distribution, established by the third archivist of record.* I wrote none of this. I just wrote that the archive was warm in winter, as a detail. The world filled in the mechanism.
Seren arrives mid-morning with Mira Voss.
I've seen them separately many times. I've never seen them together before. They come in with the efficient energy of two people in the middle of a task — Seren with a document folder, Mira Voss with a small leather case I recognize as the kind used for household accounts. They're coordinating, clearly, and they've been coordinating for a while: they move through the space with the ease of people who have already had several conversations about what they're here for.
They go to Kael's table.
I watch — not covertly, just looking up from the records the way you look up when other people enter a space — as Kael receives them with the easy availability he has for people who come to him with real business. The conversation is practical: winter preparations, specific families who need support, the particular distribution logistics of a settlement that has to maintain itself through a serious cold season. Seren coordinates one part of it, Mira Voss another, Kael integrates and authorizes.
But what I'm watching is underneath the logistics.
Seren has a different quality than she had two months ago. Not dramatically different — she's still herself, still the person who notices things and asks real questions and straightens old women's shawls. But there's something in how she takes up space that is different. The way she presents her section of the coordination plan to Kael — not tentatively, not deferentially, with the specific confidence of someone who knows what she's proposing is good and is simply presenting it for integration.
She was always competent. That's not new.
What's new is that she seems to know it.
Kael listens to her the way he's always listened — fully, without interrupting — and then he works with what she's brought rather than around it. The collaboration is different from the collaboration of two months ago. Not more formal, more equal. The adjustment he makes is to her framing rather than his own.
Mira Voss says something dry and specific about the family in the southern quarter, and Seren laughs, and Kael's expression shifts in the way it does when something lands, and the three of them work through the rest of the coordination in this specific register: practical, somewhat dry, people who know each other and trust each other's competence.
I go back to my records.
But I keep thinking about what I saw — the specific quality of Seren's presence. I've been watching her since ch. 14, through the market and the archive visits and the conversation Kael had with her that I deliberately didn't listen to. I've been watching her the way you watch someone whose arc you understand from the outside but are now seeing from the inside, with the particular double-vision of a writer who is also a person.
She needed to look back. That's what I wrote, in the alternative draft, in the section that eventually became the conversation Kael had with her. She needed to see what she'd built. She needed someone to show her the evidence of her own impact, the data she'd been accumulating about herself without reading it.
She's reading it now. I can see it in how she stands.
---
After Seren and Mira Voss leave — with a final exchange at the door, easy and unremarkable — I set down my pencil.
"I want to write about this," I say.
Kael looks up.
"Not the manuscript," I say. "Not chapter 20 or chapter 30 or anything about the chain. Just —" I gesture at the archive, at the space where Seren and Mira Voss just were, at the snow outside the window. "This. The things that are here."
He waits.
"Seren has changed," I say. "Not dramatically. Just — she knows something about herself now that she didn't know before. And Mira Voss has a daughter named Lenna who has a talent for numbers and learns to sew on Sunday mornings, and I didn't write any of that, and it's true and it's here and it deserves to be — I don't know. Recorded. Seen. I'm a writer. This is what I do."
Kael looks at me. Not the reading-look — the other kind. The look that is simply seeing.
"So write it," he says.
It's as simple as that when he says it. Not *are you sure* or *what does that mean for the manuscript* or any of the complications I've been talking myself into and out of for the past week. Just: so write it.
"I haven't written anything creative since I arrived," I say. "Just notes. Records. The alternative draft, which is more like a planning document. I don't know if I still —" I stop. "It's been three months."
"You have paper," he says. "You have pencils. The archive has enough light and it's warm."
He looks at the stack of northern boundary records I've been working through.
"The records will be here tomorrow," he says.
I look at the records. I look at the blank paper on the corner of my table — archive paper, which I've been using for everything, which I've come to associate so strongly with the specific work of this project that it almost feels wrong to use it for something else.
"It might be strange," I say. "Being the author and being here, writing about it. Writing about things I'm living in, people I know. There's a version of that that feels — I don't know. Like a violation of something. Like I'm still treating this world as material."
Kael considers this with the specific care he brings to things worth thinking about carefully.
"Or," he says, "it might be exactly what writing is. Being inside something and trying to see it clearly enough to put it on paper." He pauses. "The alternative would be: you're here and you're looking and you're not writing. Which would be the violation."
I look at him.
"You're the author," he says. "That doesn't go away. It's not a burden or a complication. It's what you are." He picks up his pen. "Use it."
He goes back to his work.
I sit with what he just said for a long moment.
Then I reach for a new sheet of paper — not archive paper, the regular paper I keep in my own folder — and I begin.
---
I write about Mira Voss.
Not the version I wrote in chapter four — the three-line version, cloth merchant, forty-three, widowed, one daughter, present for texture. The version I know from ninety-something days of being in the same settlement with her. The version where she fixes things herself because the fixing is hers. The version where her daughter Lenna has a talent for numbers and the schoolmaster has noticed and Mira hasn't decided yet what to do with that noticing. The version where she was drying out the fabric one afternoon in October and she told me, without being asked, that the flood fourteen years ago moved the well and everyone just — adapted, because that's what you do.
I write about the well.
Not the well as a world-building detail — the well as a physical fact that people have been living with for fourteen years, that has shaped the specific way the eastern quarter of the settlement approaches water access, that produced a set of practical accommodations that became so familiar they stopped being accommodations and became just the way things are.
I write about the way the world fills in around the things I specified. The specific quality of that — not random, not arbitrary, but shaped by the logic of the things I wrote and the logic of what real places do when they have to be real. The gap between intention and result, and how the result is usually more interesting than the intention.
I write about Theo, who is becoming an archivist, who has been here through all of it without knowing any of it, who will probably look back on this period as the time he learned how notation errors propagate and why you cross-reference everything.
I write about snow. About watching it arrive on a Tuesday through a window I chose because of which gate it faces, in a world I built and then entered and am now watching have a winter. About the specific experience of writing something as atmosphere — *the winters in the border territories arrive hard* — and then living inside it, finding that *hard* means this particular grey sky and this particular cold and this particular way the archive's stone walls become something to lean against for warmth.
I write about what it's like to be the unnamed element — the person the pattern didn't account for, the author inside the text. Not as a problem to be solved, but as a specific kind of double vision. The way I can see this world as the world it is and as the world I made it, simultaneously, without either view cancelling the other out.
I write until the light starts to fail.
Kael looked over twice during the afternoon — I felt it without tracking it, the way I feel everything in this room without needing to look. He didn't say anything either time. He just looked and went back to his work, and I understood this as the specific respect of someone who knows when to leave a thing alone.
When I stop I have two pages.
Not polished. Not finished. The beginnings of something I don't have a name for yet — not a novel, not an essay, not the manuscript. Something that belongs to this specific experience of being inside a story and looking at it with the eyes of both the person who wrote it and the person who lives in it.
I fold the pages. I put them in a folder that I've been keeping separate from the archive materials — a folder with nothing in it except this.
My own folder.
---
We leave the archive together at the usual hour.
The snow is still falling — not heavily, the light kind that settles without urgency, the kind that will accumulate overnight and be thick on the rooftops by morning. It's quiet in a way that snow makes things quiet, the settlement muffled and pale and particular.
We walk toward the market corner where our routes diverge. The snow makes our footsteps different — softer, the sound absorbed into the white.
At the corner he pauses — not stopping, just slowing, the way he slows for things worth noting.
"What did you write about?" he asks.
"Mira Voss," I say. "And the well. And Theo. And what it's like to watch a world you built have its first winter." I look at the snow settling on the market stalls, the cloth covers that Mira Voss and her neighbors put over their goods before they leave for the day. "The unwritten parts," I say. "The things that are here but that I didn't write."
He nods. Slowly, with the specific quality of someone turning something over.
"The unwritten parts," he says.
"Yes."
We stand in the snow for a moment — not long, it's cold — and then he looks at me with the direct, quiet look.
"I'd like to read it," he says. "Sometime. When you're ready."
Not *let me read it* or *will you show me.* Just: *I'd like to.* A statement of want, offered plainly, with no pressure attached.
I think about the two pages in my folder. About Mira Voss fixing shelves because the fixing is hers. About the well and the flood and fourteen years of adaptation. About Theo and the archive and what it looks like when someone is becoming what they're going to be.
"When I'm ready," I say.
He nods. He goes toward the stronghold.
I go toward Dara's street.
From somewhere in the snow-quiet air, soft as the falling:
*— she's writing again —*
*— not chapter 20 —*
*— something new —*
*— I love this —*
I walk home through the first snow of winter in a world I built that is now building itself, that fills in the parts I left blank with things more interesting than what I would have specified if I'd thought to specify them, that has a Mira Voss with a daughter named Lenna and a well that moved three meters east and a Theo who is going to be an excellent archivist and a Kael who wants to read the unwritten parts.
I let myself into Dara's boarding house.
I go up to my room.
I put the folder on the table by the window.
I sit with it in the first snow of the winter, and I think about what it means to be both the writer of a place and someone who lives in it — the specific double vision of it, the way you can see the architecture you built and the life that has grown up inside the architecture simultaneously.
The thing I wrote in chapter four was true: there's a cloth merchant in the market, middle-aged, widowed, one daughter. The thing I know now is also true: her daughter is Lenna, she has a talent for numbers, she learns to sew on Sunday mornings from a mother who fixes things herself because the fixing is hers. Both are true. The version I wrote was a doorway. The version I know is what was always going to grow up inside the doorway, given light and time.
That's what I'm writing about. The doorways and what grew up inside them.
I don't know what this is yet — what form it will take, what I'll do with it when it's done, whether *done* is even the right concept for something that is, essentially, an ongoing record of a life being lived. But I know I'm going to keep writing it, the same way I know I'm going to keep correcting the northern boundary records: because it's the work, and it's here, and it's mine.
Tomorrow: northern boundary records, day thirty-something.
And this. Whatever this is.
Same time tomorrow.
You've reached the end of this chapter
The snow arrives on a Tuesday.
I know it's a Tuesday because I've been keeping track of the days of the week since settling into the northern boundary records work — the specific rhythm of the project has its own weekly structure, certain sections on certain days, and the tracking is practical rather than anxious. Day ninety-something, mid-November, and the sky outside my window at Dara's boarding house is the particular grey I wrote for the onset of winter in the border region.
I wrote it as a world-building detail. I wrote: *The winters in the border territories arrive hard and stay long, snow from mid-November through early March, the kind of cold that makes the settlement pull inward and the stronghold's provisions list become a serious document.*
I'm looking at the first snow of this year on the rooftops across from my window.
I wrote this. I'm watching it happen.
Ninety-something days of living in a world I built and I'm still occasionally surprised by the gap between the texture of writing about a thing and the texture of being inside it. Snow, in a novel, is atmosphere — it shapes the scene, creates feeling, tells the reader something about setting and season. Snow, in the world I built and then fell into, is cold. It changes how you dress. It changes the quality of the light. It makes the specific stone of the settlement's buildings look different, cleaner, heavier.
I put on every layer I have and go to the archive.
---
Kael is there before me, as always.
And on the chair at my table — my table, where I've been sitting for ninety-something days — there is a heavy woolen cloak. Not mine. The fabric is too good for anything I own in this world, the kind of thing that comes from the stronghold's textile stores, made for someone who has to stand outside in the border winter for hours at a time.
I look at it. I look at Kael, who is at his table reading his morning correspondence and has not looked up.
"There's a cloak on my chair," I say.
"Yes," he says. He turns a page.
He doesn't elaborate. He doesn't need to. I understand the language of it — the same language as tea at the right temperature and a document retrieved from the inconvenient alcove before I thought to ask, the language of someone who noticed a thing and addressed it without making a production of having noticed.
I put on the cloak.
It's heavy and warm and smells of cedar and wool, the specific smell of good cloth properly stored, and it fits better than anything I've been wearing since I arrived in borrowed clothes.
I sit down at my table.
I open the northern boundary records.
We work.
The specific quality of this morning — the snow-light outside, the warmth of the archive's floor-heating, the weight of the cloak on my shoulders — is different from the ninety-something mornings that preceded it. Not dramatically. Just: winter has a texture that autumn doesn't, and I'm inside the first morning of the winter I wrote, wearing something he left for me before I arrived, and the northern boundary records are open in front of me, and this is my life.
I find the first discrepancy of the morning in the third record and note it in the correction log.
---
The morning has the specific quality that archive work takes on in winter — the amber light is the same but different against snow-grey outside, warmer by contrast. The heating in the archive comes from a system of stones that was described in one of the early records I corrected: *floor-heating, thermal distribution, established by the third archivist of record.* I wrote none of this. I just wrote that the archive was warm in winter, as a detail. The world filled in the mechanism.
Seren arrives mid-morning with Mira Voss.
I've seen them separately many times. I've never seen them together before. They come in with the efficient energy of two people in the middle of a task — Seren with a document folder, Mira Voss with a small leather case I recognize as the kind used for household accounts. They're coordinating, clearly, and they've been coordinating for a while: they move through the space with the ease of people who have already had several conversations about what they're here for.
They go to Kael's table.
I watch — not covertly, just looking up from the records the way you look up when other people enter a space — as Kael receives them with the easy availability he has for people who come to him with real business. The conversation is practical: winter preparations, specific families who need support, the particular distribution logistics of a settlement that has to maintain itself through a serious cold season. Seren coordinates one part of it, Mira Voss another, Kael integrates and authorizes.
But what I'm watching is underneath the logistics.
Seren has a different quality than she had two months ago. Not dramatically different — she's still herself, still the person who notices things and asks real questions and straightens old women's shawls. But there's something in how she takes up space that is different. The way she presents her section of the coordination plan to Kael — not tentatively, not deferentially, with the specific confidence of someone who knows what she's proposing is good and is simply presenting it for integration.
She was always competent. That's not new.
What's new is that she seems to know it.
Kael listens to her the way he's always listened — fully, without interrupting — and then he works with what she's brought rather than around it. The collaboration is different from the collaboration of two months ago. Not more formal, more equal. The adjustment he makes is to her framing rather than his own.
Mira Voss says something dry and specific about the family in the southern quarter, and Seren laughs, and Kael's expression shifts in the way it does when something lands, and the three of them work through the rest of the coordination in this specific register: practical, somewhat dry, people who know each other and trust each other's competence.
I go back to my records.
But I keep thinking about what I saw — the specific quality of Seren's presence. I've been watching her since ch. 14, through the market and the archive visits and the conversation Kael had with her that I deliberately didn't listen to. I've been watching her the way you watch someone whose arc you understand from the outside but are now seeing from the inside, with the particular double-vision of a writer who is also a person.
She needed to look back. That's what I wrote, in the alternative draft, in the section that eventually became the conversation Kael had with her. She needed to see what she'd built. She needed someone to show her the evidence of her own impact, the data she'd been accumulating about herself without reading it.
She's reading it now. I can see it in how she stands.
---
After Seren and Mira Voss leave — with a final exchange at the door, easy and unremarkable — I set down my pencil.
"I want to write about this," I say.
Kael looks up.
"Not the manuscript," I say. "Not chapter 20 or chapter 30 or anything about the chain. Just —" I gesture at the archive, at the space where Seren and Mira Voss just were, at the snow outside the window. "This. The things that are here."
He waits.
"Seren has changed," I say. "Not dramatically. Just — she knows something about herself now that she didn't know before. And Mira Voss has a daughter named Lenna who has a talent for numbers and learns to sew on Sunday mornings, and I didn't write any of that, and it's true and it's here and it deserves to be — I don't know. Recorded. Seen. I'm a writer. This is what I do."
Kael looks at me. Not the reading-look — the other kind. The look that is simply seeing.
"So write it," he says.
It's as simple as that when he says it. Not *are you sure* or *what does that mean for the manuscript* or any of the complications I've been talking myself into and out of for the past week. Just: so write it.
"I haven't written anything creative since I arrived," I say. "Just notes. Records. The alternative draft, which is more like a planning document. I don't know if I still —" I stop. "It's been three months."
"You have paper," he says. "You have pencils. The archive has enough light and it's warm."
He looks at the stack of northern boundary records I've been working through.
"The records will be here tomorrow," he says.
I look at the records. I look at the blank paper on the corner of my table — archive paper, which I've been using for everything, which I've come to associate so strongly with the specific work of this project that it almost feels wrong to use it for something else.
"It might be strange," I say. "Being the author and being here, writing about it. Writing about things I'm living in, people I know. There's a version of that that feels — I don't know. Like a violation of something. Like I'm still treating this world as material."
Kael considers this with the specific care he brings to things worth thinking about carefully.
"Or," he says, "it might be exactly what writing is. Being inside something and trying to see it clearly enough to put it on paper." He pauses. "The alternative would be: you're here and you're looking and you're not writing. Which would be the violation."
I look at him.
"You're the author," he says. "That doesn't go away. It's not a burden or a complication. It's what you are." He picks up his pen. "Use it."
He goes back to his work.
I sit with what he just said for a long moment.
Then I reach for a new sheet of paper — not archive paper, the regular paper I keep in my own folder — and I begin.
---
I write about Mira Voss.
Not the version I wrote in chapter four — the three-line version, cloth merchant, forty-three, widowed, one daughter, present for texture. The version I know from ninety-something days of being in the same settlement with her. The version where she fixes things herself because the fixing is hers. The version where her daughter Lenna has a talent for numbers and the schoolmaster has noticed and Mira hasn't decided yet what to do with that noticing. The version where she was drying out the fabric one afternoon in October and she told me, without being asked, that the flood fourteen years ago moved the well and everyone just — adapted, because that's what you do.
I write about the well.
Not the well as a world-building detail — the well as a physical fact that people have been living with for fourteen years, that has shaped the specific way the eastern quarter of the settlement approaches water access, that produced a set of practical accommodations that became so familiar they stopped being accommodations and became just the way things are.
I write about the way the world fills in around the things I specified. The specific quality of that — not random, not arbitrary, but shaped by the logic of the things I wrote and the logic of what real places do when they have to be real. The gap between intention and result, and how the result is usually more interesting than the intention.
I write about Theo, who is becoming an archivist, who has been here through all of it without knowing any of it, who will probably look back on this period as the time he learned how notation errors propagate and why you cross-reference everything.
I write about snow. About watching it arrive on a Tuesday through a window I chose because of which gate it faces, in a world I built and then entered and am now watching have a winter. About the specific experience of writing something as atmosphere — *the winters in the border territories arrive hard* — and then living inside it, finding that *hard* means this particular grey sky and this particular cold and this particular way the archive's stone walls become something to lean against for warmth.
I write about what it's like to be the unnamed element — the person the pattern didn't account for, the author inside the text. Not as a problem to be solved, but as a specific kind of double vision. The way I can see this world as the world it is and as the world I made it, simultaneously, without either view cancelling the other out.
I write until the light starts to fail.
Kael looked over twice during the afternoon — I felt it without tracking it, the way I feel everything in this room without needing to look. He didn't say anything either time. He just looked and went back to his work, and I understood this as the specific respect of someone who knows when to leave a thing alone.
When I stop I have two pages.
Not polished. Not finished. The beginnings of something I don't have a name for yet — not a novel, not an essay, not the manuscript. Something that belongs to this specific experience of being inside a story and looking at it with the eyes of both the person who wrote it and the person who lives in it.
I fold the pages. I put them in a folder that I've been keeping separate from the archive materials — a folder with nothing in it except this.
My own folder.
---
We leave the archive together at the usual hour.
The snow is still falling — not heavily, the light kind that settles without urgency, the kind that will accumulate overnight and be thick on the rooftops by morning. It's quiet in a way that snow makes things quiet, the settlement muffled and pale and particular.
We walk toward the market corner where our routes diverge. The snow makes our footsteps different — softer, the sound absorbed into the white.
At the corner he pauses — not stopping, just slowing, the way he slows for things worth noting.
"What did you write about?" he asks.
"Mira Voss," I say. "And the well. And Theo. And what it's like to watch a world you built have its first winter." I look at the snow settling on the market stalls, the cloth covers that Mira Voss and her neighbors put over their goods before they leave for the day. "The unwritten parts," I say. "The things that are here but that I didn't write."
He nods. Slowly, with the specific quality of someone turning something over.
"The unwritten parts," he says.
"Yes."
We stand in the snow for a moment — not long, it's cold — and then he looks at me with the direct, quiet look.
"I'd like to read it," he says. "Sometime. When you're ready."
Not *let me read it* or *will you show me.* Just: *I'd like to.* A statement of want, offered plainly, with no pressure attached.
I think about the two pages in my folder. About Mira Voss fixing shelves because the fixing is hers. About the well and the flood and fourteen years of adaptation. About Theo and the archive and what it looks like when someone is becoming what they're going to be.
"When I'm ready," I say.
He nods. He goes toward the stronghold.
I go toward Dara's street.
From somewhere in the snow-quiet air, soft as the falling:
*— she's writing again —*
*— not chapter 20 —*
*— something new —*
*— I love this —*
I walk home through the first snow of winter in a world I built that is now building itself, that fills in the parts I left blank with things more interesting than what I would have specified if I'd thought to specify them, that has a Mira Voss with a daughter named Lenna and a well that moved three meters east and a Theo who is going to be an excellent archivist and a Kael who wants to read the unwritten parts.
I let myself into Dara's boarding house.
I go up to my room.
I put the folder on the table by the window.
I sit with it in the first snow of the winter, and I think about what it means to be both the writer of a place and someone who lives in it — the specific double vision of it, the way you can see the architecture you built and the life that has grown up inside the architecture simultaneously.
The thing I wrote in chapter four was true: there's a cloth merchant in the market, middle-aged, widowed, one daughter. The thing I know now is also true: her daughter is Lenna, she has a talent for numbers, she learns to sew on Sunday mornings from a mother who fixes things herself because the fixing is hers. Both are true. The version I wrote was a doorway. The version I know is what was always going to grow up inside the doorway, given light and time.
That's what I'm writing about. The doorways and what grew up inside them.
I don't know what this is yet — what form it will take, what I'll do with it when it's done, whether *done* is even the right concept for something that is, essentially, an ongoing record of a life being lived. But I know I'm going to keep writing it, the same way I know I'm going to keep correcting the northern boundary records: because it's the work, and it's here, and it's mine.
Tomorrow: northern boundary records, day thirty-something.
And this. Whatever this is.
Same time tomorrow.
You've reached the end of this chapter