The Bird House

This Week’s Prompt: 127. Ancient and unknown ruins—strange and immortal bird who speaks in a language horrifying and revelatory to the explorers.

The Prior Research:Birds the Likes of Which God Hasn’t Seen

It was perched like a bloated dead spider on the hill, waiting for its children to well up and devour it. Sprawling gardens and forgotten mazes, hedges long dead and fountains over grown with mold and moss, formed its stone web. The baths that once bubbled with mineral spring water were now entirely consumed. Even the wolves gave it distance.

The only wholesome thing we saw, walking up in the night with our flashlights, were the birds. Nests of birds across the abandoned rooves and long collapsed balconies. Well, wholesome might be the wrong word. There were sparrows and robins and such, birds that sang in the morning and all that. I never was good with telling birds apart without bright colors. But I know ravens and crows, and the sound of owls in the night.

Place was full of vermin—mice, rats, insects, all of them flocked to its walls. Course they lured in birds. And in a few years, when the ceiling gave way, the bird’s lure in something bigger. What, I don’t know.

“My uncle says grandpa use to come here.” Jordan said, shining his light through the front gate. There is flicker of a fox moving away from the light. Had something with feathers in its mouth.

“Yeah? Like as a butler or something?” I said, looking around. The trees were full of dead leaves. Jordan’s clipers break the rusty lock.

“Nah, before that.” He said, pushing open the gate. “When, yeah, some rich guy owned it—that guy who always watered down his food? Apparenlty apart from running workshops and stuff, he opened up a bunch of baths. Cured every sort of ache.”

“Huh. You’d think that sorta business would’ve kept it open.” I said, as we walked down the broken cobblestones. You could still see the baths, rising in rows down the path to the backdoor. What had been a pool of water was both dead and oh so alive, the water mostly sunken into the very bottom, but moss and mold growing up the walls. Only the uplifted hand of the statue was visible. A confused crow was pecking at it.

Renovating a new wing onto the manor took time. During the day, the dolorous toll of hammers and cranes drove all life from the place. Even the owner, Gerald Copperson, retreated upward  and away, in an isolated study from the clamor. There he studied heavy books and answered letters as his designs for the building were carried out. It was only at night, when silence fell over the structure like a curtain, that Gerald ventured out to survey the work.

Slowly, the new wing was rising—by summers end, it would be finished. A whole new set of rooms, including a parlor for entertaining more properly. A spare kitchen perhaps. He walked along the currently bare walls—ones that would be filled with engravings to memorialize the effort. He had even found the perfect statue in an Italian graveyard—once the purchase was finalized, the Renaissance marble.

On such a nightly walk, in the warmth of a summer night around the bubbling fountain with its angel statue, that Gerald felt the chill of a passing shadow. The owls of the surrounding wood sometimes came to pass over his well lit home, and as an avid bird watcher, Gerald instinctively turned to catch a glimpse. And sure enough, there was a bird—but not an owl of any kind he’d seen. It had wide wings like a condor, with thin feathers flayed out, and a heavy tail as it descended down. It circled for a moment before affixing itself to the lance at the top of the roof. The knightly statue, placed over where one day his children would slumber, seemed to sag ever so slightly with the weight of the bird.

*

Each of the baths had been an effort to make.

“We should be able to get six baths.” Sheryl muttered, drawing out the locations on the map under the gaslight. “It’s not exactly the Hanging Gardens or Bath, but its more than enough I think.”

“I was hoping to get some of the water to the gardens.” Yohan sighed. “But there isn’t a convient spring—not with those minerals.”

“The water and the vegetables might not mix well anyway.” Sheryl said tapping her chin. “I mean, whats good for the outside isn’t always good for the inside.”

The aquafir beneath their feet went into a number of local springs—with some effort and piping, the water was funneled into baths and fountains. A rare, dare Yohan say it, unique mixture of minerals was just beneath the surface—fed by rain water and underground rivers, the aquifers water was bountiful. It worked wonders on illness…or it should. Similair chemicals had been found down river—not the same, but similar. Bottles had been kept as household cures for a while now.

“Still, six baths for now. Maybe we can make more later.” Yohan said, rolling up the plans. “With a field for exercises, and a vegetable garden—I think we might be onto something here. The sort of thing people really need.”

The inside of the building wasn’t any better than the outside. The wallpaper had peeled and cracked—the cheerful pink flowers faded away. Gashes and grafitti covered walls as we went down the alls. Doors ripped off the hinges. I’d say by some crazed monster, but probably by some idiot drunk teens. The smell of piss and the sexual history documented on the wall seemed more their work than Bigfoot’s.

Chunks of the upper floor had given in—rain broke the way for wind.

“You’d think, but you know—after  a bit, fads fall out of fashion, people stop having the money to go to a health club to get told they need to eat nuts and wear sackcloth.” Jordan said with a shrug as he stepped over some rubble. “Then you can’t make rent, and no one can buy it because you know. It’s a building this big, what are you going to do with it?”

“Make  a hotel?” I said, looking around, light catching on a nest of cobwebs. “Or maybe…like…a business park?”

“For who?” Jordan said, pushing open the door. “No one’s buying that sort of thing when there’s no money to go around. And by the time there is…well.” He flashed a light at nearest example of spreading mold, a cancerous growth along the walls.

“Anyway, its this way I think. Up the stairs, shouldn’t be too hard to spot.” He muttered, as we entered into the lobby, the dome over head as dark as the night—darker, because not a single light shone down.

*

Copperton was a simple man. He considered himself an appreiator of nature. He even enjoyed bird watching on occasion. But the nosies that came from the knight, whenever that strange bird arrived, were unbearable. A warbling song filled the room, and disturbed his dreams—dreams that once had been of fields and boyhood dreams where now stained with a familiar red.

He did not like his rifle. That was perhaps a peculiar thing to say, when the tool had been his most constant companion. Even when family faded, and friends perished, his rifle was ready at his side. It’s bayonet able to be fixed. His hands knew it’s shape and grooves better than his kitchen tools. Still. He did not like his rifle, as he took it outside in the dark of the night, stalking again through the bushes.

The Bird was there again—how had he known, this night of all nights? It had no rhythmn, it had no pattern he understood—but it descended down regardless. And then, as he raised his rifle—one shot, to frighten it off, one shot to get some sleep, one shot above those majestic wings—

*

“It has to be some sort of…Rodent?” Yohan said, examining small, but noticeable scratches on the top of the bath houses. “Right? Like, I guess a bat or owl might, but these look a bit big for that.”

“Well, whatever it is, we should try and stake out for it.” Sarah said, looking off into the woods. “Its scaring off the guests, making some sort of noise.”

“Are we sure that’s not exhaustion? Steam maybe?” Yohan said, stepping down the ladder. Sarah shook her head.

“Probably not. But even if it is, it’d be better knowing what is causing the steam to screech out of the baths. Figure out how to stop it, calm everyone down.”

“That’s fair, we don’t want them stressed here.” Yohan sighed. “That would defeat the purpose of our institution.”

So the two of them made plans, lantern in hand and with a bat ready. If it was just a large bird, some stones or the like should keep it away. Yohan brought a looking glass as well, to get a better glimpse of what was happening on the roofs that caused such a strange and disturbing noise.

The moon was high, when the shadow first moved across the ground. Wings spread wide, feathers trailing—the air shimmering as it spun into the world. The stars flickered as the bird danced down to the top of the bath—steam that rose from the spring wrapping around it, woven into dense bits of rain. In the veil of droplets, Yohan could make out the long neck of an ostrich rising from the plumage—plumage that became sharp under the light of the lanterns. And before he could cast his stone, it began to sing.

The stairs were creaky, walking all the way up to the office. The stairs were rotten as we walked up to the office. The stairs spiralled up and around and around the spine of the building, that nearly touched the concrete cranium, the dome overhead. And then the stairs stopped at the top, at the office.

The door wasn’t that broken. It’s hinges were rusty, it squeaked loudly as we opened it, but all things considered, it was in good condition. It was still a door that could be closed. There were the remains of papers on the floor, bureaucracy coating everything. The ceiling of the office had collapsed in, under god knows what weight—maybe nothing more than rain.

 I rested my crowbar on my back, looking around.

“How do you know its still here even?” I asked, shining on the walls. Graffiti was absent, but there was a crumbling corkboard. You could faintly see where paintings had been removed, where furniture had once been. The desk was gone, but there was still a chair sitting there. Apparently no one wanted it.

“Just trust me, I checked. Just need an extra hand getting it out.” Jordan said, walking to the wall and tapping along for a moment—the wood seeming to recoil from his touch until at last he hit upon something. He put down his sack and took out his hammer, striking away at dry wall. It was after the third whack that a shadow past over head—a vast shape plunging the room into darkness for a moment. And when it passed, we were no longer alonge.

There it sat, atop the chair, a grotesque parody of a bird. Its entire body was covered in knife like spines, crackling as it cut the air in it’s motions. Its long neck ended in a hardened beak, with holes running up the neck. And as I started back, and Jordan turned, it raised its beak and began to sing.

*

It sang and the walls fell away.

It sang and what we saw was rot and life, healing and hurt. We saw a thousand fold this building, this roost that it sang on once, but many times. We saw vibrance of life here, a rainbow that washed over the world. The stars, they no longer seemed so far. We saw each other—felt the rifle in our hands, felt the stone, the lantern, the crowbar, the fear, the joy, the brilliance, the memories of trenches, the memories of hospitals, the desperation, the smell of unfamiliar shores, things collapsed together as it sang. Its notes stiched across time and space, all at once, were we all speaking and seeing each other or was it a messenger bringing with it all those touched before? Was it here or there?

It sang it sang and the air vibrated with its song, refracted and spread and folded in on itself. It sang and then it was gone.

And we were left, unsure what parts were us and what parts were other.


This was along time coming. I found the idea of a song as the uniting element of revelation made sense–songs are after all a means of connection that, in theory, transcend language. I apologize for the recent delays, my burn out spat ran long than I expected. Still, I think this is a good story to come back to. If anything, I can think of ways to expand on this idea–drifting the stories together more at the point of impact, reflecting after the song has ended.

Next week: We discuss frogs and royalty.

Under the Sea

This Week’s Prompt: 125. Man abandon’d by ship—swimming in sea—pickt up hours later with strange story of undersea region he has visited—mad??

The Resulting Story: The Sea Dane

This week’s prompt returns us to familiar waters for the Undead Author Society: Strange and terrifying sights beneath the sea. We’ve touched on undersea creatrues, regions, and even peoples before. We talked about the most famous, Atlantis, here. We discussed undersea bishops and mermaids here.

Now, this recalled to my mind another flooded ancient city of Northern Europe—specifically, Ys. When I first heard the story of Ys, I was traveling in Ireland. The tour guide told a version that said Ys was sunk by druids to protect it—and if anyone found the golden keys to the city, they would inherit its power and it would rise again.  The key was under an unmarked grave in Ireland, and hadn’t been found yet!

The version I was able to find more documentation of is slightly different. Ys is found off the coast of Brittany. The King of Is or Ys is Gradlon, with his daughter Dahut. The city is built on reclaimed land, with the golden keys to the dykes holding it fast during the day. Gradlon’s daughter Dahut takes the keys, in most versions, and opens the dykes to flood the city. The reason she does so varies—in many versions, she is impressing a flatterer or lover, and drunkenly mistakes the dykes for her palace. In others, a man with a red cane and beard has come to the city and stolen the keys to flood the city. As the city floods, a saint or holy man comes and tells the King to flee—offering his horse to escape with. As he flees, his daughter jumps on the horses back, and the horse stops. And only be throwing her off does he escape.

Some versions suggest she in turn became a mermaid, bringing us to a full circle of our story from the Netherlands. To this day, at low tide, the ruins of the city can still be somewhat seen. The ruins are again attributed to Roman builders at times, at others to ancient sources. At least one suggests the devil danced on the dykes, mocking the king with his keys. A source I couldn’t confirm (it is in French) has Dahut build the city with korrigan aid and command sea serpents to serve every citizen of the city, building wealth with raids and oceanic diving. This wealth made them cruel, and soon they drove beggars and others out of their homes and streets. And so they were buried by the sea. It is said, in some versions, that that Is or Ys will rise again, and the first to hear its bell toll will become king.

A comparable Welsh tale modifies things somewhat. The drunkard is now the steward, and there are references to an overflowing well instead of the sea that creates a lake around the city. Still, the King escapes and is the sole survivor.

Bomere pool was likewise formed from a flood. The village that once stood there turned back to idolatry and the worship of Norse gods, only mocking the Christian faith. When the priest warned them of God’s wrath, fish bones were sewn to his cassock and children pelted him with stones. This did little to dissuade the priest, and his endurance won over a few back to the faith. However, in December the rains began to fall.

The priest, walking one day, saw that the dykes were about to burst. He ran down to warn the feasting pagan people, but was dismissed for his kill-joy croaking. One might expect, when the flood came on Christmas Eve, he and his followers would be safe on their hill. But no—the waters hit them first, rising over the altar, and washing away the entire village. You can still, they say, hear the ringing of the Sanctus bell over the pool.

A variant of this story exists, however. It was placed back in the Roman Empire’s reign. In this version, the warning comes from a Roman soldier, sent by God to the town. However, only the daughter of the governor will listen to him. The rest of the town beat him and mock him, as they did the priest in the other story. The soldier would have married the Governor’s daughter, but it was not to be. On Easter, devastation came to the city—a flood so massive it wipe the city out entirely. It is said the Sun rejoiced and the cattle prayed to God in thanksgiving. The solider was spared, but his love was not. He can be seen when the church bells ring, rowing a boat looking for his lady love to this day.

Amusingly to me, one version of the story sets an even pettier reason for the flood—that a farmer was harvesting grain on Sunday.

There are stories in Shropeshire where greed is the ultimate cause: Ellesmere was once a great meadow, with a well of pure water in the center.  People came from all around for the drink, until a churlish man purchased the land and demanded payment for the water. The next day, his wife found the meadow turned into a vast, worthless pool. And the price the man had to pay was kept high, for his poor conduct. 

Donegal Bay has a number of tales of sunken and undersea cities as well. A castle, with fields of cattle, is said to be visible in the morning—and that its inhabitants dress in old and strange clothing. When a marquis went to reclaim some land, he found the sight and ceased all work on the project—if it was due to the beauty of the city or something else we don’t know.

Another nearby castle emerged for reasons that are by now familiar. The local chief was holding a feast and advised by a saint to invite the poor as well as the rich into his hall. When he refused, the saint cursed him and the waters flowed up from the well and over the city, drowning it—in another case, the wicked chief held the saint prisoner and the well water rose up to over take them.

Another Donegal Bay story tells of a visit to the undersea, but not how it came to be. A man was riding at sunset towards a lake, when he found himself on a mirrored surface. He continued until he came to an underground room, and was asked by many hosts there to eat and drink. However, for once, our hero remembers his folklore and flees—seizing a bottle as proof. He emerged onto shore and was so frightened by what he had experienced he died within the year—but he had proof.

Another hero did not listen, however, when he pursued his sheep into an undersea kingdom. Here he married a red headed woman and lived a happy life—before deciding after three days to return and tell his family. Sadly, he learned that time is different under the sea—and he had been gone three thousand years.

Moving away from the British Isles, we can find underwater kingdoms farther abroad in Nubia. Here we have the Aman Naltah, river inhabitants who live in castles beneath the Nile. They will regularly, reportedly, drag persons down into their world and gift them with divining powers upon returning them. They also cause halluncinations or amnesia by dragging people beneath the river, aid in exorcisms, and so on. But they are not the only inhabitants of the Nile.

There is also the Aman Doger. These creatures also inhabit the Nile, but are much more tangibile. They have donkey like legs, log tails, big ears, and burning vertical eyes that are the only visible sign of them during sun rise and sunset. They do attack people, particularly women, to acquire gold for their taxes in their home country or to gain food. Robbery is not their only trick—they will lure people to the shore by calling their name, and then suck breath and blood from their nostrils, draining their strength. Being nocturnal and terrifying creatures, they prey on children of course. And most terrible of all, they will break vehicles and steal dates.

The more fascinating part for our purposes is the purported origin of the creatures. In one instance, a travelling sufi was rejected by pagan peoples. He cursed them to a terrible form as punishment, in a way familiar to the above. In some cases, this was the fate of all the original inhabitants of Nubia. Another, more modern-set origin says that when the British colonized Sudan, one tribe would not pay their taxes and rebelled. Sadly, they lacked gold and guns—so they made use of their sorcery to become river beings. Tragically, their sorecery was their undoing—they lost not only their wits and appearance, but became forever hungry and in need of wealth to pay their new overlords beneath the waves.

At least one story has such a spell lifted by a sword being cast through the Aman Doger, who afterwards retursn to Sudan to take up work as a merchant. It should be noted that, as a bewitched tribe, the sorcerers of the region have power over them. And as monstrous creatures, the appropriate verses of the Koran will disperse them.

Further from the Isles still is a tale from Micronesia. The handsome son of the chief of the Lugenfanu on Losap was on a boat to Truk when they came to a group of whales. However, these whales were actually girls in disguise and one of them, taking a fancy to the boy, knocked him overboard. The men on the boat did not notice, and so he was left swimming.

At least one text refers to them as dolphins, which is more reasonable and thus less fun.

He preformed some diviniation magic to learn which direction was preferable for him to travel. When it favors none, he asks if diving down would be best—and the magic says it is. So he dives down beneath the waves. There he found a clean and wonderful island, with a large pool in the middle, deep and wide. He hid in nearby bushes to see if anyone would come to the pool and bath. And soon the whales came, and each leaped into the pool from the salt water and removed their skin, revealing themselves to be beautiful girls.

Now, this story being an animal bride story (in a way), the boy finds the skin of the prettiest and steals it, for he is intent on making the prettiest of these whale women his wife. Unlike many such thieves, however, he quickly reveals he has the skin and that he hid it so the two of them could talk. After learning his story, she invites him home—sorry that she was the whale to knock him overboard.

At the home, her sisters arrive. The woman hides the boy, promising to keep him safe. The whale girl in turn ask why they can smell a foreign human in their home—with some agreeing to be his friend if he is a boy, others saying they will hate them regardless of boy or girl, and others promising to beat and murder him.  At least the first time—the second time they ask, they agree to be friends or even marry him.

So they all marry him, and agree that one will stay with him at all times while they are about. And in this time, the boy teaches them cooking for they did not know how to cook meals and hade been eating raw fruits. AT last, the prettiest girl’s turn comes again and the boy asks to be taken home again. The sisters are deeply unhappy, but they hold a feast to send him off and teach him how to revive dead whales, should they awash on his shore.

The undersea realms are thus places of many wonderous magics, where one can drift without being entirely aware. It is not surprising that shipwrecked sailors might dream of them—we have comparable cities in stories of the Flat Earth, where lineages of magicians have dwelt beneath the sea.

Our story would then follow the mad sailors story, their descent downward into this realm of magic and wonder, and their eventual return to the surface. Would it be a land of fish men, sorcerers, fae, or even the dead? What world will he return to? What treasure or proof will he steal? Come and see next time!

Bibliography

Doan, James. “The Legend of the Sunken City in Welsh and Breton Tradition” Folklore, Vol. 92, No. 1 (1981), pp. 77-83. Taylor & Francis, Ltd. on behalf of Folklore Enterprises, Ltd.

Kennedy, John G. “Aman Doger: Nubian Monster of the Nile.” The Journal of American Folklore, vol. 83, no. 330, 1970, pp. 438–445. JSTOR, http://www.jstor.org/stable/539665. Accessed 2 Feb. 2021.

Jackson, Georgina F. Shropshire Folklore. Edited by Charlotte Sophia. Burne, 1883.

Meder, Theo. The Flying Dutchman and Other Folktales from the Netherlands. Libraries Unlimited, 2008.

Meehan, Helen. “Underwater Worlds of the Donegal Bay Area.” Béaloideas, vol. 71, 2003, pp. 1–12. JSTOR, http://www.jstor.org/stable/20520823. Accessed 2 Feb. 2021.

Mitchell, Roger E. “The Folktales of Micronesia.” Asian Folklore Studies, vol. 32, 1973, pp. 1–276. JSTOR, http://www.jstor.org/stable/1177461. Accessed 2 Feb. 2021.

A Lost Limb

This Week’s Prompt: 124. Hideous secret assemblage at night in antique alley—disperse furtively one by one—one seen to drop something—a human hand—

The Prior Research:Left Hand Left Behind

Michel Donner rarely set foot outside his home in the wee hours of the morning. Even the small lights of dawn seared his eyes and made him break out in sweats. A pleasant sensation at sunset, when the intensity was fading, but in the morning it merely exaggerated his exhaustion. Still, last nights…peculiar gathering had forced him out into the light.

He paced down the alley, a one eyed stray hissing at him as he approached. Michel bought him off with a small bit of fish, tossed carelessly aside. They had been mostly silent, the strange men. He now could see, clearly, the strange symbols spray painted onto the walls of the alley. Circles and geometry patterns from school. Strange, kids these days. He amused himself at the dress up occultists of the day, before his attention was drawn by the familiar glimmer of gold on the asphalt.

It was a small band, pushing free of packaging paper. A ring, simple band—and it was as he lifted the package that Michel realized it was still attached to a hand.

Michel paused for a moment as he lifted the package, feeling the dense muscle and bone beneath it’s paper layer of skin. He hefted it for a moment, inhaling sharply.

And returned without a word to his home.

The Donner house was an abandoned building before its current owner, Michel, had arrived. It was secluded among the mostly forgotten old town buildings. There were people, but none that would be bothered by his activity in the depts of the night. None who asked many strange questsions or invited him away.

Michel carefully placed the hand on the kitchedn table, unwrapping it delicatel. It was a pale left hand, with a golden ring still on its ring finger. There was a red tattooed flower on the wrist, the edge of the stem with the letters “hen” in cursive on it. Michel retrieved a pair of tweazers and carefully removed the ring, examining it slowly. On the inside, good fortune had delievered him a name.

“Dorthoy Windsor.” He said slowly, placing the ring down and continuing his examination. “Assuming this isn’t pawned.”

A name was all he really had. Nails painted red, no blood or the like under them. There were…splotches of blood elsewhere. Sadly, she had not perished with her wallet or an identification card in her grip. Unsurprising.

That left examining the wound. Now, removing a hand is not the easiest of tasks. The tendons at the wrist had been severed, but the wound was not…clean. There were marks of hacking on either side of the incision—but the wounds were clean. She had passed before her finger hand was cut, although of hat was hard to say with merely a hand.

Someone might have advised Michel to call the authorities, and report such an atrocity in his own backyard. But Mr. Donner was a very private man, even without his condition. He never enjoyed when officers were involved in his affairs. So instead, he consulted the white pages—being one of the few to still regularly receive those tomes.

The name Windsor was luckily relatively rare. Locally, anyway.

Michel hated driving during the day. The bright light overhead were distracting—and it gave him such an awful headache. Still, he knew better than to ask for a private meeting in the late hours of evening. Such pains could be endured, with proper pills. They had been before, they would be again.

The Windsor house, unlike the Donner house, had a healthy and verdant lawn surrounding it. Even dandelions poked through the pavement on the way to the door. Michel had pried the ring free of the hand, leaving the gruesome trophy in the back of his car. Explaining that he found a gold ring was better.

Or would be, perhaps, if there had been an answer to his persistent knocking. After twenty minutes of silence, Michel took it upon himself to find the inhabitants of the home—or, judging by the contents of his car, the remains of them.

The lock to the backdoor was of poor quality. It was very expressive—the sign of someone who cared deeply about the appearance of security, but lacked the knowledge to appreciate actual security procedures. Michel’s method for opening such locks was not exceptional—any number of odd books on hobbies could uncover them. After about a moment, the backyard was open to him.

*

He was apprehensive at first, as he walked over the grass. The bright light of the sun was especially bad, reflecting off a pool below as well as from the sky above. There was a large tree, previously hidden by the house, branches hanging down over disturbed ground. It drew his eye, how the grass was so thin in this one spot.  

Lucikly for Michel, there was a shed nearby. Dorothy had been a gardener, and had a fine enough trowel and set of gloves. Her shovel was rusted and the nails holding it to the shaft were loose—well used, perhaps a handy me down. Still. It would suffice later on.

Gloves in hand, he surveyed the rest of the yard,straining to see in the bright light.  Nothing peculiar. Dog house, but no dog. A doll house being painted on the table. Or maybe a diorama. Regardless, Michel made his way to the back door—and found the lock already opened. Not just opened—the bolt, upon opening the door, had been removed.

Michel sighed with relief as he entered the Windsor home. The room closest to the back yard was a kitchen with a tile floor…and a shag carpeting floor adjacent to it, for a couch and living room.  Michel never understood the appeal of carpeting, it seemed all the harder to clean.

The kitchen was missing a few knives. That was something Michel checked on impulse these days—the exact number of knives present. Steak knives were missing, nothing terribly exotic. They made decent enough weapons.

The living room had a leather couch, and a pair of…connected seats. A couch for people afraid of appearing intimate, perhaps. Playing with a lever on the side, Michel ascertained they were recliners. Nothing stuffed in them.

Moving through the home, absent mindedly, he did notice a picture slightly ajar. A normal man or woman, or even child, would have passed it by without thought. But Michel was gripped by the paranoia of the night deprived. He removed it carefully, with gloved hands, looking to see what caused the slight change in weight. And there, presed on the frame, was a small rectangular piece of lead. Engraved on it was an eye, and characters unfamiliar to him at this hour. Characters and shapes he recalled dimly, like the writing one sees in a dream.

He stole that cursed tablet of lead. And he continued in the home that wasn’t his home.

*

There was a second floor to the Windsor home, a large loft and several rooms. Nothing of note, which itself was suprising. Michel was under no illusion he was the first to trespass here. No blood, no stains. No one had died here.

There was an office upstairs. He found a collection of business cards, Dorothy Windsor, private therapist. A number, an address for her office. He pocketed it. A list of patients. He took a photo of that, a small camera he had with him at all times in his jacket.

A through search, however, found a few other business cards. Intended to be discarded, it seemed. These had two names printed. Stephen and Dorothy Windsor. The office was the same, but of course a second number was printed. A lead then. He noted the pattern of a rose on this old card. The tattoo.

With that all gathered, he looked down at the yard from the office. The strange patch remained.

*

Michel was exhausted even before he began digging. He dug a few feet, until the metal of his shovel struck wood. A box, about ten inches by eleven inches. There was a loose chain around the lid, and a small lock. Lifting it out, Michel saw there were two—one lock on the chain, and one lock on the lid proper—a combination lock.

After placing the dirt back in the hole, Michel placed the box in the trunk, next to the box with the hand.  He’d have supplies to break it open at home. And he could use the rest. It took all his power to get home, and secure the boxes before collapsing onto the bed.


This story was difficult, and ends I think at the end of the first act. I had some personal issues crop up while writing this, and ended up scrapping an earlier draft that featured the hand at the midpoint. I think expanding on this story will be easy in the future—Michel’s strange condition and behavior is a bit of a joy to write.

A Night At The Museum

This Weeks Prompt: 123. Dried-up man living for centuries in cataleptic state in ancient tomb.

The Prior Research:On Display

Fisk locked the museum door behind him. The curator had placed a notice outside, that do to a recent incident, the museum was closed for the day. The News reported an ongoing investigation into a robbery.  Of course, to Fisks’s chagrin, they mentioned that the exact items stolen were not disclosed—meaning speculation ran rampant.

“Last thing this place needs, a new round of theorists.” Franklin said as Fisk passed him a coffee.

“To be fair, Frank, this is a new kind of problem.” Fisk said, as they walked back to the Lost Treasures exhibit. The two of them looked over the crime scene, such as it was. The case for the new exhibit was open, sarcophagus closed. There was another body, the mystery mummy, fallen on its back near the door.

Well, mummy was a bit much.

“Look, I hear cocaine rots you inside out. Maybe he’s on some new shit?” Fisk said, scratching his head as he walked around the body. The body was wearing a black t-shirt, a light jacket, some gloves to stay warm and a hankerchief. The baseball cap that was a foot away—knocked over when the body fell over—was probably his too. The problem was  the body itself looked like someone freeze dried an entire person. The skin was stretched tight over bones and muscles were atrophied, eyes shut against the floor, hands crumpled where they’d hit the ground.

“Right okay.” Franklin said, walkinga round the body and up to the open exhibit case. He pointed at the carefully opened plexiglass latch. “So, this—this seems like someone tried to lift the thing out of here. Right? Opening the case at night, and cameras all bugged out.”

Fisk walked over to the rotating security cam. It was a cheap thing.  Probably didn’t actually get good image anyway.

“That adds up.” Fisk said, waving at the security guard.

“So he breaks into the museum, comes in to lift some stuff and then…what? Suddenly paralysis?”

“Heart attack?” Fisk said, walking back to the body. “I mean he can’t have been in good health, looking like that.  Here’s a cat or something, and bam!” Fisk clapped his hands together. “Drops dead. No exit wound, nothing.”

“…seems strange, just dropping dead like that.”

Not that there was much such gentlemen of the law could say. They took their notes, and had the body sent away to men who’s work was dealing with the dead instead of creting them. Morticians are well versed in the art of preservation and decay, to determine and ascertain the most probable cause of the end of their fellow man. And Douglas considered himself one of the finest in such a regard.

Which made the mystery of the exterior exceptionally frustrating. As the police had suspected, not a singular exit wound was left in place. Nor entrance wound. There were some scratches made by nails, but they seemed like the itches made by fidgeting not struggling. The fingers were brusied, and their tips were even smashed—but that was due to the other, frustrating fact that Douglas struggled to explain.

Douglas, before working as a coroner, had spent some time as a mortician. And he would never imagine such a well preserved body would exist outside such professional circumstances. The skin was dried, the insides had long lost their moisture as well. Which was unusual during a cold, wet winter season.  Perhaps, Douglas considered, the man had taken some preparations for his demise. Or maybe it was the result of a freak diet.

It made the incision somewhat more difficult process—the skin being tough and leathery, instead of smooth and easy to cut. The mysteries of the surface could be solved by going underneath…he thought. Until he found the organs.

He almost admired the handy work. It took skill to preserve them this way. Perfectly still, resembling dried fruits stuffed into a leather bag. Even their flaws were there—the mar of regular smoking on the flattened lungs, the build up around the heart valves. It was like the entire body was filled with fermaldhyde.

That was one thing, however, that felt even more out of place. The smell. There was a certain smell corpses have. Rot, decay, even preservered they smelled disquieting. This one, this one smelled sweet. Almost like lavender or honey.  Douglas did take a sample of a strange, light golden substance forming around the throat—perhaps a toxin—and wrote off the strange smell to that.

As he scraped the maerial into a vial, he felt the first twitch. The spiderweb of nervs around the neck twitched back—muscle long too stiff to respond to the pulsing attempt at movement. As Douglas sat upright, he saw it again. Another twitch, a flicker of light down into the arm. It wouldn’t be until the afternoon that he confirmed it—despite all odds and sense, there was something alive on his desk.

A museum at night is a particularly eerie place. A home has familiar shapes in the darkness—chairs, couches, moonlit windows. But a museum lives on the unusual silleuhette. On the strange shape that even a child can tell is not of this time. In a normal home. Finding such a compression of history would be alarming. In the halls of the Geogrestown museum, stepping through a doorway and finding yourself back a century is part of the appeal.

It isn’t exactly a hard to place to get into. You’ll see movies, with laser tripwires and pressure sensors and people rappelling down from the ceiling. Its all very fancy, very expensive to film, has room for tension and comedy all of that. And there’s some museums that can drop enough cash to actually install those things. Really, it’s a locked door—which exists to make things a modicum more difficult—a security guard—granted, they don’t let folks who signed up day of cover night shift—and a trip alarm. Maybe a motion sensor near the big exhibit. Some cameras for the guard at the control desk.

No, what stops most robberies at museums is probably the logistics. Its pretty hard to get an ancient bronze shield out of a building without anyone noticing—not because there’s tons of eyes on it, but because we sadly don’t live in an age where you can walk around with a giant bronze disk and not get asked strange questions.

The other added layer is what is actually on display. A lot of what you see these days are replicas—specifically to prevent people like me from reaching in, grabbing something, and ducking out.  Which, well, sucks because your stuck with a cheap copy of something you can’t even really sell unless you find a dumb as hell pawn shop owner. Not that those are exactly in short supply but…

Luckily, the odds of the Georgestown Museum faking an entire mummy are rather low. I mean they could, but I’m pretty sure no part of town has enough money for that on a dime. I put my duffle bag on the floor and looked over the body. The security had, I admit, been a bit of a hassle to work around.  A cruder sort would’ve just conked him hard on the head. A smarter sort might have hacked the cameras or something.

Me? I just dropped something in his drink, let it run its course. Walked in, turned off the cameras, walked out. Kept my mask on just in case I show up on the news.

It was cold, probably an extra layer of preservative or something. The sarcophagus looked small on the news—it wasn’t like any that I’d seen before. It was only about four feet long, two feet wide, looked like some sort of big egg. Unscrewing the top of the glass took some special tools—and that wasn’t accounting for clicking the motion alarm underneath.

I figured the thing was pretty solid, pretty heavy. I’d considered trying to pop it open and moving just the mummy—but probably that’d break in the bag. Still. I had to check, before I made off with it—if the sarcophagus was just an empty box, well. That would be bad for any follow up work or pay.

The lid was a thinner than I expected—but I got a good grip on the cold stone, and with some scratching managed to lift it up. And there he was—curled up like a babe, thin as a chicken. His hands were clasping…something close to his chest.

It was shiny, whatever it was. Looked like some sort of…emerald maybe. I leaned down to get a better look at it. That’s when I realized it was looking at me.  Empty eyes, staring at me.

***

This story hit the actual drama towards the end. I realized too late that something like the Autopsy of Jane Doe—a film I forgot until writing this—would actual serve much better than a crime procedural.  If or when I rewrite this, that’s probably the direction I’ll lean into more. Next time, we delve into secret gatherings seen at night—and what they might leave behind!

On Display

This Weeks Prompt: 123. Dried-up man living for centuries in cataleptic state in ancient tomb.

The Resulting Story: A Night At The Museum

The prompt here is one of the rare ones that genuinely frightens me—the thought of being buried alive has always unnerved me, and more than once I have looked up what to do if you were buried alive and needed to escape. And here we have something…even more terrifying. Not only being buried, but trapped in an ancient tomb as a mumfiied state.

We can consider this a sort of inversion of our sleeping figures we discussed here, or perhaps an extreme extension of sleep paralysis. Here we have a man alive in this state—a state induced by supernatural means, as obviously a cataleptic state does not stop the need for food or water—as time passes away in an ancient tomb.

But maybe I’m getting ahead of myself. Catalepsy is a state in which one has a wax like rigidity—limbs stay where moved, but can be moved—and a numbness to pain. While some body functions are slowed, such as breathing, the sort described here takes things to an entirely new level. The theme of catalyepsy leading to being buried alive is a recurring one in the works of Edgar Allen Poe. The Fall of the House of Usher and the Premature Burial both address these.

The horror of the situation is apparent, but the scale of time makes it strange. The shock of awakening, unable to move, and the slow and inescapable decay of the mind. But centuries are vast and terrible oceans of time—it is hard to convey their passage in a few thousand words. The alternative is that such a man, living in his state, is discovered and manages to somehow awaken.

St. Dionysius of Zakynthos

The pharsing dried up does separate this state from the more common states of eternal rest or life, where a person has explicitly not decayed. I think, for instance, of walking saints of Greece. These saints are entombed, but they remain there—and they supposedly are free to wander the earth for quiet some time. There are other states that are comparable—the state of a princess in Balkan stories of vampires resembles a cataleptic state. She remains apparently both dead and alive, but rises from her tomb to feed on those left to guard her. It is only the advice of another vampire or a saint that spares the hero of her predations.

Indeed, perhaps the fate of this individual is to be at first mistaken for a corpse, put on display like many others. Then he could be revived from his slumber, freed of his state somehow—if not in the physical, perhaps in the unseen realm. Dreaming or projecting his consciousness outward, using the same secrets that preserved him for millenia—trapping someone else in his body. This would fall into the grotesque acts of hypnosis that we have seen earlier this year.

A slightly amusing work might look at the obsession with illness, fainting, and general…death appearance that the Victorians had and play with that here, given our gentleman resembles a corpse or death itself in a far crueler way. 

I couldn’t find a good Creative Common images of the Buddhist Mummy

I’m reminded of something….else as well, a bit outside of folklore. There was a story on a number of websites of the discovery that a Buddhist statue actually contained a monk who had self mummified in an effort to become a living buddha.  A special diet was undertaken to make this process easier—food was eaten to strip fat and moisture, toxic liquids were drank in order to repel insects, and so on. But a number of post mortem practices were preformed on the meditating monk—the replacement of organs with paper, for instance. Some Buddhists believe that the meditating monks are not dead but are, like our own subject, in a deep state of consciousness.

This concept has a bit more pop culture pull then might be expected, as a similar concept appears in Dark Soul’s Monumental, beings who have become meditating guardians and statues like stone. These beings spend their time pushing back against a terrifying, existential creature of fog and lost perception—the Old One, a Lovecraftian entity as old as mankind itself.

A similar fate befalls the immortals in Death’s Master, who after gaining immortality lose all drive and will—and slowly become so stagnate that they are overcome by coral as their city sinks into the sea. One such man is returned in Night’s Daughter to a much stranger disposition on life. Another man becomes one with the stones, for very similar reasons—having lost all drive and passion for the world, he slowly mummifies in a cavern atop a large column rock. His name I’m afraid escapes me, although I remember he was in love with Simmu. I believe he was in Night’s Master.

Peder Winstrup, the Swedish Mummy in question.

While looking into that story, the story of another preserved pair of bodies in Sweden. Here, illness preserved the bishop’s body, along with the cold of winter at the time of his burial. However, more fascinating was that he was not alone in his coffin—underneath his body was a still born child. Why such a burial was preformed is unknown as of writing—perhaps it was in hopes that the child would reach heaven with the bishop, as they died unbaptized. Perhaps it was to hide the child’s existence.

There is a story that appears to have sprung from this prompt: Out of Aeons features a very life like mummy and a metal cylinder being brought to a museum in the 1800s. After being placed in a museum, it attracts attention as relating to a little known myth about a man going to see the gods and becoming a statue. This leads in time to attempts at a robbery, which ends…poorly.  You can read the story in full here.

There is another pulp story that this calls to mind, which is the story The Hour of the Dragon where a mummified ancient sorcerer is revived for a plot to overthrow the king of Hyboreia, Conan.  Conan triumphs in the end, with unexpected allies saving him both from execution and the supernatural might of tyrant from the past. You can read the story here. While seemingly only tangentially related, Mr. Lovecraft and Mr. Howard were correspondents. In fact, references between the two bodies of work have only grown. And it does play into the genre tropes discussed—associations with mystical power and the inevitable danger of such a body reanimating. Granted, there is a world of difference between a monk and bishop and a wizard out of time. But given our nature as a horror blog, perhaps the distance between those two poles of knowledge can be lessened somewhat.

I think the story’s basic beats—the discovery of a mummy, the attempted robbery from a museum before something terrible happens, and then the discovery of its true nature—are fairly strong. I think of course that merely rewriting the story is a bit…much. Zooming in on the robbery will keep the story focused, I think, and while something of the surprise at a body becoming animate is lost, not much of that remains anyway. This does make the story something of a bizzare mummy’s curse story. The Mummy’s curse is often laid on those who disturb its tomb, where as here it seems the robbers are the ones to fall victim. Perhaps including a bit more of that to the beginning, the mysterious deaths surrounding the mummy might even be a motive to rob it.  A curator, realizing that such a thing is cursed and bringing doom upon those around it, might wish such an image “tragically lost” from the museum’s collection, for instance—or perhaps the employer of the theft wishes ill upon its recipient and hopes to pass the curse onto them.

What do you think? What long preserved corpses would resurrect?

Seeking Wisdom

This Week’s Prompt: 121. Photius tells of a (lost) writer named Damascius, who wrote “Incredible Fictions,” “Tales of Daemons,” “Marvellous Stories of Appearances from the Dead”.

The Prior Research:The Last of His Kind

Oil lamps illuminated the faces of the Muses, painted eyes watching over the scrolls of lore. It was my honor to attend to such texts—the Imperial archives, surviving riot and war, time and time again.  Sophia smiled on us still, we her sacred stewards under the Aquilla. Still, even among such scholars, neophytes whisper. There are old texts here, of course. There are texts that were penned by ancient men, in times of light amongst the dark.

But the stories that linger around men of learning. The common folk say we peddle in secrets that can cure warts, that can send misfortune on our enemies, that can alter the fate of princes. We do know many things, lost to most—collections of lore on the body, how the stars can effect the fates of persons upon birth, the histories and philosophies of leadership. But there is nothing wicked about such knowledge, rightly gained and earned.

Still, such stories color ones mind, when a man enters the hall, his hood pulled over his veiled face, hand covered by a falconers glove. In the light of the oil lamps, his white robe caught the shadows—it looked pockmarked. Something about his gait alarmed me—my eyes went around his robe, looking for signs of grease, catching a feather caught at the bottom of his robe and dust stains lining the edge. Repulsive.

Still, he approached. When he drew close, I saw that beneath his veil was a mask—a mask of well-worn ivory, with carved carnelian lips. His voice was weak, like the wind moving through the reeds of the river.

“Honored master, I have traveled far and long.” He said in practiced tones, stumbling slightly in his Greek. “I am seeking wisdom that I have heard is in your house. I ask for some sanctuary, that I might cultivate in myself better virtue.”

Practiced words, practiced pleas. Hollow and rotten from over use, no doubt. No, no there was something wrong with his manner, his gesture. No, he was here for some other reason. An ill wind followed him in. But it would not behoove a man of learning to dismiss a man without reason. So I drew up my conviction and waved my hand to brush aside his request.

“I am afraid, supplicant, that this honored library is in need of more than sophistry. We cannot permit you entry on such grounds.” I said. The man’s left hand shook at his side—a strange convulsion, but sinister.  He bowed his head and stepped back slightly.

“I see, I see. I shall return then; I shall return with more promising requests.” He bowed slightly, turning to leave. Even his gait, staggered and creaking like a broken automaton, was unsettling. I gave a brief prayer, and returned, hoping to forget his visage by morning.

It was alarming, then, when he returned the next day. This time he came, shambling mass, with a scroll in his hand. I took it quickly—and inside found a commendation from a scholar I spoke often of in Athens. The speed was surprising, until I saw the date so inscribed—this abhorrence had traveled far it seemed. That at least was not a lie.

“This is quite impressive, but we are not open to all—this place is under imperial aegis.” I said, shaking my head. The man inhaled sharply, hissing like a serpent as he stared at me through veil and mask.

“This is unreasonable, teacher. I wish to read only a tome, for my own understanding. Is that not the purpose of wisdom, to share it like the light of heaven?” he said—before coughing into his robe and glaring at me with hate. “If you fear I am here to make off with your scrolls, you may attend me—even a man such as you would be able to over power me in this wretched state.”

This…was true. His form seemed light, robes hanging from his frame like they would from a dying oak. And unobserved, he might make off with some texts for some distant Persian. I sighed and nodded.

“Very well. What wisdom drives you to such lengths?” I said, gesturing at the many, many shelves of scrolls. The man seemed contented, leaning back some.

“It is a text by Damascius of Athens, last of that pagan line. Marvelous stories of Demons is the title.” He said, scratching at his chest. I caught a glimpse at his wrist beneath his gloves—how many sores were on his arms. Some seemed to ooze pus and blood. Maybe it was the oil lamp.

“Well, I think I know that text.” I said, taking a moment to consult the inventory before leading him back, deeper and deeper. His steps followed, stilted and scrapping on the stone. Such a broken wretched shape—but he had come with commendation with Athens. And I could not turn him away, not yet for that.

But his coughing, his hacking and wheezing. It was stifling, and seemed to douse the lamps momentarily with the phlegm he spewed. At last, not to far from the entrance, but when we were alone, I turned to face him again.

“Sir, please, you must leave. You may be a scholar of good intent, and wisdom you do profess, but I cannot risk that you will riddle these halls with your misfortune. Plague and bile spews from your mouth—go now, before a black death comes to the wise and learned of this house!” I said, pointing out ward, my own lamp held high. He recoiled at the light—but in silence acquiesced. And gone he was, from this house of wisdom, even if the air of his presence remained.

Of course, he returned. Like the pestilence that clung to him, he returned. An old itch on a royal thigh, with a letter of health from many a doctor—many of repute, who attested not only his health, but that whatever illnesses and conditions he had, they were not present in the miasma. He had many herbs sewn into his cloak now, to keep the stagnant air at bay.

“Now, at last, may I seek my text?” He asked, his irritation clear. I acquiesced, biting my tongue. It seemed no matter the documents or proofs I needed, he would find them. So at last, we returned to those muse lined halls.

He coughed hacked, but no mucus was left in his wake. Perhaps there was something to the assertations that these outbursts were like the twitches of muscle memory. He staggered, he stumbled, he cursed. But this would get him free of my hair, so we sought his book.

“Here, the complete writings of Damascius.” I said, holding the lamp to the collection of scrolls. The man’s hands shot up like a coiled viper. Grabbing a scroll, he opened it swiftly, and placed it to the side. Another, another like a grotesque hundred limbed spider seizing flies.

In moment’s he had emptied the first shelf, and was panting with effort.

“There is no need for such strenuous—”

“I seek neither your opinion nor consul.” He said in a low growl, as he turned through another book. “Where is it, where is it? It must be amongst these, somewhere, somewhere.”

And he began to pull free the second set of scrolls—but in that moment his arm froze. His other hand gripped his chest and he panted. He swore in some alien tongue, his finger nails dragging on the wood as he collapsed before me. My heart, normally an open wound, felt nothing as he expired.

And then the next moment, alarm struck me. As man became corpse, before my eyes, fear struck me. There was a dead man in my house of knowledge! A man who died seeking my understanding! A morbid and frightful curiosity came over me, as I stood over what was once so wretched. I saw he had fallen, his mask knocked askew. And beneath, I saw something foul.

It was as if to stare into death itself. How had such a man, more miasma and malformed rot than flesh, survived to seek me? What had driven him, that this apparition of Hell did not stall or stop him?

I wrote a letter with this inquiry to my college in Athens, who spoke so highly of the man. It was my embarrassment to not know his name—nor did any of the doctors, who wanted him out of their offices as fast as they could.  But he was so striking, that I was sure my colleague would remember him and his miasma of rot. It rattled my brain, how my emotions were quickened when he expired. Should it not be the reverse?

Why should I feel more sorrow for a corpse than a man?

My friend’s missive came in its time, almost a year since the stranger’s passing. He was distraught at the death of his friend, a fellow he knew well—destined for the priesthood, he said, and a bright young philosopher. He had some accident in the woods of Macedonia, my friend said, and had been seeking cure to his affliction. Fate had turned her face from him, and the Devil had filled him with afflicitons.  

He had no known cure, and concluded that some spirit of the woods—perhaps some old phantom of a bygone age, still trapped here on its why to the beyond—was quarrelling with him. Especially as illness seemed to afflict him, and sleep fled him. He hoped that whatever affliction it was, it did not follow him still into the bosom of the Lord.


I wanted to do another historical piece, and found the idea of a character seeking the work I myself couldn’t find appealing. This definitely drew more from ideas of misfortune bringing demons then anything else. I’m rather content with this one. If I rewrite it for Patreon, it will probably take a radical new direction–or expand on the ending, having the confused master of the library seeking what caused the illness. I also would have done more historical research on the actual running of an ancient library!

Next time, we will discuss a 11th century story of the fantastic! I will see you then!

The Last of His Kind

This Week’s Prompt: 121. Photius tells of a (lost) writer named Damascius, who wrote “Incredible Fictions,” “Tales of Daemons,” “Marvellous Stories of Appearances from the Dead”.

The Resulting Story: Seeking Wisdom

This is another citation that, with some work, can be directly sourced. Photious provides a catalogue of books, including the following entry under Damascius:

Read a work by Damascius in four books, the first of which, in 352 chapters, is entitled, On Incredible Events; the second, in 52 chapters, On Incredible Stories of Demons; the third, in 63 chapters, On Incredible Stories of Souls that have appeared after Death; the fourth, in 105 chapters, On Incredible Natures. They all contain impossible, incredible, and clumsily invented tales of wonderful things, foolish and worthy of the impious and godless Damascius, who, while the light of the true religion spread over the world, remained steeped in the thick darkness of idolatry. The style is concise, clear, and agreeable, which is not usually the case in such stories.

This is the only information I could find on these texts—although I’m amused at the fact that genre fiction was listed as a writing reference even a millennia past. So instead, I turned to Damascius’s own writings. Looking over Wikipedia, there were a few routes to pursue. Damascius himself was a Neo-Platonic writer—and one who was “irreligious”, neither mystic nor paying head to holy texts. His summation of God then was as an infinite and indivisible being—and thus an incomprehensible one. The traits we attribute to the divine are only made by inferences from its actions, not from understanding its true nature.

Damascius’s life highlights a few other interesting facets. He was the last head of the School of Athens, before being fleeing to Persia to escape persecution by Justinian the First. He spent a year in Persia before returning as part of a peace treaty between the two emperors of the known world. Much of his work is lost, of course, and while he taught students, he did not found a school outside of Athens. His commentaries on Plato seem to deal with, from the excerpts linked on Wikipedia, the inherent immortality of the soul as a source of light—comparable to how fire is a source of heat in Platonic thought.

He also briefly met with a politician, named Severianus of Damascus. This man is mostly know through Damascius, and lead his own varied life in politics—as a governor, a strict and draconian one at that, then returning to Athens. Emperor Zeno offered him a high post on the condition he convert. Instead, he helped a pagan  murder plot on the Emperor, which failed.

Pseudo-Dionysius

This alone is enough for a cosmic horror story—but I wanted to go a bit further. Wikipedia notes that one researcher has suggested Damascius is the author of a collection of works called the Pseudo-Dionysian corpus. This collection of works has import to the history of the church that drew my attention for further investigation with this quote from Wikipedia:

“All names and theological representations must be negated. According to pseudo-Dionysius, when all names are negated, “divine silence, darkness, and unknowing” will follow.”

Creation and definition by lack—the void itself as divine, empty of anything but silence, ignorance, and darkness was a striking image counter to popular descriptions of the divine as a light from heaven, a source of revelation, and heavenly choirs. Reading through his descriptions of the Celestial Hierarchies, we see that this isn’t precisely the case. Angelic minds have something of a knowledge of God—and they in turn seeking deifying knowledge, so they may better imitate God’s nature.

He describes these hierarchies as dancing around the center throne of god, in a way that reminds of me the image of Azathoth around whom elder gods and musicians dance. He goes on to note that the comparison of angels to flame is due to the presence of flame in all things, moving between all things easily, hidden for most of it’s existence—here we must note that there is flame and there is fire, and that flame appears to mean the elemental flame that might erupt from any moment. Heat might be a better, more modern term for the sensation and energy he describes.

He enumerates natures of various implements, and their symbolic meaning—angels have human heads to indicate they are thinking, they where geometric garbs to show both wisdom and the foundations of creation, they wield weapons to divide, they hold scepters to unite. Each of these are key symbols in the perception of the divine.

So we have the last of a pagan school of philosophy, discussing either an incomprehensible god or, if we grant the Dionysian corpus, a god that is defined not by the heraldry of angels but instead the darkness of night. And one who’s interest lied, at one point, in the Platonic theory of the immortal soul that goes through cycles of reincarnation. This covers, I think, the appearances of the dead, but what of the notion of demons?

A daimon of good fortune in the shape of a snake.

Demons in this context perhaps better refers to the Greek daimon, which acted as an intermediary between gods and men. The meaning of this term of course changed with time, but it was generally understood that they were not divine exactly—nor were they visible. Demons were thus forces at play, invisible intermediaries and divine presences. In some works, the constructions of shrines were done so that they would not wander far—and they would keep their blessings nearby. Other cases posit them as the souls of dead men from the Golden Age, now guiding humanity—a characterization that resembles, in part, the fate of the Nephilim in some rabbinic texts—and thus positive. In royal cults, whether Alexander the Great or Augusutus, it was this daimon, this numen, this divine nature or spirit that was revered as opposed to the specific person (although the distinction blurred often).

The change into demons as we understand came from translation of the Septugaint from Hebrew to Greek—and thus changing the word shedim to daimon. This connected the name with wicked spirits, and this in turn lead to the quite literal demonization of such beings. Still, in some texts we see that the idea wasn’t entirely new. In Pythagoren works, they prove capable of infecting others with dieseases and misfortune, while the Platonic ideals gave them a moral character—that some were allotters of wicked fortunes, others good fortunes.

The stories of Damascius then would draw on a tradition of invisible spirits, allotters of fortunes, both wicked and wonderful. Or perhaps of a lost age of heroic peoples, now wandering the world at the will of Zeus. Either way, of beings invisible and ancient—although, unlike Mr. Lovecraft, not altogether malevolent. Indeed, one suggestion for daimon’s popularity in Plato is to bridge the gap between the unintelligible Divine Forms and stars, and mortal person experience with divine. So, what do we do with this?

Well there are a few routes I think. One is to center on the lost works themselves—in the same way that art in Lovecraft is often a window into secret knowledge with the paintings of Pickman and the play the King in Yellow, so too could these lost works be gates to powerful and forbidden knowledge of some dangerous sort. Of course, dangerous knowledge itself is…not a trope that I am exactly fond of. It needs more elucidation.

Another path is to take up the idea of invisible spirits that act as messengers for an incomprehensible being—servants and whisperers of the universe. They might bring messages to our character, stir up fortune or misfortune, acting like a living curse or blessing for those that disturb their shrine or home. The fact that some daimons remained at shrines as a sort of home leads me to consider the destruction of such an ancient place, unleashing an angry and powerful invisible spirit. Not one that is mortal, or mortal as we understand it, but from some bygone time out of time.

Knowledge of such things then might become the cure. A man hunted by a spirit forgotten by all must seek out these lost works, to learn how such a thing can be appeased or dispelled even as it harrows and haunts him. That I think gives us a better grip for how to use the knowledge angle of this prompt then the cursed knowledge.

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Bird of Old Feather

This Week’s Prompt: 120. Talking bird of great longevity—tells secret long afterward.

The Prior Research:Birds of Pray

I admit, I was surprised when Uncle Ronald died. He was old, sure—I wasn’t exactly sure how old until he passed. He’d joke he’d been forty for fifty years. I mean, he didn’t  look older than forty but age is a strange thing? And now he was dead.

I wasn’t surprised what he’d left me, though. I’d always liked Becky. She was some sort of…parrot, with really long tail feathers. Uncle Ronald kept her in a big, fancy cage—took up a whole wall. She was probably as old as him, maybe older. Her feathers faded in color, and many were long gone. Still, there was something noble about her. I’d taken care of her a few times, when my uncle had business elsewhere. I’d learned to love her song, even when I was young.

Of course, my house was…humbler than Uncle Ronald’s. But I managed to make enough room for her in the yard. I wasn’t worried about her flying off—after all, there were hardly any feathers on her wings. The real trick, honestly, was finding out what she ate. The vet I called to look her over—after confirming she’d been in bad health a while, probably because at the end Uncle Ronald couldn’t feed her—she suggested that Becky would like insects, and probably fruits.

She didn’t sing much those first few days, even as she ate the seed and fruit and insect mix—dried at first, because she certainly lacked the energy to chase them down. I’d spend time with her, taking time off from driving around to talk to her at home. She’d squawk and sometimes I thought she smiled.

I wonder, can even an old bird go senile?

It was a week before the first shimmering feather returned. It was bright red, with streaks of orange, sprouting like a tongue of fire among ashes. I remember, because that was the first day she sang again, whistling a tune through the yard.

“…Is that Wonderwall?” Jenna asked, frowning as the sharp whistles came through. I paused and frowned.

“What kind of bird sings Wonderwall?” She laughed. Looking out the window—yeah, there was the bird. Singing along happily, a single tuft of bright red feathers on her head like a crown. She hopped to the top edge of the cage, her head and body swaying as she sang. She even flared out her wings, tattered and broken as they were.

“Apparently old ones.” I said with a smile, going back to the coffee boiling.

*

Becky’s taste in music did get more refined, as she got more feathers. Bit by bit she recovered, and would sing musicals in her chirpy voice, humming tunes in the morning. She sometimes even gave…unsolicitited advice.

“Too much salt! Too much salt!” she squawked, more than once, when steam came out of the kitchen window.

“Plants need more, yes, plants need more!” She said, hoping along in her cage as I took my morning walk.

“No good, no good!” she helpfully chimed in, when I tried on a new jacket.  An old bird, she had many many opinions. Some were a bit old fashioned I think—at least one bit of advice was in old German and I think was about the proper application of a codpiece or something. For a bird such as her, having a memory that went so far back was…well, a little comforting. Someone remembered all that.

And while I did not appreciate her thoughts on my new car—“Too loud! Too loud!”—some of her advice was useful. She was right about the salt, and even started listing off a recipe or two when I was writing groceries. Not a recipe I could understand, but I kept a little notepad of what she’d said in case I ever ‘cracked’ it.

Which…well, okay, I didn’t. I was chatting with my neighbor, Miss Kovac—I’m sure I spelled that wrong—and while we were talking about the weather and her flower garden, Becky chimed up with another recipe. And there was this light in Miss Kovac’s eyes, just this pure delight for a moment.

“Oh, who said that?” She said, shocked and looking around. When I told her it was the bird, she demanded to see Becky. She told me, as she looked at Becky’s marvelous red-orange plumes—which were still punctuated by dead black and grey feathers then—that she knew that recipe. Her grandmother, when she made sweets, had used that recipe. She was sure of it. She thought it had been lost when her mother and her left for the States, but she was sure that Becky had remembered it.

The sweets were delicious.  Really all her recipes, once got them…as down as we could were delicious. Some of them were in German, some in Latin, some in Old Russian. But she gave good cooking advice, old Becky did. And she sang songs—I know a few where church hymns, and others were school yard rhymes. She must have had a number of owners, to move so easily between children school yard songs.

It was a bit…disconcerting sometimes, my lovely bird. She sang in different voices—all filtered through her squawk. But you could here the rhythm of dozens of voices. You could tell the pitches. And even during the middle of the day, hearing an angry dispute in another language, the sing song of distant long dead children, or the humming tune of a church choir from your backyard—often suddenly, and without warning—was pretty creepy. I didn’t try and think of how old that must have made Becky—or how many owners she must have had, how far she had traveled.

Sometimes she would say…strange things. Usually once a month, she’d stop singing and dancing and sort of just stare on the horizon.  She’d say numbers or words, in a flat voice. Sometimes she’d swear at the moon, perching up on a tree, spreading her red-orange wings and clawing up at it.

Sometimes she would lean very close to the edge of the cage—raising both her wings up to hide her head, flaring out her long peacock like tale. And she’d say things quickly, in a quite voice. Conspiratorially.

Too many of these were in plain English.

“It will rain tonight. Leave out candles. Things live in the rain. Worms come out from the ground. Worse things come up for worms.”

She chirped this one for a big storm. I mean, it did rain—the weatherman had said that much. But what she meant by candles—that night the power went out. So I lit some candles…and let one outside, just in case. Why not, right? In this day and age, why not?

The house across the street, it had some sort of accident. A sinkhole or something, ate up most of the road and severed a lot of powerlines. Just barely missed mine. Which, I thought was conicdence but…there was a nagging thought I just couldn’t let go of.

*

One night, as I was washing dishes, she squawked up another suggestion. Place a jar of dirt outside, and bury it. Bury it with a spare key. I blinked at that. She then went back to singing American Idiot. Which, was almost a more unsettling experience, compared to that strange droning song she sang earlier or the odd chirps of advice.

I had a mason jar, and got some compost. Dropped a key in. I don’t know when exactly I started listening to Becky, but her recipes worked. And this was harmless. Who was going to go to my backyard to find a spare key anyway?

It took maybe thirty minutes to bury the thing. I went to bed after a warm shower.

The screech of tires woke me up. A glance at the clock. Three o’clock in the morning. I blinked and lazily, not entirely awake yet, pulled myself to the window. There was a car outside. Lights off—someone was standing at the edge of the yard.

He was pacing. There was crowbar in his hand. As I blinked awake, I saw him try and walk over the line, towards the house—but stop. Step back. He took a deep breath and stepped forward towards the house again and no, turned back. He did this for five minutes as I watched—and recorded it with my cellphone.

And then he went home.

The police said what you’d expect. No victim, no damages, no crime. Keep an eye on it, but they’ll deal with it later. I was still shaken up about. How had she known? Had she known? Twice was just conicdence after all.

She hoped to a branch close to my window. She sang a nice morning carol as I made an egg recipe she suggested a few weeks ago.  She was content, it seemed, to sing along and through the day. I began to relax, to hum along with her. Nothing else happened that day. I got to working on a new design for a client and sorting through more property for Uncle Ronald.

It wasn’t until sundown that she acted strange again. She got silent, staring at the setting sun—I wonder if she was hoping to catch a glimpse of that green flash people talk about. She didn’t blink, like she was daring the sun to pop it’s head back up before going to bed. And then she made some anxious squawks in my general direction.

She’d knocked her food thing over. It was one of those hanger things—I got a flash light, opened the cage to go and rehang it from the ceiling like I’d done a hundred times. And then she jumped on my shoulder.

That was startling but not new. I mean. She’s a parrot…thing. It was like being a pirate. She did it while cooked sometimes—although a bird chiding you like a disapproving parent was an uncomfortable experience for sure.

She watched as I put the thing back up, hooking it around the mesh ceiling. And then whispered in my ear, quick clicking and purring—or something like purring, like a tongue trying to roll its R’s in a low comforting way. She shook a little, the last of her ashen feathers, a small tail feather falling away.

Becky had a plan, smart bird. A plan that had to be hidden from the moon and sun—only on new moons could anything be done about it. What it was I wasn’t sure, and what exactly the plan did wasn’t clear. She needed me to find a rock she’d buried near my Uncle’s house—it was a special rock, one of those rocks made when a thunderbolt hits sand.

She needed seeds, from an old tree—a really old tree. She needed a jar, a clean but old jar with a silver lid. She needed string, twine, she need something made of metal. Things had to be measured. Dates consulted, she needed me to go to the library and find the dates. It would be slow. But she had time. And she needed it to work properly this time.


I knew this was going to be a strange story from the start, and drew some from an older story here https://undeadauthorsociety.com/2019/05/22/after-the-funeral/. You could consider this a spiritual successor.

The week delay was to put some finishing touches on it, but next weeks research has already begun! See you then!

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The Empty Windows Part 2

This Week’s Prompt: 119. Art note—fantastick daemons of Salvator Rosa or Fuseli (trunk-proboscis).

The Prior Research:Temptation

Part 1:The Empty Windows, Part 1

I spent the afternoon clearing off the window. It was an exquisite work, really. Along its frame were carved distorted statues and cut outs—when the sun shone down, they cast long and wide shadows down, acting out some play along the walls. Sadly, they had been damaged beyond recognition. I couldn’t tell a knight from a knave, nor a man from a goat among the shapes. But a clever bit of artistry all the same.

The glass of the window was more a shade than anything else. There was an attempt, I think, to guide the light not only over the rotating images, but the window itself. Portions, small lines, were lighter than the rest. To cast an image in lighter shadows perhaps…too small to be entirely successful. But still! I wondered what I might find, in this new window. After it was cleared, I gathered my things, looked upward into the dark.

It was like a looming eye looking down on me, a slumbering giant that dwarfed the house.  As the sun shifted across it, I stared longer. I waited for some vision or sight beyond. I waited for a world in the dark glass—but I saw nothing.

Not quite nothing.

I saw myself in the glass. Reflected, distorted. The curves stretched by body, my face and body—it was like a grotesque flower formed of my features. The thin lines looked like abandoned strings falling off my face. Like my reflection hanging from the ceiling, by thin fibirous puppet strings. So perfectly cast, I could feel my own weight above me. It was…disorienting, to see an empty shell of yourself, staring down from a dark and starless sky. Even at noon, there was no color to my reflections skin.

I am not surprised such a window was covered…but I held out hope that day that, in my work, this would open a new insight. A new window into the world beyond. After all, it was so finely made and so opaque—once my vision could pierce it, what wonders would I find behind? What worlds waited?

That night the wind was heavy. The storm was gone, but airy nymphs danced in its wake. Sleep thus so far away from me, I decided to do as I had in the past. I would survey the worlds again, from that sacred seat, with naught but candle, moon, and star.  The room was dark and heavy at night, and I sat to record poetry of Verta, who now sung songs of Gladwing’s endevors. Or so I thought, the images seemed to be of that great hero.

Studying that window, with a candle at it’s base to illuminate the figures, I felt some small comfort. But as I wrote, I felt something else. Long shadows were cast by the candlelight. The moon and cold starlight were enough to cast that pantomime of broken gargoyles…but they seemed less clear. Shapeless, dim masses against the light and dance. They lacked the stark, crisp lines that separate puppets from men.  

I pushed on though, writing. Writing and writing. Even as the darkness felt heavier and the dancing shadows grew more unsettling, while the winds howled and battered at the walls. It was after recording the third stanza—in a tongue I still didn’t know—that I knew real fear.

Because I could not stand.

It was as if a great weight was sitting on my back. It could crush me. It would crush me, if I tried to stand. Only by remaining hunched over, working away at the visions beyond, could I keep the weight off of me. The wind felt cold on my neck, unbidden from some window left agape elsewhere.  

The air pushed in to my lips as I wrote. My limbs were tightened, gripped by unseen iron centipedes, hundreds of small iron pins down. They stabbed, my arm twitched up and tightened, dragging lines across the page, cutting across text or sliding to underline words of warning. Scuttle, scratch, stab. I feel wounds. I bleed but my blood is invisible on the page, it leaves no stain. I write and write and cannot see that I bleed. Even as something coils round my crown. Even as my eyes sting and I taste iron in my mouth. I cannot see that I bleed.

*

The burning heat of the sun woke me the next day, shinging through the skylight. My head was burning as I dragged myself down for water. Despite the ache, I prepared for another day—today I would relax, and recover from the hell of last night. My stomach felt like something had coiled up inside and around it, holding it hostage.

I was determined, however, to write outside that night. To go out amongst the plains, where I might see the vistas with my sharpened vision.  I went then among green plains and forests, to visit the amphitheater of red gods with twin heads. I wondered under the sky, completing my sketches and studies.  

It was while I sat among the seas of memory, watching another investigation of the scholars there—they were fishing up a lost marriage from the deep currents below. It was a broken, sad thing—fins spread out with rainbow colors, reflecting the violet light poking through the clouds. Tender moments carved apart by deep and buried scars. It was on those fins that I saw something strange.

It was like a stain, a shadow—a shape reflected on the scales. One I had never seen before.  It was like a drop of oil paint unfurling on the water of the scene. At first, I thought the shape was a malformed tumor on the memory. A horrible, illict act of violence, remembered in the world beyond. But as I drew close, the fin folded—and the stain remained on the new scales. Perhaps it was some unreal sickness, but such no. It was too flat. It was something in the scales.

It was in the fields behind me. It was shapeless, dark and alien against everything else. A heavy shape, long thin limbs probing out on the grass. It moved with some uncertainty, on thin legs that barely supported its great and terrible mass. One limb rose from the rest. A probuscius dripping with inky darkness, gleaming with stains of light.

I had no desire to follow such a story with a monster like this. But no matter where I walked—to red or green or yellow lands, to listen to songs or poems or witness great wrestling matches, among towers and amiptheatres and zigguarats—it followed. It followed, and slowly made the most dreadful of its own noises. Dissonant unsounds, that were heard by all I saw. Pipping of the most dreadful sort. Dancing limbs, with all the elegance of a spider weaving her web.

That is what it most resemble. A spider, with limbs of thin glass and a body of sludge and fungus and rot. And it moved with such ease, even as the land around it shifted—it paid no head to anything else.

Except, as I reckoned when I closed the door, me.

It would not enter my abode. Perhaps it could  not. Perhaps it chose not. It sulked, like a dog left out in the rain, outside my window. I wished for rain. For some flood or heaving river to well up and wash the stain away. It sat, uncaring, atop even my greatest visions. It was hard to record the wonders beyond with this impish demon, lurking in the shadows and emptiness of the world. The others, my beloved knights and poets, did not see it.

As the day grew longer, however, it grew larger. And it grew company.

I saw it swell like a boil, thin layer of skin holding back a most foul inky bile. Spidery limbs punctured out, spilling dripping bile over the land as a new swarm of self-same demons, with their trunks and crawling limbs ushered out. They two roamed over the landscape. They drew near to my door in packs, clawing at the windows, and revealed mouths with of shadow.

And they would not leave.

They would not leave.

I could not make out the shapings and happenings of Glimmerwing and his kin, because these bestial gnats got in the way. Their buzzing, for they made such monstrous buzzing like each drop was an angry cicada, droned out the philosphers. They darted around the golden fields. And every day there were more, leaning on the edge of stones. They extended their long trunks down, like fishers of men in the most crude of ways.

I saw them catch a man of the red lands once. They pulled him up into nothing, and devoured him whole in their darkness. They devoured up my hope of leaving my old manor. For they were waiting there.

*

I did not answer the cold wind that called me to write at night, when darkness would be thick on the grass. I ignored the sounds and calls of monstrous things. The weeping, the chortling, the sound of pigs crying out at slaughter.

I stayed in my bed, and stared at the ceiling. I had locked the door to my study—for I knew that strange things now lurked beyond the window. Strange things lurked from that dark glass. Hungry and numerous things, waiting all about me. What they wanted, I did not know. But they had nothing but ill intent for me now.


This story was delayed greatly by healthy issues and work. I’m not happy with the result, especially with a delay. I like the idea of a window that looks in on the artist as the final twist, with strange demons coming through over time. But it’s not refined enough, frankly. These two stories together will make a good idea to revisit in a year or so.

Next time! We return to some avian friends.

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Temptation

This Week’s Prompt: 119. Art note—fantastick daemons of Salvator Rosa or Fuseli (trunk-proboscis).

The Resulting Story: The Empty Windows Part 2

This week from Lovecraft we receive one of our most precise and artistic visions—with a bit of effort I was able to track down the exact painting by Salvator Rosa that inspired this prompt, and while Fuseli proved more difficult I found plenty of monstrous art there. I’ll give my commentary on his work towards the end, since it deals with material we are already familiar with in this society.

Rosa’s Elephantine Demon

The image in question, above, is of the Temptation of Saint Anthony. Saint Anthony has two instances of temptation, one on ground and one in the air, and both are regularly represented in fantastic and surrealistic art. His first temptation began when he was young and set about the monastic path—arguably the first such monk in Christendom. The devil, envying such behavior, set about his temptation in the usual way at first. He whispered of the riches of the world, of the love of women, of the importance of family, of the difficulty of the task, of the infirmity of the body—but these trusty weapons failed. So instead, he assaulted him by day and night. So vicious were these assaults that they were visible to all who watched. But the constant attacks, even when the Devil came as a woman, were not enough. And this shamed the Devil’s pride, that he who claimed to be greater than god was rebuked by a simple man. After all of this, the devil confessed defeat, appearing as a small boy.

Later in life, Anthony sought further to conquer himself. He went out to live among the tombs near his village in Egypt, and settled there for the night. He asked that his friend bring him bread in the morning, but otherwise not disturb him. The Devil, already alarmed by the discipline of the man,  was afraid he would bring discipline to the desert. So he assaulted the saint with an army of demons and cut him to ribbons, such that his friend assumed him dead when he came to deliver the bread.  He was carried back home and there was a funeral—but he was merely sleeping. He awoke and asked his companion to return him. His wounds were real, however, and he could not stand. So he prayed as he laid on the ground.

The demons, frustrated, shook the earth and attacked the tomb from all four walls in the shape of many beasts and crawling things. But Anthony mocks them, for both relying on such great numbers and such dreadful forms. And as they gnash at him, the roof opens up and he is healed by a golden light. (As an aside, I can’t help but notice that the demons come from the four directions, but the divine aid comes from above. The symbolism to me reads as the demons being the entirety of the world here…but more on that later).

Next he takes residence in an abandoned fortress—the mere arrival of St.Anthony drives out all the reptiles. With six loaves of bread, each lasting a month, and water from the well.  Here, demons assailed him and cried out for him to leave what was theirs. His acquaintances, who came to visit, heard the sounds of violence and were afraid—but St. Anthony was unafraid and told his friends to make the sign of the cross and nothing shall harm them.

Much later in life, he ventured to a new mountain—called the inner mountain in my texts. Here he remained, and began to farm so that those who guided him there would not exert much effort in order to help him.  And here again demons assaulted him—those beyond heard the crashing of arms and saw that the mountain was full of wild beasts. First hyenas were sent, but they were repulsed. Then a beast like a man, with the legs and feet of an ass came and assaulted him. And he was repulsed.

Saint Anthony preformed other acts of healing and exorcism through out his life—leading to the promotion of monasticism through out the land. There was incident that I couldn’t find in my copy of the Life of St. Anthony, but is recorded in the art of Micahelangelo—here demons assault him again, but this time as he is carried through the air by angels instead of when he is in the desert or fortress or other place of desolation.  The story is the same as the variants above, for the most part.

Saint Anthony’s stories reflect a number of folkloric truths about wicked spirits—that they often take the forms of beasts, they dwell in places of the dead or forgotten places where nothing grows. And they have no power of men protected by the Divine. The artistic imagery of the demons is more fantastic, as the images I’ve included no doubt shows—the lives I have includes at best “the crawling things” and the man with the legs of a donkey. Still, invisible and angry demons serves as fruitful ground.

The story also calls to mind stories from India of Sidhartha’s last meditation. Here we encounter not the Devil but Mara, who attempts to dissuade Sidhartha from meditation and enlightment.  He sends three or five daughters to attempt to seduce him—but he remains mediating. Mara dispatches vast storms of rain and stone, frightening away the gods that had gathered around the Buddha—but this was to no avail either. Then Mara dispatches a great host to destroy him, and he remains untouched. Mara then called out that Buddha’s seat belong to Mara—and his whole host agreed with his claim. When asked for his witness the Buddha touched the earth—and the Earth cried out that she bore him witness. And Mara and his hosts vanished.

While this is the most famous text, it is not the only story of Mara attempting to seduce the Buddha. We find Mara in one text exhorts Sidhartha to go and live, to gain merit, for he is gravely thin. His path is too difficult, too rough to bear. And so he is rebuked by the Buddha for being what he is—and the Buddha counts and numbers his ten hosts that stand before him. Other texts have Mara attempting to lure Buddha away from preaching, either to keep it to himself or to abandon the path of preaching. One amusing temptation has Mara bringing letters from the Buddha’s princes, supposedly, that demand he give up preaching.

The similarities of these stories lead me to wonder if there was some influence on St. Anthony’s story from India. They aren’t the only temptations stories—there is the famous Temptation of Christ, where the devil came to Jesus in the desert, and offered him food and power and proof of his divinity. He rejects these temptations and resumes his preaching with citations from scripture. The idea, however, of being assaulted by demons does not feature in the Gospel story. Only in the stories of Anthony and Sidhartha. And the fantastic creatures are also missing. Given that what drew Lovecraft to this narrative was the image of a elephantine creature, I think the idea of a terrorizing demon serves best.

I think it’s also worth noting that the symbolism in Anthony and Buddha’s narratives paint the evils as deeply rooted in the entirety of the world–while they dwell in places of wilderness, the demons that attack Saint Anthony come from all quarters. They take the form of “baser” things–beasts, not men or scholars or intellectually cunning angels. Likewise, the daughters that approach the buddha are named for temptations, and Mara’s callings point to worldly responsibilities. One divergence I noticed is that, while both appeal to how hard the monastic life is, Mara appeals to the Buddha’s royal obligation, while Anthony has no such appeal that I could find. Perhaps because he never held any office?

Artistically, both works cited by Lovecraft have very physical, monstrous, and bodily feelings. They aren’t as abstract as Dali, but rather concrete and monstrous and menacing things. The piece by Fuseli I could find that closest fit what we have here is this one, of a snake devouring a rider. A consumptive, monstrous thing that was very much made of flesh, not dreams.

Before discussing where I intend to take this, I thought it’d be wise to mention that this is another story where the “result” is easily found in Lovecraft’s own work. Well, not his work. Chaugnar Faugn is a creature that resembles an elephant with a trunk that ends in a leech like mouth. A repulsive creature imprisoned in a statue form, or perhaps hibernating, it arrived and shaped life on this planet millions of years ago. When awake, it drains the blood of those that draw near. I haven’t read his original story—Lovecraft featured him in the Horror in the Museum, as an aside, but he comes from  Frank Belknap Long. Reading a summary the story is…bizzare, featuring strange rays that send creatures back in time, hidden cults, inorganic life, and the brothers of Chaugnar Faugn.

Our own story will of course be picking up from last time, with our artist having found the final hidden window. There are a number of strange things that might occur—the demon perhaps is literal, descending on this lonely and isolated man form the empty plains. Or perhaps it will crawl from the new window—or merely observe. Something tangible, devouring, and menacing–something there “in the flesh”. Let us see what lonely and fantastic horror awaits, next time!

Bibliography

Athanasius, St., and Robert T. Mayer. St. Athanasius: the Life of St. Anthony. Newman, 1978.

The Editors of Encyclopaedia Britannica. “Māra.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 20 May 2013, http://www.britannica.com/topic/Mara-Buddhist-demon.

“The Buddha’s Encounters with Mara the Tempter: Their Representation in Literature and Art”, by Ananda W.P. Guruge. Access to Insight (BCBS Edition), 30 November 2013, http://www.accesstoinsight.org/lib/authors/guruge/wheel419.html .