Happy #MythpunkMonday! Our second festive mythpunk writing prompt is probably known to you already but I just think it’s fabulous that so much goatishness is around at this time of year! XD (If you are following my Necromancer snippets, this may be me accidentally channelling Reynard’s weird goat obsession… a-hem…)
“It is believed that the long-horned, shaggy, goat-like monster with a long, angry face and lolling, forked tongue would visit the home of misbehaving children to punish them. It was believed he would give beatings, and kidnap the kids, bringing them down to his underworld lair to live for a year.” – Ancient Origins. Net
You can read more about this fiendish fellow on Ancient Origins. Net personally, I’d love a tale where the kidnapped kiddies have to find their way home… perhaps even befriending the old goat man along the way, or uncovering some other, darker secret… not really sure what could be darker than a giant goat kidnapping you in the middle of the night but, there we go…
There you go, run with it (or from it, lol!) – poem, flash, short story, novel, if it inspires you to write some marvellous mythpunk do come back and tell me about it in the comments! And of course you can still share your own and others Mythpunk creations either using the hashtag or in the comments here!
Blessings on your second week of Advent!
Happy #MythpunkMonday! Here’s our first seasonal Mythpunk writing prompt for December, all the way from Iceland, Jólakötturinn – The Yule Cat.
“The Yule Cat is a huge and vicious cat who lurks about the snowy countryside during Christmas time (Yule) and eats people who have not received any new clothes to wear before Christmas Eve.” – wikipedia
There you go, run with it – poem, flash, short story, novel, if it inspires you to write some marvellous mythpunk do come back and tell me about it in the comments! And of course you can still share your own and others Mythpunk creations either using the hashtag or in the comments here!
Blessings on your first week of Advent!
WARNING – CUTE SMALL MAMMAL ALERT!!!!!
Wow, we’re three months into this regular post now and I’m feeling really positive about that, thankyou for all the enthusiasm and support you’ve all shown 🙂
Heading into the insanity of the festive season I thought I’d use our December #MythpunkMonday posts to bring you little lesser known snips of winter-themed myths and legends as mythpunk writing hooks to feed the imagination through this manic time of tinsel and terrible music 😉
And moving into January, I’d like to offer some Mythpunk Mondays as guest post slots so if you have an idea for a post with a mythpunk theme, or if you are a writer or artist who would like to promote your own mythpunk works, drop me an email at firstname.lastname@example.org subject #MythpunkMonday Guest Posts and I will slot you in.
But before all that, here’s my last #MythpunkMonday for November and I thought I’d give you an extract from the mythpunk / steampunk short story which I was lucky enough to have included in the Dreamtime Damsels And Fatal Femmes Anthology here…
It’s called Mulo, which is the Rromani word for the spirits of our own dead but it actually translates as ‘the wind people’. Here are a few brief facts about the story before I share the snippet…
The story is set in a post-apocalyptic era where workable land and water are scarce and focuses on an exclusively Roma community which has the same class/ caste system as other settled communities. I thought it would be interesting to explore the interplay of power and prejudice without bringing the issue of race into it.
All the names in the story have a certain significance for example, Ndrita means to shine like a small, bright glittering light, to twinkle like a far off star. Ndrita embodies this – a small light that brings hope and then is gone again.
Sihana means like the moon. The moon reflects light, it isn’t a true light itself, it reflects the power of the sun but it doesn’t have it’s own source of power. It can also seem like a cold light, illuminating without aiding life or growth. All this seemed to embody the character of Sihana.
The marsh lights are a real phenomenon here in Britain – and perhaps elsewhere. They are really caused by marsh gas igniting or sometimes by the glowing fungus known as fox fire. Marsh lights have also been called Death Lights, Jack of the Lantern and Peggy of the Lantern and were thought to be malevolent spirits who had drowned trying to lead travellers astray off the path and into the marshes. I first encountered marsh lights in Bleaklow, Derbyshire and have been obsessed with their lore ever since.
I wanted the story to be gritty and realistic but also carry a thread of hope – to explore power imbalances that are inherent in all social constructs regardless of race or culture but also to highlight the notion of choice as a facilitating vehicle for change. Nothing actually changes in the story on a societal level, but the two main characters, Ndrita and Anika, both changed a little for a moment – they put aside their prejudices to save the life of someone they would normally abhor, and who would normally detest them. They took back the power of choice.
Writing is never a clean process and I had some initial problems with keeping the tense and perspective consistent between the characters’ different scenes – something I wouldn’t have picked up on if not for the fantastic editing team so I owe a lot to them for helping me get that straight!
My own favourite character in the story is Anika’s Ma. She is so like a lot of our own older relatives – stuck in their ways and clinging to superstitions so ancient they barely understand their meaning themselves, wise in so very many ways but powerless against the problems of modern times for which all their handed down wisdom couldn’t possibly have prepared them.
I don’t tend to write stories with a message or a moral, instead I hope my writing opens doors and then leaves them open in case others want to come in and explore what I’m exploring.
In the city, where the fog curls just above the cobble stones, there are many lights; the flickering gas lamps breathing milky pools against the evening’s cool, dark breast; the tinder sparks from flaring pipes; the window-stars like cold diamonds or bright catalysts of life.
Move out beyond the streets, out into the woods, follow that lonely ribbon of road away through the marsh, and the lights out there do not cast the same impression on our minds.
Lights, we understand, mean there is someone and who, we ask ourselves, who could be out there in the dark and the mist? Who on a night like this?
The word for the carriers of the marsh lanterns is Mulo and Baba always told me that this word means demon. After Mammy and Daddy and little Dragan were gone, and all that was left was Baba and me, she taught me to light the tallows in their little glass bottles and set them all around the farm each night, to keep the demons away.
She knew a lot of things my Baba, how to keep us safe through the long dark nights in Indigo. But she didn’t know how to make the water safe, and in the end it was only me, and I didn’t know either.
Thankyou for joining me for another #MythpunkMonday, I hope you’ve enjoyed it and if you’d like to jump in and share your own / others marvellous mythpunkish-ness then feel free to do so using the hashtag or in the comments below!
And before I scoot, I promised ferrets, and here they are… All the proceeds from the above mentioned anthology go to Abington Ferret Refuge, you can check them out here…
Happy #MythpunkMonday! Last month we talked about the power of Mythpunk, this week I’m going to ask how we wield that power responsibly – or if we even need to? I’m going to look at one particular Mythpunk song by my favourite singer/songwriter, talk about my own journey in Mythpunkery and give you a little snippet of one of my own Mythpunk stories.
So, last week we looked at the power of myth and the importance of Mythpunk as a subversive form that can challenge mainstream culture and instigate social change.
That makes Mythpunk powerful too and – as all us true geeks know – ‘with great power comes great responsibility’ (cheesy but true, guys, cheesey but true!)
So what responsibility do Mythpunk creators have and to who?
It’s not an easy question and the answer is likely to be a very personal one for all of us – different for each punk who puts pen to parchment. But I think it’s vital for us all to consider and to create ongoing discourse around this point.
From my own point of view, I came to Mythpunk (although I wasn’t aware of the phrase at the time) feeling as though I wanted to bite back at the restrictive, prejudiced, tired and boring old tales I had grown up hearing. I was carrying fire in my blood and in my head and it flowed out through my pen in rage against the morals and values inherent in those tales, all of which seemed to say that ‘people like me’ were not acceptable, could not be heroes, needed either rescuing or destroying and would certainly get our comeuppance one day … etc etc.
So I wrote to bite back, I wrote to destroy and obliterate and to replace all that ancient, old hat, prejudiced nonsense (as I saw it) with my own values, morals and world-view.
As I got older, I learned a revelation that made me stop and think. It didn’t make me regret what I’d written before, but it did make me proceed from that point onwards in a different way… I learnt the history of my people – a history which my family had been forced to hide from us because of deep rooted and continued prejudice against our people, a history which, I now realise, had been partly encrypted in story and song and passed down through generations in the hope that one day we would understand… and here I was taking a scythe to it all in anger.
Worse still, I soon found – as I now hungrily hunted for more stories, myths, tales, legends and songs which would tell me more about our culture and history – I came up blank ; most of it has been lost and what remains has been twisted and manipulated (not ‘punked’ which is something quite different) out of all recognition by other cultures in order to maintain the myth of the ‘Gypsy Creature’ by people who are not even Romany.
I felt hurt and lost and angry and guilty and very many other things as well and eventually those feelings lead me to write Mulengi Sinija (a tale of cultural appropriation and white-washing which shows how a less powerful culture can be forced to hide themselves while the dominant culture wears their clothing and beliefs like an exotic mask, until eventually the grandchildren of the less dominant culture have forgotten who they are. ) and also The Road Back Lost, which I’m going to share an exert of today.
So after that point I decided that although there really were parts of my culture that needed to evolve, so much had been lost that I wanted my Mythpunk to focus on preserving the good, the beautiful, wise and historic aspects to make tales worthy of passing on to my own children.
I’m still on uncomfortable ground here – there are definitely dark moments when I ask ‘do I have the right to do this?’ and I can only comfortably answer ‘yes’ because it is my own culture and belief, my own experience, the voice of my own blood that is singing through me. I am not certain I could always give a resounding ‘yes’ if that were not the case.
I think that, for me, the subject boils down to questions of Power,Voice and Ownership – does the mythology I’m punking from exist in enough written forms that its power and voice resound through history and are unlikely to be altered / obliterated forever by my work here and now? – does the culture which this mythology hales from have enough power and voice on the world stage to protest against my meddling with it, should it choose to do so? – and lastly, is the culture my own?
But this is just my story, my journey, my own evolving view on things, – I’d be really interested to hear what you think on the subject! Should Mythpunk be a free-for-all? Is it OK to punk from other cultures? Should we not punk at all? Or is there a middle road and if so, how do we stay on it?
It’s a Mythpunk’d version of the child ballad The Raggle Taggle Gypsies / The Gypsy Laddie / Black Jack Davy, a ballad I grew up with, which tells the tale of Lady Cassillis and her lover the Romanichal folk hero and Rom Baro Johnnie Faa.
In that folk tale, the Earl of Cassillis marries his young wife against her will, but her lover, Johnnie Faa, or Black Jack Davy, rescues her and they run away together. The Earl eventually catches them, hangs Faa and his brothers and imprisons his wife for the rest of her days. There isn’t any truth in the tale as far as Faa and Cassillis are concerned, and of course there are aspects of it which seem wonderful and other aspects which seem dreadful.
Here’s the song and above it I’ve included Heather’s introduction/ explanation of it as well – I’ve chosen it because, as with the original, there’s a lot about it that I love from a fun and feminist perspective and also a lot that feels uncomfortable … see what you think?
And finally here’s the excerpt I promised from The Road Back Lost, if you like it and want to read the whole things you can find it on Vocal… https://poets.media/the-road-back-lost
THE ROAD BACK LOST
Do you know what it is like to gut a wolf, child? Do you think you have the stomach for the knife? If you are a daughter of the wood, you ought at least to have that. But perhaps the tool they have given you is not up to the task? Faced with the breath, the lure of iron scent, the clinging claret clots that call to your own quickened pulse, the sharp, sharp teeth a grotesquery of your
Perhaps you would rather flee?
Or perhaps that dilation of your dark and precious orbs betrays your lust to leave this wood and simply be devoured, melting on a hot tongue, melting in a hot belly, melting like a shadow into night? How many times have you tried to lose yourself that way? How many times have you wandered from the path, waiting for your wolf?
Here she is, child, here she sits; white throat waiting to welcome you home.’
Thanks for joining me for another #MythpunkMonday and please feel free to join in a share your own / others Mythpunk either in the comments or using the hashtag – let’s fill every Monday with marvellous Mythpunk madness 😀
Today I’m going to point you at some more fantastic Mythpunk, this time from Theodora Goss who was born in Hungary and whose work is heavily influenced by Eastern European Mythos and is an absolute joy to read! Here are her thoughts on the Mythpunk Genre …
And you can find her fantastic collection of short stories here:
Merry #MythpunkMonday! Today I’m going to talk a bit about the power of myth and the importance of Mythpunk in relation to that, then look in depth at some Mythpunk which I think really exemplifies just what the genre is capable of.
So, yay! The second month of #MythpunkMonday is happening! If you’d like to join in and share Mythpunk related marvellousness – your own or other people’s! – then just dive on in using the #MythpunkMonday hashtag or in the comments here, or on your local street corner, or whatever floats your pea green boat! 😉
Myths have been around as long as people have – from the moment we could communicate we started telling stories as a way of understanding our world, preserving and passing on knowledge and, dare I say it, entertaining eachother.
Joseph Campbell (for all his faults) tells us that mythology, particularly when rooted in religion, provides a cultural framework for any one group of people (and Maureen Murdock provides a balancing feminist alternative to his ‘Hero With A Thousand Faces’)
If that’s the case, then folk and fairy tales are perhaps already the rebellious / punk siblings of the stories found in religious texts and preached to the masses as a means of social control ; the secret vehicle by which everyday folk can pass on and preserve their own knowledge, morals, beliefs and understanding. (certainly I like to view them that way!)
It’s easy to see how much power these types of stories can wield. They speak deeply to our souls on a personal level and a lot has been written about the link between myth and psychology by Jung and his followers old and new, but they also resonate in the collective consciousness and the morals, ideas and archetypes they convey slide easily from the lips of the storyteller or the words on the page into the minds of the masses to become accepted as ‘truth’
I’m not a huge fan of Campbell to be honest, but I do recommend reading his works / listening to his interview series if you get the chance because there is a lot to gain despite how out dated and annoying it all is on the surface. He does highlight the need for new myths to be constantly created which reflect and embed the changing understanding of individual and world wide culture – and Mythpunk really does leap out and answer that call doesn’t it?
So as well as being clever, original and entertaining, Mythpunk can be a vital tool in questioning the messages inherent in traditional myths, legends, folk and fairy tales and, like the folktales of old, can be a subversive tool by which ordinary people can voice, preserve and pass on their own values, knowledge and understanding in the face of mainstream dominant cultures.
Most of us live in an exiting technological age, where our punk stories, alternate cultural frameworks and subversive ideologies can reach beyond the small circle of the family hearth, clan campfire or village boundary and touch like-minds across the globe. In a couple of weeks I’m going to start looking at what that means from a perspective of responsibility.
But today I just wanted to focus on the power of Myths and the very subtle, subversive power that Mythpunk can wield as well. Mythpunk has a wide variety of tools at its disposal from the voice it employs – which is often snarky, smart and sassy – to the deep-rooted symbolism which it irreverently, yet sometimes surprisingly tenderly, toys with ; like a kitten with a ball of best knitting yarn.
In that vein, let’s take a look at one of my very favourite graphic novel series Hopeless Maine. This series bridges a wide ocean of genres including Gothic, Steampunk and Mythpunk but I’m just going to focus on its Mythpunk elements because, well, that’s why we’re here right?
WARNING CONTAINS SPOILERS FOR THE SERIES HOPELESS MAINE
Hopeless is a Gothic island just off the coast of Maine, shrouded in sentient mists and born from the imaginations of Nimue and Tom Brown.
People wash up here after the world has chewed them up and spat them out. Few come here by choice. Those who come can never leave. Those who leave can never come back… despite evidence to the contrary, this is what we are lead to believe, this is what the young folk are told, this is what the adults say…
Inside this little pocket-universe are woven together elements of myth, legend, folklore and magic in a beautiful parodic dance macabre.
Just like in the world beyond the mists, life here is hard and troubled and full of questions with no apparent or easy answers. Inhabitants are seldom who or what they seem, and this goes for the disturbingly sentient fauna and flora of the island too who, after all, were surely there before the people came…
And people do keep on ‘washing up’ on the shores of this little hidden isle – just in the same way that world-weary travellers often wash up eventually in a place where our previously held concepts, beliefs, morals, values and so-called truth and virtue and sanity all seem to slide away or stop making sense in the face of incontrovertible evidence that ‘everything is not the way we were told it was.’
The island’s ‘spiritual leader’ seems to embody this place of juxtaposition; on the one hand he is set up as an earthly ‘all-father’ ( being head of the island’s orphanage) … on the other he lacks the ability or will to actually do anything useful to help solve the enormous problems facing his ‘flock’ (other than his default go-to plan of human sacrifice… which is a little disturbing) He calls himself a Reverend… but exactly which religion he is devoted to is a little hazy and the fact that he seems to perform a lot of his devotions in secret, on an island populated by demons, is… curious to say the least. Still, he definitely doesn’t like witches… or does he? You can read more about him here.
Another person who beautifully personifies this ‘crisis’ point is Mrs Beaten, and her regular blog posts are a treat to follow as she flies into one flap after another over the behaviour, depravity and dress sense of her fellow islanders… yet she is obviously far from innocent herself and her very-near-slips every now and then betray an interesting past and a complexity of urges and issues which are all actually possibly very nearly normal if only she hadn’t suppressed them for so long. (On the other hand she could be a multiple murderess with amnesia… only time will tell, but in the meantime, she is definitely judging us all. )
Leaving aside the onion skin layers which parody, lament and poke fun at the condition of the human soul as it flounders in a sea of religious and moral rhetoric and contradiction, Hopeless, Maine is an island full of its own folk lore, magic and elusive myth.
From spoon walkers to night potatoes, there are magical creatures aplenty ; some are native only to the island, some are more readily recognisable from the outer-world and, as such, some are perhaps the monsters and internal demons the islanders have brought with them?
Not much here is edible, not much here sustains the flesh and while that is reminiscent of tales of ‘Fair Elf Land’ where the very air is all that’s needed to sustain life, on Hopeless the air seems to vampirically drain away the will to live – a sort of anti-fairyland perhaps?
There are spiritual entities on the island too. Voices are heard. Eyes appear in the mists. Certainly there are demons and certainly there are those who… associate with them… does this constitute a religion of sorts? A spiritual path through the confusing fog? Are these the Hopeless Gods and do their ways spell salvation for the community of Hopeless? Or should we all be pushing away the voices in the dark that whisper insistently what ‘needs to be done’? Is our new best friend only after our soul after all?
As a series, I have already mentioned that Hopeless poses far more questions about culture and society than it answers, as that is one of the many things I love about it. But there is an ironic thread which runs like red wool through its narrative – I say ironic because that thread is Hope.
Salamandra and Owen are not starry-eyed, lovey-dovey heroes who skip about telling everyone to Hope their way out of their problems like some sickening Disney movie… but through their tenacity, their faith in themselves, their honest endeavours to ‘keep pushing’, they personify Hope whether they mean to or are aware of it or not.
Even by the end of the first volume, I had faith that Sal and Owen would prevail – even if the island itself had to sink into the sea for them to do so – they just carry inside them that punk verve, that subversive spark that glows in the heart of the Mythpunk genre and lights the way for change to slip in through the back door and storm the building.
If you like the sound of the Hopeless Maine series you can find it here:
Today I’d like to share with you a little extract from one of my own own Mythpunk stories ; this is from The Star Talers – a short poem spun from elements of the original Grimm fairytale.
It was inspired by the historic treatment of Rromani slave dancers during the 13th to 18th centuries and the parallels between this and the modern cycle of poverty and exploitation that I have witnessed in the red light districts of British cities today. As such, it touches on issues of slavery, abuse and recovery, sexuality, identity and self-discovery and ends with the hopeful thought that, ultimately, we can survive and journey on from our past…
THE STAR TALERS
The boy had been hollow rose
Carved out from the hip bones of his mother
Beautiful as a choked out sob against silk pillows
Beautiful as a neck bent back swanlike to display the pulse
Beautiful as an eggshell is to crush and feel the yellow juice spill down
Once. Once he had been that hole
A space to fill with so much Other Blood
Now he stands on the banks of a bright river, Old,
Full, frayed, and spilling out onto the bank
No one comes near
The fear of all the screaming demons, stench and blade sharp thorns that close around him
Holds the world away
But still he will stay
He heard a story once; a whisper, rumour, gossip or snatch of song that clung like a butterfly to his sleeve – there is a land across the river, where you can see the stars fall to earth and in their fierce, full, burning beauty there is peace…
Thankyou for joining me for my second MythpunkMonday! I really hope you’ve enjoyed it and if you have, feel free to join in and share some Marvellous Mythpunk that you have written, created or enjoyed. You can share using the #MythpunkMonday hashtag or in the comments here below if you like and I will try and make this a regular Monday thing 🙂
If you enjoyed The Star Talers excerpt, you can read the rest of it here on Vocal:
Merry Mythpunk Monday! Today I’m going to talk about what Mythpunk is and recommend some marvellous Mythpunk to fill your shelves with.
This is a bit of an experiment, I’m hoping to do this every Monday and I’m also hoping that other Mythpunk fans and writers will join me in celebrating this wonderful sub genre by sharing your own / others writing, art, music, inspirations etc. using the #MythpunkMonday hashtag. That’s a lot of hope! … but I really passionately feel the world needs more Mythpunk and there’s some awesome stuff out there already that needs bigging-up so, let’s see what happens!
Mythpunk is a term coined by Catherynne M. Valente to describe Punk fiction which is rooted in folklore, fairytale or mythology.
At its simplest, Mythpunk could be a modern Punk retelling of a fairytale with an original ending, tangent or twist ; at its more complex, it has potential to utterly transcend its origins by bridging the gap between archaic world views and modern experience, making it an important tool for social commentary and cultural evolution.
You can read a great interview with Valente on the subject here:
And you can find her Mythpunk series ‘The Orphan’s Tales’ here:
So Mythpunk can be a punked up retelling of a myth, folktale, fairytale or legend, or it could be an interweaving of many different threads from across history and mythology, or it could be something entirely new which resembles, parodies or has elements of folklore and myth.
Mythpunk doesn’t have to be restricted to writing either – it can be music, art, theatre…
For example here’s the soundtrack to Valente’s series by S J Tucker, which you can listen to and purchase here: https://music.sjtucker.com/album/solace-sorrow
So, if you’re new to Mythpunk and what you’ve seen so far has got you hooked, you’ll now want to rush out and stock your bookshelf / kindle full of fabulous Mythpunk titles, right? – fear not, here’s my quick-fix / take-away / happy-meal list of five fab books / series to get you started…
1 Monstress Series
“Set in an alternate matriarchal 1900’s Asia, in a richly imagined world of art deco-inflected steampunk, MONSTRESS tells the story of a teenage girl who is struggling to survive the trauma of war, and who shares a mysterious psychic link with a monster of tremendous power, a connection that will transform them both. Entertainment Weekly praised MONSTRESS as “one of Image Comics’ most imaginative and daring new series” and dubbed it the “Best New Original Series” in their year-end “Best Comics of 2015″ list.”
2 The Automation:
“The capital-A Automatons of Greco-Roman myth aren’t clockwork. Their design is much more divine. They’re more intricate than robots or androids or anything else mortal humans could invent. Their windup keys are their human Masters. They aren’t mindless; they have infinite storage space. And, because they have more than one form, they’re more versatile and portable than, say, your cell phone—and much more useful too. The only thing these god-forged beings share in common with those lowercase-A automatons is their pre-programmed existence. They have a function—a function Hephaestus put into place—a function that was questionable from the start…
Odys (no, not short for Odysseus, thank you) finds his hermetic lifestyle falling apart after a stranger commits suicide to free his soul-attached Automaton slave. The humanoid Automaton uses Odys’s soul to “reactivate” herself. Odys must learn to accept that the female Automaton is an extension of his body—that they are the same person—and that her creator-god is forging a new purpose for all with Automatons…”
3 Firebird Fairytales Series:
“Born on the crossroads between worlds Anya’s Gate Keeper magic is buried under grief and rage until one fateful night a firebird hatches on her farm who is sharing its body with the fabled Prince Yvan. With Yvan’s dark magician brother Vasilli and other powerful enemies closing in around them, Anya has no choice but to sober up, follow Yvan intoSkazki and hope that she can learn how to control her awakening magic before it destroys her and any hope of keeping the gates to both world’s safe.”
4 The Tale Of Raw Head And Bloody Bones:
“Meet Tristan Hart, precociously talented student of medicine. His obsession is the nature of pain and preventing. He is on a quest to cut through superstition with the brilliant blade of science. Meet Tristan Hart, madman and deviant. His obsession is the nature of pain, and causing it. He is on a quest to arouse the perfect scream and slay the daemon Raw Head who torments his days and nights. Troubled visionary, twisted genius, loving sadist. What is real and what imagined in Tristan Hart’s brutal, beautiful, complex world?”
5 Vassa In The Night:
“Vassa in the Night is a powerful and haunting modern retelling of the Russian folktale “Vassilissa the Beautiful” for teen fans of urban fantasy, fairy tales, magic, and horror who enjoy books by Leigh Bardugo, Kendare Blake, Catherynne Valente, and V. E. Schwab. In the enchanted kingdom of Brooklyn, the fashionable people put on cute shoes, go to parties in warehouses, drink on rooftops at sunset, and tell themselves they’ve arrived. A whole lot of Brooklyn is like that now—but not Vassa’s working-class neighborhood. In Vassa’s neighborhood, where she lives with her stepmother and bickering stepsisters, one might stumble onto magic, but stumbling out again could become an issue.”
Thankyou for joining me for my very first MythpunkMonday! I really hope you’ve enjoyed it and if you have, feel free to join in and share some Marvellous Mythpunk that you have written, created or enjoyed. You can share using the #MythpunkMonday hashtag or in the comments here below if you like and I will try and make this a regular Monday thing 🙂
Good morning Ladie and Gentlemen and welcome to Max and Collin’s splendiferously spoontastic parlour located within the splendidly scenic city of Lancaster, Mor Ire.
True some have called it an unfulfilling place of half baked fancies, bad eggs and drastic measures, but we consider that such people are merely embittered that they have not yet received an invitation.
This morning you find us about to engage in the noble art of the festive spoon duel. We understand that in your dimension you settle your disputes by duelling with tea but, frankly, we find it hard to understand the mechanics of such a thing – do you hurl the tea at eachother? Or are the cups somehow used as foils?
Here in the New World we settle our disputes with a series of Parlour Affairs, one of which is spoon duelling (or Spuelling if you are feeling lazy). Spoon duel challenges are usually reserved for the Wizmas period.
In case you are not familiar with the art and history of the spoon duel let us enlighten you:
Spoon duelling began during the Ancient Egyptian era and was reserved for religious ceremonies in honour of The Goddess. Ornate spoons made of wood, flint and ivory were carved with hieroglyphs pertaining to tea, cake and magic.
Archaeological evidence suggests that it was in Ancient Greece that spoon duelling moved from being a religious ritual to an event used by the upper classes to settle disputes in a sophisticated fashion. Silver and bronze spoons were used during this period and spoons in the British Museum can still be seen which bear the scars of spoon duelling.
By 1259 CE (Cakeless Era), spoons had become a symbol of power. Royal monarchs were anointed with a special spoon to mark their coronations. The wealthy displayed the many battle-mangled weapons of their defeated opponents while the peasants were left spoonless to slurp soup with their bare hands and stir their tea with their burnt and blistered fingers.
Discontent began to stir the soul of the general populous and The Great Spoon Uprising of the Renaissance period lead to greater equality in cutlery which in turn lead to a greater diversity in spoon design. In joyous celebration of the noble spoon, artisans sprang up in every town, flooding the market with an array of spoons for every occasion.
Soon there were Caviar spoons (made of mother of pearl), Dessert spoons, Tea spoons, Fruit spoons, Runcibles (Max’s favoured weapon), Iced tea spoons, Jolly Long Spoons, Demitasse spoons, Chinese spoons, Bouillon spoons, Parfait spoons, Rattail spoons, Salt spoons, Seal-top spoons, Bar spoons, Caddy spoons, Slotted spoon, Mote spoons, Mustard spoons, Cheese scoop spoons… not to mention the cochlear ritual and anointing spoons, ear spoons, nose spoons and new born spoons (for ladling out babies)…
By the time Queen Vic came to the throne The Good Folk were screaming for regulation and one of the first papers to pass through parliament was the Standardisation Of Kitchen Utensils Act which introduced the standard issue spoons, tea cups and other tableware permitted for use today.
Obviously underground artisans linked to the Arts and Crafts Movement have sprung up across the scattered isles to produce illegal cutlery of the most impractical and extravagant artistic merit …
Hm? Sorry? Oh yes, Max says I should stop the history lesson and get on with the thing… you know for a Very Quiet Gentleman Max does interrupt an awful lot…
So, the noble art of spoon duelling :
Each competitor sits opposite the other at a tea table. (Historically, spoon duelling was a standing affair and opponents would attempt to crack eachother over the top of the head with a battle cry of ‘bad egg!’. After hats became fashionable the aim then became to knock the opponents’ headwear to the ground. This type of spoon duelling was outlawed by King George in 1721 CE. Of course there are those who claim to have revived it in some sort of secret- society- boys- club- thing… but we’re not sure we believe them…)
A point (or hit) is scored when one competitor taps the centre knuckle of their opponents’ spoon-hand with the back of their spoon. Three hits are needed to win the duel.
A hit is established thus; each spoon is moistened (traditionally with cold water but some vulgar persons lick their spoon and spiteful ones have been known to stir their scalding tea) and then dipped into coloured chalk. The chalk mark left on the back of the hand makes it easier for adjudicators to judge whether or not a hit is legitimate.
The spoon hand or wrist must remain in contact with the table at all times and the other hand may be placed behind the back, on the hip or above the head as preferred but never upon the table, knee or chair.
The winner takes the spoon of the defeated competitor as a trophy and many people choose to display their hard won spoons upon their hats, waistcoats, parasols, bed posts and parlour walls.
So we will soon be packing our runcibles into their leather holsters and heading into town to witness, and hopefully take part in, some festive sport. But before we do that we must tighten the belts on our dressing gowns, pour ourselves a morning cuppa and see what our little dust sucking friends have been up to in the night…
Hm, Gnii fishing eh? I’m not terribly fond of fishing now, having done so very much of it in the sunken city of Hull. Fish – delicious, but the getting of them? I would much rather visit the local monger rather than run the dispiriting odds of catching other ocean debris., the things you humans throw into the ocean sets my tentacles shuddering. Anyway… let us forget all that and dip our tentacles into our seasonally spicy tea which should give us plenty of zest for the morning is this superb ginger rooibos from craftteacompany…
Splendid, and now we must button up tight and head out into the cold dark alley ways of Lancaster and find ourselves a shady little tavern where we can lay a few bets on a spoon wrestling match (it’s similar to the duelling but for Ladies only and so there are less rules, more name calling, eye gouging, spork scratching, hair tangling etc and it all gets a little rougher and therefore more interesting, especially when the wigs come off…)
We wish you an utterly ineffable morning chockablock with spoonfulls of fun and we invite you back to join us for elevenses tomorrow so, until then
please be always
Good Morning Ladies and Gentlemen, welcome to Max and Collin’s luxuriously libatious and rigorously refreshing parlour located within the splendidly scenic city of Lancaster.
True some have called it a refuge for Yellowists, where the company are all sour and full of bitterness and where the refreshments leave a nasty taste in One’s mouth, but we consider that such unadventurous individuals are not used to adding birds eye chillies to their morning Lady Grey … it is an acquired taste and one we discovered, quite by accident, in the depths of the Jentacular Jungle…
But I digress! Please, come in, step around the mountains of discarded lemon husks and… no, no don’t worry that is only sugar syrup, I’m afraid that making lemonade is an extremely messy business but you know these tentacles come in very handy and as you can see we have quite a mountain of bottles filled now and ready to sell.
But it is rather exhausting work so, I think it is time to kick our tentacles up on the table, pop on a brew of Lemon Meringue Tea from Post Tea and open a marvellous book, like this one…
“Jennings and Jennings, Paranormal Investigators, available for hire in the Home Counties. Are you plagued by supernatural goings on or troubled by fantastical events? We can help, using the most modern scientific advances, to rid you of even the most ancient of terrors. 3 pence an hour, double on Sunday.”
We have been gleefully following the adventures of Sir John and Marie Jennings via the online journal The Benthic Times for quite some time now so when we heard they were publishing their first casebook we simply had to get our tentacles on it at once!
This collection of four Steampunk Paranormal Mysteries stands out as something particularly special. The mysteries are real, intense and engaging – from ghostly apparitions to machinating mesmerists and ghastly fiends to mysterious missing treasures, there is an enthralling mixture of Victorian folklore and imagination brought together in each carefully crafted adventure.
In beautiful balance to this serious backbone, the over-enthusiastic Sir John, brandishing his alarming home made detecting devices, is called in to solve each case. Thankfully, his compassionate and competent wife, Marie, is usually able to use her ‘intuition’ to keep them on the right track and the resolutions are always both satisfying and surprising.
Fans of Mark Hodder are bound to appreciate this delightful mix of paranormal mystery and comedic Steampunk, and we certainly can’t wait for the next casebook to be released.
We wish you all a very marvellous morning filled with sweetness and spice in equal measure, and until we see you again,
please, be always