Good Morning Ladies and Gentlemen, welcome to Max and Collin’s rambunctiously raucous and chi-chi to the core parlour located high above it all on board our beautiful rainbow-sailed ship, The Harlequin Ladybird. Yes that’s right we have escaped our dank cellar and our evil landlord (if you want to know how you will have to read our #RainbowSnippets posts on Saturdays and all will be revealed). So we are now heading the revolution in Ire from the skies – which turns out to be much safer and more fun than heading it from the ground! But never fear, we still have time to stop for elevenses!
Our tentacles are all of a quiver this morning and our china cups are chattering because we are still taking part in the #DreamtimeDamselsAnthology blog tour and are honoured to have A. M. Young joining us for elevenses today!
Do please have a seat, (Max, get off the chaise and let her sit down … hm? … no she can’t sit on the cats, cats are not cushions, Max, just move aside.)
Sorry about that, would you like tea? Earl Grey? Lapsang? Assam? Darjeeling? Oolong? (Max don’t be rude)
I’m really more of a coffee person myself, but anything dark and strong will do.
Coffee? I’m afraid we have had enough fiasco here with that wretched stuff to last a lifetime, I simply will not have it on board anymore! But if it’s something dark and strong you’re after, well, us octopuses are well known for our muscular physiques, as you can see, and my complexion is certainly on the shadier side of… oh, I see Max has poured you a strong, black cup of tea already… well… do tell us more about your contribution to this Dreamtime Damsels anthology we keep hearing about – the aether is alive with the gossip and although we have tried to coax more information out of several of our captives… er… VISITORS…. we still haven’t managed to get our tentacles on a black market copy…
So, my story is called “What They Do Not Tell You” and it’s a retelling of the Pygmalion myth from the statue’s perspective. Arguably, it’s a bit unconventional as it’s written in a kind of monologue from the main character, recounting her creation and the aftermath of becoming a living woman.
Oh did you hear that Max? Doesn’t it sound exciting – we simply adore a bit of mythpunk here on The Harlequin! What inspired you to write it?
I’ve always loved Roman and Greek mythology, and the Pygmalion myth has long been one of my favorites. What author hasn’t wished they could meet one of their characters, right?
Well, of course, or else I suppose I wouldn’t be here talking to you today!
One day a while back I was talking about the myth and I was trying to remember the name of the statue/woman. Resorting to the help of the internet when I failed to recall it, I found that she was known as Galatea. However, that name was actually provided by a scholar centuries after Rome fell; it had no factual basis in the myth at all. And that got me to thinking about how she was represented in the story, how she was so integral and key to Pygmalion’s myth but she never even had a name. The story just spiraled out from there.
Oh my goodness! I feel tears in my eyes! How moving, I can’t wait to read it! And what would you say most influences your writing in general?
I’m still pretty early into my writing career, but one theme that has emerged thus far is that I love examining people making ‘bad’ choices. What I mean by that is the question of “why would someone do that? how could they not see how stupid/pointless/unkind/short-sighted what they’re doing is?” is often key to my stories. I like to examine the emotions and circumstances that drive us to make decisions we often come to regret but also would make again in a heartbeat.
It sounds very interesting, are there any authours who have particularly inspired you?
I think my biggest influences are Stephen King, Tamora Pierce, and Neil Gaiman.
Oh we’re huge Neil Gaiman fans here as well, that is marvellous. Battenburg? Max stop feeding Battenburg to the cats you are getting it all hairy!
No, thank you. Not much of a sweets person.
Suit yourself, ‘all the more for me’ as Professor Elemental would say 😉 You know, writing is something I’ve always fancied turning my talents to – having so many tentacles I imagine I could be quite productive as an authour. Tell me, what was your own road
into fiction writing like?
A bit like a twisting path through a forest. You start down one branch, sure that you know where you’re going (which was writing poetry, in my case), you get lost for a while, decide to just give up and live by the quaint little pond you’ve found, and then one day while climbing a tree you realize you can see a path again just past that copse of spruce trees. When I went back to school to finish my undergrad degree, I decided to commit to fiction writing even though I had very little practice or experience in it because all of my ideas had just gotten far too large and detailed for poetry. I’ve been a storyteller ever since.
It sounds like quite an adventurous life indeed! And do you have any plans for new projects in the near future?
I have a novella draft that’s waiting for the revision process to begin. I also have an idea for a novel in my back pocket, but I’m not quite ready to start that one yet. And I have plenty of little ideas that may or may not unfurl into full-on short stories one day. We’ll just have to see what happens.
So, where can we get our tentacles on a copy of this delightful collection?
I believe Amazon as well as Barnes & Noble will be the most familiar to the general
reader. There may be other, better sources that I am unaware of currently.
Ah yes, many is the time we have trekked into the Amazon on a search for treasure filled tomes. Never fear, friends, as soon as this book is published we will don our pith helmets post haste and return swiftly with a map (or perhaps even a link) to its whereabouts! 😉 And in the meantime, what about your own work, where can we find more of that?
I actually don’t post my own writings much. However, I did have a flash fiction story
published last year by Underground Art and Literary Journal of Georgia State University.
You can read that online at their website: undergroundjournal.org
Mavellous, we’ll be sure to have a look at…. Wooooah! Dear me I do apologise, the airship must have slipped and I seem to have landed in your lap I hope I haven’t covered you in octopus slime?
That’s quite all right! I’m sure it will wash out just fine.
Are you sure you’re alright? I’m sure Max can lend you a dress if you want to soak out the stain? Hm, what’s that? Time you were going? Are you sure I can’t tempt you with another cup?
Thank you, but I really must get back to ground. I think I see storm clouds rolling in, and I get terrible motion sickness when there’s turbulence. Thank you so much for the
Oh dear, Max I do believe your awful tea-making skills and ill-concealed cat obsession has scared off yet another of our guests. You really must learn to behave yourself ‘In Company.’
Thankyou, friends for joining us this morning on board our beautiful rainbow sailed sky ship The Harlequin Ladybird, you will find all the blog posts so far on the Dreamtime Damsels blog tour listed below and until we meet again,
Please remain always,
Good morning ladies and gentlemen, thankyou for joining us once again on the swelteringly sultry streets of Steampunk’d Lancaster as we attempt to sell bottles of illegal home brewed lemonade in a desperate bid to pay our rent.
At least that is our ruse for loitering on this street corner this morning, but shhh, step closer, we have something to show you…
If you’ve been with us for some time you’ll probably be aware that our mistress, Penny, as well as leading a secret double life as an incorrigible octopus and his unnerving gentleman friend (that’s us by the way and we’re not sure we care for the description!) also writes short stories, poems and prose with a far less frivolous flavour in the Mythpunk genre.
If you weren’t aware, you can read some of them here for free: PENNY BLAKE ON VOCAL POETS
Mahrime – Mythpunk For Monsters is a collection of mischievously mutilated and punk’d-up folk tales heavily influenced by Penny’s Rromani cultural heritage. Each poem, story or prose piece explores the themes of identity, power and love by putting the monsters, the outsiders, the outcasts, the ‘unblessed’ right at the heart of the narrative.
It’s available now to pre-order on Kindle, free with Kindle Unlimited or 0.99 without and also in paperback if that’s what you prefer (the paperback is full colour with black pages, white text and beautiful white mandala art work by ArtsyBee and comes with a free Kindle copy)
“And what is Mythpunk?” we hear some of you ask…
Mythpunk can be as simple as taking a traditional tale and re-working it to produce something fresh, inspiring and new , or it can be a far more complex synthesising of cultural and mythological evolution; a deep exploration into the cultural psyche or an unflinching dissection of archaic archetypes. A lot of Steampunk involves some Mythpunking along the way and a lot of Mythpunk has a decidedly Steampunk flavour.
So, now that we know exactly what we’re letting ourselves in for , lets take a little sneak peek at just some of the things inside the cover…
Mahrime means ritually unclean / unblessed in Rromani language, it is akin to the word Unseelie in Celtic lore but it is applied to people. The title story in this collection draws heavily on the experiences and mythology of Rromani People and explores the historical out-casting of certain groups and types of people who are branded as ‘monsters’ because their existence is at odds with a dominant cultural or religious ideal. It also goes deeper to hint at the aspects of self which we choose to lock away because we believe them to be unlovable or unacceptable.
The Road Back Lost
This Mythpunk’d version of The Company Of Wolves is a response to the ideal that we all have both an internal and external collective of wise guiding voices who can teach us our culture, our heritage, our purpose and our place in the world; these voices, intuitions, bodies of lore, family, elders, clan-folk etc are supposed to teach and guide us safely through the wild woods of life and all the dangers therein but what if we don’t have them? What if our family or culture or bodies of lore or even our parents and home have been lost to us? This is the situation for many people today as war and poverty tares children away from their families and cultural white-washing tares culture away from people and places it in the hands of the fashion industry. So what can we do? Try to go back? Try to move forward? Or stay and become the wolf?
Damao means ‘to overcome’ ; the final piece of prose in this collection echoes the hopeful thought that is embedded throughout the book – with solidarity and support for eachother we can overcome the problems inherent with being labelled ‘outcast’ or ‘monster’, we are not alone and we will endure.
So there you have it, Mythpunk for Monsters, we hope you enjoy it, and now I think we will just sit back on this soap box here and sample some of our own lemonade, this day is far too hot to be doing any work and my tentacles are wilting despite the negligee we borrowed from Nimue Brown and her Hopeless Sinners yesterday I think what I really need is a parasol…
Thankyou for joining us on the street corner today, hm? What’s that Max? You think YOU ought to write a book? Honestly, I really don’t think ANYONE is going to be interested in anything you have to say… well alright then I will ‘wait and see!’ … and who exactly do think will publish such an atrocity? Hm? …. oh you’ll ‘find a group of marvelous monsters as mad about tea and tentacles as you are’ will you? Well good luck with that my friend! I shan’t be holding my breath…
While we wait to see what, if anything, comes of Max’s new ambition, let me thank you once again for joining us today and for supporting our endeavors as always and whatever kind of monster you happen to be please, do remain always,
Good Morning Ladies and Gentlemen, we ask that you be gentle with us this morning, no raised voices or glaring candle light please, we are very much sore-headed and delicate after a long weekend of carnival capers and masked-up mayhem and now want nothing more than to curl our aching tentacles around a marvellous piece of fiction and a steaming mug of tea…
The Tale Of Raw Head And Bloody Bones is one of our favourite books ever in the history of books. It is a love story of the most unique, raw and daring kind and at the same time it is an extremely dark fairy tale with all the exploration of psyche and self that hallmark a classic work of Gothic fiction. As a historical novel it explores the boundaries of class, affluence, education, mental health, culture, sexual and perceived moral behaviour to admirable depth making it a graphic, challenging and breathtaking read that will not suit everyone’s taste. This is not a book for the faint hearted but it is heart breaking and absorbing and utterly, utterly wonderful with characters who leave us weeping every time we step back into these dark and beautiful pages.
Tristan Hart is obsessed with understanding and preventing pain, at the same time he is addicted, enthralled and excited by it.
Nathaniel Ravenscroft is delightfully delinquent, exciting and enigmatic and everything that Tristan would like to be. Possibly. Or possess. But something isn’t quite right, there is a darkness lurking around that demonic smile, a secret or two that no one wants to talk about and when Nathaniel vanishes, does the key to his whereabouts lie in this world, or in the realm of fairies, daemons and an ancient half-remembered myth?
Katherine Montague is a troubled soul, beautiful and fragile, in need of Tristan perhaps as much as he is need of her… but is their love tonic or poison? Is their mutual obsession the key that will eventually help them both to find themselves, or is it a perversion that will eventually be their downfall?
An intensely compassionate, emotional and tormented soul, Tristan sees beauty where others see the grotesque and his days are a tense and brittle ice-path between the relationships of his physical world and the strange-woven mythology that inhabits the hearts and minds and landscapes that surround him. Who is this Raw Head? Who is Bloody Bones? Who, really, is Nathaniel Ravenscroft? Who is the monster and who the redeeming angel?
We wish you a perfectly restorative afternoon and swear we will be on better form to guide you around the frost fair tomorrow so, until then, please be always
Good Morning Ladies and Gentlemen! Welcome back to Max and Collin’s gloriously ghoulish and curiously cat infested parlour located somewhere within the alimentary canal of that splendidly scenic city of Lancaster.
True our psychotic landlord may have banished us to this dank and dingy dungeon, but anyone who would be crest fallen by such a turn of events has obviously never stood in their night dress fighting off flesh eating Liver Birds with nothing but a teapot and a book of mostly awful poetry.
Hm? Yes I have a night dress…. well how the hell do you imagine an octopus can fit into trousers? Really! A-hem….
You find us this morning in outrage because our puppet mistress, Penny, is keeping a very dark and dirty secret. At least she thinks she is. But we know what is going on. Having been very loudly and vociferously against the notion of National Novel Writing Month since its inception, she has decided to turn traitor on us and sign up for this year’s event. She has told no one. She is hiding her evil nano-notebook inside a waterproof zip lock bag inside the toilet cistern, ready to fake daily bouts of dysentery in order to complete her ridiculous writing goals in secret. But she is fooling no one. Least of all us.
We should state that our collective objections thus far have been that, while there is no harm in a person trying to have a bit of fun and create something fabulous along the way, to stipulate what a novel can and can’t be is to cut a huge number of people out of the novel creating and consuming world. So why is she doing this? She has obviously gone mad through lack of tea.
Max has optimistically suggested that she is only trying a splash of espionage and has cunningly infiltrated the machine to bring it crumbling to the ground from within. But personally I consider even such a move to be highly treacherous, traitorous, untrustworthy and utterly unacceptable and I for one cannot bring myself to look her in the eye. Which is making the whole morning routine very difficult indeed.
But never fear! We in the parlour remain stoic to the cause and so, to combat this fever of driving oneself into an early tomb trying to write 50,000 words or more in a month, we will instead be exploring and celebrating absinthlutely everything that a novel can and should be other than a book of 50,000 words or so.
A lot of our time this month will be spent working with urchins who process audio and visual information differently from most other people, and helping them to explore and celebrate their own writing and story crafting, so we will be posting activities that are inclusive and open the world of ‘novel writing’ to a much wider field of participant and audience.
So to kick us off on our Nano-free-November, we give you ….
TEA BAG NOVELS
(didn’t see that coming now did you?)
These are teeny weeny tight little tales that can be stapled into a book using tea bags as pages (or if you are very clever, a single tea bag!) Dry out your used tea bags on a plate (different teas will give you a variety of coloured pages, strawberry -red, blueberry – purple, Matcha – green, Redbush – orange, apple – grey, turmeric – yellow)
When dry, cut along one edge with a pair of scissors, then carefully scrape out the dried tea inside.
Write your novel in fine line ink pen or ball point, being careful to use the perforated edge as a margin.
When you have finished, pile your pages on top of each other in the correct order and stitch or staple your book together along the margin edge.
Voila! Will be ding this today with our little Lancastrian urchins and so here is our ‘one we did earlier’ example…
And in case you can’t read the awful tentacular scrawl, here is the text…
We met under a gut-punched sky, the raindrops racing down the tight screen of slipped out breath that caught in the space between our two neon egos – spitting sparks in the downpour.
Through a fudge of boiled rice conversation, I reached inside your brine and found the chalk of you ; graffiti-scarred myself, in fingernail wounds, into your smoothness and laughed .
“Give me back my soul,” I said, “I dropped it into the amber jewel pool of your eyes, while I was playing with your innards.”
“That’s not your soul,” you said, “that is only the sun, a bright gold ball reflected.”
I called you, “Toad,” and ran. The grass, like bottle glass, cut my feet and you, Hunter, licked up that garnet trail all the slow way to my door.
You dined on my defeat. Delivered up on plates of gold: pomegranate, passion, fig all patulous ; ‘Cuisses de Nymphe a l’Aurore’.
Ever after then, you bound me in a forest of words, so that I lie now: Ophelia and inked-over by your own tongue.
I blink out, through the black-string bars of a story that I refuse, still, to claim and reach for each new princess as if, through her, I could regain a purchase on the world and stand again – under that bruised sky; a spectrum of spilled blood, pooling under porcelain…
If, then I would make my order quick – ‘Cuisses de grenouille’ – end you with a finger lick.
We wish you a fiendishly festive Halloween / Samhain / All Saints / Souls / Day / Night / Thing whatever it is you humans are celebrating right now (so confusing) and hope you survive the night and will join Mrs B in her soup kitchen tomorrow, until then
Please be always
Good Morning Ladies and Gentlemen! Welcome back to Max and Collin’s salubriously sweet and succulent parlour, located within the splendidly scenic city of Lancaster.
True some have called it a pithy affair, frequented by fiends who are rotten to core, but we consider that such people are merely embittered that they have not yet received an invitation.
What is it about this time of year? Who, I would like to know, came up with the cunning plan of arming autumnal street urchins with small, unreasonably hard, green and red missiles to pelt at innocent Gentlemen out for their morning stroll?
Max and I put this question to our dear witchy friend Mrs Baker just last week as we sheltered in her soup kitchen, attempting to remove the smears of rancid fruit and sticky, slobbered over toffee remnants from our attire.
Mrs Baker informed us that, at this time of year Her Majesty’s apple orchards (all orchards in Ire belong, officially, to the queen) are often over flowing with such a glut of fruit that the rate of consumption by the rich Tea Time Lords cannot match the rate of production. Mounds of rotting fruit are not anybody’s cup of tea and so the Wizards have devised a Social Health Development Scheme in order to rid the rich of their rancid excesses. Free barrels of ‘Perfectly Imperfect’ apples are delivered each October to inner city slum areas like ours on a special day called ‘Apple Day’ and posters have appeared (beside the usual ones threatening death and destruction to anyone caught in possession of tea, sugar or homemade soup) sporting the maxim ‘an apple a day keeps the flesh eating Liver Birds away..’
In an attempt to make the fruit more palatable to the poor starving orphans, Mrs Baker had the ingenious idea of dipping them in candy syrup. This may have seemed like a cunning plan indeed except that the orphans were yet more cunning and simply seem to be nibbling off the sticky candy coating and then using pedestrians as target practise for their resulting revolting fruit bombs.
Max and I have decided not to venture forth until all this fruity business has calmed down. Instead, let us kick our tentacles upon the table and eclipse our sorrows with some exelent fiction and splendid tea (of course, as usual, we have both…)
The prose that flies from the spinning wheel of Catherynne M Valente is utterly delicious. Every sentence is ‘to die for’ as though she she sees the hidden face of things, as though she looks at the moon and says ‘what is the moon like, that no one has ever said it is like?’ and so a tale is woven that is both ancient and familiar and yet incredibly fresh and unexpected and enthralling.
Six Gun Snow White is the heart-shattering story of a young girl of mixed race fighting her way through the harsh and unforgiving world of the Western Frontier, where anyone who is not white and male is considered little better than property or animal – often worse. The story opens with her father’s horrendous treatment of her Native American mother, Gun That Sings, who eventually dies in childbirth, and then it moves through Snow White’s own heartbreaking experiences at the hands of her step mother.
As a re-telling of a well known fairy tale, this story succeeds in offering a fresh and enticing new version, intensely and intricately rooted in both the mythology and history of its setting. As a work of fiction in its own right, it is a beautiful, challenging and uncomfortable story with no easy endings , two dimensional archetypes or happy ever afters. Fans of mythpunk and folk tale connoisseurs will find plenty here to be delighted with.
And now that must be the kettle singing… or is it the screams from our Landlord’s latest rent-shy victim? …er…no, no that definitely is the kettle! Please, won’t you join us in a delicious cup of FAIRYTALE SNOW WHITE TEA from FRIDAY TEAS?
We wish you a most fruitful afternoon and hope you will join us tomorrow for, if all goes well, some more inktober tea-painting.
Until then, please, be always,
Good Morning Ladies and Gentlemen! Welcome back to Max and Collin’s sublimely subterranean, yet lavishly luminescent parlour located within the splendidly scenic city of Lancaster.
True there may be some rather odd noises coming from our landlord’s ‘rumpus room’ next door, but we ask that you ignore the screams of those poor unfortunates who couldn’t pay their rent, and pull up a cat, or a cushion, and make yourselves at home.
Do you like what we’ve done with the place? We discovered that marvellous little lanterns can be made by filling our empty lemonade bottles with fish oil (there are barrels of the stuff lying around at the docks), sticking a wick of rope in the top and setting fire to it! Genius eh?
Hm? A bit of a smell, you say? Well the cats seem to like it… black smoke? No no that must be your imagination…now look here, did you come to give us a health and safety inspection or to enjoy a cup of tea and some excellent fiction? Right then, let’s begin…
Desiree is an inventor of unparalleled skill – a wealthy heiress with the luxury of time and money to spend in doing what she loves best. But her father is worried; keenly aware of the fragility of a woman’s freedom in Victorian society, he dreads his beloved daughter being forced to bend her will beneath the yolk of misogyny. This is why he dislikes her fiancee, Claude.
Claude (Oxford Dean, wealthy and influential) loves Desiree as well. He loves her exotic beauty (provided her dress does not become too flamboyant), he loves her intelligence (although of course her views on Darwinism are heretical ), he loves her inventions (but of course that will all have to stop when they have children) and he loves the idea of taming such a creature and bringing her under the protective wing of his care and instruction.
Into this furnace of social and emotional tension strolls Lord Tyrell, the enigmatic Irish Gentleman who casts his charismatic spell over all and soon the little family are transported to his country estate for a weekend of hunting and fine entertainment. Despite all this, Claude is certain that something is not quite right about their host – but are his macabre suspicions and fears for Desiree’s safety founded on reason, or fantasy?
This is a beautifully written short story, heartbreaking and tense with the leash-tight interplay of well-crafted characters and a plot that is both surprising and moving. If you are looking for a steampunk read that is both satisfying and short then we thoroughly recommend this one.
And is that the kettle boiling? I think it is, please do join us in a cup of cat-inspired tea from Contours Albion
Yes it was a house warming gift left without a note on the doorstep this morning. Some people find themselves very amusing don’t they? I don’t suppose you would like to take a cat with you when you leave? They make very good foot-warmers, if you have feet…?
Anyway, we wish you a deliciously delinquent afternoon and hope you will join us for elevenses tomorrow. Until then, please, be always,
Good Morning Ladies and Gentlemen! Well, our boys may be out pounding the streets in the hopes of making ends meet but, in their quieter moments, you can be sure they’ll be kicking their tentacles up on some Tiffin Den table and trying to drown their sorrows in a good book. Here (in no particular order) is their “(mostly) steampunk summer reading list” and they will be posting reviews again starting from September… HAPPY HEAT WAVE EVERYBODY! 😀 – Penny
And what about you? Have you got a stack of excellent fiction to tide you through the torrential sunshine? Any recommendations that you feel I should add to this splendid stack? (Shameless self promotion is actively encouraged in the comments section…)
Big Boisterous Blessings on all your summer shenanigans,
Good evening and welcome to my awe-inspiring aethenaeum of praiseworthy pamphlets…or as some ridiculous personages have dubbed it – my lovely library.
I am Perilous Wight and here in the bowels of the city of Lancaster, in the disused tunnels of an underground train system that never was, I have made it my mission to collect every book that our self-proclaimed ‘supreme ruler f the universe’ and his mincing minions have banned from the bookshelves of the new world.
But this is not a public thoroughfare! If you have wandered in here on the ill-advice of a drag-dressed octopus and its dribbling Tea Fiend, let me advise you not to be so easily lured into a parlour by the promise of strange fruit. Well, you will find nothing sweet and alluring down here; here there is only the dark and the damp, the flickering of candlelight and the ceaseless toil of a man who did not re-animate from the dead to be pestered by people wanting bedtime stories!
But wait…what’s that you have tucked away under your arm there? Amontillado? Oh…. well, yes perhaps it is about time I put my feet up for a while, pipe and slippers and a little drop of something, the day has, after all been a long one. And I suppose I could read a very little something,
like this perhaps…
The painters’ daughter
Once upon a time, when you and I were naught but pips in the core of the great cosmic apple, there lived a painter. You might chance to meet him still, wandering the shore line as the sun rises over the blushing surf, counting the grains of sand or shuffling the streets at dusk, studying the cracks in the paving stones, calling down and listening for a voice.
Back in his studio, his tumbledown beach hut, he paints each grain, each echo. He paints the light and the shadow, the rising and the setting, the dance and sparkle and the soaking up and the deep. His eyes are full of dreams and his dreams are full of shades and glamour.
One day, the painter’s daughter bare-foot tip-toed into that secret space.
And gazed at all the many muchness of towers of tins of tangy turpscented rainbows.
And wondered what it would be – to touch, to taste, to take in and become such wonders.
In goes a flinger, smooth and slick.
Gloopy and gorgeful.
Smick smuck smack.
Blue, yellow, indigo,
She tasted blue – A taste of salt sea and pillow cases, stained glass and new slippers, skinned knees and berryjams and Monday mornings and shaggy hillsides damp in November fog.
She tasted yellow – A taste of custard of course. And a taste of bathrooms and tiled floors and a caravan holiday in 1975, old stiff newspapers and curled up cats, the dust that gathers on lampshades and dims the whole room and a taste of skin and bone and the streets of Rome in July.
She tasted green – A taste of coal and iron, old sandals and ploughed up earth, toadstools and pine woods and rain low down in the valley of the Dove.
Every colour in the universe she drank it down. She gorged on glamour and shade, on dances and sparkles, on things soaked up and deep. She swallowed down the soul of every colour until her limbs felt clogged and cloyed with the weight of them.
One small pot of black she saved for last, – a taste of burning and drowning, of being squeezed out and sucked up and exploded into stars, a taste of being held for eternity and the aching emptiness of an eggshell cracked too soon.
This black, she smuggled it away in her pocket, off to her little box bed beside the woodstove. There, when she was feeling dizzy with the reel of the rainbows spinning through her veins, she would sip
At the comforting black.
From that day on, every time the painter’s daughter opened her mouth, out spilled thick , oily paint in puddles and spewks that stained the folks and the things all around her in violent assaults of crimson, viridian, amaranth and egg yolk.
She stopped opening her mouth.
Her limbs dragged heavy as a rag doll and every breath, every step, every heart beat was a drudge and a drain. So much colour inside. So much sparkle and depth. So much echo and shade.
Walking, talking, even breathing seemed mountains too steep to climb with all this weight inside.
She sat on her bed, day in day out, and sip
At the comforting black
Until it spilled out of her eyes in puddles that pooled upon the patchwork quilt and cast back mocking rainbows.
That is how the little bird found her one day. He hopped upon her window sill and cocked his shining eye – the way the bird folk do – and then he fluttered down onto the eiderdown and whistled.
“Go away,” the painter’s daughter hissed, “do you think I care to see your coloured plumes? Do you think I am impressed? What if I told you that I am so full with the light and dark of every colour in the universe that I ache with it and to look at you does not fill me with joy or wonder, only regret and fatigue until I am sick of it.”
The little bird cocked his eye again – infuriating it is when they do that, y’know? – and he reached his yellow bill in deep amongst his tail feathers and plucked out a needle sharp quill the colour of every blue-green under the sea.
The painter’s daughter shrugged in scorn of him and made to turn away when
The little demon jabbed the quill spike hard into the soft, pale flesh of her arm.
Out leapt a tiny spurt of paint.
Then slowly, and with the girl in thrawl,
He dragged the rainbow colours out
In swirls and spirals, tree cassyn pathways to guide the flow of all that weary weight into traces of beauty and scope.
Here was a dream in flesh.
Here was pointillised pain.
Here was inside out for all to see and staining no one but herself; surely, no words would be needed now . The world would smile and nod its head at her, as they knocked shoulders in the street, and whisper
‘ah, so, that is how it is with her, mm, we understand now why she walks so slow and dares not speak. How could a child do otherwise, with so much colour inside?’
So she stepped out.
With the bird quill tucked behind one ear
And bold, without fear,
Into a forest of fingers who pointed and blamed and waggled and shamed and prodded and poked and jostled and joked and fat cold palms that pushed her far away.
The painter’s daughter ran.
She ran on and on.
She began to feel very proud of her running.
One dark night, she came to a cave, above a river, above a pool, beside a village and into that cave she crept and lay down to sleep.
When she woke up the smell of sweet meat cooking down in the green valley filled her with hunger and the longing for all the things that human company ought to bring but seldom does.
So she spent the morning gathering leaves, the afternoon stitching them together and by evening she had made for herself a fine long cloak that hid the patterns on her arms, and a hat with a broad brim to cover her face.
Under the stars, she took out the bird quill from behind her ear and dug it deep into her skin until it was slathed in colour, then she found a broad, flat stone and she began to paint
In swirls and spirals, tree cassyn pathways to guide the flow of all that weary weight into illuminated forms both wild and wonderful.
Here was a dream on stone.
Here was pain projected, disembodied, disowned.
Here was inside out for all to see and staining nothing but this unfeeling earth. And the world would smile and nod and never know where all the colours came from.
As the sun rose over the valley, the painter’s daughter stepped down from her cave, down and down and into the village and by that afternoon the tongues were wagging like wild fire flames; who was the stranger in the cloak of leaves who traded her marvellous paintings for table scraps? Some had seen her return to the cave – a hermit then? An anchorite? A holy one, certainly, a wise healer, a cleric, a teacher, a goddess in the flesh… ?
Every day, more and more villagers made the trek up to the painter’s cave. They wondered at her work – colours and patterns that seemed to describe the deepest parts of themselves. The parts they never let show. How? They asked, with tears in their eyes, how can she know?
They bought canvases. They paid in gold.
Inside her cave, hidden from sight, the painter took her feather quill and emptied herself out for them.
Day after day.
Night after night.
Slowly, as time went by, she began to grow old and paper thin. She had to coax out the paint in crusted oozes from her gummed up veins. Sometimes finding the strength and the will would take hours. Often there was not enough. Not enough colour, not enough energy and too much pain of the flesh and the bone to finish the work. ‘One day,’ thought the painter, ‘one day I will dry up. There will be no way of getting these crusted up colours out of my dried up body any longer. And what will happen then? Will the world understand when I can no longer paint their pain for them?’
The painter smiled and shook her head. She stuck the feather quill behind her ear and pulled off her cloak and hat of leaves. Clotheless under the silver moon, she walked down to the lake pool and stepped right into the comforting black.
The next morning, when the people came up to the cave the painter was gone, but the waters of the lake below, as they looked down into the valley, were snaked with rainbows.
Hmph well, yes, at least we may thank our stars that this pathetic Poevember pranking is at end and speaking of stars they are all out and I must get back to my work and you must get back to whatever it was you were doing before you decided to pester me… GOOD NIGHT!
Good evening and welcome to my pulchritudinous plethora of accumulated antiquities…or as some ridiculous personages have dubbed it – my lovely library.
I am Perilous Wight and here in the bowels of the city of Lancaster, in the disused tunnels of an underground train system that never was, I have made it my mission to collect every book that our self-proclaimed ‘supreme ruler f the universe’ and his mincing minions have banned from the bookshelves of The New World.
But this is not a ‘lending library’; if you have wandered in here on the ill-advice of a ludicrous Tea Fiend and their rampant octopus, let me assure you that you will find no frivolous fancies or biscuit-based buffoonery here. Here there is only the dark and the damp, the flickering of candlelight and the ceaseless toil of a man who did not re-animate from the dead to be pestered by people wanting bedtime stories!
But wait…what’s that you say? Late Bottled Vintage Port? Ten years eh?…. well, yes perhaps it is about time I put my feet up for a while, pipe and slippers and a little drop of something to fight off the chill. And I suppose I could read a very little something,
like this perhaps…
THE CROW AND THE CHILD
If you take the leg bone of any creature that dwells on this earth and slice it open, there in the marrow you will find a wondrous land populated with castles and citadels, golden-leafed forests and wide open wilds far more fantastic than mortal minds alone can conceive.
In this land, if you look closely, you will see there is a little gathering of dwellings, each one barely enough to be called a house, and even altogether barely enough to be called a village. Just a little gathering, then. A little huddle of souls. And in the skies above this huddle, one particular star-winked night, a stork was sailing.
His wide white wings caught the moonshine like a silk sheet and for a moment he glowed silver against the indigo sky before tilting his tips to spiral down and down and down, through the tunnels of air and shadow, to alight upon a thatched rooftop. And there he stopped and considered himself for a moment.
Side stepping awkwardly on his long jointed legs, he approached the chimney stack and was about to peer inside when he suddenly remembered the bundle in his beak. So he stopped. Paused. Thought about it some.
A crow, who had been waiting on the rooftop since sundown, tilted its head and regarded the stork with curiosity.
After a while, the stork laid the bundle down carefully beside him on the rooftop and then proceeded to stick his long, inquisitive beak down the chimney. He withdrew it immediately with a squawk of alarm. This is what he had seen:
In the single room of the dwelling below, a man and woman lay in peaceful slumber, wrapped in each other’s arms, and, in a rocking chair beside the hearth, an old woman likewise lay with eyes closed and her mouth fallen softly ajar. From the breast of each silent figure there flowed a river of blood. It slicked their skin and matted their hair, soaked their sheets and clothing and, in the light of the dying embers, the floor shone red like a vast pool.
The stork ruffled his feathers, let out another shrill shriek of near-hysteria and began side stepping a strange and agitated dance up and down the rooftop. So great was his obvious distress, that the crow thought, really, and against his own better judgement, that he ought to try to offer some assistance. He stepped out of the shadows and enquired what the matter was.
“The matter? The matter? You ask me what is the matter? I am supposed to deliver a new life into the loving bosom of this happy household and what do I find? ” his pitch rose, feverishly, “Dead! All Dead! Every last one of them down to the crone in the rocking chair and don’t,” he pointed an accusatory pinion at the crow, “pretend you know nothing about it! And now what am I to do? I cannot very well leave the infant on the doorstep can I? Not when there is no one to come and take it in! Stone dead within a few hours and what will be the point of that? Hm?”
“I think you should calm yourself at once,” the crow said, dark eyes each like a tiny galaxy, their light coming from so deep within. “Remember that none of this is our concern. You are bid here this night to bring life into the world and I am bid here to take life out of it. This is our way and always shall be and whether or not this infant is destined to spend but a few hours in the mortal realm has nothing to do with us at all. Please calm yourself my friend and do the job you were sent to do, no further responsibility is yours to claim.”
“But if I don’t do something…”
“But if you do!” The crow’s voice was suddenly stern, “If you do act, with your limited understanding as your only guide, you may do greater harm than good. Souls must pass in and out of the mortal world and you and I have neither the wit nor the wise to dictate how and when that should be so.”
But the stork had got himself all worked up into a frenzy by this time. Damned was he if he would leave this babe to freeze to death outside a door that was never going to open to welcome it in. Violently, he snatched up the bundle in his beak once more and, with three beats of his mighty wings, he rose again into the air. Exactly what he would do, he had not yet decided but the crow’s words about his own impotence and ineptitude for decision making had settled like a red mist around his senses and he could not think clearly. He would take the babe to some other village, some other house, a great house, a palace perhaps…
Fearing that he had only made the matter worse, and seeking now to correct it, the crow left his watch post on the rooftop and swept like a rag of storm-harried cloud into the sky in pursuit of the stork. “Come! Come come! Back! Back back!” he croaked, weaving this way and that around the enormous bird so that soon the stork grew so vexed and dizzy that, forgetting all that he was about, he lashed out savagely at his tormentor with his harpoon of a bill, slicing open the side of the crow’s head from beak to glittering eye and, yes that’s right, he dropped the bundle too.
Two tiny scraps of flailing life spiralled down through the stars to earth …
and landed on the doorstep of a high-turreted castle, way up in the mountains and far from anywhere. The door creaked open and a woman made all of stone leaned out, picked up the bundle in one hand and the broken crow in the other, then slid, with a grating sound that would rattle teeth, back inside the castle and shut the door.
The stone woman slid on a network of metal tracks that covered the flagstone floor. Down long, cold corridors she went, where tapestries fluttered briefly in her wake, depicting the glorious endeavours of the living. Through halls populated with still and silent figures like herself, through the grim, dark-vaulted castle, she continued her slow but steady progression until she came to a winding spiral slope, then up and up and upwards she wound her way to the top most tower and there she pushed open a wooden door and creaked inside.
The old man, bent crooked over his desk and teetering atop a high wooden stool, lifted the visor on his welding helmet and peered at her with bright reptilian eyes set deep into brown leathery tortoise skin. He did not speak. Like everything else, the woman’s ears were made of stone. She held out the bundle and the crow and the old man lifted them gently and placed them on the desk in front of him, clearing away the parts he had been working on with paternal care.
The white sheets in front of him were stained claret with blood. He opened the bundle carefully and frowned; bending brows of feather-white quills over those bright little eyes. On the desk lay a boy child and out from his chest, out from his heart beneath his ivory skin, blood flowed bright and shameless, staining everything it touched crimson, matting through his white blonde hair in thick unsightly clots of black.
The ancient gentleman shook his head. “So fragile…” he muttered softly to himself “…so delicate, so fallible. No, no, no, a child cannot go through the world with a heart that bleeds. And this child, one day, will need to be a man. But no matter, no matter eh? He has come to the right place. I will make him a heart that will last a hundred years and more.” And at once he set about the task of making the child a heart so strong that it would not be able to bleed even if it wanted to.
The crow, barely clinging on to its body, struggled to squawk a protest but, if he heard it, the old man did not look up from his task. “Your turn next, birdie,” was all the muted muttering that filtered through his white moustache and, all the while, the stone woman stood in the corner and waited.
The old man was an inventor of some considerable skill and experience. Soon he had fashioned a marvellous heart and he carefully cut a hole in the flesh of the sleeping infant, plucked out the heart that wept so much claret over everything, and fitted in the new heart, sealing the chest cavity with a metal plate, screwed down through flesh and bone. The babe screamed and howled and the crow beside him fluttered feebly, but he could not do anything to help.
“Now, now my boy, what an ungrateful whelp you are eh?” the old gentleman chuckled “Don’t fuss now, don’t fuss. See this new heart will last you a hundred years and more, that one you came with would not have served you five minutes. Not in this world, certainly not. Now then,” he turned at last to the stone woman, lifted the screaming child awkwardly from the workbench and placed him into her strong, cold arms, then he turned his attention back to the bench, “alright then my little black bird, let us see what we can do to fix you now, shall we?”
The stone woman did not need to have ears of flesh to be told what to do with a baby. The inventor had made her plenty of stone children of her own, just as he had made her, her husband, and all the other stone figures that populated his castle. Insatiable in his desire to create, he churned out figure after figure until the castle was plagued by the grim, grey host. Still, he never once descended the tower steps to see how his creations were getting along without him.
The stone woman took the screaming baby to the nursery. She trundled across the wooden floor and laid him in an empty crib with silk sheets and soft wool blankets. She tucked a bottle of milk into his chubby white hands and he drank and slept. Then she turned on her tracks and trundled out of the room, leaving the baby alone, in the dark, with row after row of silent stone babies sleeping soundlessly in their cribs. Their sightless eyes did not need light. Their stone skin did not ache for the warm touch of throbbing flesh. Their carefully carved ears did not strain for the sound of comforting voice rising softly in song.
In those silent halls, hung with curtains of shadow and frosted breath, the baby grew to be a child. He wandered through the long vaulted corridors with their tattered tapestries and picked at the threads, wondering at the tales depicted there. He sat in the courtyards, crowded with statuesque figures who never spoke or sang but only trundled here and there along the metal rails their inventor had laid out for them.
Once he found a boy. Sitting with his back pressed against a bulky pillar, reading a book. But the book was made of stone as well and all the boy could do was turn a single page – back and forth – upon which was written a tiny scrap of story that his sightless stone eyes would never read.
Still the child wandered and explored the many rooms and passageways of the castle until, at last, investigating a staircase that wound skyward up a tower which swayed back and forth in the howling mountain winds, he came across a cage.
The crow in the cage cocked its head on one side and regard the child with a glittering eye that seemed to hold a galaxy, its light came from so deep within. Half its head, including one eye and all of its beak, was made up of metal plates but, the child’s breath caught in his throat, the rest of the bird was feather and flesh and bone. The bird radiated the warmth of life, it moved with its own purpose and intent and, when it opened its beak, sound – the croak of a voice, rusted but not yet broken.
“Back! Back back!” The crow spluttered. “Back, child, you should go back! Back to the village, back to the cottage, your place is not here in this castle. No. No. Go back. Go back back!”
The child filled his enormous eyes with the feast of the creature before him. Tears pooled.
“I am not who you think I am,” he whispered. Voice a cobweb in a storm. “I did not come from any cottage or village or far away better place. My place is here. It always has been.”
“No. I am not mistaken.” The crow ruffled its feathers and flapped its wings against the bars of the cage. “You are the baby, brought by the stork, to a village far away from here. But the stork thought he knew best and delivered you to this castle instead. I was there, I tried to stop him.” He clicked his mechanical beak crossly. “There is none so stubborn as a stork, it seems. But all is not lost, child, set me free. Set me free from this cage and I will show you the way back.”
The child caught his tears on his fingers . The crow’s words made sense; he had never felt he belonged in this world of stone figures. Never found a way to slide easily along the inventor’s metal tracks as they did. He longed for things he sensed were real, although he had never experienced them – warmth, touch, song and movement unprescribed. Although a secret part of him whispered that if he did not belong here in the castle, he surely did not belong anywhere, he ignored it.
He reached up pale fingers to the latch, opened the cage door with a snap and a swing, and the crow leapt out and perched upon his shoulder . Together they left the tower, down the spiral stair, and fled the castle forever for the long and difficult road across the windswept mountains.
Night was spreading his cloak over the land as the child and the crow sank down into a wooded valley. As the light dimmed to a pumpkin glow, shadows rose around them taking form from fancy and conjecture.
“Light! Light light! We must have light. Strike a flint child, light a flame that we can see our way through the darkness.”
But the child did not know how.
In desperation, the crow snatched up the last bright thing from the forest floor, as the sun sniggered into its sleeve and slipped away. A last pale leaf, softly luminous in the moonlight. He handed it to the child and the child clung to it, fixing his eyes upon its faint, cold glow. But it was not a flame, only an imitation of one. It gave no warmth and nothing at all was illuminated.
All night long, the crow and the child sat huddled amongst the trees and clinging tight to their leaf.
They heard things pass them in the darkness; some far off, some so close they could feel their breath. They smelt good things cooking on campfires, saw the distant dance of what might be a flame or a farmhouse. Sometimes a voice would hail them, “Hey! You there, is that somebody there? Have you lost your way then? Come with us, we will show you the path out, we have food and light over here, come out of the shadows and join us!”
But the crow advised the child to close his ears to all of this. It was so dark, afterall. The voices could belong to anyone. Or anything. So they clung to eachother. And their leaf. Through a night they started to believe might never end….
But nothing is ever as eternal as it seems when we are in it. At last a paleness began to seep slowly over everything. The night’s dense pelt teased apart into fine needles of shadow and the child and the crow heaved their cold and aching bodies up out of the dry leaves and blinked at eachother, surprised to recognise familiar form after all the liquid swell of night through their senses.
They saw the path. The crow remembered the way. Through the dense wood, never stopping, out of the valley and over hills which became green and spongy with succulent moss and sedge beneath their feet and whispered tales of secret underground springs and maidens and moles and other goings on beneath the soil.
The scent of that soil rose up like iron, bold and beautiful and life affirming and it wove a robust rhythm with the heather and the broom that danced like gypsies wherever they pleased as the wild wind tugged playfully at their hair.
The child and the crow did not dance over the hills with the heather. They were too weary from their long and watchful night. Heads down, wings and shoulders hunched, they trudged. Each footstep a tiny miracle. If they had chanced to look up, they would have seen the little huddle of dwellings, each one barely enough to be called a house and even altogether, barely enough to be called a village, rising out of the landscape ahead.
It happened all of a sudden; the way you can be standing in a room sometimes, floating in waves of conversation that ebb and swell without conveying meaning, until someone on the far side of the room whispers your name. And you blink. And suddenly the world makes sense again.
The boy stopped. And blinked. His feet were wet.
In fact, the ground all about him was saturated with something thick and oozing. He lifted one foot, curiously, and then the other. The crow put his head on one side and then flapped excitedly off the child’s shoulder and began to circle a giddy, euphoric spiral above his head. “Back! Back back! This is the place child, we have found the way back!”
But the boy wasn’t listening to the crow anymore. At that particular moment he didn’t need to.
He simply knew.
As soon as he felt the warmth of the blood between his toes, the blood that flowed down the main street of this place like a river, he knew it for the same rich, red life that pulsed through his own flesh in such abundance that it ached to be released. He sank to his knees, he washed his white flesh in it, he licked it off his wrists and arms and the taste of iron made him weep like a starveling cub.
Ravenous, he raised his eyes and saw people hurrying towards him, boots splashing through the flood of red that flowed, shameless, out of their breasts and into the street. They didn’t ask his name, who he was or where he had come from.
Perhaps they knew he was one of them.
Or perhaps they did not care.
They welcomed him, they brought him inside, fed him and clothed him and the child bathed and soaked and gorged himself on blood that seemed inexhaustible because everyone bled and fed and bled some more…
The child stayed in the gathering of bleeding hearts. He never found his parents because the crow could not remember the dwelling to which the stork had brought him, but that did not matter. He had found a place filled with folks that were more akin to him than any cold castle filled with stone automatons. And did it worry him that the inventor had so brazenly stolen his heart all those years ago? Well, yes, after a time it did start to bother him. It bothered him so much that one day he sought out the crow who had helped him to find the place where he belonged, and together they set off on a quest to steal back his bleeding heart… but that story is a long one, and will have to wait until another time…
Hmph, not that there will be another time, as I said, this is not some nursery bedtime story hour I am running here! You can tell those miscreant pot-sots, when you see them, to stop sending people down here to bother me with their remedial reading requests I have serious work to be getting on with. Now go on, out with you, shoo, no I don’t care if there is a curfew and you are worried about getting eaten by Carnivorous Liver Birds, you should have thought of that earlier. Good night.
Oh, er, leave the bottle though….