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fantasy fiction original story short stories spec fic Tales from the Subcontinent

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In honor of my friend Steve Berman’s birthday, today, I thought I would try something I haven’t done before and am unlikely to do again: Post an original, never-before-published story here at sentenceandparagraph.com. Said story happens to be one Steve’s fond of for reasons I can’t imagine, and I am fond of partly (but not solely) because it was the first written of the tales of the subcontinent. Without further ado.


The Other Bridge

Somebody told me about the other bridge. I don’t remember who. It was a party, one of the parties my new friends insisted I attend although they invariably abandoned me without troubling themselves to present me to the host, a count or baron of the ancien régime. Everybody smoked, which I had not since university in a different country. Hired waiters in antique livery bore trays of glistening flutes filled with bitter sparkling wine from the count’s vineyards in the hinterland. In every other chamber stood a buffet of lavish abundance, either so beautiful nobody cared to spoil the arrangement or already wrecked so that the food appeared to be rotting. In one salon, a string quartet could not be heard over the grumble of conversation and disputation. In the grand ballroom, where dark oil portraits of the count’s ancestors glowered from walls festooned with plaster cornucopias spilling plaster fruit, a deejay programmed hit after hit but nobody danced.

I do remember. It does me no credit to feign otherwise. Likewise, it would do me no credit to record her name. She was a minor aristocrat, her rank indecipherable to the foreigner, not landed or landed only meagerly although her ancient jewels were very fine. In daylight hours she pretended to the civil service, a desk job that afforded her handsome clothes, the latest fashionable devices, the drugs her coterie preferred. And gifts, pretty tokens, flowers, chocolates, for the naïve exotic from the far side of the world.

Myself.

She offered me one of the glasses she had appropriated from a passing waiter, trailing her fingers across my hand as I accepted it. “Tell me,” she said, “tell me again—no, it’s noisy here—come!”

Across the ballroom I followed the artificial but very beautiful flame color of her hair, through an open door, onto a balcony. The smell of the Sja came up, choking—but not, I reflected, as sickening as Father Bodo’s where he flows through the center of my city. “I didn’t realize Count ______’s house was right on top of the river,” I murmured.

She glanced back. Raised eyebrows above her pale, pale eyes told me the count’s name was exceedingly venerable. The surprise would be if his house stood in one of the pleasant, airy, healthful parvenu quarters. They are slaves to tradition, the Sjolussenes, even now.

Disposing herself decoratively against a column of fluted marble to which clung flowering vines not fragrant enough to dispel the river’s odors, she drew a cigarette from her bag, lit it at the candlestick burning on the balustrade, and beckoned.

“I wish to hear again about your…chowas?”

“The chueie?” I made a false little laugh as I approached, not as closely as she desired. “Not mine.”

“Of course. But your country’s. Chueie? Am I saying it right?”

I was not so naïve as she—as her friends and my friends—believed. Exotic? It was half a century since people of her class had any cause besides curiosity to suffer the inconvenience of a sea or air voyage to my homeland. She was not an overly curious woman. Still, immigrants from former dominions outre-mer were scarcely uncommon in this capital of squandered empire. I had no doubt at all she daily purchased trifles and staples from vendors who resembled me as much as she resembled any of her tall, ungainly fellow citizens of the no-longer-new republic.

But the shopkeepers she patronized were common, she might tactlessly protest…if it were an argument ever conducted except in my own head. Whereas I (the image in my mind’s eye of this deliberately useless woman fluttered prettily), I, she was quite sure, outranked her.

It was possibly true. It had suited Sjolussa’s purposes very well not to dismantle the native hierarchies of annexed realms: my titles, such as they were, and my ancestry were legendary where my erstwhile lover’s were merely historical and now, by republican statute, merely decorative. When the sad, imbecile last Empress of Sjolussa, Katothtet, the Nearer Isles, and Outre-Mer was deposed and the new government renounced her dominions overseas, the apparati of state continued running like balky clockwork in Dothe, in Piq, in U, in my Aveng, in all the others. Suitable candidates of the ancient dynasties had always been ready to dispossess the Sjolussene vicereines. My family stood not within four steps of the Jade Stool in Defre, else I should be at grave risk of betrothal, but within five.

“I am quite certain,” I said, “I told you the chueie were a foolish legend, a tale to frighten stupid girls.”

“Yes,” she breathed. “Tell me. Were you frightened?”

“Of course! More frightened than many girls, I suppose.”

Enthralled, she sucked at her cigarette and breathed out smoke scented with Avengi spices, flicked a coal over the rail. I pretended to imagine I heard its hiss when it struck the Sja’s swift waters, and sipped from my glass.

“Tell me.”

I had told her of the chueie on that first occasion to signal I was not averse to her subtle courtship. Sjolussenes regard desire differently than my nation. The story had continued from the entertainment where we met, to her small, not exquisite apartment, into her bed. I had tired of her perfectly adequate lovemaking almost the moment it commenced. Already, although I found her beautiful, I realized she was relentlessly unfascinating. That was six months before, early in my residence in Sjolussa. Until this night she had appeared content with being my first seducer in her city, unjealous of the more interesting women whose affections succeeded hers, undesirous of repeating the feat. Her occasional gifts were mere trifles.

“When Defre-ua-Bodo was still a very small place, capital of nothing,” I commenced, “long before your people came to us, before we were properly a people, there was a small lake that had no name. Now it does: Kittan-e-Chuei. Now it lies within the royal precinct, but then deep in the forbidding forest, half a day’s walk from Mother Flame’s first shrine. Nobody had cause to visit it. Its waters were stagnant, unwholesome—Father Bodo provided all the water anybody needed, fresh and clean in his hurry from the mountains to the sea.

“There was a girl recently become a woman. She was meant to marry a boy, a playmate of her childhood. His family owned a bull buffalo and two cows, a year’s surplus of rice in their granary—oh, it was an advantageous match, and his mothers and fathers were kind, generous, fond of her. But the girl—shall we call her Naï?—Naï had listened too well to the wrong parts of old stories and never looked around herself at real people: she believed the fairy tale that marriage was the reward for passion.

“Naï loved another girl. Passionately. Alas for Naï, her beloved was sensible. She would have accepted her own betrothal without hesitation unless to haggle a better deal, understanding marriage to be a contract between families, corporate entities. In my country,” I said aside, for I knew it not to be true in Sjolussa, “until quite recently, fidelity, as you call it, was seldom a clause in the contract. Nobody would glance askance if Naï kept her lover after marrying the suitable boy. She would be thought peculiar if she didn’t: flighty, perhaps untrustworthy.

“Naï was peculiar. She waxed eloquent, proclaimed her unequalled love, declared she would die rather than share her beloved or be herself shared: they were one soul!

“The other girl first laughed, astonished by Naï’s ludicrous passion, then quieted. You are not sane, she said, turning away. Then, for she did truly love Naï, the sweet careless girl Naï had been, You must marry the boy. Nothing between us will change, my dear, unless it grow richer, deeper. She saw the incomprehensible horror on Naï’s face and said, her heart closing like a fist, If you choose not to marry him, I will not know you. And then she walked away.

“Betrayed, as she saw it, Naï fell weeping to the ground. Her tears made mud of the street, her cries made the air ring. People passing by glanced aside, for madness is a sad and holy thing. Busybodies, of course, ran at once to her betrothed’s mothers, more compassionate persons to Naï’s.

“Peculiar she was, mad she might be, but Naï was not entirely stupid. As she howled and wept, smeared her face with dirt, pounded her fists against unyielding earth, at a certain point she realized she had made herself a scandal that could not be lived down. The most perfect of all girls would shun her. The suitable boy of whom she had always been fond would not marry her. Her mothers and fathers would not be able to—would not care to protect her. She would be a figure of horror or of fun for the rest of her days.

“If she remained in Defre.

“So she rose to her feet and with all dignity she could muster strode away from the town and our Father Bodo, into the forest. When her mothers came to succor or scold her, she was not to be found.”

My throat was dry. Taking an effervescent sip from my flute, I glanced through lowered lashes at my audience: wide eyed, her lips prettily parted, cigarette smoldering forgotten between her fingers. “Do go on,” she pled.

I sipped again. “This was long ago, you understand. Not so long ago one wasn’t aware there were other towns, other nations in the world, but sufficiently so that one didn’t quite believe it. Only the rare, adventurous person would ever leave the place of her birth, seek out the habitations of strangers—know where to go. Naï had never been adventurous. She entered the forest blind. Once she believed herself out of sight of everybody she had ever known, she began to run.

“The dimness of the forest canopy swallowed her up. Large and small creatures that lived on the ground scattered before her noise. From the tall trees, monkeys and parrots mocked her. She felt too desolate for fear to mean much but she became more and more fearful. Was that tall, bulky shadow a bear? Could that be a leopard reclining at ease but alert on that high bough? Did tall grasses conceal a tiger? She feared, too, a great many spirits, hobgoblins, fabulous beasts it would be tedious to list.

“Hours later, when Naï stumbled upon the shore of the lake we now call Kittan-e-Chuei, there was not much left of her but sorrow, fear, exhaustion. The lake’s waters looked bad, filmed with clouds of green, blue, red-brown, and smelled worse, but she was too parched not to drink. Then she fell precipitately into sleep.

“When she woke, she believed her lover had come to comfort her. The night was dark. On the slimy surface of the lake gleamed reflections of stars like indifferent eyes. Something warm and alive was nudging her shoulder in a rude caress. She rolled over, ready to weep, forgive, be forgiven, but her lover did not embrace her. Even in darkness and the confusion of waking, Naï knew to the center of her being it was nothing human that gently pushed her again. She screamed, tried to scramble away. There was nowhere to flee but into the shallows of the lake.

Wait, said the being.

“Naï shrieked again, trapped between unclean waters whose depth she did not know—not unusually, the girl could not swim—and the…beast. Tapirs were not meant to speak.

“Tapirs are shy, unworldly creatures. They would rather flee than attack. Naï knew this, even in her terror. But they are large, bulkier than the fattest wrestler and more agile, brutal when cornered or provoked. Naï knew that as well, and this beast was monstrous, half again the size of any natural tapir. Monstrously huge and uncanny. Wait, it said again. I am your only friend. Its lambent blue eyes glowed through the darkness. Faint light caught the white tips of its ears as they swivelled toward her, gleamed in the wet nostrils of its seeking trunk. Do not fear. I am here. Its regard steady, the animal settled back on its haunches.

“Naï was not comforted. Go away, she said weakly.

You came to me.

“The moon rose above the trees around the lake and, most unnaturally, the monster reared up on its hind legs like a bear, pawing at the air with the blunt toes of its forefeet. Pale moonlight bathed the tapir’s vast black bulk and it changed.

“Flesh melted from its great belly. The bones of its stubby rear legs lengthened. The creature whined in a thin voice as pelvis, spine, shoulders realigned themselves to support upright carriage and its forelimbs became arms. The shape of its skull deformed, fleshy and cartilaginous features migrated and shrank. The dense pelt that had covered it melted away. In the few moments before the moon slipped entirely free of grasping branches, the giant tapir was transformed utterly. A giant man twice the size of Naï’s betrothed stood on the lakeshore.

“He shook his head as if confused, clenched and unclenched his fists, closed and opened clouded blue eyes. His skin gleamed black as coal tar, black as a tapir’s pelt, except on the rims of his slightly over large ears, white as salt. You came to me, he said again, my lovely bride.

“Ah!” sighed my lovely listener with great satisfaction.

“And then the chuei rushed forward, swift and inescapable as a charging tapir. He grabbed cringing Naï around the waist and threw her over his shoulder. Shrieking, she beat with her fists at the saddle of salt-white skin on his back. He took no notice but strode toward the center of the lake. The unhealthy water rose to his knees, his thighs—the chuei neither halted nor slowed.

“In a matter of a few more strides, the lake lapped at his shoulders and all Naï’s effort went into keeping her head above water, flailing and coughing and screaming. The lake continued to deepen, the chuei to proceed. Tapirs, of course, are very fond of water, capable of holding their breath for a goodly period as they wander about beneath the surface, while uncanny beings such as chueie need not breathe at all unless they choose.

“Disobedient or insane girls are not so made. By the time the chuei of the lake reached his subaqueous home, his lovely bride was quite drowned. Her husband was not dismayed. He pampered Naï’s sodden corpse until her flesh dissolved into the lake’s waters. As years passed, now and then he rearranged the bones of her skeleton into newly decorative attitudes. And all along, since her body had been given neither to Mother Flame nor to the swift currents of Father Bodo, Naï’s soul was trapped in the lake: she would never in all of time reach that deep blue sea which is the sky, where the burning spirits of women and men are forever marked by their descendants on earth as stars.

“No, foolish Naï remains eternally with the chuei and all his subsequent brides, yearning always for the lover she abandoned in her pride, regretting always the husband who might have loved her sincerely, gently, instead of rutting on her like a graceless tapir whenever the desire struck.”

My onetime lover clapped with delight when I finished the tale. “Oh!” she exclaimed as I swallowed wine to soothe my throat, “oh! No wonder you were scared! Is it only girls who prefer girls who become the chueie’s brides?”

“Girls who defy their mothers’ sensible wishes. Girls who run away from home.”

As the woman bent her head to light another cigarette, a lamp within doors made her hair flare up brilliantly. Her eyes caught the light when she raised her face again. “We have a similar monster,” she breathed. “Here—in the city!”

“A tapir?” I asked, amused. Such animals are not to be found at Sjolussa’s latitudes except in the great zoological gardens.

“No,” she said, misunderstanding me. “I have never heard of it taking animal form. It preys on lost women and men.” And she began to tell me of the creature that dwells on the far side of the other bridge.

Perhaps she was simply not a storyteller: it was a confused recitation, lacking narrative or character: a haphazard collection of rumor and legend. Many centuries ago when the river was wider and the two banks of the Sja were separate nations speaking separate languages, if both nominally provinces of Katothtet’s patchwork empire, a person was exiled from the capital so far to the south and west. She did not recall his name or crime, whether he came to Góad, the town on the left bank where the Sja makes its great bend, or Pasna, on the right. She did not recall whether he was an engineer—ancient Katothtet still renowned for its engineers—or merely a visionary. He resolved the river must be bridged.

And so it was done. The logistics of such an immense undertaking were of no interest to the teller—how suspicious native governors on either side of the river were persuaded to sponsor it—how, lacking stonecutters and masons, Pasna and Góad contrived to throw a massive, unprecedented span on six arches across the swift, unforgiving Sja. For a thousand years it remained the river’s sole bridge. As Katothtet lost control of its distant provinces, then the nearer ones, finally was sacked, overrun, and reborn, Góad and Pasna prospered. The peoples and languages on either bank mingled. The separate towns became a single hybrid city, a prosperous entrepôt, Queen of the Sja. Sjolussa.

Naturally, Sjolussa fell within the eye of Owe-ejan-akhar when that monstrous conqueror, having overthrown three eastern empires, turned her attention west. Sjolussa was scarcely the Ejan’s target—grand as the town was, it was a hamlet compared to the imperial capitals she already owned—but its bridge offered the most convenient route into the rich, disunited heartlands of the subcontinent.

Refugees announced the imminent arrival of the Ejan’s hordes. Bearing the bread and salt of submission, the city’s co-princes rode half a day’s journey northeast to meet her. Gracious, she accepted their surrender and their invitation to a banquet in the Pasna prince’s palace across the river to negotiate terms: how much real tribute, how many slaves, how many lives.

It was not meant as a trap. If it had been, the Góad and Pasna princes should not have preceded the Ejan onto the bridge. It was afternoon of an uncommonly warm late-spring day. As often occurred on such days, the chill Sja had birthed a thick fog. Afoot, the co-princes of Sjolussa strode under the Góad gate, onto the bridge, and into the pearl-white mist, followed by the mounted Owe-ejan-akhar, her chief heir and commanders and one tenth of her personal guard, the Thousand Tall Riders.

At the Pasna gate waited the princes’ chamberlains and counsellors, the masters of the guilds that would bear the burden of the Ejan’s tribute. They waited, squinting into the fog rolling down the course of the river. They waited. Of the whole grand party, not a single person ever emerged from the mist.

When word of the Ejan’s vanishing reached her people, the undisciplined horde, loyal only to her, superstitious, long away from home, dissolved into tribal bands and turned east. Her minor heirs and the surviving Nine Hundred Tall Riders naturally laid waste to Góad and massacred its inhabitants. They declined to set foot or hoof on the fateful bridge. Terrible revenge taken, they too turned their horses’ heads toward the dawn and set out to carve up the Ejan’s dominions among themselves.

“You mentioned a monster,” I said. “Which preys on lost women and men.”

My flame-haired acquaintance looked up. Her eyes were glassy: the wine, the hashish and other adulterants in her cigarettes. “Come home with me,” she said, “beauty.”

I was perhaps a little drunk myself—I was flattered. But unmoved. “My dear. I must decline. I have an early appointment. It’s the inconvenient time of the month. Another night.” I made my escape.

The second week after I arrived in Sjolussa and settled into my stark but rather lovely apartment on Av. Heras on the right bank, I purchased a fashionable little motorino. The Métro was inconvenient for my purposes and I had never learned to drive an automobile. Automobiles were in any case frowned upon in the center city and prohibitively taxed. My moto had, in fact, been built in an Avengi factory: built for export, so it was slightly more powerful, slightly less noisy than the one I learned to drive on the clogged streets of Defre. Leaving the count’s house, I waited for some minutes under the porte-cochère for an attendant to fetch the moto. It was late for most citizens but not for the count’s guests. Nobody else waited with me, and the attendant appeared mildly shocked I should depart so early. I tipped him well.

Mounted at last, I drove through the count’s night-obscured gardens to the gate, where another liveried attendant bowed me through. On the narrow street overlooked on one hand by the high walls of the count’s estate, on the other by taller tenements, I thumbed the switch to initiate the navigation system. The left bank was not significantly more chaotic than the right but it was not my territory. (It bemused, almost pleased me to realize I considered any part of the imperial city mine.) The translucent display across the top of the moto’s windscreen directed me upstream.

At one time or another I had crossed and recrossed each of the city’s four bridges. The Half-Centennial, which had opened only two years earlier, was the most beautiful, a white cable-stayed harp designed by the Uvian celebrity engineer Suwin, but it was well out of my way downstream, linking the two halves of the purpose-built business district. The Jubilee, a century older, had once been beautiful, though modern eyes found its agglomeration of industrial lattice and faux-antique ornament grotesque. Av. Etz vaulted the Sja supported by an elegant steel through-arch, while Av. Gruth’s span was unremarkable concrete. As blinking dots and arrows led me on, it occurred to me that none of the extant bridges was the ancient six-arched stone span of the legend I had just heard. I had never seen a trace of it.

I was distracted. I remembered coming across a monument once in a small left-bank plaza, a plain, impassive stela inscribed to the memory of the Góad Slaughter. Another monument I had often seen without properly understanding was the Ejan Pillar, fifty meters of etched steel spiring up from an artificial islet in the river upstream of the Half-Centennial. Plaques in the park at the water’s edge called it a gift to Sjolussa from the government and people of Lararniw. Which windswept, mineral-rich, landlocked nation, I tardily recalled, claimed to be the heartland of Owe-ejan-akhar’s empires. The Ejan’s covetous eyes had never looked as far south as Aveng and our neighbors so she did not so much feature in our mythologies. Perhaps her Pillar marked the site of the old bridge from which, I had just been told, she and her Tall Riders vanished.

Perhaps not.

I steered my moto without thought according to the graphic prompts on the windscreen. There was remarkably little other traffic. I was accustomed to the uneven cobbles of Sjolussa’s surface streets, intended to keep drivers slow, cautious, alert. In the latter purpose, in my case that night, they failed. My moto and I had wobbled well across the river, bathed by its cool, odorous breeze, before it struck me none of the four bridges was cobbled. A wall of curdled fog rose before me, disturbed into eddies and whirlpools by the ancient stone bridge’s low parapets and the squat stone bollards that marked the abutments of the six arches upholding it. The motorino’s engine sputtered, failed. Still more distressing, the headlamp yellowed and went out, the navigation display evaporated.

The brakes had failed as well but I was travelling sedately and was not so incompetent I couldn’t plant both feet on the roadbed before the motorino fell over. Climbing off, I hiked up the rear wheel and kicked down the stand. Stupidly irritated, I glared at my pretty little moto. None of the four bridges I knew was within convenient walking distance of Av. Heras.

This was not any of the bridges I knew.

“Beauty,” said the river purling against the bridge’s piers.

“Beauty,” said the breeze.

“Beauty,” said the fog, something within the fog, striving to take form.

“No, really,” I said, “this will not do.”

I was not beautiful, not in Sjolussene eyes, certainly not beauty. Not even terrifically exotic. Even among the circles in which I moved there were several other expatriate Avengi of rank. There were Dothans, Piquers, who resembled me in being small, dark, more plumply voluptuous than the current subcontinental mode. There were exiles of nations I found exotic, Kyrland, Trebt, Lararniw, distant Haisn, still more distant and strange Yf. Diminished as she is, Sjollusa remains a capital of the world. “No,” I said again.

The figure resolving within the fog, about to become my flame-haired quondam seducer, hesitated. When it took another step, it had grown still taller, still more rangy and angular. It did not call me Beauty again. Instead, in a curiously muffled voice it said, “Come. Your…conveyance does not serve. I will bring you home.” Behind it loomed the indistinct silhouette of an enormous stallion.

“Thank you,” I said politely, reaching into my bag, “but I will manage quite well by myself.”

The being hesitated again.

My ’phone could find no signal—hardly surprising, I suppose, in supernatural circumstances—but its other functions appeared to be unaffected. My thumb found the camera icon, the flash illuminated the fog, the spectral horse reared back against its reins and the Tall Rider—perhaps she meant to be Owe-ejan-akhar herself—turned quickly to calm it.

The image within the ’phone’s glass faceplate was no centuries-dead conquering horse warrior of the steppes. Dead, yes.

I was not a disobedient daughter. Stubborn, surely, headstrong—no doubt my indulgent mothers and fathers simply failed ever to ask of me any action I did not care to perform. Nevertheless.

Nor had I fled Defre and Aveng. There was no scandal to be attached to my or my family’s name. Sjolussa had been my goal since childhood—that fabulous city and nation which gave my own nation and city so much yet took more, before retreating into itself like a sulky tortoise.

“This is unreasonable,” I said as Naï stepped out of the fog. “This is unfair and…unseemly.”

“Beloved,” she said, the dead playmate of school days. My first lover. My dearest friend until she chose to bewitch me. That stupid, stupid girl.

She was of Sjolussene extraction: her grandparents had chosen to stay on after divestiture although the restored government nationalized most of their holdings. Naï was raised in near poverty, circumstances made more unpleasant by bias against scions of the former colonial power. Taller than every other child our age, her hair white-gold and her skin pink, she could not disguise her ancestry. A crowd of unruly boys and girls had driven her to tears in the schoolyard with their insults when with unwarranted noblesse oblige I chased them away and dried her eyes.

As we grew up and I continued her protector, she grew beautiful in my eyes. Had she been born in Sjolussa, I expect, she would have dyed that pale hair any number of colors. I never loved her—have I loved any person?—but desire her I did. I desired several other people as well, a few more suitable than Naï, a few less, but she was nearest by.

By the time we completed our schooling, I was…not weary of her, precisely, but weary of lying to her. Like her namesake in my tale of the chuei, she would not countenance sharing me so I had no choice but to lie. There were other girls momentarily more fascinating. There was the now-and-then-delicious novelty of a handsome boy. There were lies, arguments, tears, more lies, refreshingly savage but ultimately unsatisfying lovemaking. I, of course, would matriculate at university—she, of course, would not. I travelled a distance that was short for me, nearly impossible for her, to Folau, Aveng’s second city, where I discovered, in addition to scholarship, more delicious girls, two or three fascinating boys.

In Defre, Naï pined. For myself, when I returned home on holidays, I delighted in her, her familiar ardor, for it was brief, temporary, bittersweet. And of course I lied to her.

She lied to me.

She had taken a position with a bi-national trading concern. I was not curious enough to ask what goods they traded—motorinos, perhaps—nor what her position entailed. It paid well enough, apparently: her wardrobe improved markedly. Occasionally on my visits she insisted on buying the takeaway meal, cigarettes, bottles of beer we would hurry to my private rooms. She gave me, at the terminal as I was about to board a train back to Folau, a bauble I found inexplicably exquisite when she fastened its cheap silver chain around my neck. The little wooden ball, carved and pierced and polished, tapped against my breastbone when she released it, but immediately I lifted it again to breathe in the muddled fragrances of resins, barks, dried leaves and flowers. The whole way to Folau I cradled the pomander between my palms, gazing blindly out the carriage windows past stretches of forest, past rice fields and wheat fields and corn fields, villages and larger towns, shrines, temples, distant monasteries. “Beloved,” I whispered at the countryside, seeing Naï’s blue eyes only.

At the Folau station, my chief amusement of the previous term met me. I did not recognize him when he called after me as I passed in a daze—a ridiculous happenstance for his family stood on the third step below the Jade Stool, everybody recognized him. As I generally preferred other women, he preferred other men, making us nearly a perfect match if only our ranks matched up more neatly. Put out, he called my name again and grabbed my shoulder. My hands fell from Naï’s pomander. “Oh!” I said.

“What is this ugly thing?” he asked, snapping the chain from my neck.

My eyes had turned at once to his pleasant, familiar brown eyes. I did not wish to look again at Naï’s gift now I knew what it was. “A terrible, terrible, disastrous mistake,” I said, slipping the chain from his fingers without touching its vulgar burden, and tossed the whole wicked thing off the platform onto the tracks. “I’m so sorry, I was distracted. How kind of you to meet me. Shall we go?”

He narrowed his eyes. He knew what it was as well as I now did. “Shall I—?”

“No, it’s nothing, it’s over.”

He knew as well as I we were over, as little as there was between us to be over, no tragedy of any degree. I was drowsy in his arms, content, late that night when my kindest, most tactful father ’phoned with news he understood I would find sorrowful: my old schoolmate Naï, the Sjolussene girl, had run mad, murdered the witch to whom she had apprenticed herself a year before, and drowned herself in Kittan-e-Chuei. I wept a little, not entirely for form’s sake, before asking the sweet boy to comfort me.

Now I looked from the image of Naï on my ’phone to the image of Naï which had solidified from the uncanny fog. “You are not that girl,” I said, firmly and reasonably. “She drowned herself in the lake. She chose to become the chuei’s bride. Her soul, if soul she had, cannot leave her husband’s waters.” I erased the photo.

For an instant the figure appeared worried. Then it changed again. The sweet boy I would have married happily enough if his family asked (it could never happen) gazed at me with yearning eyes. I laughed. Our circles still grazed, I had had drinks with him and his boyfriend not long before: he was no longer a boy. Since his marriage he had devoted a good deal of time, effort (and, I suspected, thaumaturgical intervention) to remaking his body in the mold of a mythic hero or mighty wrestler, nearly unrecognizable except for his eyes, very handsome, undesirable.

I laughed and raised my ’phone again as if to preserve this visitation from a pleasant memory. The thing quailed again, but I saw that I had somehow acquired a strong enough signal, so I ran quickly through the directory until I found the name I choose not to record. She chose not to answer. I left a message: “My dear. I was abrupt, I fear. Shall we meet next week? I’ve discovered a delightful Avengi bistro—allow me to buy you dinner.”

Slipping the ’phone back into my bag, I kicked the moto off its stand, grasped the handlebars, and wheeled it into the thinning, empty fog. I was entirely confident the engine would start up again as soon as I reached the far side of the other bridge. I had every intention of standing the ridiculous woman up.


Copyright © 2013 Alex Jeffers. All rights reserved. As a courtesy to the author, please do not reproduce this story without a link back to sentenceandparagraph.com.

 NB: The second-written tale of the subcontinent, “Three Dead Men,” was first published in Icarus #14, Fall 2012, which may be purchased in print and electronic formats via this link. The third, “The Oily Man,” will appear in Handsome Devil: Tales of Sin and Seduction, an anthology edited by Steve Berman, to be published by Prime Books in February 2014. The fourth, fifth, umpth? Well, I haven’t finished writing them yet.

Categories
California fantasy fiction short stories

more stories

I am delighted to report that my romantic little story of a boy and a dog (and, too briefly for Charlotte and Jane’s liking, an irascible cat), “Shep: A Dog,” will appear early next year in Cleis Press’s annual Best Gay Romance, edited for 2014 by Timothy J. Lambert and R.D. Cochrane.

I’ve known about the likelihood of this for some time but held off on the announcement until Lambert and Cochrane could finalize the anthology’s table of contents. And here it is:

Introduction • Timothy J. Lambert
Strange Propositions • Eric Gober
My Adventure with Tom Sawyer • Jameson Currier
True In My Fashion • Paul Brownsey
Sight • Jordan Taylor
Falling • James Booth
Thanksgiving • Shawn Anniston
The Invincible Theatre • Felice Picano
Carver Comes Home • Rob Byrnes
Spill Your Troubles On Me, Love • Georgina Li
Quality Time • Lewis DeSimone
Brooding Intervals • Kevin Langson
Dandelions • Tony Calvert
Shep: A Dog • Alex Jeffers
There’s No Question It’s Love • N.S. Beranek
Save the Last Dance for Me • David Puterbaugh
Afterword • R.D. Cochrane

Besides my own and the editors’, I only recognize two names. Yet another proof of how underread I am these days.


In other, more discomforting news, the long story “Lamp Night,” which I reported being thisclose to completion a few weeks ago, proved too complex and difficult to bring off so easily. As is often the case, alas. And so it has been set aside to stew in its own iftar-feast juices for a bit. I have two or three other stories in the works but, with that bad example in front of me, will refrain from talking about them yet.

Categories
fantasy fiction historical fantasy magical realism novelette short stories spec fic

stories stories

Parts of June 2013 have been intensely unpleasant but July is my birthday month so it’s got to get better, no? At any rate, I have three original stories and two reprints scheduled for that fateful month.

First, going live at GigaNotoSaurus.org on Monday, 1 July, “A Man Not of Canaan.” This is a work of (not terribly rigorous, I fear) historical fantasy set primarily in the days preceding and following the Bronze Age volcanic eruption of Thira—AKA Santorini—in the Cyclades. Archaeologists presume that catastrophe spelled the end of Minoan civilization and that tales of Thira’s destruction form the foundation of Plato’s Atlantis. “A Man Not of Canaan” reveals for the first time that the eruption was not natural. Rather, it was the deliberate, malicious elimination of a cyclopean city in the depths of Thira’s harbor. I will not (nor will the story) directly reveal the cosmic entity responsible for the eruption but any reader familiar with H.P. Lovecraft’s Cthulhu Mythos can probably figure it out…and berate me for taking liberties with the canon.

giganotosaurus

Second, already glimpsed in the wild (a Philadelphia-area Barnes & Noble) by its editor, Bad Seeds: Evil Progeny is apparently available early from Prime Books. Although I’ve not yet received a contributor’s copy. My story “You Deserve” is narrated by teenage Max, recently adopted by Stuart Ackles-Echeverría and Esteban Echeverría-Ackles and visiting for the first time their vacation cottage on a Massachussetts lake. Here he develops a crush on Rory, another summer visitor, and…bad things happen.

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Third, another Steve Berman production—this time from his own press—Where Thy Dark Eye Glances: Queering Edgar Allan Poe will go into general release around mid-month. Often truncated on line due to an early editorial misstep, the full title of my story therein is “A Portrait in India Ink by Harry Clarke”—Clarke being an Irish illustrator of the early twentieth century known for (among others) the drawings he made for a 1916 London edition of Poe. In an advance review at Ideomancer, Claire Humphrey writes: “Alex Jeffers’ ‘A Portrait in India Ink by Harry Clarke’ is as gorgeous as the picture to which the title refers, limning a young man’s sexual awakening in the fascinating lights of a migraine aura.”

HPIM0576

And the reprints. For Best Gay Stories 2013, Berman selected my “Wheat, Barley, Lettuce, Fennel, Salt for Sorrow, Blood for Joy,” previously reprinted in You Will Meet a Stranger Far from Home, originally published in Boys of Summer. One reviewer of the collection took me to task for stating flat-out on the back cover that Luke, Our Hero, “meets Adonis on a sailing cruise off the coast of Turkey.” Sorry about that, Sirius. Let’s clarify: Luke encounters variations on and memories of the myth of Adonis, and a young man who may (or may not) embody aspects of that handsome demigod. My contributor’s copy has not yet arrived but I believe the anthology is available for purchase.

BGS2013

And for Wilde Stories 2013: The Year’s Best Gay Speculative Fiction, the indefatigable Berman chose “Tattooed Love Boys,” likewise reprinted in You Will Meet a Stranger, originally published (in slightly different form) at GigaNotoSaurus in March 2012. A story Berman has loved excessively since I wrote it way back in 2009, in which vacationing Emma and her elder brother Theo get caught up in the schemes of three uncanny, immortal entities who may (or may not) be angels.

HPIM0569

(Yes, the weather warmed up and I cut my hair in the two or three weeks between this snapshot and the one above.)

Looking ahead, Prime Books will release Berman’s Zombies: Shambling Through the Ages in August—which is to say, it will probably go into distribution in mid to late July. That mammoth volume includes my “The Hyena’s Blessing,” a tale of an assassin, a caliph, and the shambling undead in eleventh century Cairo. I’m not permitted to speak about another story in Zombies to which I have a troubling connection.

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Finally for today, lest you think (as I far too often do) I’ve given up entirely on writing new stories, I will state for the record that I’m presently thisclose to completing a draft of “Lamp Night,” a fearfully long story about heretics, saints, and angels that takes place on Laylat al-Qadr, the Night of Power, in contemporary Pawtucket and Providence, Rhode Island.

Categories
Deprivation fiction SF short stories

gratifying newses

Busting out all over!

I’m not about to start using this site as a soapbox for broadcasting my political and/or social/cultural opinions. But I’m nonetheless pleased, and pleased to acknowledge my pleasure, by the Rhode Island State Senate’s decision today to pass the same-sex marriage bill and take a decisive (if belated) step toward bringing the state where I reside into the twenty-first century along with the rest of New England, Iowa, New York, DC, Washington state, and Maryland. …And the eleven enlightened nations, and the several states within Mexico and Brazil, where committed gay and lesbian couples may expect to have their relationships granted the dignity of legal recognition.

On a much more personal level, I was deeply touched this morning to receive an e-mail from a reader—a citizen of one of those enlightened nations, in fact, though currently expatriate—about one of my stories. One of my very rare politically engaged stories, the politics coincidentally having to do with marriage (not simply same-sex marriage): “The Arab’s Prayer,” originally published in 2011, reprinted last summer in You Will Meet a Stranger Far from Home and (where the reader encountered it) in Wilde Stories 2012: The Year’s Best Gay Speculative Fiction. It’s very much not my place to say anything more in public, except to note, Gentle Reader, if you happen see this post first, that I am composing a reply.

On a professional level, I’m startled and gratified by a review of Deprivation posted today at Lambda Literary. (Scroll down: it’s the fourth of four reviews.) I have my own longstanding issues with the Lambda Literary Foundation into which I will not delve, as well as with the bizarre placement of the book in question within the rigidly defined genre of “romance,” but Lambda’s romance columnist/reviewer Dick Smart won me over with his thoughtful—indeed smart—response and analysis. (Even though he got Ben’s father’s name wrong.)

So three cheers.

Categories
California fantasy fiction short stories

5,000 words

The upper word-count limit for submissions to a very great many short-fiction venues is 5,000 words. Of my list of places I’d quite like to be published, probably a third are no-exceptions absolute about it while another third express a strong preference for 5K and under. Interestingly, most of those are online publications: buying into the myth of the internet attention span?

At any rate, an unfortunate balk in the way of my getting into those  estimable venues because 5K words is a limit I almost always exceed. Glancing back at the twenty or so stories I’ve written since 2009, I think only two were sub-5K.

Very early this morning, I thought I’d managed the trick. Yes, surprise, so very soon after the tardy first, I completed a draft of a second 2013 story. In fact, I wrote it in about forty-eight hours (with heartfelt thanks to SB for the inspirational spur—what shall I write about?this, and this). That draft was a paltry few round-uppable words under five thousand. Unnecessarily, in terms of the market it’s aimed at, which is happy to consider stories up to 6,500 words.

In the twelve-ish hours since, revision added another five hundred words to “Shep: A Dog”—so much for that. Oh, well.

As well as being the second completed story of the calendar year, “Shep: A Dog” is my second nostalgia-fuelled story of 2013. “A Portrait in India Ink by Harry Clarke” was set in a doubtless romanticized version of Co. Waterford, Ireland, where I lived in the mid-to-late 1960s. “Shep: A Dog” starts out, and remains for half the story, on Carmel Beach.

I was born in Carmel-by-the-Sea, California—literally within the city limits, although Community Hospital moved to Monterey a few years later—and didn’t definitively leave the area until I was twenty-seven. For the next three years I lived in San Francisco, a hundred twenty-five miles north, but visited almost monthly. Since, though, I can count my trips back on a hand and a half, most recently a flying visit eight years ago. It isn’t a place I think of as having much hold on me now most of my family has also left and the town itself continued its inevitable evolution from tourist trap masquerading as funky bohemian artist colony to enclave of incalculable, unjustifiable, unsustainable wealth masquerading as tourist trap. Bitter, me? Plus the climate is life sapping for a tender hot-house flower like myself. At least New England has hot summers most years.

Another thing: It’s not a fact I go out of my way to broadcast but it is relatively common knowledge that my grandfather was Robinson Jeffers, misanthropic bard of the Central California coast, and my childhood home was the stone house he built, mostly with his own hands, just southwest of Carmel-by-the-Sea proper on Carmel Point. Outside California, it’s a generally meaningless datum, thank merciful and compassionate God, but in state—particularly on the Monterey Peninsula—the shadow of that man is thick and dense and choking, like the legendary Carmel Bay fog.

So it is perhaps no wonder that, while California shows up all over my own work (usually as a place to be escaped from), Carmel and its environs are not to be found. The closest I’ve got in anything published, I think, is Santa Cruz on the north shore of Monterey Bay, a minor setting in Safe as Houses.

I’m not at all certain why I chose finally to exploit Carmel in fiction. If I’d started instead of finished the story today I might point at a link one of my sisters posted on Facebook this morning: a 1967 telefilm on Robinson Jeffers produced by a San Francisco station. But that’s just a creepy coincidence and I haven’t brought myself to watch the video yet.

Possibly it was an extension of the nostalgic impulse that placed “A Portrait in India Ink” in Ireland. Also, though, as the title makes clear, “Shep: A Dog” is a story about a dog (named Shep), and I walked so many dogs on Carmel Beach, Jeffers bulldogs and whippets and mutts, that the notion of dogs is inextricably tangled in my mind with beach walks and beach walks with that particular beach, a five-minute amble from Tor House. One of several tragedies in the short life of Mustafa, the puppiest puppy ever and model for every dog I write, was his never getting to gambol on any beach. (A year or two after Mustafa’s death, his great good friend Duncan did visit Carmel but the silly boy was afraid of the Pacific.)

Also also, “Shep: A Dog” is a deliberately fluffy, lightweight, feelgood story. I don’t know that I could set any other kind of story in a place I clearly have such strong feelings about still. A kind of trivializing magic. The first draft contained several pointed class-war references to the transformation of Carmel I watched happening in my youth, further witnessed in jarring intervals since leaving, into a falsely eccentric wonderland only the 1% can or would wish to live in. Most of that got edited out (not all the revision was adding stuff), but it might be noted that neither of the story’s protagonists—upper-middle though their families are—live in Carmel proper: one in Mission Fields, an unincorporated community southeast of town that was, in my childhood, as near to trailer trash as one got south of Monterey; the other in Pacific Grove, north over the hills from Carmel, a solid, friendly, burgherly little city in my recollection.

All that unloading over (nearly a thousand words), I’ll simply note that I’m quite happy with “Shep: A Dog”: a fantasy of young love that makes me feel good. It has been submitted to the market I intended it for a few days before deadline and perhaps in a month or two I’ll be able to announce its sale.

Categories
Deprivation fiction Ireland Lethe Press short stories

spring, huh?

And yet I look out my window to snow flurries. Feh. Well, if we must go by the calendar (Gregorian/Persian/Bahá’í), Happy Northern-Hemisphere Spring (I’ll believe it when I’m not wearing longjohns and fuzzy slippers), Nowrūz, and Naw-Rúz. Slightly belated on the first two, sorry.

I have been ill and distraught in a distressing number of ways and so missed noting a very kind review of Deprivation last week, by the ever kindly Jerry L. Wheeler of Out In Print Queer Book Reviews.

[Deprivation], then, is a wonderfully plotless piece of art to be savored and admired. How could you possibly ask for anything more?

Warms the winter-shrivelled cockles, that does.


Ill, distraught, and writing. (And designing and proofreading and whatnot, but who’s counting.) Completed in draft this afternoon, revised and sold this evening: a story I never intended to write. Said repeatedly throughout the open-submissions period I. Would. Not. Write. Changed my mind when the theoretically final MS of the anthology came into my virtual hands for copyediting and eventual layout.

Artwork & design: Niki Smith.
Artwork & design: Niki Smith.

The anthology is Where Thy Dark Eye Glances: Queering Edgar Allan Poe, a Steve Berman production for Lethe Press which means to do exactly what it says on the tin.

Exactly what I’m seldom interested in doing. “I don’t like being bound by another writer’s imagination,” I whined in response to Steve’s artful, flattering cozening. “I refuse to write slash/fic, however gussied up as homage. It’s unseemly. I find Poe’s prose—and verse, my God!—unreadable, his obsessions repulsive.” (Substitute Stoker for Poe and you hear my arguments against writing a story for Steve’s Suffered from the Night: Queering Stoker’s Dracula. We’ll see how well my scruples stand up to that one. There’s still time.)

So the MS came to me and I read Steve’s introduction with its charming recollections of gay-boy-geekdom…and was somehow reminded of the luxurious, poisonous illustrations created for a 1916 British edition of Poe by the Irish graphic (and stained-glass) artist Harry Clarke. Now, I was as much a gay-boy geek as Steve, though *cough* significantly longer ago. Young Steve, I believe, missed out on the glories of Lin Carter’s Ballantine Adult Fantasy program (unfortunate title, wut?) and had to settle for Poe to get his fantastical adolescent jollies. But I was also an illustration geek: Aubrey Beardsley, Alastair, Kay Nielsen, Erté…Harry Clarke. Who I didn’t recall was Irish until Wikipedia told me just two weeks ago.

Bitten by the nostalgia bug, I went Googling and quickly found the full, public-domain complement of Harry Clarke illustrations for Tales of Mystery and Imagination. What glory. Those crazy tapered hands! The faces! The knowledgeably horror-vacui textures and patterns! The draftsmanship!

Nostalgia bug had not had its fill of my tasty, tasty blood. Wikipedia’s telling me Harry Clarke was Irish threw me back to my long-ago Co. Waterford childhood at Rockmount, a grand Georgian big house nr. (as our postal address put it) Kilmacthomas. This is a setting I had, astonishingly, only once used for fiction—a twenty-odd-year-old novella that had best not see print in my lifetime.

I wrote to Steve. I said, “Hrrrrm.” He said, “Go for it. I can give you a week or two.”

So my very first completed story of 2013 is not any of those I’ve been badgering to death since last year (or longer ago) but “A Portrait in India Ink by Harry Clarke”—inspired by the illustration for “Morella,” below, and my own history of migraine, and which, truly, queers Clarke more than Poe, but so be it—set in a grander house than Rockmount on a stormy winter night of 1968. Due in print and e-book in July. How delightful to share a table of contents with Christopher Barzak, Richard Bowes, and Jeff Mann, whose recent/forthcoming books I had a hand in, as well as a mysterious and imaginative congeries of others new to me and not.

Categories
Deprivation fantasy fiction magical realism

publication day

Deprivation; or, Benedetto furioso: an oneiromancy is today officially in print. Hard copies can be purchased at Amazon, if not today, soon. Jumping the gun a bit, e-books have been available a few days already: at Amazon for those who reside in the Kindle’s walled garden, at Smashwords in many other formats (try this discount coupon-code that may still be good: AJ87V), probably other places I don’t know about. </e-book skeptic>

And here’s a pleasant pub-day review:

To call Deprivation a romance or coming-of-age story would certainly be accurate but not entirely true and a criminal understatement. This latest novel from Alex Jeffers, author of Safe as Houses and the story collection, You Will Meet a Stranger Far from Home, follows a young man’s arduous quest to find his place in this world and someone to love amidst economic hardship, family drama and pervasive delusions resulting from an alarming lack of sleep.

Chris Verleger for Edge Atlanta

Deprivation

As promised, another excerpt! Considerably longer and somewhat less painterly than the previous one. Contextual note: The scene is Cambridge, Mass., January 1991. Neddy is a bike messenger in downtown Boston by day, a freelance illustrator otherwise. Ben has just been laid off from his job at a temp agency.


Neddy before their shower smelled rich and strange, dense, layered tropical odors of sweat and exertion with citrus undertones of aftershave and deodorant, chalky traces of baby powder. In the bedroom, the lights on, voracious, Ben held Neddy tight, before beginning to strip off the layers of his clothing. Pinned to the walls, sketches and finished drawings regarded the two live men dispassionately. In the corner under an angled lamp stood Neddy’s easel bearing a large, nearly finished canvas. This depicted the head and torso of a person wearing polished plate armor, heavily ornamented and gilded—show armor, useless or dangerous in practice, even for the ceremonials of a chivalric tourney. The crested helm was held in the crook of an arm. Behind the figure, men and women in Renaissance court costume dallied in an idyllic glade. Anachronisms abounded: the painting was an Arthurian or operatic (or Ariostovian) fantasy. Ben looked away from the androgynous figure’s piercing green eyes and pulled Neddy’s sweater over his head.

They had gone through the apartment to the kitchen, where Eric, fully dressed, was stirring a pot of every mother’s meat-and-tomato spaghetti sauce. Eric’s boyfriend, a burly, bearded man in his thirties, was there as well. “Oh, hi, Tony,” Neddy had said, and introduced Ben, and given Eric a comradely kiss. He fetched two bottles of beer from the refrigerator. “Do we have time for a shower before dinner, Eric?”

His expression between genial and lascivious, Eric glanced pointedly at Neddy’s crotch and turned to Tony. “Neddy’s always coming up with new euphemisms for fucking. You’ve got all the time you want, darling: this can sit here for weeks without damage. If Tony and I get hungry before you’re ready, we’ll just boil up half the pasta.”

Neddy had hardly reacted, not even a blush, only thanked Eric sweetly. In his room, the door closed on them, he kissed Ben and said, “I don’t like eating early anyway.”

The sweater came off, the several shirts, and then Ben warmed his palms on Neddy’s chest for a moment, plaques of compact muscle coarsened by the veil of hair. This lust was surprising: it had qualifications, accouterments. He felt he wanted to make love with all his clothes still on, but Neddy naked. Naked and helpless—helpless in a false sense, for Neddy was bigger, stronger, unless Ben were to tie him down. But the bed was simply a mattress and box spring on the floor, there was nowhere to anchor the ropes. At the same time, he wished Neddy to be savage, to rip the shirt from his back, scattering buttons over the floor. Not to rape but to overwhelm him. There was something domineering in Neddy he wanted properly to let loose. Yet, again, there was something hardy that was also sentimental and melancholy and wanted fostering. Picking at the knotted drawstring of Neddy’s tights, clumsy, Ben muttered, “You smell like a high-school locker room.”

Neddy pushed Ben’s hands away. “Shoes off first.”

Obedient, Ben knelt and untied the laces of the black leather sneakers. Far overhead, Neddy reached to undo the clip on his ponytail, shook his hair out, raked the fingers of one hand through. He lifted his feet by turns so Ben could remove the shoes, the socks. In the shiny black skin of knitted Lycra, his calves were heavy, the bones of his shins long, ruled lines. His hands were on the drawstring, but Ben said, “No, that’s my job.”

But as Ben rose to his feet, Neddy covered his crotch with his hands and stood back. He stared at Ben. “You don’t have a job. Remember? Take off your clothes.” The line of his mouth was cruel, his eyes hard. Abrupt, he turned away and went across the room to the stereo. His bare feet made small slapping sounds on the floor. Streaks of light glistened on his legs, his buttocks, in his hair tumbling between the shoulders. As if he knew precisely the music he wished to play, he snapped open a CD’s jewelbox, stabbed the power and open buttons, and dropped the glittering disk in place.

Appalled, Ben stared after him. “That’s not fair.”

Fast, violent noise thrust out of the speakers, pounding on a deep bass more rapid than a panicked heart, programmed drums playing faster than any human could manipulate the sticks, electric guitars shrieking with feedback, synthesizers and sequencers producing grating, anguished, industrial clamor. Deep in the mix a thick metallic voice vomited excoriations. “Take your clothes off,” Neddy said again, his voice reasonable with threat, and turned up the volume.

Clumsy with adrenaline, Ben pulled off his tie, unbuttoned his shirt. Neddy moved quickly around the room, lighting more lamps, adjusting their shades so all the illumination was focussed on Ben’s figure. By the time Ben stood naked, his clothes strewn around him, he had lost his erection, his heart was hammering in a vain effort to match the furious bass, and he felt giddy, ill, angry and afraid, exhilarated in a way that was sexual but admitted no sexual response. Standing in the glare, defenseless, trembling, he was dazzled.

Opening a closet, Neddy removed a blue plastic case with a handle and chromed latches. He was graceful, easy, as he moved through the vicious torrent of the music, but the impossible rhythm set up a strobing effect in Ben’s perceptions so he saw Neddy in flickering, jerky flashes, mechanistic. Carrying the box, Neddy approached and crouched before him. “Don’t move.” Now his tone was kind or abstracted. He stroked Ben’s thigh, against the grain, and brushed his palm cruelly over the genitals. “No hard-on,” he observed.

He snapped the latches. As the lid was raised, a kind of gantry lifted two interior trays and set them, step-fashion, in line with the shallow interior. Each tray held a row of paper-wrapped crayons, their waxy, greasy tips a spectrum of potent colors. Still crouched down, Neddy chose a glistening, grassy green. He scribed a line down the crest of Ben’s right instep, over the knuckle of the big toe. The slippery feel of it, the slide of the crayon over the skin, had a lubricious tactility, and the stripe left on Ben’s foot glistened wetly. Neddy held up the crayon and lifted his chin. Sure Ben was watching, he drew it around his mouth as though it were a lipstick. “Non-toxic,” he said. “Water based. Fully washable.” He smeared it with the back of his hand, then leaned over the display and chose a poisonous carmine.

The next track on the CD maintained the punishing bass and drum attack, but played against it an annoyingly melodious guitar riff and ethereal, whining soprano vocalise that did not add up to any kind of language. Ben closed his eyes. His heartbeat was slowing. It seemed he was to stand here as long as Neddy wanted, to feel the crayons like greased fingers travel over his skin, and not to know. He clenched one fist for a moment, then the other, then the muscles in his groin.

Where his skin was hairless or nearly, the color glided on, frictionless—he hardly felt it—but where the hair was thicker or when Neddy drew against the growth it slithered, and it almost seemed Ben could sense the faint twitch in the follicle as each hair was caught, then released. Neddy covered the foot, then moved up the front of the leg, stroking, daubing, stippling, efficient and impersonal. Trying to distinguish the patterns from within, Ben seemed to move his attention, his consciousness, into the surface of his skin and only to his leg—he discarded any awareness of his other limbs, his spine and torso and head—but he could not predict where the crayon would strike next nor envision what the illumination might reveal.

And the disk kept spinning, hurling its unending abuse, here a sustained diapason so deep you heard it through the soles of your feet, there a distended crunch as of crumpling metal, then a piano figure distorted into noise or a flurry of gun shots or an angelic choir. Shrill electronic tones bounced between the speakers, but turbulent drums and the bass were always balanced, produced within your own skull.

The programming on a CD generally lasted forty-five minutes or an hour. By the time it ended—the last track as vehement, propulsive, detestable as the first—Neddy had finished with both of Ben’s legs and moved to the torso. He had worked in spirals of a sort, covering the legs front and back and also incising unknown patterns on the buttocks. Unable to keep his eyes shut the whole time, Ben had blinked from time to time but couldn’t bear to look down, to view what he was becoming. He would glance edgewise at the top of Neddy’s head where the black hair maintained a state between being groomed, gelled—the tracks of a comb’s teeth molded and frozen—and tangled as a thicket. Or he would focus for a few minutes on one of the drawings hung on the walls or the painting on its easel, or stare into a high-wattage bulb until he was dazzled. If, from the strain of being held rigid, a muscle twitched or cramped, Neddy would cuff him lightly in a place that hadn’t yet been decorated and say “Relax” or “Loosen up” or “Be still.” These were the only words either spoke. No conversation could have been conducted through the interference of the music, even if Ben had been able to think of anything to say. The music was horrible, horrifying, but increasingly difficult to resist: when it ended without warning Ben felt his heart plunge a great distance.

Neddy worked on into the sudden silence for a minute—he was performing a delicate operation around the center point of Ben’s navel—and then laid down his crayon and stood up. His face rose into view, features compressed with concentration. Green smears around his mouth made the face frightful. Gentle, he placed his palms on Ben’s shoulders and kissed him lightly. “I’m not done yet.” He shook out his shoulders, reached overhead to clench and unclench his fingers. “But you can stretch if you want, if you’re careful. This stuff smears easy. You can look, too, I don’t mind.” He headed toward the stereo.

“Could we have something more humane?” Ben asked, tentative. He was afraid to look at his illuminated limbs.

“You don’t like techno?” Taking out the disk, Neddy put it back in its case and looked over his other selections.

“It’s hateful!”

“Well, it’s good to dance to. But here’s an old chestnut for you.”

Musically ignorant though he was, Ben recognized the Baroque when he heard it and inclined his chin slightly in gratitude. The solo violin, the tinkly harpsichord continuo and massed subsidiary strings—he might not have chosen it himself, but you could listen to it. Then there was a voice, a bright contralto—no, an alto, a countertenor taking the castrato rôle, singing in brilliantly ornamental Italian. Ben couldn’t concentrate sufficiently to take in the sense of the aria.

But Neddy, turning from the controls, put his hands on his hips and, narrow-eyed, gazed at Ben. “But I don’t know if I can work to it.”

“Why?”

Dismissive, Neddy ran his fingers through his hair, reaching above and behind, lifting it into a crest. “Too brittle and brilliant and stylized.”

“Not that.”

“I’m marking you, Ben.”

“But why?”

In reply, if it were a reply, Neddy pulled apart the knotted drawstring and began to peel down his tights. Shifting his weight, Ben took a small step forward. Neddy glared at him. “No, not yet.” Still, Ben watched him remove the tights, the shorts. Nude at last, more naked than Ben in his greasy skin of paint, Neddy scratched at his chest and smiled. Smeary green, the smile was less than reassuring. “Have I frightened you, Benjy?”

Without waiting for a response (no reply could be anything but true), Neddy went to another cupboard. When he turned back to Ben he was holding a camera. “I’m taking pity on you. You’ll just have to remain an unfinished masterpiece.” He held the camera to his eye and spent a little time focussing. “I’ll just take a few pictures first, so I’ll have something to remember you by. Souvenirs. Mementos.”

Apparently the room was bright enough flash was unnecessary: the camera only clicked. As Neddy moved about, snapping pictures from different angles, Ben held himself rigid, still, but couldn’t prevent himself from trembling. The digitally recreated countertenor (it was Orlando, one of the many operas based on Ariosto) discovered Angelica’s name carved into a tree’s trunk hand-in-hand with Medoro’s, and with scary virtuosity and bravura Orlando went mad. Kneeling near Ben’s feet, the camera angled up, Neddy took another photo. “No need to be scared, Ben: it’s only magic.”

“Neddy.” Afraid even to look down, to move that much, Ben stared straight ahead. “I’m not going to California—that’s not home anymore. I’m not even going to look for work in Providence.” He was staring at the face of the armored figure in the painting. The penetrating green, glazed eyes stared back and the lips appeared to be about to draw up in a disdainful smile. The voice too high to be a man’s but expressing a man’s childish outrage kept on, tumbling up and down arpeggios like an acrobat. The words were nonsense. “And, Neddy, listen: I’ll be in Boston all next week, day and night, job or no job.”

“See: the magic worked.” Now Neddy crouched off to the side. “Move your arm a little—forward. That’s it.”

The magic worked. Fear was often at least half fury. “It’s not something that happened just now—it was all planned and confirmed by yesterday morning.”

Complacent and reasonable, Neddy said, “Magic takes no account of time. If I hadn’t marked you tonight, well, who’s to say about yesterday.”

Angrier still, Ben turned his head, away from where Neddy still crouched, focussing. “Then why didn’t the magic stop me from being laid off?”

“Ah, it’s a silly job. You’re better without it.”

“Sillier than riding a bike through the snow?”

Now the click of the camera’s shutter came from behind Ben. “So what are you going to be doing in town all next week, Ben? What about your cat?”

“Can’t the magic tell you that?”

Neddy didn’t reply. He squeezed off three more shots before coming into Ben’s view again. “No more film,” he said, and pushed the film-advance lever several times. Setting the camera aside, he faced Ben squarely, arms akimbo, hands on hips. The orchestra was playing a slow sinfonia. “That’s that,” he said.

“That’s what?”

“Now we have to seal the magic. Then we’ll take a shower—I told you, the stuff comes off with soap and water. Then we’ll have dinner.”

Orlando, presumably, having rushed raving off stage, soprano Angelica and contralto Medoro (a woman in travesty) sang a duet of melting, saccharine devotion.

Seal the magic?”

Neddy smiled sweetly, then pouted his lips. His right hand moved to his crotch. “Get hard, Ben. I laid in a supply of condoms. Like Eric said, we’re going to make euphemisms.”


 

Categories
Deprivation fantasy fiction Italy magical realism

to press

My second full-length novel and sixth book, Deprivation; or, Benedetto furioso: an oneiromancy, has gone to press. The print edition should therefore be available (through Amazon at least) by the official publication date of 28 February. Currently preparing conversion files for Lethe Press’s e-book wizard, in expectation of electronic versions for computers, tablets, e-readers, and—who knows how people read novels these days?—smartphones going on sale right around the same date.Jeffers_Deprivation_hi-res

So how about an excerpt to whet your appetite?

This bit comes late(ish) in the book but, in its way, I think, epitomizes many of the themes and approaches I was aiming to hit.


In the dream, Ben was walking with a friend. More peculiar than the fact that he couldn’t get a grip on his companion’s identity (his features, if Ben glanced to the side, were lost in a sunny glare, his voice was, in the dream, characterless, his speech had the uncanny quality of being transformed, in Ben’s hearing, instantly from phrase to paraphrase)—even more peculiar was Ben’s certain knowledge of where they were: they were in Italy. Not really, of course (it was a dream), for how could you dream of a place you’d never been? A pastiche Italy cobbled together from his reading—as much Browning or Forster (or Alexandra Benedict) as any native writer, from films and paintings and those volumes of shockingly beautiful landscape photographs he bought off remainder tables, from history, cartography, memoir, occasional essay—all the drugs of the armchair traveller, from imagination, too, and longing. A counterfeit Italy, then, to which you couldn’t attach names from any atlas—and only a province, truly, of the vast Italy of dreams, a tiny territory you could cover on foot in a morning.

They were walking. The narrow lane wound among the foothills of a massy range of which you caught glimpses from time to time, shouldering up into a sky that was, overhead, cloudless and a dry, powdery blue, deepening and greying through imperceptible hazes and washes into and beyond the mountains. Knuckles and fists and elbows of rock, tawny or purple or grey, protruded here and there from the green flesh of the range. Crowning one sheer scarp, a mediaeval fortress raised a beetling round keep and square watchtower built of the same stone so it appeared to be carved from the crag itself. But you’re walking among sloping meadows, through groves leafing out in the spring warmth, in shady, bosky valleys beside clattering small streams. From the mosses at the roots of trees you pluck odorous violets or buttery aconites for your companion. A clearing ripples with waves of creamy narcissi, and anemones with petals like the veined, gauzy wings of insects.

The lane climbs slowly, taking into account dips and swales, but with certain purpose. Angling across a shallow slope washed in sunlight, the roadbed is dusty and flinty, but below you a succulent pasture spreads velvety green skirts embroidered with tiny flowers over the folds of the hillside. On the far side of the broad valley a steeper incline, its verdure blued by the distance, is spattered with small white blots: sheep. In the valley itself, lines of slender trees—cypress, poplar, beech—mark other lanes and roads and the boundaries of cultivated fields. A slow civil river flows through it. Made toylike by distance, the pediment and winged façade of a Palladian villa are reflected in the river’s waters, among the trailing streamers of great willows. The villa’s many green shutters are all closed, the umber stucco patchy, the box-hedged formal gardens overgrown. A chestnut lifts white candles. The plumy silver-green torches of poplars, dark pyres of cypress.

And all the while as you walk, you’re talking, you and your companion, laughing, the easy unmemorable conversation of dear friends on a ramble. You can’t retain a word of it. Once he chases you a few hundred feet along the lane, another time you trip him into a meadow of sweet grass where both tumble end over end a short way down the hillside, breathless. Sometimes you walk hand in hand, or you drape arms over each other’s shoulders and stride lockstep, a single creature whose shadow has three legs and two heads. Or, content, you amble separated by a few feet, where the lane lies sunken a bit below the dry soil of the prosperous vineyards.

And now, over a slight grade, you find yourselves on a crest. Below, the slope falls broken through a deep ravine, and across, where it rises again, less steeply, the buildings of a village or a small town clamber along a bent spine of granite. Somewhat lower than your own position, the town flaunts its pitched, pantiled red roofs, crazily splayed out from their roof beams like the heap of opened books on an invalid scholar’s counterpane. At the tip of the ridge stands the Baroque campanile of a small church. The bells toll noon, bright and hollow across the gulf. The grey stone and ocher plaster faces of the buildings absorb light and heat, inhaling it through thick walls. The glass of many small windows glitters. Down the bluff your paired shadows rush, the negative relief of quicksilver, and one of you confirms the other’s hunger, his agreeable fatigue.

Taking hands again, encouraging each other, they took to the lane again. It headed downhill at an angle to the slope, with long grasses overhanging the path from the bank above, the roots of old olives knitting the bank together and the shadows of their leaves making patterns like dense shoals of tiny fish on the roadbed. As the grade steepened, Ben and his companion walked faster, until near the bottom of the gully they were running, gasping out the names of the dishes that might satisfy their appetites. A swift cold stream was bridged here. They paused to splash their faces, cool their wrists, rinse their mouths, and then they kissed, and then they went on again, upward now.

Even kissing the man, Ben had somehow not been able to make out his face, determine his identity. It hardly seemed to matter, though, for he knew this was (or was to be) his life’s companion, the love of his life. There was the certain familiarity in the ways their hands and lips met, the way the two sides of their conversation met without exception, requiring no explanation, as though there were no barriers. A passion lay exposed between them that need not be iterated for it was expressed in their simply walking side by side, and which, contrariwise, made walking side by side an exercise in revelation: Ben saw everything (if not the man himself) more clearly, as though he was storing up image and incident for the narration of their shared story. And there was a simple friendliness, a kind of joy both domestic or intimate and ecstatic, universal. You felt that here was life’s purpose: a small, manageable objective well within the scope of a man’s ambition.


Maybe I’ll toss up another excerpt on the day itself….

Categories
fantasy fiction short stories

covers, covers

Prime Books has posted cover designs for two forthcoming anthologies in which I have stories. Behold: 8433494454_af8ce60f8e_bBad Seeds, forthcoming in July and containing my story “You Deserve.” (Note that the cover displayed at that Amazon link has been superseded by the above, more effective, less cliché-horror-story image.)

8432066183_a4f1c3a26b_bZombies, forthcoming in August and containing my story “The Hyena’s Blessing.”

Categories
BrazenHead design fiction

year-end sum up

Gregorian year 2012 was, on a number of personal levels, profoundly horrible, demoralizing, debilititating. But those are the exact personal levels I believe it unseemly to talk about in public, so you, Dear Reader, are spared endless litanies of woe and humiliation. Be reassured, however, that Misses Jane Austen and Charlotte Brontë, and I, remain housed, warm (not as warm as I’d prefer, granted), and fed as one year turns over to the next, during which matters might improve.

Miss Jane Austen (l) and Miss Charlotte Brontë (r)

On other levels, 2012 was pretty damned spectacular.

I published seven original stories:

  1. “Tattooed Love Boys,” an 11,000-word novelette, at GigaNotoSaurus.org in March.
  2. “Liam and His Dads,” the third, 6,000-word Liam story, in Icarus: The Magazine of Gay Speculative Fiction #12, the Spring issue.
  3. “Wheat, Barley, Lettuce, Fennel, Salt for Sorrow, Blood for Joy,” a 12,000-word novelette, in Boys of Summer, an anthology of young-adult stories from editor Steve Berman and publisher Bold Strokes Books, in May.
  4. “Ban’s Dream of the Sea,” a 6,200-word short story, in The Touch of the Sea, an anthology of new marine fantasies from editor Steve Berman and publisher Lethe Press, also in May.
  5. “Haider and His Dog,” a 5,700-word short story, sequel to the earlier “Firooz and His Brother” (in the sense that both are self-contained excerpts from a never-to-be-finished novel), in my collection You Will Meet a Stranger Far from Home (Lethe Press, July).
  6. “Then We Went There,” a 5,400-word short story—my first purpose-written short story in some fifteen years, finally printed in You Will Meet a Stranger Far from Home.
  7. “Two Dead Men,” a 5,900-word short story, in Icarus #14, the Fall issue.

I had a 2011-published story reprinted:

I resold two of the above-listed 2012 stories for reprint in 2013:

  1. “Tattooed Love Boys” to Wilde Stories 2013 (Lethe Press, July).
  2. “Wheat, Barley, Lettuce, Fennel, Salt for Sorrow, Blood for Joy” to Best Gay Stories 2013 (Lethe Press, August).

I published a book.

I completed seven new stories—an annual record. Up until a few hours ago, I really thought it might be eight, but that last one will have to count for 2013.

  1. “Seb and Duncan and the Sirens,” an 11,000-word novelette set on a contemporary Greek island, completed in March. Tentatively sold to Icarus but not yet scheduled. Likely to be serialized across two issues.
  2. “The Other Bridge,” 5,600 words, written in March. Rejected by eight markets so far but hope remains.
  3. “Two Dead Men,” 5,900 words, written in May. Published, as noted above, in Icarus #14.
  4. “The Oily Man,” 10,000 words, completed in August. Sold to and scheduled to appear in the anthology Handsome Devil: Tales of Sin and Seduction, edited by Steve Berman and due from Prime Books in February 2014.
  5. “The Hyena’s Blessing,” 6,000 words, written in October. Sold to and scheduled to appear in the anthology Zombies: Shambling through the Ages, edited by Steve Berman and due from Prime Books in August 2013.
  6. “You Deserve,” 6,000 words, written in October–November. Sold to and scheduled to appear in the anthology Bad Seeds: Evil Progeny, edited by Steve Berman and due from Prime Books in July 2013.
  7. A 2,800-word short story written and sold in November, which will appear in 2013 under an inside-joke pen name. I am forbidden to reveal more.

I sold an older story, 7,300 words, originally drafted in August 2010.

  • “A Man Not of Canaan,” a tale of Lovecraftian elder gods and BDSM set in the Bronze Age eastern Mediterranean, will appear at GigaNotoSaurus.org in the spring—April or May, I’m told.

I sold a much, much older full-length novel, originally drafted in the early 1990s (!).

In response to an early reader’s critique, I sternly revised but did not substantially shorten my gargantuan novel The Unexpected Thing. That revised MS received another thoughtful critique from a different reader but I haven’t got ’round to addressing his points yet. Fall had already fallen and I learned during the three years of composition that I can only work on The Unexpected Thing in late spring and through the summer.

I invented a brand-new secondary world in which gods and other preternatural entities take an interest. It doesn’t have a name because its inhabitants just call it the world. For convenience, I refer to it as the world of the subcontinent, a significant geographical, cultural, and political feature. Of 2012’s seven completed stories, three are tales from the subcontinent: “The Other Bridge,” “Two Dead Men,” and “The Oily Man.” Three incomplete stories that I hope to finish in 2013 are likewise subcontinental tales: “The Tale of the Ive-ojan-akhar’s Death,” “A Joke of the Kandadal,” and “The Lake Is Not the World” (all titles subject to change). A seventh tale, originally envisioned as a novelette, seems to want to be a novel: The Cat in the Moon.

Other, non-subcontinental stories in progress that I intend, dammit, to complete in 2013, include (in no particular order):

  • That eighth 2012 story I didn’t quite manage. If taken by the editor it’s aimed at it will have to appear under a pen-name so I’ll say no more about it.
  • “Liam and the Changelings,” the long-delayed fourth (of an eventual seven) Liam story.
  • “The Water Palace,” set in contemporary İstanbul and involving a peri and the ancient Byzantine cisterns.
  • “The Discovery of Vinhático,” a ghost story that takes place on an imaginary island in the Atlantic, an autonomous region of the Portuguese Republic. I’ve been trying to get this one to work since 2010.

As editor, in 2012 I witnessed the continued ascent into the empyrean of BrazenHead’s first release, Eat Your Heart Out by Dayna Ingram (December 2011), and published the second—Green Thumb by Tom Cardamone (June)—and third—The Grigori by Joshua Skye (November). Fallout from my own personal disasters may have sabotaged my hopes for BrazenHead #4—I need to talk to that very poorly treated author soon.

As designer, I put together a whole lot of books. I can’t quite figure out how to count them—a few printed in 2012 were designed the year before, while I currently have in my files, I think, nine designed in the last few months but not scheduled to appear, in one case, until July.

As weary blogger, at nearly 3.oo AM EST, 1 January 2013, I’ve finished my New Year’s split of Catalan cava and this entry.