Category Archives: Serial

Prince of Exile, 4

Satyr joined us in the yard before the inn. He had hidden the form and face he showed to his companions behind a subtle web of illusion that would fool the touch as well as the eye. Now his eyes and hair were coal black; his face was less narrow and coldly beautiful. His arms and legs, no longer clad in bristly hair, were sleek and firm and he wore a medallion of gold against the pure white of his shirt. He had traded hooves for booted feet.

The inn was very much like the one I had known of old. The ceiling was perhaps two years thicker with soot and the floor was perhaps somewhat cleaner. The rough plank tables were the same and old Harrow the innkeeper was a timeless, jovial imp. The Prince bowed to him, flustering him entirely, and the old man bustled about setting tables together with the aid of his hulking, towheaded son. The thief stayed close to the Prince, as if he were a favored member of our company. I thought he never would be.

Tian came out to take our orders and I remembered her, though she had not yet come to her womanhood when I saw her last. Now she had. Satyr and I exchanged glances and I knew that her blooming would not go unappreciated, or unsampled.

The Prince settled himself into the embrace of a woven ash chair that had been brought from an inner room for him.  The rest of us sat on benches. The Prince loosened his sash and hung it across the back of his chair, along with his cloak, and placed on the table a small casket that had been bound up in the sash. It was of gold and onyx, no longer than the breadth of his palm, but of exquisite workmanship. The catch was cast in the shape of a tiny boar’s head and it stood on tiny gold porcine hooves.

Harrow and Tian brought food. As we ate, we were watched by those who shared the common room. One in particular caught my eye; a bearded ruffian in shabby tunic and hose. He kept a sword in sheath leaning close at hand as he drank in silence, a little way withdrawn from the farmers and merchants who filled the inn. His entire being was concentrated on the casket the Prince had set out so carelessly.

I had thought that it was bait for the bland thief, but the Prince’s ways are beyond my understanding. It may have been for this ruffian that we had returned to Gleian Ellerick.

The thief we had met on the road called himself T’slalas. His voice was pleasantly modulated; it was a joy to hear him speak even though I didn’t believe a word he said. Tian wandered in and drew up a stool to listen and steal sly glances at Satyr. The Prince seemed to give his full attention to T’slalas, but he was quite aware of the ruffian across the room.

The olivewood casket with feet of brass stood mute in the middle of the table and seemed forgotten, but the ruffian’s eyes never left it. There was familiarity and inevitability in it all. more tomorrow

Prince of Exile, 3

Satyr noticed him first and gestured. Base line human, I would have said. The horse was more interesting than the rider, though its only visible modifications were a mane and tail that shifted colors from blue to white to yellow to red, like the last flames that flicker about the embers of a dying fire.

I decided that the horse was chosen to divert attention from the rider, although it was hardly necessary. You’ve never seen a more nondescript Everyman. Even now, I can’t recall the color of his hair or eyes.

He halted in the road before us, doffed his hat – bland gray, of course – and addressed himself to the Prince, saying, “Felicitations. Are you en route to Gleian Ellerick?”

The Prince smiled back and said, “We are. And yourself?”

“The same.”

“Then join us. Here, ride beside me.”

Satyr raised one hair-winged eyebrow at me and I shrugged. Nondescript to the point of invisibility – a thief, no doubt. Perhaps a warning was in order, but he had chosen his profession.

Satyr prodded his dark mount and the creature bounded away. It could not keep the same pace as a horse and they were relieved when it raced ahead. The thief remained, speaking ingratiatingly to the Prince.

*****

What a crew we were! Satyr I will not describe for you.  His name tells you how we saw him, but I could never be sure that it was not merely a mediant shape he chose; a half-demon sufficiently fearsome that it would keep us from pressing him for sight of the greater horror within.

Rollan, Arhe, and Darian were human to the eye and hid the inhumanities of their souls. Or maybe they were merely human – but if so, why were they among us? Myrcryr wore a human body, but his eyes gave him away, and Greyleaf was a cold wind that blew through my soul.

*****

Greyleaf nudged her horse up to walk beside mine, and I wondered if that last, vagrant thought had summoned her. I would never know. She sat straight in the high saddle and her eyes were on the Prince and his new companion. Her skin was tight against the bones of her face. Her age was indeterminate. Her hair was brown, swept back from her high forehead and held there with a band of russet silk that passed behind her ears. Her tunic was of faded saffron, and her fringed skirt was of deerskin. Her eyes were gray, and I had learned early not to look into them. She had been with the Prince nearly as long as I had.

I did not dislike her, but I feared her.

“Another thief,” she observed.

“Another fool,” I agreed.

She looked sideways at me and smiled. Her eyes asked silently when I had become wise enough to judge another man’s foolishness. She could crush a man with that smile.

We rode on in weary silence toward the valley and toward an inn I hoped would be at least somewhat congruent with my memories. more tomorrow

Prince of Exile, 2

1.

In a far country, the King lay dying.

News had spread throughout the region. For a long time he had grown steadily weaker. Even the peasants in the fields and shopkeepers in the town below Castle Hill knew that the end was near.

As the King lingered on the edge of death, the courtiers, servants, nieces and nephews who normally surrounded him were all shut out by Croayl, the priest.  Croayl and the King had spent their lives together, yet no two men were more different. The King was a man of passions, fiercely held and freely stated. Croayl was all inward. Throughout his lifetime, the King’s court had been open; now at the end of his life, Croayl closed off access to him. It was an ill omen.

2.

We came down out of the hills in the afternoon. The promise of rain had not been fulfilled and a west wind was driving the clouds away before it. Boiling over our heads, they changed from gray to white as the sunlight increased. The hills around us were covered with low, brown grasses. Higher up, hidden by the convolutions of the foothills, snow had begun falling on the steeper slopes, sifting down among the pines, gentle, quiet, and deadly.

I gave thanks to be out of it. The passes we had crossed would be closed for days, and that too was a comfort, for we had been pursued.

It was often that way in the service of the Prince of Exile.

We were weary of riding, all but the Prince, as we made our way downslope in a silent file. There were seven of us in all. People are always joining the Prince’s retinue, following a while for reasons of their own, then wandering off to find their own destiny. But it seemed to me that in the last few years, more had come than had left, and I was uncomfortable traveling with so many.

Now we were making our way down out of the mountains toward the warmth of the valley and, hopefully, toward the comforts of an inn I knew. I could have asked the Prince if this was indeed Gleian Ellerick, but he has a disconcerting way of turning even a simple question into an exercise in metaphysics. It did not matter to me what its ontological status was, as long as my bed was warm.

The Prince was willing to let me remain incurious as long as I did not ask questions that he could misconstrue as philosophical. It was one of the reasons I still followed him after all these years.

How many years? Sorry, that’s one of those questions. You’ll understand what I mean as we move along. more tomorrow

Prince of Exile, 1, introduction

Welcome back to Serial in its normal form. I did not want my fantasy short story Prince of Exile broken up by a change of year. Beginning tomorrow, it will appear in eleven additional posts, with this post as an introduction.

I have been writing fantasy of one kind or another since the beginning. In 1972 I wrote the opening lines of Valley of the Menhir, (post 39) three years before I decided to try my hand at novels. Most of the fantasy I’ve written has been in that universe; the Land of the Menhir has become almost a second home to me.

This story stands separate and a lot further along the continuum from medieval to mythical. It takes place adjacent to a land of Kings and barmaids, and in that land at the same time – sort of. The Prince is more than a little hard to pin down.

The initial rush of emotion that told me I had a story crying to be written came when I first heard the Doors’ performance of Celebration of the Lizard on their 1970 album Absolutely Live. When I heard . . .

Brothers and sisters of the pale forest
Children of the night
—–
Tomorrow we enter the town of my birth
I want to be ready.

. . . I knew I had to take those words, absorb them, transmute them, and bring them back again. The story that emerged did not contain the words of the poem; nevertheless, they are its genesis and essence.

(Pardon the brevity of the quotation; I am punctilious about not stealing other artist’s words.)

Two other fragments were necessary to this story; I am a fan of Michael Moorcock and of Elric, but Stormbringer always repelled me. In part 2, I decided to offer my anti-Stormbringer in rebuke.

The second fragment comes from childhood, from a book called Wild Animals I have Known by Ernest Thompson Seton, which I bought when I was about twelve. In one of his stories, all based on real events, Seton says, “Every true story ends in death.” Or so my mind constructed his meaning; I still have the book, but I have never since been able to find the passage that affected me so deeply. Most likely, I had rebuilt his actual words, “The life of a wild animal always has a tragic end,” which is a subtly but critically different observation.

Over the years, while recognizing the reality of Seton’s statement, whatever words he actually used to convey it, I have also come to realize that the opposite is equally true. No action, for good or ill, ends with the actor’s life. All the things we do have reverberations that long outlive us. In other words, “No true story ever ends.”

In Prince of Exile, I finally found the right place to use that conundrum.

You might guess from the length of this introduction that Prince of Exile is something special to me. I may be my favorite among all the things I’ve written. Although it would be hard to rank Prince above something I’ve spent years polishing, at least pound for pound it ranks first.

There is one flaw in the story, which I have no intention of fixing. If you were to read it cold, you would  expect to find that the prince is the king’s son. No. The King is a king; the Prince is the prince. Not related the way you would think at all. Logically, I should change one or the other, but I can no more do that than Ursula LeGuin could change Ged’s name because someone might think she meant God. Anyway, structural flaws don’t mean so much in a story that comes from this deep.   Prince of Exile begins tomorrow.

from Spoon River

hiatusSpoon River Anthology: Lucinda Matlock

Edgar Lee Masters is not overlooked, and his Spoon River is well known, but not well enough. It would be hard for it to have its due, since it is, for my taste anyway, one of the crowning achievements of American literature.

Masters lets his 200 plus characters speak their minds without authorial censorship. They are grave, gay, kind, angry, cynical, full of love, full of hatred, spewing venom and offering forgiveness. Masters never tries to arbitrate. He simply lets them tell their stories from the grave, but he does juxtapose. Tom Merritt tells of being killed by his wife’s lover, then his wife tells her story, then the killer tells his. Three stories on three pages, but with viewpoints so different they could be in different universes.

Choosing a poem to illustrate Spoon River could become an exercise in choosing what I believe, thus skewing the picture. Spoon River is huge in variety. Like the Bible, you can find arguments somewhere in it to bolster any position.

Instead, I’ll give you what seems to be Masters’ favorite, the story of his grandmother, given under another name.

Lucinda Matlock
from The Spoon River Anthology
Edgar Lee Masters – 1915

I went to the dances at Chandlerville,
And played snap-out at Winchester.
One time we changed partners,
Driving home in the moonlight of middle June,
And then I found Davis.
We were married and lived together for seventy years,
Enjoying, working, raising the twelve children,
Eight of whom we lost
Ere I had reached the age of sixty.
I spun, I wove, I kept the house, I nursed the sick,
I made the garden, and for holiday
Rambled over the fields where sang the larks,
And by Spoon River gathering many a shell,
And many a flower and medicinal weed —
Shouting to the wooded hills, singing to the green valleys.
At ninety-six I had lived enough, that is all,
And passed to a sweet repose.
What is this I hear of sorrow and weariness,
Anger, discontent and drooping hopes?
Degenerate sons and daughters,
Life is too strong for you —
It takes life to love Life.

Hiatus, sort of ends today. The fantasy short story Prince of Exile will begin here Monday.

Sunset of the Century

hiatusToday, in A Writing Life, I explain my connection to this poem. You can take a look there; I won’t repeat myself here.

Sunset of the Century
Rabindranath Tagore
(Written in the Bengali on the last day of 1899.)

 The last sun of the century sets amidst the blood-red clouds of the West and the whirlwind of hatred.
The naked passion of self-love of Nations, in its drunken delirium of greed, is dancing to the clash of steel and the howling verses of vengeance.
The hungry self of the Nation shall burst in a violence of fury from its own shameless feeding.
For it has made the world its food,
And licking it, crunching it, and swallowing it in big morsels,
It swells and swells
Till in the midst of its unholy feast descends the sudden heaven piercing its
heart of grossness.

 The crimson glow of light on the horizon is not the light of thy dawn of peace,my Motherland.
It is the glimmer of the funeral pyre burning to ashes the vast flesh, – the self-love of the Nation, – dead under its own excess.
Thy morning waits behind the patient dark of the East,
Meek and silent.

 Keep watch, India.
Bring your offerings of worship for that sacred sunrise.
Let the first hymn of its welcome sound in your voice, and sing,
‘Come, Peace, thou daughter of God’s own great suffering.
Come with thy treasure of contentment, the sword of fortitude,
And meekness crowning thy forehead.’
Be not ashamed, my brothers, to stand before the proud and the powerful
With your white robe of simpleness.
Let your crown be of humility, your freedom the freedom of the soul.
Build God’s throne daily upon the ample bareness of your poverty
And know that what is huge is not great and pride is not everlasting

Innisfree

hiatusYeats is one of the great poets of the English language and The Lake Isle of Innisfree is among his best known poems. I was introduced to it through folk music.

I arrived at college just at the end of the folk era. It had basically passed me by in my country-western Oklahoma life, and I was hooked as soon as I discovered it. One of my roommates had been in a high school folk group in Minnesota. He quickly found a girlfriend who could sing (beautifully) and a fellow guitarist, and started playing in the local coffee houses. I borrowed his tenor guitar to learn on, then got a six string, and I was just getting reasonably good when folk music disappeared overnight and psychedelic rock became the rage. Timing was never my strong suit.

My roommates and I were always short on cash, so we shared our stash of records. One of my favorites was Hamilton Camp’s Paths of Victory, but it went with my roommate when college was over. Camp took Yeat’s Innisfree and wrote music for it, and a sweeter song was never sung – at least until Judy Collins sang it a cappella to his music a year later.

This is one of the two or three songs I catch myself singing whenever I am alone and can harm no one. Chances are you already know the poem, but I suggest that you Google judy collins innisfree and hear it sung on U-tube. Or, if you are old enough to enjoy an early Dylan sound-alike, Google hamilton camp innisfree.

  It isn’t hard to find. Clearly, I’m not the only one who loves it.

The Lake Isle of Innisfree – William Butler Yeats – 1892

I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean-rows will I have there, a hive for the honey-bee,
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.

I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.

*****

During this last week of the year, I’m taking a hiatus, sort of, by placing some of my favorite poems instead of things I have written. My fantasy short story Prince of Exile will begin here the first full week of next year.

Channel Firing

hiatusThis poem by Thomas Hardy was written in April of 1914,
fourteen years after Tagore, which I will give you in two days.
Two months later, World War I began.

         Channel Firing

That night your great guns, unawares,
Shook all our coffins as we lay,
And broke the chancel window-squares,
We thought it was the Judgment-day

And sat upright.  While drearisome
Arose the howl of wakened hounds:
The mouse let fall the altar-crumb,
The worms drew back into the mounds,

The glebe cow drooled.  Till God called, “No;
It’s gunnery practice out at sea
Just as before you went below;
The world is as it used to be:

“All nations striving strong to make
Red war yet redder.  Mad as hatters
They do no more for Christés sake
Than you who are helpless in such matters.

“That this is not the judgment-hour
For some of them’s a blessed thing,
For if it were they’d have to scour
Hell’s floor for so much threatening . . .

“Ha, ha.  It will be warmer when
I blow the trumpet (if indeed
I ever do; for you are men,
And rest eternal sorely need).”

So down we lay again.  “I wonder,
Will the world ever saner be,”
Said one, “than when He sent us under
In our indifferent century!”

And many a skeleton shook his head.
“Instead of preaching forty year,”
My neighbour Parson Thirdly said,
“I wish I had stuck to pipes and beer.”

Again the guns disturbed the hour,
Roaring their readiness to avenge,
As far inland as Stourton Tower,
And Camelot, and starlit Stonehenge.

During this last week of the year, I’m taking a hiatus, sort of, by placing some of my favorite poems instead of thing I have written. The fantasy short story Prince of Exile will begin here the first full week of next year.

The First Surveyor

hiatusDuring this last week of the year, I’m taking a hiatus, sort of, by placing some of my favorite poems instead of things I have written. My fantasy short story Prince of Exile will begin here the first full week of next year.

A. B. Paterson, Australian poet, is often called Banjo Paterson because he signed his poetry with a picture of a banjo during his early days as a newspaper writer. Australian egalitarianism carries with it overtones of hidden conflict, between urban and outback, between privileged and unprivileged, and between pioneers and the late comers who often, as in this poem, had no understanding of the ones who came before them.

The First Surveyor

“The opening of the railway line! — the Governor and all!
With flags and banners down the street, a banquet and a ball.
Hark to ’em at the station now! They’re raising cheer on cheer!
‘The man who brought the railway through — our friend the engineer.’
They cheer his pluck and enterprise and engineering skill!
‘Twas my old husband found the pass behind that big red hill.
Before the engineer was born we’d settled with our stock
Behind that great big mountain chain, a line of range and rock —
A line that kept us starving there in weary weeks of drought,
With ne’er a track across the range to let the cattle out.

“‘Twas then, with horses starved and weak and scarcely fit to crawl,
My husband went to find a way across the rocky wall.
He vanished in the wilderness — God knows where he was gone —
He hunted till his food gave out, but still he battled on.
His horses strayed (’twas well they did), they made towards the grass,
And down behind that big red hill they found an easy pass.

He followed up and blazed the trees, to show the safest track,
Then drew his belt another hole and turned and started back.
His horses died — just one pulled through with nothing much to spare;
God bless the beast that brought him home, the old white Arab mare!
We drove the cattle through the hills, along the new-found way,
And this was our first camping-ground — just where I live today.

“Then others came across the range and built the township here,
And then there came the railway line and this young engineer;
He drove about with tents and traps, a cook to cook his meals,
A bath to wash himself at night, a chain-man at his heels.
And that was all the pluck and skill for which he’s cheered and praised,
For after all he took the track, the same my husband blazed!

“My poor old husband, dead and gone with never a feast nor cheer;
He’s buried by the railway line! — I wonder can he hear
When by the very track he marked, and close to where he’s laid,
The cattle trains go roaring down the one-in-thirty grade.
I wonder does he hear them pass, and can he see the sight
When, whistling shrill, the fast express goes flaming by at night.

“I think ‘twould comfort him to know there’s someone left to care;
I’ll take some things this very night and hold a banquet there —
The hard old fare we’ve often shared together, him and me,
Some damper and a bite of beef, a pannikin of tea:
We’ll do without the bands and flags, the speeches and the fuss,
We know who ought to get the cheers — and that’s enough for us.

“What’s that? They wish that I’d come down — the oldest settler here!
Present me to the Governor and that young engineer!
Well, just you tell his Excellence, and put the thing polite,
I’m sorry, but I can’t come down — I’m dining out tonight!”

Symphony Christmas, 10 of 10

Because I intend to publish the novel from which this excerpt comes, Symphony Christmas will not be placed in Backfile.

Neil and Carmen are delivering a present to Rosa at her apartment.

Rosa’s little sisters were staring at Neil, wide eyed and unabashed. He shifted nervously from one foot to the other, painfully aware of the brightly wrapped package under his arm. The Alvarez’s were nice people; he could deal with them in a school setting where formality gave a pattern for their interaction. Here, he did not know what to do.

Language was not the problem; Carmen could translate. The problem was culture. Should he sit down? Should he expect a cup of coffee? If they offered him one, would they expect him to take it or to refuse? Would they be insulted if he refused? Should he treat Carmen as an equal, or take charge of the conversation? Should he come right to the heart of the business and give the gift, or would it be more proper to talk a while first? If he were in the home of any of his Anglo kids, no matter how rich or poor, he would not have been so much at a loss.

Carmen sensed his discomfort and took charge. She spoke to Mrs. Alvarez in Spanish. Although Rosa’s mother spoke fair English, she was more comfortable in Spanish, and it let Jose share in the conversation. Then Carmen said, “Give her the package.”

Neil held out the package to Rosa and said, “Merry Christmas.” For the first time, Rosa and her parents allowed themselves to become aware of its existence. Before that moment, only the younger children had stared at it.

Rosa held it in her hands for a long time, admiring the paper. “Its really pretty,” she said.  Neil wondered if she would open it now or at Christmas, but he had no way of asking without appearing pushy.

Then Carmen said, “Go on, Rosa. Open it.” Rosa tore off the paper, pulled open the box, and extracted the jacket. Her face was full of hesitation. She loved it, but she wasn’t quite sure it was really hers until Neil said, “Go ahead, see if it fits.”

Rosa spoke to her mother – asking permission? – before she slipped it on. Her face lit up as she smoothed the fabric around her. Then she had to ask; she had to be sure. She said, “Is it for me?”

“It’s yours,” Neil assured her. He started to add that Carmen had picked it out, but his good sense stopped him. It would detract from the moment, so he remained silent while she showed it to her parents. Rosa’s father crossed to Neil and shook his hand again, mumbling something in Spanish of which Neil only caught, “Gracias.”

Rosa’s mother said, “It is really nice, but you shouldn’t have.”

Neil looked at Rosa’s beaming face and said, “I wanted to.”

Things had gone well so far; it was time to retreat before he said something clumsy to ruin everything. Neil made a tiny motion toward the door and Carmen spoke to the Alvarez’s in Spanish one more time, then took Neil’s elbow and eased him toward the door as the conversation bounced back and forth between her and Rosa’s mother.

Rosa and her mother followed them out onto the stoop, then Rosa made a quick, shy motion forward and threw her arms around Neil’s waist for a moment. She said, “Thank you, Mr. McCrae.”

Her heart was in every word and her voice made it a song.

Neil and Carmen drove away in silence. Neil was not a man to accept gratitude easily; it made him uncomfortable, and out of his discomfort he said, “Giving her a jacket won’t change her life.”

Carmen was beginning to understand him. She recognized the source of his uneasiness. She replied, “Giving her a jacket won’t change her life, but knowing that you cared for her might.”    finis