Plugs

Kat Beyer’s Cabal story “A Change In Government” has been nominated for a BSFA award for best short fiction.

David Kopaska-Merkel’s book of humorous noir fiction based on nursery rhymes, Nursery Rhyme Noir 978-09821068-3-9, is sold at the Genre Mall. Other new books include The zSimian Transcript (Cyberwizard Productions) and Brushfires (Sams Dot Publishing).

Jason Fischer has a story appearing in Jack Dann’s new anthology Dreaming Again.

Read Rudi’s story “Detail from a Painting by Hieronymus Bosch” at Behind the Wainscot.

A Quiet Trail of Blood and Tears

by Ken Brady

Just a few days into our walk out of Mississippi, the bok chitto still several more days away, we realized people were disappearing. At first, no one noticed anything amiss. We had been rushed from our homes in the night, buildings set alight and people shot in the street while they wailed and screamed. So many of us had already died that life itself seemed something of a dream. Stare Death in the face long enough he appears a faithful neighbor.

We Choctaw had little to go on but faith.

Barely seventeen at the time, and not strong enough to stand up against those who had taken our land, I had a mangled right eye to show for my trouble. Cowed, I hung back from my family as they plodded toward the river across which we were to relocate. A new home. Those who survived the ousting went quietly, many walking to their deaths.

Two neighboring families vanished along the trail. We thought they had stopped to rest, perhaps succumbed to fever or sadness. But then my cousin Jed’s screams told us of something darker. Something worse than the white men who had set us on this path.

Jedidiah was one who had gone quietly. As the torches lit his birth home afire, he had simply grabbed the little food he could carry and walked into the night, his family following. He hadn’t looked back.

In death, Jed did not go quietly.

The forest glade was old, thinned just enough to allow the rutted trail. As the sun faded from the sky, Jed might have simply disappeared. But his strangled cry pierced the silence, shattering through our inner pain, our private suffering. We saw him rise into the trees, hands clutched to his throat. His scream was silenced in a shower of blood.

Everyone stopped, too scared to react, yet I found myself walking to the spot, looking up for signs of Jed’s body, his attacker. Only a trail of blood across the branches.

Shilombish, my mother whispered. I nodded. But what sort of spirit was it? A spirit who demanded blood payment.

Had we angered the gods? Was this retribution for our complacency? As I pondered, the branch above me shifted, and I felt the shilombish draft past me, then stop, icy breath on my swollen eye. The pain melted away, my vision cleared, my senses awakened. I knew then that my minor injuries had not been in vain. I was saved by my refusal to yield to tyranny. Someday, I thought, there would be an opportunity to fight back, and reason enough.

No one spoke of the incident after.

Crossing the big river, I watched the spirit take others who had stood idly by into the depths. I said nothing.

When we reached the shores of our new Oklahoma home, the spirit of Mississippi followed, and we knew our people would never be alone.

When the time was right, we would awaken.

Truth and Beauty

by Edd

Dahlia and Verbena Algonquin were sculptors. They were sisters. Joined at the shoulder, Verbena used her left hand to shape truth and Dahlia her right to create beauty. Angels and devils, heroes and monsters, the sacred and the profane all took shape from clay or marble or bronze.

On a Monday, Ziff Parkinship came to call. “I’d like a statue of my dead wife,” he said, offering such a great sum that they agreed on the spot.

In the privacy of their studio, Verbena and Dahlia examined the photos he had provided. Verbena turned them this way and that, even upside down. “Strong jaw,” she said. “Intense gaze. I can work with this.” Dahlia took the photos and held them, now near, now far, even flipping them to search for inscriptions on the backs. “Flawless skin,” she said. “Perfect features. She will be gorgeous.”

They built an armature and brought out their clay, sprinkled it with water, and set to kneading it. Verbena used her left hand to work on the right side of the sculpture, Dahlia her right to shape the left. Slowly they walked around the low pedestal on which the sculpture stood, examining it from all angles. From rough mass to fine detail, the very image of Olivia Parkinson came to life under their gifted hands.

Their hands were precise in the steps that followed: the plaster negative, the wax positive, the addition of the sprues, the ceramic coating, the melting of the wax, the pour.

Ah, the pour. Bright molten bronze exhaled into the shape of a woman. When Dahlia and Verbena cut excess metal from Olivia Parkinson, the statue shivered so that a sharp edge cut one of the sisters’ fingers. As she snatched it back, the other held up a calming hand. “Be still,” they both said.

Ziff Parkinson arrived on another Monday to pick up his statue. He examined it from every angle, walking around and around the pedestal. “Well,” he said, and “Yes,” he said, and “Very lifelike,” in a tone that meant anything but.

Dahlia pursed her lips. Verbena glared. Finally, one of them said, “She is exactly as she was in life,” and the other said, “No more, no less.”