Biker Books and Skinhead Farewell

Skinhead Farewell is a 1996 documentary primarily focused on the work of James Moffat, the Canadian writer behind the Richard Allen pseudonym.

As Richard Allen, Moffat was responsible for the prodigious number of New English Library skinhead books throughout the 1970s . While the skinhead side of New English Library’s youth cult output has never really interested me, the documentary also covers the biker books and those I am VERY familiar with.

Though New English Library published authors such as James Herbert, Michael Moorcock, Frank Herbert, and Stephen King, the publisher will forever be known for the various youth subculture books released in the early seventies. At the time, one of the most visible of these were bikers, almost always called Hells Angels (whether they were or not).

The discussion about biker books starts 23 minutes into the documentary, and is very well put together. This is helped by an interview with Dr Maz Harris, who was a respected researcher into the biker subculture, and himself a Hells Angel. The documentary also interviews Peter Cave, the writer behind Chopper, as well as some of the NEL editorial staff.

As is pointed out, the books were reflecting what was happening in youth subcultures at the time. What I find interesting is the role these books then played (along with Hunter S Thompson’s Hell’s Angel: A Strange and Terrible Saga) as young bikers started to find their identity.

Watching the documentary as an author is also fascinating, particularly the interviews with James Moffat.

Moffat was an extremely prolific writer with over 250 books to his name. Talking about when he wrote for the pulp magazines, he explains the need to write six stories a week to make an income. He explains his process, how he might start on a Monday with Chicago and a detective where the victim is stabbed. On Tuesday New York, another detective story with a gunshot victim. On Wednesday a female protagonist and a case of poisoning, followed by a Western story on the Thursday with the same plot (replacing the cars with horses), and a science fiction tale to finish the week. (I assume he wrote one on a Saturday too, though he doesn’t give an example here.) This meant that by the time he was writing for NEL he could, when he needed to, write 10,000 words in a day.

I also love the interview with Sandra Shulman, the author of The Degenerates. While the camera follows her around the supermarket, she explains NEL asked her to write an orgy scene as a sample chapter. To achieve this, she wrote down a list of all the perversions she knew then ‘choreographed’ them into a scene, all the time not really knowing what ‘shafted’ or ‘going down’ meant.

The documentary is an insight into several worlds, the publishing world of the seventies, the subcultures of the same time, and the 90’s when the documentaries were made.

None of the discussions cover the books I find the most interesting like The Devil’s Rider or the Gerry Vinson series, but it’s definitely a good introduction to what New English Library were doing at the time and well worth fifty minutes of your time.

Stories Selected for Best Horror of the Year, and The Year’s Best Dark Fantasy and Horror

Over the past couple of weeks I’ve received some very good news to start the year.

Firstly, two of my stories have been selected by Ellen Datlow for Best Horror of the Year 14.

‘Dancing Sober in the Dust’ was one of the original stories published in my Undertow Publications collection, To Drown in Dark Water. The story is about Weimar Era dance, and was inspired by the research I did for a Daily Grail article.

The second story Ellen chose for inclusion in the anthology is ‘Chit Chit’, published in Chilling Crime Short Stories from Flame Tree Press. Chit Chit is a rural heist story with a heavy folk horror influence.

The full Table of Contents for Best Horror of the Year 14 is below;

Redwater — Simon Bestwick

Caker’s Man — Matthew Holness

Black Leg — Glen Hirshberg

The Offering — Michael Marshall Smith

Fox Girl — Lee Murray

Shuck — G. V. Anderson

The Hunt at Rotherdam — A. C. Wise

Dancing Sober in the Dust — Steve Toase

The God Bag — Christopher Golden

The Strathantine Imps — Steve Duffy

The Quizmasters — Gerard McKeown

All Those Lost Days — Brian Evenson

“Elephant Subjected to the Predations of a Mentalist” – Dir. B.S. Stockton, 1921

And “Ol’ Will’s Birthday Bash and Dither Family Reunion” – Dir. Various, 1952.

— Jonathan Raab                                                                                

Three Sisters Bog — Eóin Murphy

The Steering Wheel Club — Kaaron Warren                                     

The King of Stones — Simon Strantzas

Stolen Property — Sarah Lamparelli

Shards — Ian Rogers

Chit Chit — Steve Toase

Poor Butcher-Bird — Gemma Files

Trap — Carly Holmes

I’ll Be Gone By Then — Eric LaRocca

Jack-in-the-Box — Robin Furth

Tiptoe — Laird Barron

Then last week I found out that Paula Guran will be reprinting ‘Beneath the Forest’s Wilting Leaves’ in The Year’s Best Dark Fantasy and Horror vol. 3.

(This is the shelter that inspired Beneath the Forest’s Wilting Leaves)

Beneath the Forest’s Wilting Leaves is inspired by time spent in a local forest finishing a small shelter we found in a clearing, and was another original story from To Drown In Dark Water.

The full Table of Contents is below:

G. V. Anderson, “Shuck” (Deadlands #2)

Seán Padraic Birnie, “Hand-Me -Down” (I Would Haunt You If I Could)

J. S. Breukelaar, “Where We Will Go On Together” (The Dark #70)

Rebecca Campbell, “The Bletted Woman” (F&SF 3-4/21)

Tananarive Due, “The Wishing Pool” (Uncanny #41)

Brian Evenson, “The Sequence” (Conjunctions 77)

Christopher Golden, “The God Bag” (Beyond the Veil, ed. Morris)

Elizabeth Hand, “For Sale By Owner” (When Things Get Dark, ed. Datlow)

Alix E. Harrow, “Mr. Death (Apex #121)

Maria Dahvana Headley, “Wolfsbane” (Nightmare #100)

Glen Hirshberg, “Jetty Sara” (December Tales, ed. Horn)

Stephen Graham Jones. “Refinery Road” (When Things Get Dark, ed. Datlow)

Richard Kadrey, “Across the Dark Water” (Tor.com)

Alison Littlewood, “Jenny Greenteeth” (Mammoth Book of Folk Horror, ed. Jones)

Chimedum Ohaegbu, “And for My Next Trick, I Have Disappeared” (F&SF 7-8/21)

Suzan Palumbo, “Laughter Among the Trees” (The Dark #69)

Sarah Pinsker, “Where Oaken Hearts Do Gather” (Uncanny #39)

David J. Schow, “Caving” (Weird Doom, ed Scoleri)

Molly Tanzer, “In the Garden of Ibn-Ghazi” (F&SF 3-4/21)

Sheree Renee Thomas, “Barefoot and Midnight” (Apex #122)

Steve Toase, “Beneath the Forest’s Wilting Leaves” (To Drown in Dark Water)

Jade Wilburn, “Blood Ties”(Fiyah #18)

A.C. Wise, “The Nag Bride” (The Ghost Sequences)

I’m immensely grateful to both Ellen and Paula for choosing to include my work in their anthologies, to Flame Tree Press for publishing Chit Chit, and Undertow for all their work on To Drown in Dark Water.

Subside

Although it does deal with grief, a subject I write about a lot, this short piece is very different from my usual style. Because of that I was a little nervous about sharing it. I hope you like it, but beware it does talk about death, suicide, grief and loss.

Subside

You remember that song we used to dance to? Said something about if I leave the world alive the insanity will lessen. Doesn’t though, does it? You went and the insanity intensified. Like a cutting diamond, faceted and precise.

I don’t know if you left the world alive. One day you were there, the next gone. 

There was no pile of clothes carefully folded on a tide strewn beach or note with my name written on the back of the folded paper. 

Sometimes I like to imagine the world cleaved in two and you fell through the fissure to another place where you live on, trying to find a way home. I know this isn’t true. You’re probably beneath some undergrowth, bones greening with lichen as time turns you to forest. Nothing subsides with you gone. Not the madness. Not the memory. Not the guilt. Only the chance that I might see you again. That’s what subsides, and it lessens me every single day.

END

2021 In Review

2021 has been a strange old year, but I’ve still managed to get a few stories out there. Below is a quick overview of what I’ve been up to writing wise.

In April my debut short story collection came out from Undertow Publications. To Drown in Dark Water contained 26 stories in total with six of them previously unpublished. The stunning cover art is by Stefan Koidl who is eligible for Best Artist, as is Vince Haig who is responsible for the fantastic design. Michael Kelly is eligible in Best Editor categories and definitely deserving of all the nominations.

To the stories!

Dancing Sober in the Dust concerns a researcher becoming obsessed with the grotesque costumes of Weimar Republic era dancers. Dancing Sober was inspired by the research for this Daily Grail article I wrote. “Dances of Vice, Horror and Ecstasy: Suspiria and Dance as a Magical Act in Weimar Germany

Atelier is set in Munich during the first Der Blaue Reiter art exhibition, where a young artist at the Munich Künstlerinnen-Verein confides in a stranger about her latest commission.

Grenzen sees an American soldier drive his family along the motorway that runs through East Germany between West Germany and West Berlin. In such a liminal place, can he get through without attracting the attention of the Stasi?

Beneath the Forest’s Wilting Leaves is a story about a father and son discovering an abandoned stick built lean-to in the woods. After they add to the construction they return to find someone else is also continuing to build the structure.

Winter Home is a seasonal ritual to welcome in the second half of the year. For the first time Lena is taking part in the celebrations. Will she be overwhelmed by her responsibilities, or will she discover something much darker at the heart of the festival?

In Under the Banner of the Black Stamen the dead are carried on converted car ferries across The Channel to the archipelago they are accompanied by The Psychopomps. Sabine has made the journey many times, glimpsing her old home through the mist, but this time something doesn’t feel right.

The year started with the publication of Death Wears a Crown of Baling Twine appearing in Not One of Us #65, a story set in a furrowed field where the narrator has to stay ahead of Death, while being ‘helped’ by the various mythic creatures that live amongst the crop.

In April I had a second story in Not One of Us. How to describe A Seep of Cats? A Seep of Cats is inspired by the song Jolene, and is about love, witchcraft and the gaps in the world. Also cats.

DENDROCHROMATIC DATA RECOVERY REPORT 45-274 was published in Analog: Science and Fact May/June 2021. In a future where tree rings are used to store data, Dendrochromatic is a story told as a server crash report. While Dendrochromatic can be read as is, part of the text is in hexadecimal code, and converting that adds a very different dimension to the story. Here’s a link to a useful online hexadecimal to text converter

Nightscript 7 came out in October, and includes Clipped Wings by me, a story about a young son, his parents, and snow angels.

In December I have three stories coming out.

‘To Rectify in Silver’ appears in the December issue of Nightmare Magazine. This is my first original story in Nightmare, and is a story about archaeology, aerial photography, and the devastating effect of grief.

Tuppence a Bag will be published in They’re Out To Get You: Volume One Animals and Insects, edited by Johnny Mains. They’re Out To Get You looks back at the pulp animal horror of the seventies and eighties (Think Rats and Slugs), and Tuppence a Bag is an archaeology story that goes in an unexpected direction.

Chit Chit is due out in Chilling Crime Short Stories from Flame Tree Press. Chit Chit is a little bit supernatural, a little bit crime story and a little bit folk horror. All the good stuff.

In other news I had my first story appear in translation. Call Out was published as We­zwa­nie in the Polish Magazine Nowa Fantastyka.

Away from fiction I wrote a short piece about grief in horror which you can read on this very blog here.

This year I’ve also worked as the script editor on Audio Universe Tour of the Solar System, a planetarium show for people who are vision impaired. More details when I can share.

I’ve also been working on a commission with sound artist Eric Holm for Les Ensembles 2.2 as part of In The Field. Set in, Lasauvage, Luxembourg, the commission is a sound installation played on smartphones, and forms part of the wider Esch, Capital of Culture 2022.

Terminus Post Quem

Something a little different to start the week. Terminus Post Quem is an epistolary short story told using an archaeological report. As with a lot of my experiments it was first published in the much missed Mad Scientist Journal.

Daniel Benlainey BA MSc

Project Manager

Multivallate Archaeology

Unit 4 Sunray Farm

YK94 1SX

D.Benlainey@multivallate.org.uk

Simon Campbell BSc

Senior Archaeologist

Historic Environment Team

Callshire County Council

County Hall

Ostbarnton

YK56 4RF

Dear Simon,

Please find attached the interim site report for the Carrion Knoll Excavation. Hope everything is OK. We’re still waiting on some results from a subcontractor, but I’ll forward them as soon as they arrive.

Yours sincerely

Daniel Benlainey BA MSc

Interim site report of Carrion Knoll Archaeological Excavations 2017 September 8th

Due to the position of the Carrion Knoll housing development in an area of known prehistoric and Roman activity, a planning condition for archaeological evaluation was required ahead of any groundworks.

Between August 1st and August 25th, a five-person team carried out the necessary work. Due to the low-lying nature of the site and anaerobic conditions found in certain areas, the quality of organic preservation was good, with several surprising results.

Three trenches, each 20m by 10m were excavated. These were distributed across the development area to give as wide a spread of results as possible.

Historic Background

Carrion Knoll lies in an area of known Neolithic, Iron Age, Roman, and Anglo-Scandinavian activity, though no known archaeological material has previously been recovered from the exact site location. Since approximately 900AD, there is no evidence of activity in the vicinity.

Trench 3

Context Record

[01] Topsoil. A layer (average 0.4m thick) of black hummic sandy clay silt. Very little evidence of recent agricultural activity. This layer covers the whole site, including all of Trench 3. The topsoil was removed by machine, and the spoil scanned by metal detector. Nothing of significance was found. The only finds recovered were eight clay pipe stems of various lengths and one incomplete clay pipe bowl, the incised decoration indicating a date somewhere in the early 19th century.

[02] Subsoil. A brown silty clay with regular inclusions of small rounded pebbles. This layer contained several residual pottery sherds of all periods, including a non-diagnostic fragment of Roman Nene Valley Colour Coated Ware, and five sherds of Iron Age Black Burnished Ware. All were heavily abraded.

[03] was assigned for the underlying natural geology, though this was not reached during the excavation due to the depth of archaeological deposits.

[04] A thick peaty organic layer only identified in Trench 3. This consisted of a firm dark green organic silt with a very high proportion of plant material, vegetation, and charcoal flecks. Occasional small angular limestone inclusions. This deposit covered all excavated archaeological features.

[05] Cut of large pit identified in Trench 3. This large feature had a steep edge with a base sloping to the centre and measured 1.2m deep and 2m in diameter. When excavated, this pit was found to have cut through an earlier deposit [11] and truncated a Samian bowl. Pit [05] contained several fills. [06], [07], [08], and [09] seem to represent rapid backfilling of the pit. [10] is the primary fill.

[10] was the primary fill of pit [05] and was a friable dark grey organic silt with regular inclusions of vegetation. [10] also included several sherds of the Samian bowl identified in section and located in layer [11]. Whereas the ceramic remains in [11] are in very good condition (see below), the fragments recovered from pit fill [10] are not. The ceramic material has several bones accreted to it, which our osteological specialist (see Appendix Four) has identified as the phalanges from the hand of an adult human. In all cases, the bones press through the sherds and are visible on the other side. In places, the distinctive red slip covers the skeletal material. There is no evidence of burning on the bone, and as our ceramic specialist has pointed out (see Appendix Five), a vessel in such condition would not survive firing.

The ceramic sherds are clearly derived from the same vessel as that recovered from context [11] (see below), and date to sometime in the 2nd century AD. However, carbon 14 dating of the skeletal material has given a date of 850AD±25, which is contemporary with other finds from pit [05], including a broken antler comb (see Appendix Seven) and several well-preserved pieces of fabric (Appendix Eight).

[11] was a thick layer of dark grey organic silty clay extending across most of Trench 3, into which the majority of the other features were cut, including pit [12] and graves [15] and [17]. The presence of a considerable number of Romano-British finds, including the Samian bowl truncated by pit [05] and several incomplete Nene Valley Colour Slip Ware vessels gives this a very secure terminus post quem of the 2nd century AD. The Samian vessel is discussed in more detail in Appendix Five, and the contents in Appendix Six.

The high level of organic preservation has led to the recovery of vegetable material, which has survived to such a degree that examination in the field allowed initial species identification, including hyssop, fennel, and wormwood. All were found in bunches tied together with some form of nettle string, and all had been placed in a circular arrangement around the Samian bowl. It must be assumed that when the vessel was truncated, any herbs placed on the western side were lost.

Cut [12] was a pit located in Trench 3, and to the west of pit [05]. In contrast to pit [05], pit [12] was very shallow in depth (150mm), just deep enough to take the contents. The edges were uneven, with several irregular shovel scoops at the base. Pit [12] contained a single fill [13].

[13] was a loose light grey silty sand with few inclusions. The majority of the pit fill was taken up by a single adult human skull (see Appendix Four).

[15] was recognised as a single isolated grave in Trench 3, cut into layer [11], with vertical sides and rounded corners. This was clearly recognisable as a grave cut in plan, allowing careful excavation to enable the recovery of all human skeletal material.

[16] was the fill of grave [15]. The skeletal remains inside appeared to be of an adult human. The skull and phalanges of the left hand were absent.

Cut [17] was an additional grave identified further in Trench 3. The trench was widened by 2m to allow the full recovery of all skeletal material. The pit was 1m20 deep and contained fill [18].

[18] Very little soil matrix was recovered from fill [18], with most of the volume made up of butchered fragments of bone, including femurs, vertebrae, and ribs. A full discussion can be found in Appendix Four.

~

Appendix Four

Human Skeletal Material

Report by Adrian Anchancy

Several deposits of human skeletal material were recovered from Trench 3 of the Carrion Knoll excavation. Here I will go through them in context order and outline the physical evidence, followed by a discussion of the implication of the results.

[10] In an excavation where a large volume of skeletal material was recovered, the bones found in fill [10] are unique. A group of five phalanges were identified, all of them cemented to sherds of Romano-British Samian pottery. This in itself is not unusual. Post deposition processes, such as iron panning, can lead to the accretion of finds in the ground. However, there are several aspects to the recovered bone that this researcher has not seen before.

The phalanges are not just concreted to the surface of the Samian ware, but actually pass through the pottery. There is no evidence of cracking to the clay or burning to the skeletal material. In at least one example, the characteristic red slip glaze coats the bone.

Having spoken to the ceramic specialist, Diane Bansetten, whose report can be seen in Appendix Five, the presence of such a large intrusion in the body of the vessel during firing would have led to destruction. In addition, exposing human bone to the high temperatures found in a Romano-British kiln would lead to severe discolouration and diagnostic cracking on the bone surface. Therefore, it is the opinion of both myself and my ceramics colleague that the bone must have been introduced post firing. Carbon 14 dating of the skeletal material has given a date of 850AD±25, which is not consistent with the age of the Samian pottery, suggesting it was introduced six to seven centuries later.

There are other issues with the condition of the phalanges. All show evidence of small holes in the outer surface of the bones. At first it was the opinion of this researcher that these were the pathology of some form of disease. On further examination, it was found that each lesion displayed evidence of microscopic tooth marks, consistent with certain types of immature coral larvae. When submitted to x-ray analysis, the tunnels can clearly be seen passing through the bone into the marrow. The sinuous form of the pathways also suggests that this damage was created by the actions of a living organism.

Tree root action was soon discounted, as there is no evidence for that type of activity within the contexts excavated or surrounding area.

[13] The skeletal remains from fill [13] (pit [12]) consisted of a single adult skull. It is not clear if the head was removed from the body pre- or post-mortem. There are several unusual features about the condition of the skull. The eye sockets show damage from a bladed weapon, particularly running from the infraorbital foramen into the supraorbital margin. On the right-hand side socket, there is clear damage to the lacrimal bone, and on the left-hand socket, repeated shallow strikes to inferior orbital fissure, reaching as far back as the sphenoid bone.

The position and nature of the damage allows us to discount any consideration of surgery. The physical evidence suggests that a blade has been repeatedly, and without control, forced into the eye socket. The result of this would be for the soft tissue of the eye to be completely destroyed.

None of the marks have been made to the edges of the eye-sockets, only to the upper and lower bones. The position and angle of the damage allows us to make some more inferences. It is the belief of this researcher that the damage was self inflicted. The size of the cuts suggests the injuries were made with a small eating knife common during the 9th century.

A second unusual feature of the skull is a series of lesions in the styloid process region. This displays similar characteristics as those seen in the phalanges recovered from fill [10], but the lesions are much larger in scale. Here the shape and form of the damage from gnawing is clearly visible to the naked eye, and suggests that the damage was created by a living organism.

[16] As noted above, the skeletal remains recovered from the fill of grave [15] were incomplete, lacking a skull, and phalanges from the left hand. When compared to the skull and phalanges recovered elsewhere during the excavation, and discussed above, it is clear they are from the same individual.

The lesions observed in both previous skeletal finds are also evident here. One of the jobs that became essential post excavation was the mapping of the route these lesions took through the body. This was mainly achieved using x-ray analysis, which allowed the tunnels to be recorded. The preliminary results are published below. It became clear that whatever created the voids within the skeletal material also travelled through the soft tissue, and as it progressed through the body, it increased in diameter.

At several points, the creatures entered the spine of the individual, with several of them following a final channel through the C1 and C2 vertebrae into the skull. It is not possible to confidently identify the maximum number of creatures which this individual may have hosted, but a conservative minimum count is 12.

All the ribs, femurs, radius, humerus, and ulna showed considerable damage. Having examined the wear pattern caused by the invading species’ teeth, it is my personal opinion the pain would have been excruciating for the individual concerned. No remains of the creatures were found within the skeletal material, or within the high organic content soils in the surrounding area.

[18] Fill [18] produced a large amount of human bone (205kg by weight). All types of human skeletal remains were represented, including femurs, ribs, vertebrae, skulls, and illium. All bones showed some form of damage from a bladed weapon. The evidence varied from precise butchery marks, particularly around the tendons of the long bones, to frenzied strikes. The cuts are consistent with the injuries seen on the skull in context [13], and it is my belief that the same blade was used.

In total, around 15 individuals were identified using the presence of diagnostic skull elements. Due to the fragmentary nature of the bones, this is a bare minimum, and the count could be much higher.

None of the skeletal remains from [18] show the same pattern of internal damage as the skull, phalanges and skeleton recovered elsewhere in Trench 3.

~

Appendix Five

Specialist Ceramic Report by Diane Bansetten

The Carrion Knoll Bowl

In many ways, the vessel is typical Samian ware displaying the characteristic high-quality burnished red slip. The bowl has a slightly deeper profile than usual (300m diameter x 200mm deep).

The main difference is in the decoration. While the scenes displayed on Samian vessels are hugely varied, depicting everything from hunting to pornography, I can think of no comparative to the designs on the Carrion Knoll Bowl.

The same panel repeats three times. Each shows a group of humanoid figures. I use the term humanoid advisedly. While they display the proportions typical of 2nd century AD figurative art, the humanoids are fringed with what I first took to be some kind of fur. On closer inspection and following consultation with a colleague (J. Sanders pers. comm.), they have more in common with certain types of coral. It appears to represent a series of cylindrical polyps emerging from every inch of the skin. The segmented form is clearly defined and, using a hand lens, the fan of teeth can be seen at the terminus of each strand.

Only the humanoid faces are clear, which are rendered in such extreme and precise agony that this author assumes the potter drew on something he witnessed first-hand.

I must also comment on the residual fragments of the bowl recovered from fill [10]. In nearly thirty years as a professional Romano-British ceramic specialist, I have never encountered bone and pottery fused together in such a way. During the firing process, the presence of an entire finger bone in the vessel wall would cause the bowl to explode. This would suggest that the finger bone has been introduced later. Yet once the bowl has been fired, any attempt to force the finger tip through the wall would cause considerable damage. The presence of the slip on the bone suggests that the pottery has melted somehow and then reset, trapping the fingers in the clay.

Conclusion

Due to the unique and extremely disturbing nature of the decoration, the Carrion Knoll Bowl is unparalleled, certainly in British archaeology. The presence of the herbs surrounding the vessel, as well as the as yet unidentified contents, suggest that it had a very specific ritual purpose.

NB. A smear of the gel-like substance still adhered to the inside of the vessel when it arrived. During the unpacking this slid out and fell onto a pottery sherd from my reference collection. The glaze and decoration of this other fragment dissolved in front of my eyes. There may still be traces within the Carrion Knoll Bowl, and I would highly recommend that any further work is carried out following Hazmat guidelines.

Further work

In addition to regular consolidation and conservation work, I would recommend approaching a marine biologist to establish the identity of the coral deforming the humanoid figures in the decoration.

~

Appendix Six

Organic material recovered from the Carrion Knoll Samian Bowl

The material in the Samian bowl recovered from layer [11] was recognised in the cut of pit [05].

When the overlying archaeological material was excavated, the substance was visually inspected before removal by staff from Danburn Archaeological Conservation Laboratories.

The substance had the appearance and texture of aspic. Transparent and gelatinous, several inclusions were visible:

1. A fragment of skin and intact fingernail. The whole fingerprint was recognisable. Hopefully when the material is back in the lab, this can be recovered and examined further.

2. Several flower petals and mushrooms. Neither could be identified from a visual inspection and will require specialist study.

3. Clustered around the base appeared to be 20+ sinuous, segmented polyps, none more than 10mm long. Without cutting into the substance, it is difficult to determine whether they are organic or mineralised.

[Handwritten note]

(These observations of the Carrion Knoll Bowl’s contents are from visual examination on site. The material was immediately shipped to the Danburn Archaeological Conservation Laboratory for analysis. In the last two weeks, there has been no further communication. At the time of publication, phone calls and emails have gone unanswered. If we have not received a response after the weekend, we will be in touch with emergency services to gain access.)

Bio of Daniel Benlainy

Daniel Benlainey was born in Fife, Scotland and got his BA in Archaeology from University of Sheffield, before completing an MSc in Archaeological Sciences at University of Bradford.

After working the commercial archaeology circuit for several years, Daniel joined Multivallate Archaeology and has been with them for a decade, starting as a site assistant and working his way up to a project management position. He is especially interested in vitrified forts.

When not working he spends his time seeing bands such as Blyth Power, New Model  Army and Flogging Molly, or playing for his local cricket team.

Grief in Horror and Weird Fiction

Title from story Green Grows the Grief in the collection TO DROWN IN DARK WATER

Horror is a genre of many themes. Amongst the blood and gore, a vast number of subjects are explored, from consumerism in Dawn of the Dead, to community cohesion in The Wicker Man.

One of the subjects I return to a lot in my own writing is grief. (I’m not subtle about it. One of my stories is called Green Grows the Grief…). This does appear in horror, sometimes explicitly such as in The Monkey’s Paw, and sometimes more subtly.

Grieving a loved one is a horrific country to find oneself in. It’s a place where everything looks normal but is tipped off kilter. It is a strange world to make a home, but it is one we often need to live in for a while until we’re ready to move on. Often, however, we’re not given the time to grieve or the choice of when we leave. Real life intrudes.

In the traditional ensemble horror movie, people watch their friends killed off while not being given time to grieve. They have to run from the chainsaw wielding murderer. The killer (real life) intrudes before they can truly mourn the dead.

One place this forms the core of the story is in Alfred Kubin’s seminal weird fiction novel, The Other Side.

Best known as a printmaker and illustrator, Kubin only wrote the one novel in his life. In The Other Side, the narrator is invited by Patera, an old school friend, to travel to the Dream Kingdom, a realm Patera rules from the city of Pearl. The Dream Kingdom is a place where the citizens live only through their moods, and is a place of strange rites. Other times Pearl changes and reorganises in unpredictable ways. Patera, the creator of this strange land, is always beyond the narrator’s reach. With the arrival of the American Herkules Bell The Dream Kingdom falls apart and Pearl becomes taken over by wildlife.

There are many ways of interpreting The Other Side, but I think one way of approaching this foundational piece of weird fiction is as an exploration of grief. Kubin wrote his only novel following the death of his father, who he had a troubled relationship with. Seen through this lens, The Dream World can be understood as the state of grief where everything is reactive and driven by mood. Herkules Bell is the real world intruding into this dream like state of mourning, disruptive as any killer in a slasher movie. Disruptive as death taxes and probate. Everyday concerns taking attention away from grieving for the dead.

None of this is to say that the portrayal of grief and the intrusion of everyday life and ‘normality’ was in the mind of the creators of The Texas Chainsaw Massacre or A Nightmare on Elm Street (though I do think that an argument can be made for The Other Side). This is more an attempt to look at how these stories can be understood in terms of loss and mourning, In horror, and especially in weird horror, death is a constant presence. Possibly, our relationship to grief experienced in the world is there too, if we look close enough.

Cover of book TO DROWN IN DARK WATER

My collection TO DROWN IN DARK WATER, including Green Grows the Grief, is now available to pre-order from Undertow Publications.

Flash Fiction Month 2020 Day 2

Today’s story is inspired by a what3words code. I love using these – finding stories from random words.



crowned.copes.everyone

The day before the King of the Fields was crowned the regent was chosen from the young men of the Dale.

Everyone gathered in the lowest field, crowding around the riverbank. Cans were past between people, and lighters were shared as cigarettes were lit, the glittering coals barely visible in the morning mist.

A large circle was formed in the meadow, the unmarried men stepping forward to wait for the choosing. They all knew each other of course, all went to school together and played computer games together, but on that morning no-one spoke.

A chair was dragged into the centre and, with the help of his assistants, the local priest climbed up. his back to the waiting boys.

“Today is the day of choosing. The day of selection. The day when we crown the royalty of the land for another year.”

Someone passed him the crown of flowers, the petals weighted with the preservative that kept them from rotting year upon year. Eyes closed, the priest threw the crown into the morning air, and the gathered crowds watched it arc to land amongst their clustered children.

None of the boys moved, not wanting to change their position in relation to the ancient flowers. Over the next fifteen minutes the priest and his assistants busied themselves measuring the distance from the various teenagers to the crown, until a decision was made.

Taking his hand, the priest led the boy forward and helped him up onto the chair, the assistants fastening the copes around the boy’s shoulders, the garment made from the cured skin of the last king of the fields. As the sun rose high above the Dale the gathered crowds began to sing.

Flash Fiction Month 2020 Day 1

Hi!

Welcome to Flash Fiction Month. For the past few years I’ve spent the month up to 21st December posting a flash fiction story a day.

With everything going on I thought about giving 2020 a miss. Then I had some ideas and those ideas become stories, and I had enough of them to make it worth doing.

Here’s the first story. Visit every day for a new piece of writing. Some will be unsettling, some will be beautiful. Hopefully you will find something you like.

Room 1

Room 13 is the Dracula of hotel rooms. The demon safe to discuss in public. No one ever talks about Room 1.

In Room 1 of Hotels a corner is always left uncleaned, a hidden altar to several half forgotten deities who feast on dead skin.

In Room 1 the bed leg in the northeast corner is always slightly raised to guide dead residents from the building.

In Room 1 of every hotel a portion of the window is always smudged to capture a minuscule portion of your reflection. While you sleep a transparent child crouches in the bathroom and stitches them into a new face.

The bricks lining Room 1 are stuffed with moss to trap any moorland spirits who wander too far from their sodden home. After a period of time trapped within the walls, the spirits are pressed into service as kitchen hands. Their skin is always green tinged and the whites of their eyes scratched by thousand year old twigs.

The window of Room 1 never opens fully. The enchantment along the gap is weak and will shatter if stretched.

Under the entrance to Room 1 is buried an emptied bleach bottle containing a baby bird, a single hawthorn, a sliver of safety glass, and a rusted ring pull.

In Room 1 every dream contains a crying railway porter, his hands shattered and stained with red paint from an empty fire extinguisher. His eyes are the same coloured red.

Never fall asleep on the bathroom floor of Room 1. Whether the Savoy or the Skid Row Motel. What wears your skin when your body leaves will not be you.

Do not turn to channel 37 in Room 1. This completes an ancient incantation and the Static will arrive at clarity for you.

Short Story Collection On Its Way January 2021

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I’m very happy to announce that my first short story collection ‘To Drown In Dark Water’ will be published by Undertow Publications in early 2021.

Undertow are a fantastic publisher, who are responsible for collections by Priya Sharma, Laura Mauro, Georgina Bruce amongst other wonderful writers.

I can also share the amazing cover for my collection. The artwork is by Austrian artist Stefan Koidl, with design work by Vince Haig.

Michael Kelly has done a wonderful job arranging the cover, and I’m so proud that this will be on the front of my book.

While I’d like to keep this blog updated far more than I do, you can keep up to date about my work by signing up for my newsletter at tinyletter.com/stevetoase. Coming out once a month, it includes bits of news about my work, some art related chatter, a bit on archaeology, and a free flash fiction story.

Flash Fiction Month 2019 Week 4 (and a smidgen)

Here are the final stories of my flash fiction month. As with the previous three weeks each is linked to a location which you can visit via the hyperlink. Hope you enjoy them.

Day 22

marriage.geology.like

The couple decided to hold their wedding outside. Begin their marriage between sky and stone, not wrapped in brick and plumbing. Feel the geology underneath them, the hawthorn wearing the wind like rags.

Every word they said to each other was stitched with love, and time, the time behind them and the time to come. Hands bound with cloth, they sipped honey wine and made honeyed promises, oaths as sweet as anything the bees feasted upon.

Like shimmers from another world they stood upon the outcrop of rock and reached into the future; one year, ten years, twenty and many more.

With hands enwrapped with promises they spoke words that enwrapped them with memories to come and stepped upon their own bonny road toward a world of their own.

 

Day 23

shattered.swimmers.cuts

The swimmers stand on the glittered shore, feet coated in sand sharp as razors. When they swam out to the island, before the sun went down and chilled the land, the sea was soft and warm.

They watch waves erupt to swallow themselves. Soon the ground where they wait will gnaw upon itself. They can already feel it waking to taste the soil beneath them. The sea swirls and shifts, and with arms bare and lungs filled, they dive.

The sea is no longer soft and warm. Now it is brittle and murderous. They try to make progress, but are overwhelmed. The sea of shattered knives cuts the swimmers to the bone and continues slicing, smearing crests of waves with blood and severed tendons. There is no drowning, just muscle trimmed with a thousand cuts until the swimmers are carried beneath the sharpened tide.

Day 24

worksheet.renamed.obstruct

They renamed her in the hope it would rob her of her power. Take the magic from her hair and bones.

Whenever they pinned her identity to a worksheet or receipt, they changed the letters of her name. Misspoke it when gossipping on the street, and whispering before sleeping.

She did not care. While they shuddered at having the syllables of her slide over their lips or brush their tongue, she went to the overgrown ponds and dressed in lilies, swam in reed choked waters, and sat in meadows where the grasses scratched all the names they called her into her back.

Some days, when she lay in her bed as the summer sun scorched the streets, she heard them talk about her. Call her Joanie, or Helena, or bitch (if they were feeling brave), but none of them had the nerve to obstruct her while she knelt in the street collecting gutter herbs or road ash.

None of them had the bravado to misname her when she bought calf hearts from the butchers, and collected blackthorns on the way home. None of them had the guts to criticise her to her face when she fed the stray cats gathered in her garden, that did not quite look like cats.

While they shuddered at her shadow and stayed silent, she spoke kindness to all those who showed it to her, and any chance she got whispered her own name to herself, and smiled.

Day 25

lowest.whiten.comedy

Since starting her comedy career JoJo had bombed many times, but tonight was bad. Really bad. Tonight JoJo had hit her lowest point.

She stood on the stage, staring beyond the dust covered lights to the bored audience. That was the worst. Not the jeering or heckling, but the sheer boredom pressing back from their passive faces, stifling her attempts at jokes. Killing them before they were even born. The corpses of her humour lay around her feet.

She did not need to do anything else. The sacrifice had been made. From the side of the stage the compere tried to get her attention by glances, then sighs, then hands. She shrugged off his interruptions and refocused. Looked for the micro signals amongst those watching. A hand tapping a rhythm here, and an eye twitching in spasm there. Angles made by skin and the cloth of sweat stained shirts. Her words changed from attempts at humour to calls so quiet she barely heard herself speak.

The first portal opened up in the tear duct of a drunk stag sitting by the front of the stage. What came through was dressed in thorns and each one grazed sigils into the dying man’s eyes. The last thing he saw were the words that powdered his muscles, turning him to bone and dust. The second portal started as a single point in the chest of the compere. JoJo watched it grow and whiten, until it was pure light, though that was just the herald for the corruption that followed. What followed that light was tainted with infection and wounds. It paused before JoJo and recognised the names chiseled into her bones, then moved on through the crowd, defusing them cell by cell until they were little more than scrapings of dust on the cheap plastic chairs.

JoJo watched the things clasp together their rewards; the squirming souls of those shattered and eroded. They would not get all the cultural references in her routine, the dwellers from behind the meniscus of the world, but at least they would listen, and wait until she had finished before passing judgement upon her performance.

Day 26

harps.cook.bunny

Constanza sat upon the stage surrounded by instruments with no-one to play them. Even with no other musicians in the room the strings and skins resonated just below hearing as if the ghosts of all those past performances could not stay silent. As if they needed to find a new home in the polished wood and brass that littered the stage.

She tipped her chair back until only balanced on two legs and then back forward, letting her bow find the tune in the cello. Call back all the performances lost over the years in that ancient hall.

Across the room the harps resonated an answer, finding their own voice in the tune she danced from memory.

The animals started to come in as if the tune she played was food. As if it could give them nourishment that they could not find in the desolate world beyond the building. She watched them skitter down the aisles; deer and wild boar. A bunny leading its family over the red velvet chairs.

They came closer as if she was not there at all. As if there was only the music and the music alone would fill their bellies. She knew this was not true, or she would not be near starving herself. Soon her own stomach would be full. There would be plenty to cook tonight.

Day 27

recited.excavated.basecamp

Basecamp was deserted when Sally returned from the trench.
The rest of the team hadn’t had time to become unsettled by the most recent find. She cradled the artefact in her hands, the cuts and cracks in her skin full of clay and grit.

Now excavated, the object was smaller than she expected. She turned it over, watching as the last of the day’s sun caught each facet in turn, glittering with the dust of many deaths.

All the site huts were empty, traces of recent activity everywhere. A cup of tea cooled on top of a pile of paperwork. In another office a cigarette smouldered in a full ashtray.

She caught sight of herself in a murky hut window, just able to see her lips moving, saying the same thing over and over again. The invocation had already been recited, every step from site, like a penitent on pilgrimage. The world had already been changed. She glanced down at the artefact. Now she saw the faces. Now she saw the others. Now she saw the end of the world, and it came from muttered words that she could not stop from repeating over and over and over.

Day 28

amends.dart.frozen

Bill would not make amends for what happened on that night two weeks ago. That walk back from the club at three in the morning.

Seline shuddered at the memory and carried on arranging icewort flowers on the kitchen table. The evening had gone smoothly; good music, good dancing, the floor not too crowded, then it was time to leave. Outside was warm and the moon was high, so rather than get a bus or call a cab they decided to take their time and go on foot.

From the bag by her feet she took out the blood soaked grit and piled it in the middle of the circle of blossoms.

The cat wasn’t doing anything, just being a bit loud. Trying to get some affection. Bill didn’t touch the animal, didn’t even pretend to hit it. Instead he stepped around the other side, cutting off its escape and giving it nowhere else to go when he shouted. The cat shot out in the only direction left, toward the road.

Seline didn’t blame the car driver. He had no time to stop. She had knelt by the side of the cat, but there was nothing she could do except take the collar and hope to track down the owners.

“It’s not my fault. Stupid creature,” Bill had said, showing no remorse. There had been a coldness in his voice. A disregard for death. If he could be so dismissive over that casualty?

From her pocket she took out the five small half moons of fingernails and dropped them on top of the pile of grit.
The words were easy to remember as all good magic was. She felt her mouth go cold and spat into the centre of the circle.

The dart was barely bigger than her hand, frozen, solid and sharp. She picked it up and whispered Bill’s name, his full name, not that it was strictly necessary. The fragments of him would guide the point to its destination, but ritual was ritual.

Opening the window, she watched the ice dart shimmer for a moment then take off in search of a heart to stop. Sat at her kitchen table, Seline remembered a cat no-one else had a chance to mourn.

Day 29

salon.snow.lasts

Cathryn walked into the salon, feeling the blast of heat from above the door. She shook off her coat and let the assistant take it from her shoulders to hang it in the corner with those of the other customers.

“Morning, madam,” the stylist said as Cathryn lowered herself into the chair. The seat was difficult to settle in, but that was her, not anything she could blame on the establishment.
“What would you like today?” The stylist fastened the cape around her neck, smoothing it down.

“Just a trim please,” Cathryn said.

The stylist ran a manicured finger over Cathryn’s antlers, lingering for a moment at the branch of two tines.

“Are you sure? I have some new styles I’d really like to try out on you.”

Cathryn thought about it. She really did only want a trim, but maybe.

“I can do you a discount,” the stylist said quickly. “As long as I can take some photos.”

She had never been tempted by such delicate work before. Maybe a geometric pattern for a special occasion. Her friends who did spend their money on scrimshaw always managed to damage it during rutting of both types.

“Does it last?” She asked, still not certain.

“It lasts,” the stylist said. “I use a special technique that hardens the antler as I work. Am I okay to start?”

Cathryn nodded, the tip of one of her antlers touching the mirror. Beside her a faun laid back in his chair, eyes closed as the junior stylist carefully sculpted his horns, working away with a small saw.

From a small black table the stylist picked up a craft drill and changed the blade. Settling Cathryn’s head in place, she started to work.

The air filled with the smell of burnt hair as the stylist began to sculpt and carve. While she worked it was very hard for Cathryn to see what minuscule changes the stylist made with each cut. Up on the wall were photos of previous work; minotaurs with religious scenes carved into their horns, and minor woodland gods with bonsai forests of their own shaped into their horns.

After several hours the stylist put down their tools and stepped back, moving Cathryn’s head a touch to one side, then holding up a mirror so she could see the entirety of the sculpture; the delicate bridges with willow trees above, a glistening of snow on the branches, below that the figures sat around the campfire that seemed to move as the light caught them, brewing tea in precise teapots balanced in the flames. Further away, a small boat docked against a jetty while two more floated out into the middle of the river.

“Is it OK?” The stylist said, clasping their hands together.

Cathryn couldn’t speak, but as she nodded, the boats seemed to rock upon the carved water, shimmering through the tears in her eyes.

Day 30

after.unburied.magnificence

The trees tasted the power on the air and one by one uprooted themselves from the forest floor.

Unburied taproots became tendrils to drag them down hillsides and across tarmac, onward toward the cities that glistened in the distance. At first no-one noticed, though the ground itself trembled with the magnificence of that shift, that movement of pine and firs down toward where the people still went about their jobs and hobbies as if nothing had changed. After everything was finished, we realised that was the moment we should have paid attention.

The trees arrived at just the right time of year, clustering in toppled piles by the side of the roads, waiting for families to load them into cars and trailers. Waiting for families to take them home.

Once in living rooms the trees were decorated, covered in tinsel and glass baubles in the shape of fruit they would never grow. None of these interested them. Not the red and white candy-canes or the jagged snowmen made by tiny hands. The trees only cared about one thing; the lights and the energy they carried within them.

While the households slept the trees used their branches to cleave the bulbs to their trunks, shattered the fine glass casings, pressed the prongs against their bark, and as the electricity sparked through them they drank the energy directly into their timber, feeling it change them. Outside the streetlights flickered with the drain.

Pine needles smouldering, the trees left their living room perches, and found their way through darkened houses, lighting their own way to silent bedrooms. Twirling in the dark they unfurled the broken strings of lanterns onto the silent figures and watched without remorse as the families twitched and smouldered in their beds. The world had once belonged to the trees and once more the world would be nothing but forests.

Day 31

 yelled.magic.tornado

The stones themselves yelled to cover the screams of the grass and the soil and the earth beneath them. From one side to the other, the circle was crammed with people, their heads turned in worship, no matter what they were worshipping.

Each person carried a little magic, a spark of a spell or curse buried deep in their heart. Not a lot, but enough.

The stones tasted the magic on the air, felt it dragged out of worshippers by the rising sun, held in the sky between the cold and the heat to come.

As the stones screamed and chorused so loud that no one could hear, they spiralled the enchantment into a tornado of devotion that enveloped the sky and the sun and the land and every single shimmer of life between.