Thalia Muse of Comedy and Bucolic Poetry Illustration by Arash
This is a reprint of a previous post from several years ago.
Once in a while, I come across some gem of the writer’s art that almost strikes me breathless with its beauty. The poems of John Donne are one example. The poignant first chapter of A Farewell to Arms is another. Recently, I began reading Ray Bradbury’s The Martian Chronicles and every time I pick it up, I am nearly struck breathless with his simple, understated eloquence that touches one’s very core. Today I read a post at winebbler.wordpress.com and her simple, fun voice and flowing, relaxed style combined with playful use of the English language made for very entertaining and enjoyable reading beneath which I thought I could sense an undercurrent of growing artistic beauty.
That article made me start to think about what makes a work of writing aesthetically beautiful. After some thought, I reached the conclusion that every work of literary beauty has the same qualities as a powerful but smoothly flowing mountain stream: clarity, power, and an uninterrupted flow. But unlike a stream, a work of literary beauty must also be reasonably brief.
In every literary work I consider beautiful, the first universal characteristic that comes to mind is that the author uses a simple voice comprising simple, everyday words that anyone can understand. Writing is communication. Communication is one person disseminating ideas to others by using words, which are collections of sounds representing ideas. By using simple words everyone understands easily, the writer makes his ideas easier to disseminate. Why use a word that few can understand, when you can use a simpler word with the same meaning that everyone can understand? Therefore, our stream must be crystal clear and free of mud or anything that would hinder insight and perception.
If ideas equate to the water in our allegorical mountain stream, the precision of the component ideas, the words, give the stream its force. As I mentioned in my post “Slattery’s Tao of Writing, Part I”, words chosen for their precise meanings have power. As I said earlier in this article, words are ideas. Precise words are precise ideas. Precise ideas are powerful ideas, powerful emotionally and intellectually. Like all other forces in the universe, powerful ideas become more powerful if combined and organized with one idea leading logically, flowingly to the next. This facilitates understanding and the reading experience.
When my stream of thought is uninterrupted and powerful, I become immersed in the work. I can be swept away and can lose track of time and of everything happening around me. To my mind, every writer should aspire to instill this experience into his readers. When this happens, the writer has made an emotional and intellectual connection with his reader and the reader is grasping the writer’s ideas.
If organization is lacking, ideas are scattered like boulders in the stream and on the banks, creating rapids and breaking up the smooth flow. A powerful, disorganized stream is a torrent, destructive of everything along its banks, stiking out at random, benefiting no one. In communication, disorganization is the source of misunderstanding, the antithesis of understanding. The stream becomes destructive.
If a writer uses words his readers do not understand and they have to turn to a dictionary to find out what the writer intends, the clarity of the ideas is lost and the reading experience is muddied. Furthermore, the reading experience flows even less smoothly. Even if the reader can reason out the meanings of the words from the context, the stream of thought is still disrupted and muddied, even if to a lesser degree. The words will also lose much of their power, because the reader cannot appreciate the nuances of what he or she does not fully understand.
Lastly, every beautiful work has been reasonably brief. Reading anything exasperatingly long becomes tiresome for everyone. When readers become weary (word-weary so to speak), they can lose focus on what the writer is trying to communicate. This detracts from the reading experience just as if someone who enjoys swimming in a mountain stream can no longer enjoy their swim if they become overly fatigued with exertion.
That said, I will now close tonight’s blog before I wear you out with my ramblings.
Several years ago, I wrote a seven-part series on my own Tao of the art of writing and published it on my then nascent version of this website. Over the next several days I will be republishing it. I will probably end up adding at least a part 8. In addition, I intend to convert this series into a series of YouTube videos, once I work out some production details, to play on the website’s YouTube channel. Please let me know what you think of this series and how I can improve it for YouTube.
A quick Google search reveals there are a lot of web articles entitled “The Tao of Writing”. This is mine. Let me begin by explaining what I perceive to be the Tao (others may view it differently and have equally valid perceptions).
The Chinese character above translates as Tao, the way, and is pronounced as “dow”, as in “The Dow-Jones Industrial Average”. Taoism is an ancient Chinese religion rooted in the teachings of the legenday Chinese philosopher Lao Tzu (sometimes transliterated as “Lao Tze” or in a number of other ways) as expressed in his book, the Tao Teh Ching (The Book of the Way). The Taoist religion, as I understand it, is far removed from Lao Tzu’s original philosophy, because the religion incorporates demons, gods, demigods, spirits, and other things that are not mentioned in the Tao Teh Ching or in the teachings of the original masters such as Lao Tzu, Chuang Tzu, or the Huainan Masters (at least in the translations I have read).
What the Tao is, is hard to express. “The Way”, as I understand it, refers to the the way of the universe, basically how the universe works in a general sense. In the American vernacular, we would probably express it as “the way things are”. Some reader might respond to that as, “Sure. I understand. You’re saying the Tao is why toast always falls buttered side down. Gotcha.”
No, I am talking about something a bit more profound. It’s more like this:
You work hard at trying to find a publisher for a story and are consistently rejected by what you perceived to be all the most suitable choices. So, one night when you are battling insomnia and have just started the first glass of your second bottle of wine, out of frustration you send it off as a shot in the dark to some big name magazine who will never accept it, and lo and behold it is accepted. So, sometimes it seems that you work your butt off for something and get nowhere, but you give up trying and you succeed. Basically, the Tao is then like learning the way the universe works, then learning to succeed by adapting to that way. Confused yet? Have I oversimplified my point or have I made it overly complex?
Understanding how the Tao works is not something anyone can express in words; it is something one can understand only subjectively, i.e., one must have a feel for it. In fact, the first sentence of the Tao Teh Ching is “The Way that can be spoken is not the true Way.” For most people, reading the Tao Teh Ching will probably be an exercise in confusion and frustration and contradiction. In the Tao Teh Ching, nothing is exact; everything is metaphor and allusion, about how water flows into a valley and then the sea, how wood is shaped, the balance of the universe, and so on.
To complicate matters even more, because the Tao Teh Ching was written in Chinese about 2,500 years ago, and the translation of the original Chinese characters may have changed significantly since then, translation of the Tao Teh Ching into modern languages is frustratingly imprecise, often relying on traditional or customary translations as opposed to knowing exactly what Lao Tzu was saying. For today’s modern, exact, Socratic-tradition-based society, this is maddening. Our scholars argue about the meanings of works written in modern English, how are they going to agree on something as nebulous as the Tao Teh Ching?
So, what are the important ponts of the Tao that everyone should remember?
As I perceive the Tao, one critical aspect of existence is balance; the universe consists of opposites that must balance out or problems arise. At the same time, all existence arises from the conflict of opposites. An example of this is the old Zen Buddhist rhetorical question of “what is the sound of one hand clapping?” I do not know the official or traditional answer to this, but from my Taoist perception, the answer is that there is no sound. The sound of clapping is produced only when the opposing forces of the hands meet. Thus it is with everything in the universe. Two opposites have to come together to produce anything: light and dark, man and woman, left and right, up and down, hot and cold, etc.
Another critical aspect of existence is that emptiness can be as important as substance and non-action can be as important as action. There are other aspects, of course, but I will stick to these for now and address those at a later date.
Take a look at your hand for an example of the first principle. If there were no spaces between your fingers, you would not have a hand, you would have something else, maybe a flipper. Likewise, a sculptor can create a sculpture only by cutting away pieces of material so that the now-empty spaces create a form. So a sculpture, or any object for that matter, comprises both substance and emptiness.
For an example of the non-action versus action principle, think about problems you faced in the past. Could you have solved any of them by simply doing nothing? Not every problem can be solved by doing nothing, but some can.
These principles are symbolized by what is know in our society as the Yin-Yang as shown here:
In the yin-yang, as I perceive it, the eternal circle of the universe is formed by the interaction of opposites, here symbolized by light and dark, but while they are opposites, a little of each exists in the other.
For a very short book, the Tao Teh Ching is filled with incredible depth and meaning. For me, in the few translations I have read, the Tao makes perfect sense, and I understand the world a little better each time I read it. However, others may read it and just be confused or frustrated. The Tao Teh Ching is something that will either speak to you personally and enlighten your world, or it will not.
But what has all this to do with writing?
I see the Tao at work whenever I write anything. I see it in what I consider to be some of the basic principles of writing: less is more, what is not said is often more important than what is said, and so forth. For me, this makes writing almost a form of magic, not in the sense of illusion, but true magic where one creates something out of nothing by using as few components as possible, by making something complex by keeping everything as simple as possible.
I will give one example and then I will close this article for the day and pick it up when I can sometime in the hopefully near future.
One of the first principles of writing I learned was to use as few words as possible. Strunk and White, in The Elements of Style, say to “Omit unnecessary words”, which in itself is a perfect example of omitting unnecessary words. How much more concise can that one sentence be? It contains absolutely no unnecessary words. If one word is omitted, the sentence ceases to have meaning. The virtue of this is that, if done properly, the work becomes much more powerful because each word carries more weight.
To do this, a writer needs to use words precisely. Try to find a word that captures the exact meaning of the idea you are trying to express–and the shorter the word the better. After all, you are trying to communicate an idea to the largest possible audience. Why use big words that will send readers scurrying to the nearest dictionary, thus interrupting their chain of thought and perhaps tainting their reading experience, when you can use words that everyone understands and keep their experience free from interruptions?
An example of using words precisely would be revising the sentence “A man went quickly to the store.”
Now, shorten it by replacing “went quickly” with “ran”. While you are at it, replace the other general terms with more precise ones. The sentence becomes “John ran to Walmart.” Now, if you have had any background information on John, you know who he is, what he is like, his possible motivations, and that he is in a hurry for some reason to get something from Walmart, knowing the kind of products Walmart has, you may have an idea of why he is going there. If we changed the sentence to “John ran to the Red Dot Liquor Store” we have an even better idea of his motivation. If we said, “John sped to Red Dot Liquors in his brand-new corvette”, we know even more about John: we know he can afford a brand-new corvette. If you have ever been in Red Dot Liquors, you know something of the products they carry and that may say something to you about John’s decision to purchase them.
So, how much more excitement and power does the sentence “John sped to Red Dot Liquors in his brand-new corvette” have versus “a man went quickly to the store”. The final version packs a lot more information in almost the same space.
So that is part of the magic of writing for me: using as few words as possible to create a work. On the surface, it seem to go against logic. How can you build something by using as few components as possible and deleting the ones you do have whenever possible?
Try an experiment, take the first page of any run of the mill romance novel and draw a line through every word you consider unnecessary while keeping the meaning of the sentence. Then take your final product and do it again. Do it a third time if you like. How much were you able to reduce without changing its meaning?
Now take the first page of a novel by Hemingway, someone known for his lean, muscular writing. How far were you able to reduce it before changing the meaning?
Someone once said, “draw a line through every third word and you will be surprised at how much it improves your writing.” I have tried that and it works wonderfully. Of course, you can’t arbitrarily omit every third word, or the work may become nonsense, but it does cause one to question whether that word is necessary.
I have always marveled at the idea that one can write something by omitting words. It goes against my standard, American, public school education, where teachers give a mininum number of words to an assignment and one is forced to insert as many words as possible just to meet the requirement. But can you blame them? If you told the average American high school student to tell what he did over the summer in as few words as possible, he would say, “I had fun” or “I worked.” Good luck teaching him to write.
Anyway, I am rambling once again. I will close for now and pick this up at some later date.
It was the design of Angelo Ricci and Joe Czanek and Manuel Silva to call on the Terrible Old Man. This old man dwells all alone in a very ancient house on Water Street near the sea, and is reputed to be both exceedingly rich and exceedingly feeble; which forms a situation very attractive to men of the profession of Messrs. Ricci, Czanek, and Silva, for that profession was nothing less dignified than robbery. The inhabitants of Kingsport say and think many things about the Terrible Old Man which generally keep him safe from the attention of gentlemen like Mr. Ricci and his colleagues, despite the almost certain fact that he hides a fortune of
H.P. Lovecraft, 1915
indefinite magnitude somewhere about his musty and venerable abode. He is, in truth, a very strange person, believed to have been a captain of East India clipper ships in his day; so old that no one can remember when he was young, and so taciturn that few know his real name. Among the gnarled trees in the front yard of his aged and neglected place he maintains a strange collection of large stones, oddly grouped and painted so that they resemble the idols in some obscure Eastern temple. This collection frightens away most of the small boys who love to taunt the Terrible Old Man about his long white hair and beard, or to break the small-paned windows of his dwelling with wicked missiles; but there are other things which frighten the older and more curious folk who sometimes steal up to the house to peer in through the dusty panes. These folk say that on a table in a bare room on the ground floor are many peculiar bottles, in each a small piece of lead suspended pendulum-wise from a string. And they say that the Terrible Old Man talks to these bottles, addressing them by such names as Jack, Scar-Face, Long Tom, Spanish Joe, Peters, and Mate Ellis, and that whenever he speaks to a bottle the little lead pendulum within makes certain definite vibrations as if in answer. Those who have watched the tall, lean, Terrible Old Man in these peculiar conversations, do not watch him again. But Angelo Ricci and Joe Czanek and Manuel Silva were not of Kingsport blood; they were of that new and heterogeneous alien stock which lies outside the charmed circle of New England life and traditions, and they saw in the Terrible Old Man merely a tottering, almost helpless greybeard, who could not walk without the aid of his knotted cane, and whose thin, weak hands shook pitifully. They were really quite sorry in their way for the lonely, unpopular old fellow, whom everybody shunned, and at whom all the dogs barked singularly. But business is business, and to a robber whose soul is in his profession, there is a lure and a challenge about a very old and very feeble man who has no account at the bank, and who pays for his few necessities at the village store with Spanish gold and silver minted two centuries ago. Messrs. Ricci, Czanek, and Silva selected the night of April 11th for their call. Mr. Ricci and Mr. Silva were to interview the poor old gentleman, whilst Mr. Czanek waited for them and their presumable metallic burden with a covered motor-car in Ship Street, by the gate in the tall rear wall of their host’s grounds. Desire to avoid needless explanations in case of unexpected police intrusions prompted these plans for a quiet and unostentatious departure. As prearranged, the three adventurers started out separately in order to prevent any evil-minded suspicions afterward. Messrs. Ricci and Silva met in Water Street by the old man’s front gate, and although they did not like the way the moon shone down upon the painted stones through the budding branches of the gnarled trees, they had more important things to think about than mere idle superstition. They feared it might be unpleasant work making the Terrible Old Man loquacious concerning his hoarded gold and silver, for aged sea-captains are notably stubborn and perverse. Still, he was very old and very feeble, and there were two visitors. Messrs. Ricci and Silva were experienced in the art of making unwilling persons voluble, and the screams of a weak and exceptionally venerable man can be easily muffled. So they moved up to the one lighted window and heard the Terrible Old Man talking childishly to his bottles with pendulums. Then they donned masks and knocked politely at the weather-stained oaken door. Waiting seemed very long to Mr. Czanek as he fidgeted restlessly in the covered motor-car by the Terrible Old Man’s back gate in Ship Street. He was more than ordinarily tender-hearted, and he did not like the hideous screams he had heard in the ancient house just after the hour appointed for the deed. Had he not told his colleagues to be as gentle as possible with the pathetic old sea-captain? Very nervously he watched that narrow oaken gate in the high and ivy-clad stone wall. Frequently he consulted his watch, and wondered at the delay. Had the old man died before revealing where his treasure was hidden, and had a thorough search become necessary? Mr. Czanek did not like to wait so long in the dark in such a place. Then he sensed a soft tread or tapping on the walk inside the gate, heard a gentle fumbling at the rusty latch, and saw the narrow, heavy door swing inward. And in the pallid glow of the single dim street-lamp he strained his eyes to see what his colleagues had brought out of that sinister house which loomed so close behind. But when he looked, he did not see what he had expected; for his colleagues were not there at all, but only the Terrible Old Man leaning quietly on his knotted cane and smiling hideously. Mr. Czanek had never before noticed the colour of that man’s eyes; now he saw that they were yellow. Little things make considerable excitement in little towns, which is the reason that Kingsport people talked all that spring and summer about the three unidentifiable bodies, horribly slashed as with many cutlasses, and horribly mangled as by the tread of many cruel boot-heels, which the tide washed in. And some people even spoke of things as trivial as the deserted motor-car found in Ship Street, or certain especially inhuman cries, probably of a stray animal or migratory bird, heard in the night by wakeful citizens. But in this idle village gossip the Terrible Old Man took no interest at all. He was by nature reserved, and when one is aged and feeble one’s reserve is doubly strong. Besides, so ancient a sea-captain must have witnessed scores of things much more stirring in the far-off days of his unremembered youth.
###
A short, animated version of “The Terrible Old Man” can be found on Youtube at https://www.youtube.com/watch?v=XHpuAAnHdEc. Four minutes, eighteen seconds in length, it is an abbreviated version of Lovecraft’s 1,200 word story. It cuts out a lot of the descriptive text and adds a couple of minor touches of its own, but, as far as horror and Lovecraft go, it is a relatively charming tale. I find the story more enjoyable because of Lovecraft’s unique narrative style.
“Conrad Aiken came from a wealthy, and well known family who were from New England but moved to Savannah, Georgia. His father was a respected physician and surgeon however for no apparent reason Conrad’s father
Conrad Aiken October 3, 2013 (photographer unknown)
suddenly seemed to change his temperament and became difficult to get on with and violent. Then early in the morning of February 27, 1901, he murdered his wife and shot himself. Conrad (who was eleven years old) heard the gunshots and discovered the bodies. After this tragedy he was raised by his great-great-aunt in Massachusetts.
“To read more about the life of Conrad Aiken read his autobiographical novel Ushant (1952), one of his major works which is an excellent source of information. In this book he speaks candidly about his various affairs and marriages, his attempted suicide and fear of insanity.”
It was the design of Angelo Ricci and Joe Czanek and Manuel Silva to call on the Terrible Old Man. This old man dwells all alone in a very ancient house on Water Street near the sea, and is reputed to be both exceedingly rich and exceedingly feeble; which forms a situation very attractive to men of the profession of Messrs. Ricci, Czanek, and Silva, for that profession was nothing less dignified than robbery. The inhabitants of Kingsport say and think many things about the Terrible Old Man which generally keep him safe from the attention of gentlemen like Mr. Ricci and his colleagues, despite the almost certain fact that he hides a fortune of
H.P. Lovecraft, 1915
indefinite magnitude somewhere about his musty and venerable abode. He is, in truth, a very strange person, believed to have been a captain of East India clipper ships in his day; so old that no one can remember when he was young, and so taciturn that few know his real name. Among the gnarled trees in the front yard of his aged and neglected place he maintains a strange collection of large stones, oddly grouped and painted so that they resemble the idols in some obscure Eastern temple. This collection frightens away most of the small boys who love to taunt the Terrible Old Man about his long white hair and beard, or to break the small-paned windows of his dwelling with wicked missiles; but there are other things which frighten the older and more curious folk who sometimes steal up to the house to peer in through the dusty panes. These folk say that on a table in a bare room on the ground floor are many peculiar bottles, in each a small piece of lead suspended pendulum-wise from a string. And they say that the Terrible Old Man talks to these bottles, addressing them by such names as Jack, Scar-Face, Long Tom, Spanish Joe, Peters, and Mate Ellis, and that whenever he speaks to a bottle the little lead pendulum within makes certain definite vibrations as if in answer. Those who have watched the tall, lean, Terrible Old Man in these peculiar conversations, do not watch him again. But Angelo Ricci and Joe Czanek and Manuel Silva were not of Kingsport blood; they were of that new and heterogeneous alien stock which lies outside the charmed circle of New England life and traditions, and they saw in the Terrible Old Man merely a tottering, almost helpless greybeard, who could not walk without the aid of his knotted cane, and whose thin, weak hands shook pitifully. They were really quite sorry in their way for the lonely, unpopular old fellow, whom everybody shunned, and at whom all the dogs barked singularly. But business is business, and to a robber whose soul is in his profession, there is a lure and a challenge about a very old and very feeble man who has no account at the bank, and who pays for his few necessities at the village store with Spanish gold and silver minted two centuries ago. Messrs. Ricci, Czanek, and Silva selected the night of April 11th for their call. Mr. Ricci and Mr. Silva were to interview the poor old gentleman, whilst Mr. Czanek waited for them and their presumable metallic burden with a covered motor-car in Ship Street, by the gate in the tall rear wall of their host’s grounds. Desire to avoid needless explanations in case of unexpected police intrusions prompted these plans for a quiet and unostentatious departure. As prearranged, the three adventurers started out separately in order to prevent any evil-minded suspicions afterward. Messrs. Ricci and Silva met in Water Street by the old man’s front gate, and although they did not like the way the moon shone down upon the painted stones through the budding branches of the gnarled trees, they had more important things to think about than mere idle superstition. They feared it might be unpleasant work making the Terrible Old Man loquacious concerning his hoarded gold and silver, for aged sea-captains are notably stubborn and perverse. Still, he was very old and very feeble, and there were two visitors. Messrs. Ricci and Silva were experienced in the art of making unwilling persons voluble, and the screams of a weak and exceptionally venerable man can be easily muffled. So they moved up to the one lighted window and heard the Terrible Old Man talking childishly to his bottles with pendulums. Then they donned masks and knocked politely at the weather-stained oaken door. Waiting seemed very long to Mr. Czanek as he fidgeted restlessly in the covered motor-car by the Terrible Old Man’s back gate in Ship Street. He was more than ordinarily tender-hearted, and he did not like the hideous screams he had heard in the ancient house just after the hour appointed for the deed. Had he not told his colleagues to be as gentle as possible with the pathetic old sea-captain? Very nervously he watched that narrow oaken gate in the high and ivy-clad stone wall. Frequently he consulted his watch, and wondered at the delay. Had the old man died before revealing where his treasure was hidden, and had a thorough search become necessary? Mr. Czanek did not like to wait so long in the dark in such a place. Then he sensed a soft tread or tapping on the walk inside the gate, heard a gentle fumbling at the rusty latch, and saw the narrow, heavy door swing inward. And in the pallid glow of the single dim street-lamp he strained his eyes to see what his colleagues had brought out of that sinister house which loomed so close behind. But when he looked, he did not see what he had expected; for his colleagues were not there at all, but only the Terrible Old Man leaning quietly on his knotted cane and smiling hideously. Mr. Czanek had never before noticed the colour of that man’s eyes; now he saw that they were yellow. Little things make considerable excitement in little towns, which is the reason that Kingsport people talked all that spring and summer about the three unidentifiable bodies, horribly slashed as with many cutlasses, and horribly mangled as by the tread of many cruel boot-heels, which the tide washed in. And some people even spoke of things as trivial as the deserted motor-car found in Ship Street, or certain especially inhuman cries, probably of a stray animal or migratory bird, heard in the night by wakeful citizens. But in this idle village gossip the Terrible Old Man took no interest at all. He was by nature reserved, and when one is aged and feeble one’s reserve is doubly strong. Besides, so ancient a sea-captain must have witnessed scores of things much more stirring in the far-off days of his unremembered youth.
###
A short, animated version of “The Terrible Old Man” can be found on Youtube at https://www.youtube.com/watch?v=XHpuAAnHdEc. Four minutes, eighteen seconds in length, it is an abbreviated version of Lovecraft’s 1,200 word story. It cuts out a lot of the descriptive text and adds a couple of minor touches of its own, but, as far as horror and Lovecraft go, it is a relatively charming tale. I find the story more enjoyable because of Lovecraft’s unique narrative style.
It was the design of Angelo Ricci and Joe Czanek and Manuel Silva to call on the Terrible Old Man. This old man dwells all alone in a very ancient house on Water Street near the sea, and is reputed to be both exceedingly rich and exceedingly feeble; which forms a situation very attractive to men of the profession of Messrs. Ricci, Czanek, and Silva, for that profession was nothing less dignified than robbery. The inhabitants of Kingsport say and think many things about the Terrible Old Man which generally keep him safe from the attention of gentlemen like Mr. Ricci and his colleagues, despite the almost certain fact that he hides a fortune of
H.P. Lovecraft, 1915
indefinite magnitude somewhere about his musty and venerable abode. He is, in truth, a very strange person, believed to have been a captain of East India clipper ships in his day; so old that no one can remember when he was young, and so taciturn that few know his real name. Among the gnarled trees in the front yard of his aged and neglected place he maintains a strange collection of large stones, oddly grouped and painted so that they resemble the idols in some obscure Eastern temple. This collection frightens away most of the small boys who love to taunt the Terrible Old Man about his long white hair and beard, or to break the small-paned windows of his dwelling with wicked missiles; but there are other things which frighten the older and more curious folk who sometimes steal up to the house to peer in through the dusty panes. These folk say that on a table in a bare room on the ground floor are many peculiar bottles, in each a small piece of lead suspended pendulum-wise from a string. And they say that the Terrible Old Man talks to these bottles, addressing them by such names as Jack, Scar-Face, Long Tom, Spanish Joe, Peters, and Mate Ellis, and that whenever he speaks to a bottle the little lead pendulum within makes certain definite vibrations as if in answer. Those who have watched the tall, lean, Terrible Old Man in these peculiar conversations, do not watch him again. But Angelo Ricci and Joe Czanek and Manuel Silva were not of Kingsport blood; they were of that new and heterogeneous alien stock which lies outside the charmed circle of New England life and traditions, and they saw in the Terrible Old Man merely a tottering, almost helpless greybeard, who could not walk without the aid of his knotted cane, and whose thin, weak hands shook pitifully. They were really quite sorry in their way for the lonely, unpopular old fellow, whom everybody shunned, and at whom all the dogs barked singularly. But business is business, and to a robber whose soul is in his profession, there is a lure and a challenge about a very old and very feeble man who has no account at the bank, and who pays for his few necessities at the village store with Spanish gold and silver minted two centuries ago. Messrs. Ricci, Czanek, and Silva selected the night of April 11th for their call. Mr. Ricci and Mr. Silva were to interview the poor old gentleman, whilst Mr. Czanek waited for them and their presumable metallic burden with a covered motor-car in Ship Street, by the gate in the tall rear wall of their host’s grounds. Desire to avoid needless explanations in case of unexpected police intrusions prompted these plans for a quiet and unostentatious departure. As prearranged, the three adventurers started out separately in order to prevent any evil-minded suspicions afterward. Messrs. Ricci and Silva met in Water Street by the old man’s front gate, and although they did not like the way the moon shone down upon the painted stones through the budding branches of the gnarled trees, they had more important things to think about than mere idle superstition. They feared it might be unpleasant work making the Terrible Old Man loquacious concerning his hoarded gold and silver, for aged sea-captains are notably stubborn and perverse. Still, he was very old and very feeble, and there were two visitors. Messrs. Ricci and Silva were experienced in the art of making unwilling persons voluble, and the screams of a weak and exceptionally venerable man can be easily muffled. So they moved up to the one lighted window and heard the Terrible Old Man talking childishly to his bottles with pendulums. Then they donned masks and knocked politely at the weather-stained oaken door. Waiting seemed very long to Mr. Czanek as he fidgeted restlessly in the covered motor-car by the Terrible Old Man’s back gate in Ship Street. He was more than ordinarily tender-hearted, and he did not like the hideous screams he had heard in the ancient house just after the hour appointed for the deed. Had he not told his colleagues to be as gentle as possible with the pathetic old sea-captain? Very nervously he watched that narrow oaken gate in the high and ivy-clad stone wall. Frequently he consulted his watch, and wondered at the delay. Had the old man died before revealing where his treasure was hidden, and had a thorough search become necessary? Mr. Czanek did not like to wait so long in the dark in such a place. Then he sensed a soft tread or tapping on the walk inside the gate, heard a gentle fumbling at the rusty latch, and saw the narrow, heavy door swing inward. And in the pallid glow of the single dim street-lamp he strained his eyes to see what his colleagues had brought out of that sinister house which loomed so close behind. But when he looked, he did not see what he had expected; for his colleagues were not there at all, but only the Terrible Old Man leaning quietly on his knotted cane and smiling hideously. Mr. Czanek had never before noticed the colour of that man’s eyes; now he saw that they were yellow. Little things make considerable excitement in little towns, which is the reason that Kingsport people talked all that spring and summer about the three unidentifiable bodies, horribly slashed as with many cutlasses, and horribly mangled as by the tread of many cruel boot-heels, which the tide washed in. And some people even spoke of things as trivial as the deserted motor-car found in Ship Street, or certain especially inhuman cries, probably of a stray animal or migratory bird, heard in the night by wakeful citizens. But in this idle village gossip the Terrible Old Man took no interest at all. He was by nature reserved, and when one is aged and feeble one’s reserve is doubly strong. Besides, so ancient a sea-captain must have witnessed scores of things much more stirring in the far-off days of his unremembered youth.
###
A short, animated version of “The Terrible Old Man” can be found on Youtube at https://www.youtube.com/watch?v=XHpuAAnHdEc. Four minutes, eighteen seconds in length, it is an abbreviated version of Lovecraft’s 1,200 word story. It cuts out a lot of the descriptive text and adds a couple of minor touches of its own, but, as far as horror and Lovecraft go, it is a relatively charming tale. I find the story more enjoyable because of Lovecraft’s unique narrative style.
“Conrad Aiken came from a wealthy, and well known family who were from New England but moved to Savannah, Georgia. His father was a respected physician and surgeon however for no apparent reason Conrad’s father
Conrad Aiken October 3, 2013 (photographer unknown)
suddenly seemed to change his temperament and became difficult to get on with and violent. Then early in the morning of February 27, 1901, he murdered his wife and shot himself. Conrad (who was eleven years old) heard the gunshots and discovered the bodies. After this tragedy he was raised by his great-great-aunt in Massachusetts.
“To read more about the life of Conrad Aiken read his autobiographical novel Ushant (1952), one of his major works which is an excellent source of information. In this book he speaks candidly about his various affairs and marriages, his attempted suicide and fear of insanity.”
I am bound to only the portions of books you’re paging through, a forced patience as you deliberate over the aged leather bindings and titles, of chapter and verse, of gradual plot developments and story arcs, the lovingly slow conflicts unraveling over black on beige onion skin thinness, so hauntingly unrushed even for me with the bottomless well of time in this shaded condition. Long uninterested in my own company.
I hear your steady breath mouthing words as you read and it still aggravates hell from me. I would gladly hover here, over your shoulder for years, as this slightest presence, a forever company in poetry and story, word, letter, and pen, if I could but accomplish something more than some slightest benign breeze on the curtain. An afterthought after a boring day. An aftertaste after a sip of tepid wine.
But sometimes, when you have finally given in to sleep’s call in the early morning dark and startle suddenly awake to find that book turned to a different page than you remember, it is then I have just barely mustered enough of a whisper to turn the page, yet you have missed it and I am exhausted in this lost state. Again, undetected. Again, left to my own retched company.
###
Larry D. Thacker is a writer and artist from Tennessee (US). His stories can be found in past issues of The Still Journal, Fried Chicken and Coffee, Dime Show Review and The Emancipator. His poetry can be found in journals and magazines such as The Still Journal, The Southern Poetry Anthology: Tennessee, Mojave River Review, Broad River Review, Harpoon Review, Rappahannock Review, and Appalachian Heritage.He is the author of Mountain Mysteries: The Mystic Traditions of Appalachia, the poetry chapbooks, Voice Hunting and Memory Train and the forthcoming full collection Drifting in Awe. He is presently taking his MFA in poetry and fiction at West Virginia Wesleyan College. More stuff at:www.larrydthacker.com
Amy tugs impatiently at her mum’s sleeve, while Janey taps on her iPhone. ‘In a minute. Just let me finish.’
Amy shrugs, skips back to her ‘discovery’, pokes it then pulls at the filthy trousered leg. It jerks. The
white plastic bag, wrapped around the bony fingers, floats upwards. Tugging to escape, in the skin
slicing January winds. Amy, pink cheeked, rearranges the man’s fingers, so he can better hold the cup of tea she pretends to present to her ‘guest.’
‘Nice cup of tea Mister, that’ll warm you up.’
She’s noticed how cold the man’s hand feels. ‘Proper chilled.’ As her Nan would say.
‘Nippy at this time of year Mister.’ Amy parrots the words Janey had tossed at the neighbour earlier. ‘Here’s my scarf.’
She unwraps her fleecy scarf, carefully wrapping it around the man’s neck, like her mum does for
her. Amy pats his shoulder. ‘That’ll warm you up.’
She wonders what else she might do to help. Regretfully she peels off her furry red mittens, a gift
from her Nan. Nan’s always saying it’s good to help others.
Amy gently pulls the man’s dirty fingers into her mittens. Her eye falls on the undone laces of his
solo trainer.
‘I’m not very good at laces, but Mummy says I need to practise more.’
Amy pokes out her tongue, concentrating. ‘…over and under..one loop….oops, nearly..’ she mutters.
Her guest wears a cap which covers the top half of his face. Amy can only see his lips. They look
blue. It seems rude to lift his cap when he’s having a sleep, but she really wants to see his eyes. He
hasn’t moved at all. Trying to be bold, Amy reaches out towards the cap’s brim.
‘Come on Amy it’s time to go.’ Janey shouts.
Amy hovers, uncertain, then pats his shoulder instead.
‘Bye Mister. See you tomorrow.’
She crawls out from under the slide, turning her face towards her Mummy, she waves happily.
Mitten less.
Only the plastic bag bobs a goodbye.
###
“The Doll Man” was previously published by The Casket of Fictional Delights.
As noted by The Casket of Fictional Delights: “Alyson is an ex teacher, from Norwich via Birmingham now living in West Yorkshire, with a son and 3 cats. She writes in her spare time when she’s not singing or swimming.”
Alyson has appeared a couple times previously on this website, when I have re-blogged works of hers from The Drabble.
Slattery’s note: This is not what most would consider “horror” per se, but the ending has such a chilling quality that might bring it into the realm of horror ultra-lite.
###
By intrudesite She was just a baby when they diagnosed her with acute leukemia. She did not understand all the words, she feared the pricks given countless times and drawing blood to see if cells s…
Phil Slattery hiking in the Bisti Wilderness near Farmington, NM, circa 2013
So far I have received two nice comments on my short story, “The Slightest of Indiscretions”, which was published earlier today at www.fictionontheweb.co.uk. Here they are:
Excellent writing brings this poignant story to life and makes the reader work to understand more of what might be. Very many thanks for a satisfying, emotionally intelligent read,
Ceinwen
A View of the Woods by Flannery O’Connor (1957) Tuesday’s Tale of Terror March 29, 2016 We don’t normally think of Flannery O’Connor when we want to read a mystery. A View of the Woods…
Written by: Matt Molgaard The horror genre can be an interesting and fickle animal. Do right by your fans and play faithful to terror and the obsessed viewer will walk with you through Hell, whethe…
MY NAME is Pharpetron, among those who have known me in Poseidonis; but even I, the last and most forward pupil of the wise Avyctes, know not the name of that which I am fated to become ere to-morrow. Therefore, by the ebbing silver lamps, in my master’s marble house above the loud, ever-ravening sea, I write this tale with a hasty hand, scrawling an ink of wizard virtue on the grey, priceless, antique parchment of dragons. And having written, I shall enclose the pages in a sealed cylinder of orichalchum, and shall cast the cylinder from a high window into the sea, lest that which I am doomed to become should haply destroy the writing. And it may be that mariners from Lephara, passing to Umb and Pneor in their tall triremes, will find the cylinder; or fishers will draw it from the wave in their seines of byssus; and having read my story, men will learn the truth and take warning; and no man’s feet, henceforward, will approach the pale and demon- haunted house of Avyctes.
Clark Ashton Smith from Wonder Stories October, 1930
For six years, I have dwelt apart with the aged master, forgetting youth and its wonted desires in the study of arcanic things. Together, we have delved more deeply than all others before us in an interdicted lore; we have solved the keyless hieroglyphs that guard ante-human formulae; we have talked with the prehistoric dead; we have called up the dwellers in sealed crypts, in fearful abysses beyond space. Few are the sons of mankind who have cared to seek us out among the desolate, wind-worn crags; and many, but nameless, are the visitants who have come to us from further bourns of place and time.
Stern and white as a tomb, older than the memory of the dead, and built by men or devils beyond the recording of myth, is the mansion in which we dwell. Far below, on black, naked reefs, the northern sea climbs and roars indomitably, or ebbs with a ceaseless murmur as of armies of baffled demons; and the house is filled evermore, like a hollow-sounding sepulcher, with the drear echo of its tumultuous voices; and the winds wail in dismal wrath around the high towers, but shake them not. On the seaward side, the mansion rises sheerly from the straight-falling cliff; but on the other sides there are narrow terraces, grown with dwarfish, crooked cedars that bow always beneath the gale. Giant marble monsters guard the landward portals; and huge marble women ward the strait porticoes above the sea; and mighty statues and mummies stand everywhere in the chambers and along the halls. But, saving these, and the spirits we have summoned, there is none to companion us; and liches and shadows have been the servitors of our daily needs.
All men have heard the fame of Avyctes, the sole surviving pupil of that Malygris who tyrannized in his necromancy over Susran from a tower of sable stone; Malygris, who lay dead for years while men believed him living; who, lying thus, still uttered potent spells and dire oracles with decaying lips. But Avyctes lusted not for temporal power in the manner of Malygris; and having learned all that the elder sorcerer could teach him, withdrew from the cities of Poseidonis to seek another and vaster dominion; and I, the youth Pharpetron, in the latter years of Avyctes, was permitted to join him in this solitude; and since then, I have shared his austerities and vigils and evocations . . . and now, likewise, I must share the weird doom that has come in answer to his summoning.
Not without terror (since man is but mortal) did I, the neophyte, behold at first the abhorrent and tremendous faces of them that obeyed Avyctes: the genii of the sea and earth, of the stars and the heavens, who passed to and fro in his marmorean halls. I shuddered at the black writhing of submundane things from the many-volumed smoke of the braziers; I cried in horror at the grey foulnesses, colossal, without form, that crowded malignly about the drawn circle of seven colors, threatening unspeakable trespass on us that stood at the center. Not without revulsion did I drink wine that was poured by cadavers, and eat bread that was purveyed by phantoms. But use and custom dulled the strangeness, destroyed the fear; and in time I believed implicitly that Avyctes was the lord of all incantations and exorcisms, with infallible power to dismiss the beings he evoked.
Well had it had been for Avyctes– and for me– if the master had contented himself with the lore preserved from Atlantis and Thule, or brought over from Mu and Mayapan. Surely this should have been enough: for in the ivory-sheeted books of Thule there were blood-writ runes that would call the demons of the fifth and seventh planets, if spoken aloud at the hour of their ascent; and the sorcerers of Mu had left record of a process whereby the doors of far-future time could be unlocked; and our fathers, the Atlanteans, had known the road between the atoms and the path into far stars, and had held speech with the spirits of the sun. But Avyctes thirsted for a darker knowledge, a deeper empery; and into his hands, in the third year of my novitiate, there came the mirror-bright tablet of the lost serpent-people.
Strange, and apparently fortuitous, was our finding of the tablet. At certain hours, when the tide had fallen from the steep rocks, we were wont to descend by cavern-hidden stairs to a cliff-walled crescent beach behind the promontory on which stood the house of Avyctes. There, on the dun, wet sands, beyond the foamy tongues of the surf, would lie the worn and curious driftage of alien shores, and trove that hurricanes had cast up from unsounded deeps. And there we had found the purple and sanguine volutes of great shells, and rude lumps of ambergris, and white flowers of perpetually blooming coral; and once, the barbaric idol of green brass that had been the figurehead of a galley from far hyperboreal isles.
There had been a great storm, such as must have riven the sea to its nethermost profound; but the tempest had gone by with morning, and the heavens were cloudless on that fatal day when we found the tablet, and the demon winds were hushed among the high crags and chasms; and the sea lisped with a low whisper, like the rustle of gowns of samite trailed by fleeing maidens on the sand. And just beyond the ebbing wave, in a tangle of russet sea-weed, we beheld a thing that glittered with blinding sun-like brilliance. And running forward, I plucked it from the wrack before the wave’s return, and bore it to Avyctes.
The tablet was wrought of some nameless metal, like never-rusting iron, but heavier. It had the form of a triangle and was broader at the widest than a man’s heart. On one side it was wholly blank; and Avyctes and I, in turn, beheld our features mirrored strangely, like the drawn, pallid features of the dead, in its burnished surface. On the other side many rows of small crooked ciphers were incised deeply in the metal, as if by the action of some mordant acid; and these ciphers were not the pictorial symbols or alphabetic characters of any language known to the master or to me.
Of the tablet’s age and origin, likewise, we could form no conjecture; and our erudition was altogether baffled. For many days thereafter we studied the writing and held argument that came to no issue. And night by night, in a high chamber closed against the perennial winds, we pondered over the dazzling triangle by the tall straight flames of silver lamps. For Avyctes deemed that knowledge of rare value (or haply some secret of an alien or elder magic) was holden by the clueless crooked ciphers. Then, since all our scholarship was in vain, the master sought another divination, and had recourse to wizardy and necromancy. But at first, among the devils and phantoms that answered our interrogation, none could tell us aught concerning the tablet. And any other than Avyctes would have despaired in the end . . . and well would it have been if he had despaired, and had sought no longer to decipher the writing ….
The months and years went by with a slow thundering of seas on the dark rocks, and a headlong clamor of winds around the white towers. Still we continued our delvings and evocations; and further, always further we went into lampless realms of space and spirit; learning, perchance, to unlock the hithermost of the manifold infinities. And at whiles, Avyctes would resume his pondering of the sea-found tablet; or would question some visitant from other spheres of time and place regarding its interpretation.
At last, by the use of a chance formula, in idle experiment, he summoned up the dim, tenuous ghost of a sorcerer from prehistoric years; and the ghost, in a thin whisper of uncouth, forgotten speech, informed us that the letters on the tablet were those of a language of the serpent-men, whose primordial continent had sunk aeons before the lifting of Hyperborea from the ooze. But the ghost could tell us naught of their significance; for, even in his time, the serpent-people had become a dubious legend; and their deep, ante- human lore and sorcery were things irretrievable by man.
Now, in all the books of conjuration owned by Avyctes, there was no spell whereby we could call the lost serpent-men from their fabulous epoch. But there was an old Lemurian formula, recondite and uncertain, by which the shadow of a dead man could be sent into years posterior to those of his own life-time, and could be recalled after an interim by the wizard. And the shade, being wholly insubstantial, would suffer no harm from the temporal transition, and would remember, for the information of the wizard, that which he had been instructed to learn during the journey.
So, having called again the ghost of the prehistoric sorcerer, wnose name was Ybith, Avyctes made a singular use of several very ardent gums and combustible fragments of fossil wood; and he and I, reciting the responses to the formula, sent the thin spirit of Ybith into the far ages of the serpent-men. And after a time which the master deemed sufficient, we performed the curious rites of incantation that would recall Ybith from his alienage. And the rites were successful; and Ybith stood before us again, like a blown vapor that is nigh to vanishing. And in words that were faint as the last echo of perishing memories, the specter told us the key to the meaning of the letters, which he had learned in the primeval past; and after this, we questioned Ybith no more, but suffered him to return unto slumber and oblivion.
Then, knowing the import of the tiny, twisted ciphers, we read the writing on the tablet and made thereof a transliteration, though not without labor and difficulty, since the very phonetics of the serpent tongue, and the symbols and ideas expressed in the writing, were somewhat alien to those of mankind. And when we had mastered the inscription, we found that it contained the formula for a certain evocation which, no doubt, had been used by the serpent sorcerers. But the object of the evocation was not named; nor was there any clue to the nature or identity of that which would come in answer to the rites. And moreover there was no corresponding rite of exorcism nor spell of dismissal.
Great was the jubilation of Avyctes, deeming that we had learned a lore beyond the memory or prevision of man. And though I sought to dissuade him, he resolved to employ the evocation, arguing that our discovery was no chance thing but was fatefully predestined from the beginning. And he seemed to think lightly of the menace that might be brought upon us by the conjuration of things whose nativity and attributes were wholly obscure. “For,” said Avyctes, “I have called up, in all the years of my sorcery, no god or devil, no demon or lich or shadow, which I could not control and dismiss at will. And I am loath to believe that any power or spirit beyond the subversion of my spells could have been summoned by a race of serpents, whatever their skill in demonism and necromancy.”
So, seeing that he was obstinate, and aeknowledging him for my master in all ways, I consented to aid Avyctes in the experiment, though not without dire misgivings. And then we gathered together, in the chamber of conjuration, at the specified hour and configuration of the stars, the equivalents of sundry rare materials that the tablet had instructed us to use in the ritual.
Of much that we did, and of certain agents that we employed, it were better not to tell; nor shall I record the shrill, sibilant words, difficult for beings not born of serpents to articulate, whose intonation formed a signal part of the ceremony. Toward the last, we drew a triangle on the marble floor with the fresh blood of birds; and Avyctes stood at one angle, and I at another; and the gaunt umber mummy of an Atlantean warrior, whose name had been Oigos, was stationed at the third angle. And standing thus, Avyctes and I held tapers of corpse-tallow in our hands, till the tapers had burned down between our fingers as into a socket. And in the outstretched palms of the mummy of Oigos, as if in shallow thuribles, talc and asbestos burned, ignited by a strange fire whereof we knew the secret. At one side we had traced on the floor an infrangible ellipse, made by an endless linked repetition of the twelve unspeakable Signs of Oumor, to which we could retire if the visitant should prove inimical or rebellious. We waited while the pole-circling stars went over, as had been prescribed. Then, when the tapers had gone out between our seared fingers, and the talc and asbestos were wholly consumed in the mummy’s eaten palms, Avyctes uttered a single word whose sense was obscure to us; and Oigos, being animated by sorcery and subject to our will, repeated the word after a given interval, in tones that were hollow as a tomb-born echo; and I in my turn also repeated it.
Now, in the chamber of evocation, before beginning the ritual, we had opened a small window giving upon the sea, and had likewise left open a high door on the hall to landward, lest that which came in answer to us should require a spatial mode of entrance. And during the ceremony, the sea became still and there was no wind, and it seemed that all things were hushed in awful expectation of the nameless visitor. But after all was done, and the last word had been repeated by Oigos and me, we stood and waited vainly for a visible sign or other manifestation. The lamps burned stilly in the midnight room; and no shadows fell, other than were cast by ourselves and Oigos and by the great marble women along the walls. And in the magic mirrors we had placed cunningly, to reflect those that were otherwise unseen, we beheld no breath or trace of any image.
At this, after a reasonable interim, Avyctes was sorely disappointed, deeming that the evocation had failed of its purpose; and I, having the same thought, was secretly relieved. And we questioned the mummy of Oigos, to learn if he had perceived in the room, with such senses as are peculiar to the dead, the sure token or doubtful proof of a presence undescried by us the living. And the mummy gave a necromantic answer, saying that there was nothing.
“Verily,” said Avyctes, “it were useless to wait longer. For surely in some way we have misunderstood the purport of the writing, or have failed to duplicate the matters used in the evocation, or the correct intonement of the words. Or it may be that in the lapse of so many aeons, the thing that was formerly wont to respond has long ceased to exist, or has altered in its attributes so that the spell is now void and valueless.” To this I assented readily, hoping that the matter was at an end. So, after erasing the blood-marked triangle and the sacred ellipse of the linked Signs of Oumor, and after dismissing Oigos to his wonted place among other mummies, we retired to sleep. And in the days that followed, we resumed our habitual studies, but made no mention to each other of the strange triangular tablet or the vain formula.
Even as before, our days went on; and the sea climbed and roared in white fury on the cliffs, and the winds wailed by in their unseen, sullen wrath, bowing the dark cedars as witches are bowed by the breath of Taaran, god of evil. Almost, in the marvel of new tests and cantraips, I forgot the ineffectual conjuration, and I deemed that Avyctes had also forgotten it.
All things were as of yore, to our sorcerous perception; and there was naught to trouble us in our wisdom and power and serenity, which we deemed secure above the sovereignty of kings. Reading the horoscopic stars, we found no future ill in their aspect; nor was any shadow of bale foreshown to us through geomancy, or other modes of divination such as we employed. And our familiars, though grisly and dreadful to mortal gaze, were wholly obedient to us the masters.
Then, on a clear summer afternoon, we walked, as was often our custom, on the marble terrace behind the house. In robes of ocean-purple, we paced among the windy trees with their blown, crooked shadows; and there, following us as we went to and fro, I saw the blue shadow of Avyctes and my own shadow on the marble; and between them, an adumbration that was not wrought by any of the cedars. And I was greatly startled, but spoke not of the matter to Avyctes, and observed the unknown shadow with covert care.
I saw that it followed closely the shadow of Avyctes, keeping ever the same distance. And it fluttered not in the wind, but moved with a flowing as of some heavy, thick, putrescent liquid; and its color was not blue nor purple nor black, nor any other hue to which man’s eyes are habituated, but a hue as of some unearthly purulence; and its form was altogether monstrous, having a squat head and a long, undulant body, without similitude to beast or devil.
Avyctes heeded not the shadow; and still I feared to speak, though I thought it an ill thing for the master to be companioned thus. And I moved closer to him, in order to detect by touch or other perception the invisible presence that had cast the adumbration. But the air was void to sunward of the shadow; and I found nothing opposite the sun nor in any oblique direction, though I searched closely, knowing that certain beings cast their shadows thus.
After a while, at the customary hour, we returned by the coiling stairs and monster-flanked portals into the high house. And I saw that the strange adumbration moved ever behind the shadow of Avyctes, falling horrible and unbroken on the steps and passing clearly separate and distinct amid the long umbrages of the towering monsters. And in the dim halls beyond the sun, where shadows should not have been, I beheld with terror the distorted loathly blot, having a pestilent, unnamable hue, that followed Avyctes as if in lieu of his own extinguished shadow. And all that day, everywhere that we went, at the table served by specters, or in the mummy-warded room of volumes and books, the thing pursued Avyctes, clinging to him even as leprosy to the leper. And still the master had perceived it not; and still I forbore to warn him, hoping that the visitant would withdraw in its own time, going obscurely as it had come.
But at midnight, when we sat together by the silver lamps, pondering the blood-writ runes of Hyperborea, I saw that the shadow had drawn closer to the shadow of Avyctes, towering behind his chair on the wall between the huge sculptured women and the mummies. And the thing was a streaming ooze of charnel pollution, a foulness beyond the black leprosies of hell; and I could bear it no more; and I cried out in my fear and loathing, and informed the master of its presence.
Beholding now the shadow, Avyctes considered it closesly and in silence; and there was neither fear nor awe nor abhorrence in the deep, graven wrinkles of his visage. And he said to me at last:
“This thing is a mystery beyond my lore; but never, in all the practice of my art, has any shadow come to me unbidden. And since all others of our evocations have found answer ere this, I must deem that the shadow is a veritable entity, or the sign of an entity, that has come in belated response to the formula of the serpent-sorcerers, which we thought powerless and void. And I think it well that we should now repair to the chamber of conjuration, and interrogate the shadow in such manner as we may, to inquire its nativity and purpose.”
We went forthwith into the chamber of conjuration, and made such preparations as were both necessary and possible. And when we were prepared to question it, the unknown shadow had drawn closer still to the shadow of Avyctes, so that the clear space between the two was no wider than the thickness of a necromancer’s rod.
Now, in all ways that were feasible, we interrogated the shadow, speaking through our own lips and the lips of mummies and statues. But there was no determinable answer; and calling certain of the devils and phantoms that were our familiars, we made question through the mouths of these, but without result. And all the while, our magic mirrors were void of any reflection of a presence that might have cast the shadow; and they that had been our spokesmen could detect nothing in the room. And there was no spell, it seemed, that had power upon the visitant. So Avyctes became troubled; and drawing on the floor with blood and ashes the ellipse of Oumor, wherein no demon nor spirit may intrude, he retired to its center. But still within the ellipse, like a flowing taint of liquid corruption, the shadow followed his shadow; and the space between the two was no wider than the thickness of a wizard’s pen.
Now, on the face of Avyctes, horror had graven new wrinkles; and his brow was beaded with a deathly sweat. For he knew, even as I, that this was a thing beyond all laws, and foreboding naught but disaster and evil. And he cried to me in a shaken voice, and said:
“I have no knowledge of this thing nor its intention toward me, and no power to stay its progress. Go forth and leave me now; for I would not that any man should witness the defeat of my sorcery and the doom that may follow thereupon. Also, it were well to depart while there is time, lest you too should become the quarry of the shadow and be compelled to share its menace.”
Though terror had fastened upon my inmost soul, I was loath to leave Avyctes. But I had sworn to obey his will at all times and in every respect; and moreover I knew myself doubly powerless against the adumbration, since Avyctes himself was impotent.
So, bidding him farewell, I went forth with trembling limbs from the haunted chamber; and peering back from the threshold, I saw that the alien umbrage, creeping like a noisome blotch on the floor, had touched the shadow of Avyctes. And at that moment the master shrieked aloud like one in nightmare; and his face was no longer the face of Avyctes but was contorted and convulsed like that of some helpless madman who wrestles with an unseen incubus. And I looked no more, but fled along the dim outer hall and through the high portals giving upon the terrace.
A red moon, ominous and gibbous, had declined above the terrace and the crags; and the shadows of the cedars were elongated in the moon; and they wavered in the gale like the blown cloaks of enchanters. And stooping against the gale, I fled across the terrace toward the outer stairs that led to a steep path in the riven waste of rocks and chasms behind Avyctes’ house. I neared the terrace edge, running with the speed of fear; but I could not reach the topmost outer stair; for at every step the marble flowed beneath me, fleeing like a pale horizon before the seeker. And though I raced and panted without pause, I could draw no nearer to the terrace edge.
At length I desisted, seeing that an unknown spell had altered the very space about the house of Avyctes, so that none could escape therefrom to landward. So, resigning myself in despair to whatever might befall, I returned toward the house. And climbing the white stairs in the low, level beams of the crag-caught moon, I saw a figure that awaited me in the portals. And I knew by the trailing robe of sea-purple, but by no other token, that the figure was Avyctes. For the face was no longer in its entirety the face of man, but was become a loathly fluid amalgam of human features with a thing not to be identified on earth. The transfiguration was ghastlier than death or the changes of decay; and the face was already hued with the nameless, corrupt and purulent color of the strange shadow, and had taken on, in respect to its outlines, a partial likeness to the squat profile of the shadow. The hands of the figure were not those of any terrene being; and the shape beneath the robe had lengthened with a nauseous undulant pliancy; and the face and fingers seemed to drip in the moon- light with a deliquescent corruption. And the pursuing umbrage, like a thickly flowing blight, had corroded and distorted the very shadow of Avyctes, which was now double in a manner not to be narrated here.
Fain would I have cried or spoken aloud; but horror had dried up the fount of speech. And the thing that had been Avyctes beckoned me in silence, uttering no word from its living and putrescent lips. And with eyes that were no longer eyes, but had become an oozing abomination, it peered steadily upon me. And it clutched my shoulder closely with the soft leprosy of its fingers, and led me half-swooning with revulsion along the hall, and into that room where the mummy of Oigos, who had assisted us in the threefold incantation of the serpent-men, was stationed with several of his fellows.
By the lamps which illumed the chamber, burning with pale, still, perpetual flames, I saw that the mummies stood erect along the wall in their exanimate repose, each in his wonted place with his tall shadow beside him. But the great, gaunt shadow of Oigos on the marble wall was companioned by an adumbration similar in all respects to the evil thing that had followed the master and was now incorporate with him. I remembered that Oigos had performed his share of the ritual, and had repeated an unknown stated word in turn after Avyctes; and so I knew that the horror had come to Oigos in turn, and would wreak itself upon the dead even as on the living. For the foul, anonymous thing that we had called in our presumption could manifest itself to mortal ken in no other way than this. We had drawn it from unfathomable depths of time and space, using ignorantly a dire formula; and the thing had come at its own chosen hour, to stamp itself in abomination uttermost on the evocators.
Since then, the night has ebbed away, and a second day has gone by like a sluggish ooze of horror. . . . I have seen the complete identification of the shadow with the flesh and the shadow of Avyctes . . . and also I have seen the slow encroachment of that other umbrage, mingling itself with the lank shadow and the sere, bituminous body of Oigos, and turning them to a similitude of the thing which Avyctes has become. And I have heard the mummy cry out like a living man in great pain and fear, as with the throes of a second dissolution, at the impingement of the shadow. And long since it has grown silent, like the other horror, and I know not its thoughts or its intent. . . . And verily I know not if the thing that has come to us be one or several; nor if its avatar will rest complete with the three that summoned it forth into time, or be extended to others.
But these things, and much else, I shall soon know; for now, in turn, there is a shadow that follows mine, drawing ever closer. The air congeals and curdles with an unseen fear; and they that were our familiars have fled from the mansion; and the great marble women seem to tremble where they stand along the walls. But the horror that was Avyctes, and the second horror that was Oigos, have left me not, and neither do they tremble. And with eyes that are not eyes, they seem to brood and watch, waiting till I too shall become as they. And their stillness is more terrible than if they had rended me limb from limb. And there are strange voices in the wind, and alien roarings upon the sea; and the walls quiver like a thin veil in the black breath of remote abysses.
So, knowing that the time is brief, I have shut myself in the room of volumes and books and have written this account. And I have taken the bright triangular tablet, whose solution was our undoing, and have cast it from the window into the sea, hoping that none will find it after us. And now I must make an end, and enclose this writing in the sealed cylinder of orichalchum, and fling it forth to drift upon the wave. For the space between my shadow and the shadow of the horror is straitened momently. . . . and the space is no wider than the thickness of a wizard’s pen.
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Story text from Eldritchdark.com.
First published by Clark Ashton Smith in The Double Shadow and Other Tales of Fantasy in 1933, later published in Weird Tales in 1939.
The inhabitants of Kingsport say and think many things about the Terrible Old Man which generally keep him safe from the attention of gentlemen like Mr. Ricci and his colleagues, despite the almost certain fact that he hides a fortune of
Phil Slattery, Writer, Publisher 