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Bathymetry

This is a wee bit of an experimental post. I want to see whether there’s interest in me posting occasional short stories on here. I haven’t quite decided how to do it, so this time around, I’m sharing a reprint of a previously published story. Just to see if anyone enjoys this foray, you know?

Please do let me know whether this is something you’d like to see occasionally (or not!).

Bathymetry was first published by Strange Horizons in 2021 and you can still go and read it, and indeed listen to it wonderfully narrated by Kat Kourbeti here. But the short story market moves fast and a 5 year old story is buried under a veritable mountain of newer fiction. This story however, won a British Fantasy Award for best short fiction in 2022, so I figured what better story to dig out from under the mountain to give another chance at finding readers.

It’s a story about intolerance and fear, family and all the choices we face that make us the person we are. It is, of course, full of monsters and the sea. I hope you enjoy it!


It began with a phone-call from her father. Tulaya sitting un-alone on the roof terrace of Mimar Sinan Cafe, watching pigeons wheel around the Blue Mosque and delaying a return to her studies.

“Tulaya-gülüm,’“her father said.

And Tulaya knew. She knew. She knew and it was almost a relief to know because this moment had been stalking them for months.

“Oh, Baba, no,” she said. Her voice dying in the sky like a moth, her friends falling silent.

“This morning.”

“I can-“

“Gülüm. You will go to your Uncle Fazir’s today. This afternoon. To fight for your mother, I must know that they are not also coming for you.”

“But, Baba, what about-“

“They will release her, do not fear.”

But a Fear was already on the street waiting for her. Tulaya had seen this same purge-and-nightmare Manifest before in Fatih, tagging the footsteps of an old man in the spice market with its shadow like claws. She had seen it at the police station, lingering at the windows peering in. And just as she had done then, people veered out of its way now, eyes averted both for safety and because it was so much easier if you pretended not to see. Easier to deny the proof of your communal wounds when it was not you bleeding. This time, though, its eight eyes, or six eyes, or ten, stared at Tulaya lidlessly, making bile rise in her throat and her hands quake. The Fear followed her home and then to the train station, its hungry gaze pulling terror from her marrow to her skin so that it could feast. But its shadows were in the shape of her mother, and Tulaya wanted desperately to stay.

~

Exile made her restless, fidgety with worry and a locust-crawling need to … to act as she hung out laundry in the whisper-wind coming down off the hills, to act as she scrolled endlessly through news sites, to act, to act, to act. She was made purposeless though, a fearful null point with nothing but this straggling southern town of pine trees and black-stone shore, Uncle Fazir’s lowered brows and a cousin who was once friend, hero, co-conspirator, but had since grown up.

The restlessness, or perhaps memories of Ahmed as a child, drove Tulaya down to the harbour on her second evening to watch her uncle’s boat carve lines into the sea, the deck bare except for Ahmed’s long silhouette watching her. Night-fishing, they said. It was the season for squid and other beasts lured by moonlight real and false.

Tulaya thought of the fishermen with their long lines on Galata Bridge, the noises of the cafes below mingling with estuarine-and-traffic air as she walked across, the thrum of the Bosphorus and the ocean ships a pressure in her bones. She thought of the marches, all of them high on fervour and communal hope. Fleeing arrests, tear-gas scalding her eyes, sinuses an agony she’d never known; and through it all her mother publishing truths and revealing lies. Ane, she thought. Oh, Ane, how were you so brave? And are you glad even now that you were?

North of the harbour she found bays of sea-stones that chuntered quietly beneath her feet, as around her the night coalesced and the heat died. Inshore, an owl called and was answered. The tide sang in the shingle and there was someone further along but looking away from her, leaning forward as if on the very edge of falling. Their frame was thin … too thin, with the moonlight heavy on their trailing cloak.

Stones slipped beneath her feet and Tulaya gasped, and  the figure, tturned. Moons reflected in eyes the size of her joined hands, long mouth hanging. It had no arms for gathering, no hands with which to hold.

The Manifest watched her … Longingly.

But who had brought such longing here, to this hard edge of the sea? Whose were the hundreds, thousands of hearts all broken in the same way to form this hungry thing here on this beach? Its gaze pulled at her, and her yearning for her mother rose, so she backed hastily away before it could dig within her for itself. And when something broke the dark waters just offshore, her lungs decanted mourning into the air, inhaling salt. Far away, the lights of a ship tracked the horizon and when she looked back, the Longing had gone. The beach with its water-skimmed stones was abandoned, the sea quiescent. Where was her mother now, she wondered. The sea and the sky and the dark mountains were all abruptly too empty, as if the whole world were a vacuum and she was anchorless. She fixed her gaze on the fragmented water and wished she understood Uncle Fazir with his night-fishing, or Aunt Aliya’s shutter-eyed abundance. How they could live so calmly when their nation had stolen their kin.

And where had their nets been, on that wide and empty deck? Their lamps?

~

Tulaya awoke at her uncle and cousin’s return; the bass sussuration of their voices, the smell of diesel and salt water filtering under her door. She rose and walked through the dark house bare-footed. They had shed jackets over the backs of chairs and were both sitting at the table. Uncle Fazir was counting money, as the water on the stove began to steam.

“Did you catch many?” she asked, and their faces, softened by fatigue and the light, turned towards her suddenly hard. Uncle Fazir’s brows drew together heavily, and Ahmed’s hand closed and then opened again on the table.

“Yes,” Ahmed said. “Thanks, Tuli-ciğim. Would you do the coffee?”

Obediently pouring hot water over grounds that smelled like the memory of a kiss, keeping her face down-turned, Tulaya asked, “You’ve already sold them? The market is so early?” She was thinking of the pile of notes beneath her uncle’s hand, the bellows of merchants in the bazaar. She was remembering the Longing’s vast eyes and the empty sea.

“Because people want fresh fish. Why are you up so early?” Her uncle’s voice not cruel but neither quite kind, and so unlike his brother that Tulaya’s latent resentment of her father vanished all at once.

“Affedersin, Uncle,” she said, laying out tiny cups with gold-filigreed edges and spoons that reflected her face, inverted. “I am not used to the quiet.”

Ahmed laughed and took the pot from her before she could pour, letting it brew darker, and his eyes were the same colour as the grounds. He said something about how she had changed, but her mind was unfurling a possibility: that beneath the anger and frowns, Uncle Fazir might be more than she had thought. More brave, more like her mother.

She’d heard the rumours from the border-crossings since the bombings increased. Rumours of Manifests grown fat and insatiable, glutted on the heartbreaks and fears of soldiers, refugees, and shepherds. Faced with that–guns and shells and monstrosities–who wouldn’t choose instead to cross the sea? And Uncle Fazir was helping, Ahmed was helping. Notes whispered beneath her uncle’s palm.

The coffee burned her tongue and became snakes in Tulaya’s stomach. Some said that a Deceit had appeared in Ankara, and that it had serpents for eyes. She wondered what it felt like to have it pull at all your lies, to fill you with falsehood until you did not know if even you yourself were real.

~

Drawn back to the beach again, jitter-fingered from the coffee and the early start, Tulaya walked. Leaving Ahmed in the harbour, his fingers black-tipped with oil as he worked on the great ruin of a boat he’d shown her proudly. A lone plover skittered ahead of her along the shore but there was no-one else, no too-tall shape. Down where the stones became pebbles and then pea-shingle, the waves were licking at something washed up.

It was a life-jacket.

Tulaya bent to touch it but stopped, a nameless shadow-thing shivering a path through her bones. The life-jacket was sodden, stuffing showing at cheap seams. It was wrong to touch it, and yet just as wrong to leave it here, and Tulaya wavered with the sea soaking into her shoes. Further out, where the water turned to ink and damson, something pale roiled and rose, something moaned. It might have been a whale.

Watching the broken mirror of the sea, Tulaya thought of returning to Istanbul, despite her father. She did not want to be here, with snakes in her stomach and Ahmed’s unfamiliar smile, cicadas grating against her ears and hoopoes mourning. She wanted to be home, where she could rail at the police and storm the jails; she wanted to tear down walls until her mother was free. She wanted to do, but could not.

She left the life-jacket for the tide to feast on and saw from the corner of her eye a grey-white creature break the surface, shadowing her along the shore but too far for her to know what it was, to feel it subsume her until she drowned in it. Who was it borne of though and who was it hunting? Was there a Fear staring many-eyed into her mother’s cell and was her mother uncowed?

She reached the harbour and sat on a sun-hot rock, watching Ahmed work in the shade of his boat’s hull. “What are you doing, aşkım?” she asked.

“Fixing it up to be a charter,” he said without looking up.

She studied the tall sides of flecked paint and old wood, thinking of white tourist boats and ambition. A cat slunk into the shade by her feet, holding a cricket in its mouth, the back legs kicking.

“A loan,” Ahmed said, although she’d not asked. Bank, she wondered, or someone else? She didn’t know whether to admire his vision or doubt it, and yet once there would have been no doubt at all. An orange shape, half-submerged, spun slow circles in the harbour water, and Tulaya averted her eyes, watching the muscles of her cousin’s forearms as if they would tell her who he was.

“You heard from your father, Tuli-ciğim?” he said and caught the small shake of her head. “You in danger?”

“No,” she said, “Yes. Maybe. Ahmed, what are you doing,” she repeated, “at night?”

The life-jacket sank, bubbles rose and burst like sunsets. Her cousin sat back on his haunches and looked at her, raising his eyebrows. Snakes writhed in Tulaya’s bones.

“Fishing, cousin. What else?”

She canted her head to better read the shadows in his eyes. “Where do you take them–is it Crete? Can I help?” Someone shouted a name further down the dock, and two satin-brown boys ran past, laughing.

“I don’t know what you’re talking about,” her cousin said and held her eyes without wavering until Tulaya looked away.. The truth was a splinter that she could either ignore or not. Just beyond the harbour wall, something moaned and flexed beneath the surface, and the boys leapt from the pier into a perfect sea. Her father needed her safe.

“Okay,” she whispered to the dozing cat, and she watched Ahmed work, letting the sun roast purpose from her muscles; the hours passed like years, like the shedding of skins.

~

Two days, and then Uncle Fazir got a text message at dinner, a look passed between him and his son and Tulaya’s aunt stood to ladle out more rice, more lamb. Outside, the cicadas were falling asleep and the crickets waking, and somewhere in the house a gecko called. Ahmed flicked a glance at Tulaya then away, and something in his face made her cold.

“You’ll want coffee,” Aunt Aliya said.

Uncle Fazir said, “Wind picks up before dawn.”

Ahmed worked paint from beneath his fingernails, and Tulaya thought of his loan, Uncle Fazir’s new car, and grey-white monsters in the water. She missed her mother. The secret lay beneath her tongue, and however much she wanted it to taste of coffee and sugar, it tasted of disease. Fear was a thorn in her heart, secrets and snakes and her mother’s absence all breeding her own tiny Manifest.

And so two hours before sunrise, she was waiting for them on the dock with the wind tugging her hair into thunderstorms and driving dust into her lungs.

Uncle Fazir ignored her as he bent to tie the mooring lines. Tulaya had lain awake picturing her mother watching the night sky through bars and filthy glass, retracing the fierceness she herself had felt in the false safety of marching crowds; remembering the Longing leaning out into the sea, and the Fear’s many eyes. Ahmed threw another rope from the boat to the dock, and her uncle caught it. She waited for either of them to speak, but they did not. Beyond the walls, the water had become hill-scapes and the memory of the day’s heat seemed like a lie.

“Where do you take them, Uncle,” she asked his heavy shoulders. “How did you make it all the way across, in this sea?”

He turned to face her and in the dark, and spider’s eyes glinted beneath the brow of his cap. She wrapped her fingers into her coat and waited.

“Daughter of my brother,” he said, the words like winter. “You will go to my house, and you will not ask me these things.” Instinct twitchied in her muscles, but she held herself still. She was more than obedience, more than fear and longing and monsters manifested by the darkness in people’s hearts. She stepped away from her uncle into the shadows beyond the harbour-light.

“Tulaya,” he said. “You will do as I have spoken.” Then he left, expecting her to follow.

She filled her lungs with salt and darkness and when Ahmed lingered, hope rose like a storm-tide.

“Ahmed-ciğim?” she said.

The wind smelled of resin and rocks, and her cousin shifted his weight foot-to-foot as if still afloat. “Tuli, it’s too dangerous. You know this. Come home.”

“Is it Famagusta”’ she asked. “Is that where you take them? Can you really go so far in so few hours, in this weather?” When he did not answer, “Cousin, did you get that far?”

He reached out to touch her but hesitated, as if one of them were soiled. The wind sang and an owl called and Ahmed dropped his hand. “It’s okay,” he said. “We don’t need to go all the way. There are boats searching so it’s safer to … to let them pick the inflatables up.”

Far out to sea, Tulaya was sure she heard a voice, hollow and hungry and terrible as rust forming on a heart.

“Come with me,” she said. He took a half-step away, and Tulaya followed him. “Please come, Ahmed, cousin. You cannot leave them in this weather, you must know that.”

He looked inland, then back to her, and she wanted to take his hand but didn’t dare. “It’s not safe,” he said eventually, and Tulaya heard that noise again, far away and inside herself.

“For who?” she asked him, but so quietly that he did not hear over the wind and the waves slapping against the harbour wall. There was Fear stalking Istanbul, even though the last time she’d seen her mother, they’d parted laughing. And two days ago Tulaya had hoped. She had come down here tonight hoping.

“We’d be too late, it’s nearly daylight,” he said, reaching for her again and this time touching her arm, her wrist, his skin warmer than hers. “We can’t change anything, aşkım. It doesn’t matter what we do, nothing will change. Nobody cares, so we must look after our family, ourselves.” She thought he was not talking anymore about the inflatable boat, out there on the rising sea. She thought he meant her mother’s writing, her own rainbow t-shirt, stained with tear gas and mucus; his gambled loan.

He was right. Tulaya’s thoughts were like sand and the far horizon was becoming slowly molten. She ought to wait with her silent phone, and do nothing that might break her father’s heart.

“But our family is in need too,” she said slowly, “And who will help us, if not strangers?” Her mother and her rectangle of sky; the life-jacket and the Manifests gathering in the borderlands of the world, in all the places where humanity was dying. She could change nothing, or she could change just one thing.

~

As she turned the boat beyond the harbour walls, she felt eyes on her but did not look back, not wanting to know if it were Ahmed or her distant father, her lost mother. She did not want to know if it was Fear. She dared not turn her head from the sea in case  that Manifest was there beside her, its shadows like claws in her bones. Her hands ached on the wheel and the boat hurled itself into each wave, leaping forward as if breaking chains. Ahead, the thing in the sea moaned and roiled, and she could feel it now reaching to slow her down, to overwhelm and numb her. Futility in the salt on her skin weighed her down like rocks. Nobody cares, it whispered. Nobody cares.

Nobody cares, she thought. It might be months until she saw her mother again, it might be years. Tears made the sea and stars into a labyrinth, and her heart weighed oceans, and she was alone. She was so alone.

The Manifest rose beside the boat, and she leaned towards its open maw, pale grey against the starless sea, and her hands ached where they held the wheel, and, nobody cares, she thought again. The Manifest murmured and wept as it feasted, and she wept because her bones ached and she was lost and it would be easier … it would be easier…

Her head dipped and behind her closed eyelids she saw her uncle drinking coffee in the pre-dawn. Herself drinking coffee with her friends before the marches, fever-blooded. The sound of her mother’s voice in the dark, her father saying that Tulaya had inherited both her mother’s smile and her heart. The Manifest moaned, and the boat yawed into a wave, Tulaya’s grip was slipping. How had she become so cold, she thought, when she carried her mother’s heart within her. The boat canted heavily and she pulled herself upright,  wrestling the wheel to face the next wave, and she was still weeping because the monster was still pulling on her bones but she was trying, she was trying … Then there, tiny on the eternity of water, the inflatable appeared. An ink-stain silhouette. Low, so low, clinging to air and crawling hopelessly over each wave. Tulaya raised her hand, voices rose in answer and finally, baring its blunt teeth and sighing vastly, the Despair surfaced once then sank away.

“I’m here,” Tulaya whispered to the strangers, the sea and the defeated manifest. To her mother. “I’m here.”


Thank you as always for reading. Because accessibility in publishing is important to me, I keep all my craft and publishing posts free, so any shares or tips are greatly appreciated. And if you want to help me continue writing these things, please do also check out my paid subscriber tier on Patreon, where I share behind the scenes book diaries. Wishing you a fabulous weekend.

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Retreats, Arts Funding & Goats

Last year I was awarded a Creative Scotland grant through their open fund to support my writing of a novel that I generally refer to as Welsh Gothic. This was my first time applying for funding for my writing (years of applying for scientific research funding scarred me for life!), and being awarded a small grant was perhaps one of more validating experiences of my writerly career so far – A group of publishing professionals thought I & this unfinished book had enough potential to be worth supporting? Really? How great is that?

Aside from the wee confidence boost though, this funding represents something more widely important. As you likely know, I am too unwell to hold down a ‘real’ job. Last year I was fighting my own body in an attempt to earn something from freelance creative work – articles, workshops etc. – but that was taking a heavy toll on my ability to actually write. My spoonie body only has so much capacity, and this grant allowed me to protect more of my limited creative spoons during what has turned into quite a tough period. If I was hustling this year the way I did last year, I honestly may not have written a word.

Arts funding has suffered in the UK under Tory rule, and came under brief, cataclysmic threat in Scotland before a Scotgov u-turn. After the lockdowns proved emphatically that we all turn to arts when we’re under stress, anything other than wholehearted support for the arts seems a bizarre act of self-harm. And the voices first silenced by lack of funding are the voices of the marginalised – the disabled, the working class, the people already carrying the existential stresses of systemic bias. (Perhaps that explains the Tory desire to starve us out…)

Anyway rant over! A huge thank you to Creative Scotland for their support. It was a tiny sum of money in the wider scheme of things, but it means so much to me. And, to get back on track, part of the funding allowed me to go and stay at the location of Welsh Gothic for a research week.

CUE GOATS!

welsh feral goat amidst heather. He's long haired and pale gold with mad white eyes and curved spreading horns.

I stayed in a cottage in Nant Gwrtheryn – a granite quarrying community in a steep, tiny valley on the coast of the Llyn Peninsula that was abandoned when the quarries closed, then restored as a language centre. It’s a stunning location. Vast quarry cuttings and abandoned machine housings on the cliffs around the centre, the two neat rows of quarryman cottages and the abandoned farm at the top of three slim fields. Fog slipping in from the Irish sea and chough calling from the peaks. AND WILD (feral) GOATS.

These dudes weren’t here the first time I visited (to study Welsh about 14yrs ago), but they were pretty much resident this time. I wonder whether this was because they’d got used to the quiet during lockdowns & then just opted not to leave. Good for them. The world is theirs, we are just guests, and insignificant ones at that. They’re gorgeous aren’t they? Not saying they were the highlight of the trip but…

black and white photo of an abandoned stone farm house, seen through fir trees. It much gothic. Peak ooooh.

Welsh Gothic (real name All The Birds Will Be Hostile – a quote from the Mabinogion’s Blodeuedd of the Flowers tale) is set in the abandoned farm in this photo, unabandoned and occupied with a riding stables. This is the opening sentence of my pitch:

In a valley hemmed in between ruins and the sea, on the edge of the wild Llyn Peninsula in Wales, superstition and family secrets threaten to destroy the childhood home Blodwyn Jones has been running from for years.

Inspired by the story of Blodeuedd, Alan Garner’s The Owl Service and Laura Purcell’s Bone China, it’s full of watchers on the cliffs, curses painted in blood & some badly timed mists. It’s my first foray into gothic lit with all its symbolism and feminist underpinnings, and the time away really made me fall in love with the story again.

It was an amazing week. I went with a few writerly friends, and the mix of staring at the scenery (research!), drinking tea and chatting books made for a deeply lovely, enriching time. I spent the time rewriting the existing partial draft which was originally set further down the peninsula, making copious notes and taking lots of photos. Welsh Gothic has been given a new lease of foggy, spooky life and I am now in the final climax scene, wondering whether to slip a goat in there as a pivotal Deus ex Capra.

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This Is Our Undoing

black red squirrel

My first novel, This Is Our Undoing, is going to be published by Luna Press Publishing sometime in 2022. As you might imagine, I am pretty excited about this. It’s not been easy getting to this point – lots of illness, near misses, more illness, some really near misses – but I’m so glad I found Luna as they are thoroughly lovely people and my book definitely feels happy in their hands. Sometime I might do the obligatory blog about my ‘journey’ to publishing, but not yet because there is still so much of the journey to go.

This is what I say about the book on Luna’s announcement blog post (here):

When I started writing This Is Our Undoing, the UK had recently voted for Brexit and the US had elected Trump, Asia was enduring a devastating heatwave and the Arctic ocean was warmer than it had ever been. I found myself attempting to process my own powerlessness in the face of events that were breaking my heart, and from there, trying to define what power I did have. Can I alone do anything that will make a difference? It’s an important question I think, today even more than it was then. It was this that became the central theme of this story – how do you hold onto the light when the world is growing dark?

The setting of the book felt perfectly suited to this theme. I wanted to explore a potential future but in the claustrophobia of complete isolation, and I wanted the wilderness. In folklore worldwide, forests and mountains are the unknown at the edge of civilisation, the home of Little Red Ridinghood’s wolf and Scotland’s bean sidhe, Slavic leshy and dragons. I’ve lived and worked in the boreal forests of Eastern Europe and Russia, and they are Forests with a capital F – entities that have a presence and resonance beyond the ordinary. I wanted that in this story, but I also see them as standing in contrast to the world beyond, a reminder of wonder and beauty.

This Is Our Undoing is my attempt to discover the power of love and hope in a world where both are increasingly hard to find. In the face of disempowerment, power is in the small things; the choice made, the lone voice, the comforted child. To go into the forest and breathe. To be kind to the lost.

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Do stories about dragons matter?

IMG_1383

So…I live in Scotland, and I was brought up by hippies. These are two fairly relevant things in explaining my love of celtic myths. Unrelated to those two things, it is also worth noting that I’m averse to happy endings (I love Thomas Hardy), and the old tales are neither forgiving nor saccharine. After all, sugar was a rare commodity then 😉  … actually I bet you can correlate the availability of sugar in Britain with the ‘lightness’ of current storytelling. We have too much sugar in our diets, and too much perfection in our literature, whether that is the happy ending to the love story, or the world being saved by a rugged hero/intelligent heroine. Pah. I want endless war, I want love stories that end in betrayal and misery, I want fate (or clever gods) to twist the world-saving moment so that the hero has actually condemned us all to darkness. Now that is something I can get my teeth into. You could argue that the YA literature comes closest to this…you could argue that ‘A Seeming Glass‘ does pretty well too.

I’m generalising, and I’m off on a tangent. I’m back now.

Celtic myths, and whether they are still relevant. That was what I was supposed to be talking about.

Who's afraid of the big bad wolf?

Who’s afraid of the big bad wolf?

There has actually been oodles of research done on this very subject by people far more knowledgeable than me, so I’m going to keep it personal (mostly). But I just wanted to fill you in on some background…the earliest written myths include wonders such as the Welsh Mabinogion (yes, I know that’s not the proper name, but it’s the recognisable one), and the Irish Táin Bó Chuailgné. These were both probably transcribed in the 12th Century, but if you trace back the events they mention (and those that they don’t), the Mabinogion in particular stems from pre-Christian roots. So it is all moderately old.

Psychologists have taken a liking to myths, and Carl Jung linked myths to his theory of a society’s ‘collective unconscious’, saying that myths fitted internal archetypes (the Trickster, the Shadow etc), allowing people to explore the hidden parts of their psyche without risk or recrimination.

Others, particularly André Favat, saw fairy tales as allowing children a non-real method of processing the changes they undergo, and the increasing intrusion of outside forces into the child’s world. He said, and I like this quote, that children “… believe in the magical relationship between thought and things, regard inanimate objects as animate, respect authority in the form of retributive justice and expiatory punishment, see causality as paratactic, do not distinguish the self from the external world, and believe that objects can be moved in continual response to their desires.”

That makes sense to me. I have seen experiments where children readily accepted the animation of supposedly inanimate objects, I have read studies showing that a child’s innate sense of morality is profound, and anyone who is a parent knows that children are essentially egocentric (in a good way).

It also makes sense to me to think of myths, and fairy tales, as a form of teaching. Providing explanations of the unknown (a god did it), and moral/life instruction to children (if you betray someone, you’ll get turned into an owl; don’t wander off into the bog, you’ll drown). They were also history lessons, the oral tradition, passing down memory of war or famine or heroes.

Blodeuwedd, made from flowers and turned into an owl. 'The Bird Woman' by June Yarham

Blodeuwedd, made from flowers and turned into an owl. ‘The Bird Woman’ by June Yarham

All well and good, but why do we (I) love them so much now, and love all the modern retellings of them (however much I might crave a little less sugar)?

Favat may be right – the world is still a big and scary place for a small child to make sense of. And the monsters and heroes (who invariably die, btw) (and then come back later, if they feel like it) are still good constructs for children to use to make sense of that world. As an adult, reading these tales, I am merrily reverting to my inner child. Which is very good for me, so there.

Jung, I’m not so sure about, although that might be because I don’t quite understand him. A collective unconscious, perhaps – we are a social species and we have a demonstrable cultural inheritance – like the ‘memes’ of Richard Dawkins et al. But does that mean that I read mythical tales because I need to vent my inner bad guy? If I didn’t read at all, would that mean those hidden inner unacceptable characters would become repressed (á la Freud), or pop out? I’d definitely be sad, but become violent, or unfaithful? Not likely.

A phooka, the more sinister celtic origin of Shakespeare's Puck.

A phooka, the more sinister celtic origin of Shakespeare’s Puck. By Alan Lee.

However, it is kind of fun to explore all that darkness in books, isn’t it? I mean, who actually wants to be the cop in charge of a murder investigation? Not me, thanks. But I love Ann Cleeves. Perhaps Freud has a point…

So, this is what I think, and please let me know whether you agree. Fantasy in general, and mythological tales in particular, give me this: (I like lists)

  • Space for my inner child to restructure her world, and make sense of the things that she still finds scary.
  • Sight of an older moral society, which actually does not compare too badly with the global society we find ourselves in today.
  • Stories to fill my child’s life with magic. Kelpies and selkies and dryads and (kinder than the original) fairies. They make her smile, which makes me smile.
  • Hope. Many myths are cyclical. The hero fails, the gods change their minds, a new hero (or the mysteriously re-alive old hero) tries again, and succeeds at something entirely different etc. etc. So there is always hope. Even in the dark places, even after complete and utter failure. Second chances and your own small place in the scheme of things. I’ll take that.
  • And, occasionally, dragons.

Dragon-HD-Wallpaper-2014-For-Galaxy

Write a blog, they said.

Just a little sinister, aren't they? From a trip to Argentina a while ago. Just a little sinister, aren’t they? From a trip to Argentina a while ago.

At the risk of sounding recalcitrant, I was not planning on starting a blog. Not out of a superiority complex, or, really, out of lack of time. More because the sheer volume of blogging on the web daunts me. As does the very particular skill required to write a good blog. I read a couple of rather excellent blogs, and whilst I am glad that I do so, they do make for rather humbling bedfellows. If another piece of writing can count as a bedfellow to this piece of writing, it depends on the shape (and furnishings) of the great Cloud, doesn’t it?

Anyway, so, the thing that brought me here, and made me waste oodles of time faffing about with background pictures (but that’s the best bit!), was my wish to contribute to something that I am lucky enough to be a part of. (Excuse me while I maintain the mystery a little longer.) Is that not often the way it happens – you resist something through insecurity, perhaps, or just plain old inertia, and then suddenly you fall into it because it has become about others, for others, rather than just for yourself.

Now that I am here, and you are here (thank-you), I can tell you what it was that launched me into the blogosphere. However tiny and discretely-lit my corner of it is. Well, I am part of a writer’s group, known both individually and collectively as The Randoms. And this splendid group of writers is publishing an anthology of twisted and dark tales, reflections of fairy tales or myths, where the shadowy roots beneath the modern saccharine surface have been brought up into the light.

Do you look into mirrors and wonder what else they show? Do you tread lightly through the edges of the sea? Do you ever wonder how you would shape revenge? Do you, in fact, have a pulse? Then you will love this.