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Myth

Foils by Daisy Lyle

I

Millet’s spring mind soared red and skittish as an over-angled kite; in summer it entered the usual back-stall, and by August it had dived low enough for him to have another go at his wrists. This year he made an especial hash of it; fumbling with the false-economy razorblades until he ended up cutting his palms as much as anything else.

Afterwards the ambulance dumped him in the aisle of the A&E, where he lay on the hindmost of a metal spine of gurneys down the building’s centreline. Up on the ceiling, a loose panel exposed a pecking wedge of darkness. He turned on his side; the wall’s blank surface, gouged and spilling brown and fibrous shreds, was in worse nick than his skin.

After the stitching they left him in a side room, alone but for the slurping, whistling breaths of someone on the other side of a curtain. Wires snaked around its pleats to a bleeping machine in his own half of the room. His eyes tracked the glowing plots on the monitor; six months after his firing from Aventrix he still couldn’t stop himself subjecting the signals to confused analysis: window functions, discrete transforms, then breakdown into smaller sub-transforms. Radix two, four, sixteen … When the dragonfly lights on the screen began to sting his eyes he gave up his calculations and pulled the bedsheet over his head. Seeking distraction from the thin fabric’s vinegar-and-dead-skin scent, he tried to think its crumpled underside into the hills and valleys of that Stevenson poem. The Pleasant Land of CounterCounter

“… pain?”

The syllable repeated, a chain of islands in a sea of blurred speech, and he realized the nurse had arrived, with a prompt to rate his suffering out of ten. He thought the gurney was creaking, some part of the rails extending on either side of him.

“N over two,” he mumbled, and it seemed to do.

II

In the morning they had him shower the intact parts of his body. Two quivering shoots of something like watercress poked from the cubicle drain. He hoped they were real; he couldn’t bear the idea of hallucinating such lumpen symbolism. Then he was ferried to a psychiatric hospital on the county border, where his mind banked gently into the institutional mist. He spent much of the next few days contemplating more bedlinen, the troughs and peaks of mountain ranges hugged in soft shadow relief.

He wasn’t so keen on the topography of his outspread hands. In recent months they’d thinned out, the newly slackened skin across their backs trumpeting the onset of real ageing. When he turned them over, the mess of his healing palms troubled him. The scabs didn’t quite match the cuts he remembered making, though his memory was a joke. They kept him well-drugged. Quetiapine, lorazepam. Sometimes in the depths of the night a sister came to shine the round white beam of a pen torch on his eyelids. If they fluttered open, hands offered a pellet of zopiclone, the shadows of uniformed arms beating slowly on the walls. Sometimes, as sleep took hold, his throat felt like there was much more than one pill in it, a smooth, hard, comforting clutch.

III

They began to let him out. First just the grounds, the café and shop, in low outbuildings that reminded him of the old airfield Portakabins. He sat nursing weak coffee, watching the wings of the main building extend into milky light, until one day he and some others were put on a minibus and taken to the nearby riverside park.

On the drive one of their escorts enthused about the new fitness parcours along the banks, with special bodybuilding rigs, Ninja wheels, a machine for chest presses.

“Most of that junk’s already out of order,” his roommate Whitlock confided as they got off the bus. “The screws fail, and they’re a special kind. The council can’t be bothered to replace them.”

They quickly passed the old visitor centre, a silent cube of glass covered in crude paintings of leaf and feather that couldn’t hide the underlying curls of dustsheet. The trail head was marked by a pocked information sign. Lodged in one of its bulges, between a badly-drawn muskrat and a peeling heron, was a cluster of tiny pale green balls.

“They’ve got the map here,” said Whitlock.

“I can see that.”

“No, I mean the map butterfly. Araschnia levana, or prorsa, depending on the season. Invasive species, but I’d still like to spot the bleeder. Never set eyes on the black summer form.”

Millet murmured a vague answer to stem the flood of nature facts. The scabs on his palms were itching like hell, much worse than the ones on his arms.

IV

They walked on. After a while he ceased to notice the rise and fall of human voices. To his left was a dazzle of light on winding reed-lined water; foliage encroached on his right. Alder and beech, bramble hordes and white bells of bindweed, parted only by the green metal curves of the fitnessmachines. On each of their instruction diagrams, the silhouette figure looked less like a person.

Finally the path made a swan-neck double bend, and he found himself in front of the most preposterous contraption yet. The paint on this one had almost entirely flaked off, exposing a tall structure of rust-brown metal crisscrossed with streaks of faded cream. It was studded with appendages, and a maze of gears, flanges and blades, culminating in something like a giant upturned wishbone. The sight of the two symmetrical handles fanning out on either side of a discoid seat prompted a distant memory of gym adverts, and then he saw the instruction diagram, with its caption:

BUTTERFLY MACHINE

At the sight of the wonky grid pattern running across the underside of the depicted creature’s wings, the scabs on his palms raged until something in him hatched. When he sat down and grabbed the handles above his head, he felt the fire in his hands drain out into the cold metal. Warming it. Informing it. Loading the chart of his scars into its central navigation system. The antennae slewed and thrummed; great metal wings unfolded with a shivering clang and began to beat, then it bore him into the air.

V

Sounds rose up from the riverbank, individual screams convolved into a single wavering keen, but he couldn’t have looked down if he’d wanted to. When the machine broke through the clouds, it dropped its payload of eggs. As they whistled towards the earth he let go of the handles and the craft itself fell away from him. He hung for a second in the air, hands whipped aloft, before each palm burst apart, discretizing again and again into clouds of tiny flitting things; after a moment his mind followed suit, merry black thoughts whirling up to the sun.

Daisy Lyle is an engineering translator & dark fantasy writer based in Normandie, France. Bluesky http://@novembergrau.bsky.social

The Red Thread by Stephanie Parent

My Ariadne can see the future.

(My Ariadne. This is my version of the story.)

She spins her red thread, and it twists into shapes before her eyes, hearts and nooses. It tells her that Theseus turns out to be an asshole.

Seven young men and seven maidens arrive on the island, and Theseus outshines them all. His eyes are the sky blue of someone who believes he cannot fail, who believes he has no darkness within him. Those eyes make Ariadne dream of flight.

Theseus wonders how such a creature as the minotaur, half-beast, half-man, could be allowed to exist. Ariadne doesn’t tell him the last of the halves: the monster is her half-brother. In the evening she dreams of blue eyes, but her hands twist and turn the red thread. At midnight she dreams of mazes like arteries and veins, running red and blue.

Ariadne gives Theseus a coiled ball of thread the size of a heart. She tells him the thread will guide him out of the labyrinth.

Continue reading “The Red Thread by Stephanie Parent”

Labyrinth Song by Lucy Whitehead

Labyrinth Song

Not everyone enters
their maze on a mission.
Some of us wake one day
curled inside a darkness
that stretches in all directions
for countless miles         caught
in a lacework cage reaching
beyond years.

…………………Ever winding
we wander half blind
through rotting corridors
searching for signs of life
stumbling over pits that beckon
beneath wearied feet
in the yawning velvet dark

wrestling
with dead ends that glint
with knives and chains
slamming shut doors
that open silently
into nothingness

…………………chasing golden
voices not our own over
floors that sharpen suddenly
into spikes         through
mirrored courtyards where
we glimpse our aging faces
catch sad minotaurs
behind our eyes.

We become adept
at surviving         stripped
of all but our existence
at times      weaving
the gleaming edges of pain
into armour and amulets
fortifying our bones Continue reading “Labyrinth Song by Lucy Whitehead”

The Wolves Ripen: A Gothic Halloween Interview with Poet Kate Dlugosz

During my tenure as BHP’s Guest Editor in March 2018, I was lucky enough to publish many gifted writers. One of these was Kate Dlugosz, whose mythic poetry stayed with me long after my editorship was over. Earlier this month I invited her back onto Burning House Press for a gothic Halloween special. She agreed. Take note, this interview is merely masquerading as an interview. What follows is a gorgeous helping of dark prose poetry for those of us who have October in our bones.  Enjoy!  —Amee Nassrene Broumand

In your poem “Springtime,” you write: “If nothing else, I know owls come from flowers.” Tell us some more origin stories. Where do bats come from?

Bats come from song, as the shape of music from the cords formed of autumn constellations played by the wind upon the harp of the waning crescent moon. It is from the stars and the moon that the bat took flight from the night sky, the space between the stars where they learned to see by shape. And released by moonlight, through the darkened canopies of wine-red treetops they fly as hordes of poppy seeds, scattering over the moon as grey clouds, and the world below them becomes strange and wild and unknown in the dark. The bats echolocate the moths and the beetles in the night, and in the blindness of their own vision seeing with clarity the worlds of ghosts and spirits that pass over our own. You feel the first chill of autumn is the hiss of the bat as it grazes your neck. At times the bats hang down from the banisters of old barns, the wooden planks slicing the moon to shreds like a white moth between their fangs. And sometimes they sleep hanging from the limbs of oak trees by their claws before taking flight into purple dusk in search of blood, the moths and monsters prowling under moonlight. Bats suck the red from apples and rosehips and would consume the sun if they could sink their teeth into flame. Should you stare into the vast night sky on a clear autumn night, you are stargazing through the blackness of their wings. Continue reading “The Wolves Ripen: A Gothic Halloween Interview with Poet Kate Dlugosz”

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