Danse Macabre Monthly: Back in February!

KRANKENHAUS ROCK

Danse Macabre founder Adam Henry Carrière, our editor-in-chief and the heart and soul of DM, has been hospitalized since Nov. 20. It was serious; he was in intensive care for three weeks. However, we can now announce with gratitude and relief that his recovery is going well and that we expect him to be discharged as soon as a lingering infection is under control.

ABSCESS MAKES THE HEART GROW FONDER

We have missed Adam, and we’ve missed Danse Macabre. We hope you have, as well.
Once Adam is back to whip his teeming minions into order, we will again help him fill the Danse Macabre coloratura buffet with literary delights from around the globe, including contributions from our Prix de Noël winners, DM stalwarts, new voices, and classic masters of the macabre.

Until then, please visit us here for more du Jour delicacies or dig into the archives at your leisure.

After more than 40 issues, we remain:

DANSE MACABRE
An online journal of imaginative verse & prose
dedicated to the magical, the ethereal,
the supernatural, the dark,
the absurd, and the unknown.


We appreciate your patronage and your patience.
XOXOXO

Guy de Maupassant A GHOST

A GHOST

Guy de Maupassant
 
 


translated by M. Charles Sommer


We were speaking of sequestration, alluding to a recent lawsuit. It was at the close of a friendly evening in a very old mansion in the Rue de Grenelle, and each of the guests had a story to tell, which he assured us was true.

Then the old Marquis de la Tour-Samuel, eighty-two years of age, rose and came forward to lean on the mantelpiece. He told the following story in his slightly quavering voice.

"I, also, have witnessed a strange thing—so strange that it has been the nightmare of my life. It happened fifty-six years ago, and yet there is not a month when I do not see it again in my dreams. From that day I have borne a mark, a stamp of fear,—do you understand?

"Yes, for ten minutes I was a prey to terror, in such a way that ever since a constant dread has remained in my soul. Unexpected sounds chill me to the heart; objects which I can ill distinguish in the evening shadows make me long to flee. I am afraid at night.

"No! I would not have owned such a thing before reaching my present age. But now I may tell everything. One may fear imaginary dangers at eighty-two years old. But before actual danger I have never turned back, mesdames.

"That affair so upset my mind, filled me with such a deep, mysterious unrest that I never could tell it. I kept it in that inmost part, that corner where we conceal our sad, our shameful secrets, all the weaknesses of our life which cannot be confessed.

"I will tell you that strange happening just as it took place, with no attempt to explain it. Unless I went mad for one short hour it must be explainable, though. Yet I was not mad, and I will prove it to you. Imagine what you will. Here are the simple facts:

"It was in 1827, in July. I was quartered with my regiment in Rouen.

"One day, as I was strolling on the quay, I came across a man I believed I recognized, though I could not place him with certainty. I instinctively went more slowly, ready to pause. The stranger saw my impulse, looked at me, and fell into my arms.

"It was a friend of my younger days, of whom I had been very fond. He seemed to have become half a century older in the five years since I had seen him. His hair was white, and he stooped in his walk, as if he were exhausted. He understood my amazement and told me the story of his life.

"A terrible event had broken him down. He had fallen madly in love with a young girl and married her in a kind of dreamlike ecstasy. After a year of unalloyed bliss and unexhausted passion, she had died suddenly of heart disease, no doubt killed by love itself.

"He had left the country on the very day of her funeral, and had come to live in his hotel at Rouen. He remained there, solitary and desperate, grief slowly mining him, so wretched that he constantly thought of suicide.

"’As I thus came across you again,’ he said, ‘I shall ask a great favor of you. I want you to go to my château and get some papers I urgently need. They are in the writing-desk of my room, of our room. I cannot send a servant or a lawyer, as the errand must be kept private. I want absolute silence.

"’I shall give you the key of the room, which I locked carefully myself before leaving, and the key to the writing-desk. I shall also give you a note for the gardener, who will let you in.

"’Come to breakfast with me to-morrow, and we’ll talk the matter over.’

"I promised to render him that slight service. It would mean but a pleasant excursion for me, his home not being more than twenty-five miles from Rouen. I could go there in an hour on horseback.

"At ten o’clock the next day I was with him. We breakfasted alone together, yet he did not utter more than twenty words. He asked me to excuse him. The thought that I was going to visit the room where his happiness lay shattered, upset him, he said. Indeed, he seemed perturbed, worried, as if some mysterious struggle were taking place in his soul.

"At last he explained exactly what I was to do. It was very simple. I was to take two packages of letters and some papers, locked in the first drawer at the right of the desk of which I had the key. He added:

"’I need not ask you not to glance at them.’

"I was almost hurt by his words, and told him so, rather sharply. He stammered:

"’Forgive me. I suffer so much!’

"And tears came to his eyes.

"I left about one o’clock to accomplish my errand.

"The day was radiant, and I rushed through the meadows, listening to the song of the larks, and the rhythmical beat of my sword on my riding-boots.

"Then I entered the forest, and I set my horse to walking. Branches of the trees softly caressed my face, and now and then I would catch a leaf between my teeth and bite it with avidity, full of the joy of life, such as fills you without reason, with a tumultuous happiness almost indefinable, a kind of magical strength.

"As I neared the house I took out the letter for the gardener, and noted with surprise that it was sealed. I was so amazed and so annoyed that I almost turned back without fulfilling my mission. Then I thought that I should thus display over-sensitiveness and bad taste. My friend might have sealed it unconsciously, worried as he was.

"The manor looked as though it had been deserted the last twenty years. The gate, wide-open and rotten, held, one wondered how. Grass filled the paths; you could not tell the flower-beds from the lawn.

"At the noise I made kicking a shutter, an old man came out from a side-door and was apparently amazed to see me there. I dismounted from my horse and gave him the letter. He read it once or twice, turned it over, looked at me with suspicion, and asked:

"’Well, what do you want?’

"I answered sharply:

"’You must know it as you have read your master’s orders. I want to get in the house.’

"He appeared overwhelmed. He said:

"’So—you are going in—in his room?’

"I was getting impatient.

"’Parbleu! Do you intend to question me, by chance?’

"He stammered:

"’No—monsieur—only—it has not been opened since—since the death. If you will wait five minutes, I will go in to see whether——’

"I interrupted angrily:

"’See here, are you joking? You can’t go in that room, as I have the key!’

"He no longer knew what to say.

"’Then, monsieur, I will show you the way.’

"’Show me the stairs and leave me alone. I can find it without your help.’

"’But—still—monsieur——’

"Then I lost my temper.

"’Now be quiet! Else you’ll be sorry!’

"I roughly pushed him aside and went into the house.

"I first went through the kitchen, then crossed two small rooms occupied by the man and his wife. From there I stepped into a large hall. I went up the stairs, and I recognized the door my friend had described to me.

"I opened it with ease and went in.

"The room was so dark that at first I could not distinguish anything. I paused, arrested by that moldy and stale odor peculiar to deserted and condemned rooms, of dead rooms. Then gradually my eyes grew accustomed to the gloom, and I saw rather clearly a great room in disorder, a bed without sheets having still its mattresses and pillows, one of which bore the deep print of an elbow or a head, as if someone had just been resting on it.

"The chairs seemed all in confusion. I noticed that a door, probably that of a closet, had remained ajar.

"I first went to the window and opened it to get some light, but the hinges of the outside shutters were so rusted that I could not loosen them.

"I even tried to break them with my sword, but did not succeed. As those fruitless attempts irritated me, and as my eyes were by now adjusted to the dim light, I gave up hope of getting more light and went toward the writing-desk.

"I sat down in an arm-chair, folded back the top, and opened the drawer. It was full to the edge. I needed but three packages, which I knew how to distinguish, and I started looking for them.

"I was straining my eyes to decipher the inscriptions, when I thought I heard, or rather felt a rustle behind me. I took no notice, thinking a draft had lifted some curtain. But a minute later, another movement, almost indistinct, sent a disagreeable little shiver over my skin. It was so ridiculous to be moved thus even so slightly, that I would not turn round, being ashamed. I had just discovered the second package I needed, and was on the point of reaching for the third, when a great and sorrowful sigh, close to my shoulder, made me give a mad leap two yards away. In my spring I had turned round, my hand on the hilt of my sword, and surely had I not felt that, I should have fled like a coward.

"A tall woman, dressed in white, was facing me, standing behind the chair in which I had sat a second before.

"Such a shudder ran through me that I almost fell back! Oh, no one who has not felt them can understand those gruesome and ridiculous terrors! The soul melts; your heart seems to stop; your whole body becomes limp as a sponge, and your innermost parts seem collapsing.

"I do not believe in ghosts; and yet I broke down before the hideous fear of the dead; and I suffered, oh, I suffered more in a few minutes, in the irresistible anguish of supernatural dread, than I have suffered in all the rest of my life!

"If she had not spoken, I might have died. But she did speak; she spoke in a soft and plaintive voice which set my nerves vibrating. I could not say that I regained my self-control. No, I was past knowing what I did; but the kind of pride I have in me, as well as a military pride, helped me to maintain, almost in spite of myself, an honorable countenance. I was making a pose, a pose for myself, and for her, for her, whatever she was, woman, or phantom. I realized this later, for at the time of the apparition, I could think of nothing. I was afraid.

"She said:

"’Oh, you can be of great help to me, monsieur!’

"I tried to answer, but I was unable to utter one word. A vague sound came from my throat.

"She continued:

"’Will you? You can save me, cure me. I suffer terribly. I always suffer. I suffer, oh, I suffer!’

"And she sat down gently in my chair. She looked at me.

"’Will you?’

"I nodded my head, being still paralyzed.

"Then she handed me a woman’s comb of tortoise-shell, and murmured:

"’Comb my hair! Oh, comb my hair! That will cure me. Look at my head—how I suffer! And my hair—how it hurts!’

"Her loose hair, very long, very black, it seemed to me, hung over the back of the chair, touching the floor.

"Why did I do it? Why did I, shivering, accept that comb, and why did I take between my hands her long hair, which left on my skin a ghastly impression of cold, as if I had handled serpents? I do not know.

"That feeling still clings about my fingers, and I shiver when I recall it.

"I combed her, I handled, I know not how, that hair of ice. I bound and unbound it; I plaited it as one plaits a horse’s mane. She sighed, bent her head, seemed happy.

"Suddenly she said, ‘Thank you!’ tore the comb from my hands, and fled through the door which I had noticed was half opened.

"Left alone, I had for a few seconds the hazy feeling one feels in waking up from a nightmare. Then I recovered myself. I ran to the window and broke the shutters by my furious assault.

"A stream of light poured in. I rushed to the door through which that being had gone. I found it locked and immovable.

"Then a fever of flight seized on me, a panic, the true panic of battle. I quickly grasped the three packages of letters from the open desk; I crossed the room running, I took the steps of the stairway four at a time. I found myself outside, I don’t know how, and seeing my horse close by, I mounted in one leap and left at a full gallop.

"I didn’t stop till I reached Rouen and drew up in front of my house. Having thrown the reins to my orderly, I flew to my room and locked myself in to think.

"Then for an hour I asked myself whether I had not been the victim of an hallucination. Certainly I must have had one of those nervous shocks, one of those brain disorders such as give rise to miracles, to which the supernatural owes its strength.

"And I had almost concluded that it was a vision, an illusion of my senses, when I came near to the window. My eyes by chance looked down. My tunic was covered with hairs, long woman’s hairs which had entangled themselves around the buttons!

"I took them off one by one and threw them out of the window with trembling fingers.

"I then called my orderly. I felt too perturbed, too moved, to go and see my friend on that day. Besides, I needed to think over what I should tell him.

"I had his letters delivered to him. He gave a receipt to the soldier. He inquired after me and was told that I was not well. I had had a sunstroke, or something. He seemed distressed.

"I went to see him the next day, early in the morning, bent on telling him the truth. He had gone out the evening before and had not come back.

"I returned the same day, but he had not been seen. I waited a week. He did not come back. I notified the police. They searched for him everywhere, but no one could find any trace of his passing or of his retreat.

"A careful search was made in the deserted manor. No suspicious clue was discovered.

"There was no sign that a woman had been concealed there.

"The inquest gave no result, and so the search went no further.

"And in fifty-six years I have learned nothing more. I never found out the truth."

 

Lest we forget why Danse Macabre exists in this season of Christmas cheer…

Alexandra Seidel A TRAVELING MERCHANT, SELLING PIECES OF STONE

A Traveling Merchant, Selling Pieces of Stone

Alexandra Seidel

 

     "Look at this grotesque. It is a piece of stone surely, hand sized and soft where teeth or claws don’t bite your skin, but also so much more. Look at it. Consider what you see. Begin by describing the obvious: stone, gray as anything you’d find by the side of the road, a figure, crouching, looming, waiting perhaps. It looks humanoid because it has a face, it seems pensive, the set of wings and back and neck make it appear melancholy almost. It has no eyes. Its eyes are holes. Is its soul therefore emptiness?

     Look harder now. The grotesque seems like it folded in on itself an so, it appears smaller than it should be, like a hunchback ringing bells. The word forlorn comes to mind, unasked for, uninvited; even so, those two syllables stay.

Do not let your eyes stray, foolish things! Look; when you are done with what is obvious, kindly ask yourself what isn’t. What was the hand that brought the grotesque from the stone, delivered its sight to your eyes? Pondering this makes you wonder if suicide is common among sculptors. The grotesque’s stony tongue would tell you, if it could.

     Do not stop looking at it and take the piece of worked stone into your hands. It’s not a heartbeat that you feel, it’s a chisel’s echo. The grotesque is warm to the touch. Tell yourself it’s because the stone holds the sun’s warmth, although you know full well that the sun didn’t shine at all today.

     Look at the grotesque. Smile. Cry. Be confused and fear. The stone is yours now, and vice versa: now there, that’s the trick! The abyss looking back at you, eh! What a piece you are, what mastery of hammer stroke upon hammer stroke. You’d almost think it lives!"

     [The merchant picks up the two grotesques, puts them back onto his small, rickety table.]

     "You over there, come closer, take a look at this grotesque and tell me what you see…"
 
Danse Macabre has never met Alexandra Seidel in person, but we imagine her as beautiful and slightly ominous, much like her work in DM here and here and here and here. 
 
 

Zak Johnson THE TROPHY HUNTER

Chris Scarborough

The Trophy Hunter

Zakariah Johnson

On the steep hillsides of the upland country, mountain aspen and ash trees fluttered yellow and red among the dark, evergreen larch and pine, reflecting like signal flares in the tannin-blackened mountain creek. The hunter, a solid-colored figure totally cast in reflective orange garb like a cheap plastic toy, slid silently down the slope over the slick mat of pine needles, gun in hand. The creek flowed hidden through the narrow gorge. Larry was a long time reaching bottom, breathing hard. He took off the orange cap and wiped his brow. Brown hair, brown eyes. He crouched back on his heels, the warm rifle barrel upright before him in his hands.

“Well, well, well…what have we here?” The soft ground in the draw was filled with the prints of deer and elk that walked silently, a step at a time, a stop between each step, up the draw. There were cattle prints here as well, though these crossed the stream at a right angle. The cattle, though wary, never tried hiding.

Deer are color blind. Hunters, to save each other, used to wear red, a color visible to most people, but which doesn’t necessarily signal a human presence amidst the autumn spectrum. Currently, hunters wear hunter orange, their private color shared only with prisoners. Anyone moving shiftily through the forest in the fall, a step at a time, a stop between each step, would do well to wear it.

“Always be sure of your target. Mark what is beyond your target in the event of a miss.”

The remonstrations of the state hunting manual went through his mind. Larry rarely missed. He was aware of highways, powerlines, ricochets, the physics of ballistics that will propel a shot fired uphill onward an additional mile or more. His head turned quickly at a snapping sound. He slowly turned his rifle sideways as he peered into the bushes opposite the creek. He saw the deer—brown hair, brown eyes—watching him and awaited her comment.

“No horns on you girl” he said affectionately. “Oh, well.” He didn’t have a license for doe. He smiled at her as he stood up, pushing the orange cap onto his head. It had been a long walk into the draw and he opted to follow one of the cattle trails back around the side of the mountain rather than going back over the top. He got up, stepping from stone to stone until he was out of the creek bottom to avoid leaving a trail. A rock squirrel saw him coming and scuttled back into its burrow. Larry fumbled in the pocket of his coat for the empty shell casing and flicked it down deep into the hole after the fleeing animal. He always fired home-made hollow points, flat topped bullets with a tiny hole drilled down the middle of the lead in which he inserted a drop of mercury, which he then sealed over with wax. It ruined more meat, but was a surer kill and harder to trace.

Reaching his truck, he complied with local law by unloading his rifle before driving away. It was a long drive back to Arkansas and he had to be at work Monday. In the crowded campground where he had been staying, hunters were pulling up stakes as the weekend climbed down from its tree-stand. Larry collapsed his camper-trailer and reattached it to his truck. As he pulled away, he waved at his lucky weekend neighbors, a group of young hunters with a pick-up bed full of deer covered with blue tarps, only the antlers sticking out.

“Three good bucks at least,” Larry thought, ruefully.

Out on the highway, he listened to news about a hunting accident on the radio, “no leads, terrible accident, third one this year, though fewer than last season,” the anchor intoned in clipped news-speak. Larry smiled. He liked hunting in the mountains. He might come back next season, bringing a different rifle, of course, and maybe a change of boots, just to be sure. He’d been shot once himself, just with birdshot from a small shotgun, but shot none-the-less. He had never been able to decide if the kid had seen him there in the thick bushes, or if the shooting had just been one of those freak accidents. He shrugged, pulled his new orange cap out of his pocket and read the unknown name inside, thinking how good the hat would look mounted on the den wall beside the others.

Zakariah Johnson is a writer with a lot of blood on his hands, though mostly from fish. He lives in the bit of New Hampshire that juts up like the impertinent middle finger of New England, sentiments he tries to suppress in himself, with mixed results. Danse Macabre welcomes his ink energy to its pages.

Saki REGINALD ON CHRISTMAS PRESENTS

 

Hector Hugh Munro, ca. 1913

 

REGINALD ON CHRISTMAS PRESENTS

 

     I wish it to be distinctly understood (said Reginald) that I don’t want a “George, Prince of Wales” Prayer-book as a Christmas present. The fact cannot be too widely known.
     There ought (he continued) to be technical education classes on the science of present-giving. No one seems to have the faintest notion of what anyone else wants, and the prevalent ideas on the subject are not creditable to a civilised community.
     There is, for instance, the female relative in the country who “knows a tie is always useful,” and sends you some spotted horror that you could only wear in secret or in Tottenham Court Road. It might have been useful had she kept it to tie up currant bushes with, when it would have served the double purpose of supporting the branches and frightening away the birds—for it is an admitted fact that the ordinary tomtit of commerce has a sounder æsthetic taste than the average female relative in the country.
     Then there are aunts. They are always a difficult class to deal with in the matter of presents. The trouble is that one never catches them really young enough. By the time one has educated them to an appreciation of the fact that one does not wear red woollen mittens in the West End, they die, or quarrel with the family, or do something equally inconsiderate. That is why the supply of trained aunts is always so precarious.
     There is my Aunt Agatha, par exemple, who sent me a pair of gloves last Christmas, and even got so far as to choose a kind that was being worn and had the correct number of buttons. But—they were nines! I sent them to a boy whom I hated intimately: he didn’t wear them, of course, but he could have—that was where the bitterness of death came in. It was nearly as consoling as sending white flowers to his funeral. Of course I wrote and told my aunt that they were the one thing that had been wanting to make existence blossom like a rose; I am afraid she thought me frivolous—she comes from the North, where they live in the fear of Heaven and the Earl of Durham. (Reginald affects an exhaustive knowledge of things political, which furnishes an excellent excuse for not discussing them.) Aunts with a dash of foreign extraction in them are the most satisfactory in the way of understanding these things; but if you can’t choose your aunt, it is wisest in the long-run to choose the present and send her the bill.
     Even friends of one’s own set, who might be expected to know better, have curious delusions on the subject. I am not collecting copies of the cheaper editions of Omar Khayyam. I gave the last four that I received to the lift-boy, and I like to think of him reading them, with FitzGerald’s notes, to his aged mother. Lift-boys always have aged mothers; shows such nice feeling on their part, I think.
     Personally, I can’t see where the difficulty in choosing suitable presents lies. No boy who had brought himself up properly could fail to appreciate one of those decorative bottles of liqueurs that are so reverently staged in Morel’s window—and it wouldn’t in the least matter if one did get duplicates. And there would always be the supreme moment of dreadful uncertainty whether it was crême de menthe or Chartreuse—like the expectant thrill on seeing your partner’s hand turned up at bridge. People may say what they like about the decay of Christianity; the religious system that produced green Chartreuse can never really die.
     And then, of course, there are liqueur glasses, and crystallised fruits, and tapestry curtains, and heaps of other necessaries of life that make really sensible presents—not to speak of luxuries, such as having one’s bills paid, or getting something quite sweet in the way of jewellery. Unlike the alleged Good Woman of the Bible, I’m not above rubies. When found, by the way, she must have been rather a problem at Christmas-time; nothing short of a blank cheque would have fitted the situation. Perhaps it’s as well that she’s died out.
     The great charm about me (concluded Reginald) is that I am so easily pleased. But I draw the line at a “Prince of Wales” Prayer-book.
 
Saki (1870 -1916), was the pen name of the British author Hector Hugh Munro, whose witty and sometimes macabre stories satirised Edwardian society and culture. The name Saki is often thought to be a reference to the cupbearer in the Rubiyat of Omar Khayyam, a poem mentioned disparagingly by the eponymous character in "Reginald on Christmas Presents."