Darker Terrors

by Neil Gaiman

  Card no. 13

  Description: A view down a narrow street, with the high tene­ments and their overhanging wooden balconies blocking out much of the light. The photographer has done well to obtain as much detail as is shown here. A cupola or dome, and what is perhaps a minaret behind it, are just visible at the end of the lane. Three young (from the look of their figures as revealed by the traditional dress, cf card 2) women in black, each with a necklace from which hangs a single bright large pendant, stand in the middle of the way, at mid-distance. They appear to be approach­ing the camera. Surprisingly, for all that they are bare-headed, etc., they are wearing veils that conceal their features utterly. There are no others in the street.

  Text: said to Forsythe that there was no point to it, that we would have to, at some moment, accept our losses and the futility of going any further. With the others gone, I argued, it was extremely unlikely that we could continue on our own; we should swallow our pride, and admit that we had come greatly unpre­pared for what we had in mind. It was best, in other words, that we make our run as soon as backs were turned. Forsythe disagreed vehemently, and meant that on the contrary, we were obliged by the sacred memory of our companions to carry on, an odd turn of phrase, considering what we had hoped to accomplish and obtain, by any means. And then he said cryptically, ‘It doesn’t matter in any case – the deed is done.’ I immediately took this as admission that the object of our expedition had been somehow achieved without my knowledge; that was the likely cause of the troubles we had experienced, and the growing agitation of the populace I had uneasily witnessed the past few days. As we discussed our dilemma outside the carpet shop, one of many lining the street, I became aware of a silence, a hush that had descended. People turned to face the wall, in fear, I thought, as I saw three females approaching. These

  Card no. 14

  Description: A poor reproduction of the second state of plate VII of Piranesi’s Carceri. In fact, the ascription is given on the verso of the card, the artist’s name (G. B. PIRANESI) appearing in Latin capitals inserted amongst the Arabic and Kyrillic letters.

  Text: less than the Carceri! What everyone had once thought the malarial fever dreams of a stunted, perverse genius, I saw now only to be honest reporting. I was absolutely astounded, once the dragoman, smelling of garlic and anisette, had removed the blindfold from my eyes. A lump came to my throat, and tears threatened to engulf me, when I thought of the others done away with through treachery, foul ignorance and intolerance. I suppose rumours regarding the disappearance of the sacred entity of the valley had much to do with the situation, too. Controlling my emotions – here, for a man to weep is a sign of weakness, with all the consequences such a perception entails – I saw around me. A number of individuals, male and female, nude or partly so, were being ushered along the spiral staircase wrapped around an enor­mous stone column down which I myself must have descended only a few minutes before. Natural light played through a number of cleverly placed oculi in the invisible ceiling, concealed by the complex bends and angles of the place. Turning,

  Card no. 15

  Description: Another crude reproduction of a Piranesi ‘Prisons’ plate, this number VIII, ascribed as above.

  Text: I saw yet another vista of the Italian artist before me, and began to understand, for the first time, that the plan of all his mad, insane engravings was a coherent whole, either taken from the actuality before me, or perhaps plotted out from his prints, and converted to reality, by some unsung architectonic genius. The Venetians had been here, I knew, during the mid-1700s, when things had settled down. Perhaps one of their workmen was given the book, and told to produce, or … With my glance following the staircase from its beginning, flanked by gigantic military trophies, with plumed helmets much larger than any human head, I traced the turn upwards to the left, and saw, between two enormous wooden doors opening on an arch, a large rack. A series of ropes hung down from the supporting wall, and I could see the faint glow of a brazier and hear the distant screams of the poor women and men, white bodies glistening with the sweat of fear, who hung

  Card no. 16

  Description: tinted, clearly a display of gemstones, perhaps from a museum of natural history or local geology. One of the larger groups, arranged separately from the others, with green colouring obviously meant to indicate emeralds, appears to be the fragments, longitudinally shattered, of what must have been a single enor­mous stone.

  Text: subincision being the technical expression. As you can imagine, I was wildly straining against my bonds, in fact, you could say I was struggling to the point of extreme violence, to, as it turned out, no avail. In spite of all my agitated effort, I was clamped to some sort of heavy metal framework or stand that immobilised me more or less completely. Naked, helpless, dread­ing whatever was in store, I saw the same three young women approach into the torchlight from the encircling darkness. With­out a word, my gaolers and the others left and I was alone with the unholy trio. As if at a signal, they simultaneously removed their veils and I was momentarily stunned, almost drugged, by the sight of their incredible beauty. Remember, this was the first time I had ever seen one of the local women unmasqued – if these were representative of the rest, it would easily explain any number of puzzling local rituals and customs. In spite of my extreme situation, I could not help myself – the ravishing faces, the fulsome breasts with their shapely crimsoned nipples, the long black glistening hair

  Card no. 17

  Description: A market place, with many and various stands and displays. An ironmonger, a merchant of brass teapots, a seller of cured leather are all easily discerned. In the centre, arms like a Saint Andrew’s cross before his chest, holding a large knife in the one hand, a two-pronged fork in the other, is a seller of grilled and roasted meats. On the small portable gridiron in front of him, a number of sizable sausages are warming, split neatly lengthwise.

  Text: darted out with the tip of her tongue, and then slowly extended it again. To my horror, I saw it was no tongue: it was a long razor-sharp dagger or splinter of green glass or stone; a smaragd dirk that was somehow attached or glued to the root of what remained of her tongue. The other two, kneeling close on either side of her, each reverentially held, both with two hands, the one heavy breast nearest them of their chief colleague, as if ritually weighing and supporting these at the same time. This observation was made on the abstract, detachedly, as if I were outside my own body. More mundanely, I was screaming and thrashing – or attempting uselessly to thrash. Praise to the gods that be, I passed out completely, and awoke with the foul deed done, blood running down me and pooling on the cold flagging, and the three dark sisters gone. Looking down, as my original captors re-entered the chamber, I saw that the operation had been carried out, just as had been described to me by the temple priest, and I fainted once more. When

  Card no. 18

  Description: Not a postal card, but rather a half-length portrait photograph mounted on thick pasteboard, of a family group from about the 1920s. The two parents are quite young, and formally dressed: the father in a dark suit, to which is pinned an unidenti­fied order or medal. He holds a small Bible clasped to his breast. The woman is handsome, in a white lacy blouse buttoned to the top of her graceful neck, with masses of hair piled high on her head. The young daughter is quite simply beautiful, an angel.

  Text: would not have recognised, but for the signal distinctive wedding ring on her finger. ‘Mrs Fortesque,’ I blurted out, as we stood amongst the milling crowd in the shade of the souk. ‘I had no idea—’ but stopped when I saw the blush originating from beneath the missionary wife’s veil spread to her ample and attractive sun-browned bosom (a pendant black enamelled cross its sole decoration), with the attendant rush of blood turning the aureoles – modestly without cinnabar – to the precise same shade of red so favoured by the local women. I saw, at the same time, the fleshy peaks slowly stiffen and stand, that motion drawing forth a corresponding response on my part, something I hardly had
conceived feasible, after the trauma of the operation of four days ago, with the insertion of the papyrus strips to prevent rejoining of the separated parts while the healing occurred. ‘I should perhaps explain myself,’ she said, regaining her composure. ‘The local rules are very strict; were I not, when attending to my public tasks and duties outside the house, to attire myself with what we consider wanton and promiscuous display, it would be here viewed as flagrant immodesty, and punishable, before the crowd, by the

  Card no. 19

  Description: An ossuary chapel, where the style of the classic Romanesque interior is partly obscured by the encrustation of thousands of skulls and skeletal parts, that form, or cover, the interior architecture. This photograph taken at the crossing, facing the nearby altar, where, instead of a crucifix or a mon­strance, an enamelled or painted rectangular metal plaque stands upright, its left side white, its right black.

  Text: that the crucifix was now exchanged for a small pendant medallion, half black, half white, the symbol of the local cult. The thought of Mrs Fortesque having gone, so to speak, over to the other side was shocking, and at the same time extremely piquant and arousing, with my recently acquired knowledge of what that fully entailed for the woman involved. Having just come to the rendezvous from my daily session with the local doctor, who was treating me with that disgusting metallic green and gold powder, the source of which I was loath to ponder on, I scarcely thought myself physically capable of what was to follow, given my general and peculiar state. Nonetheless, when the missionary’s widow, after furtively glancing about only to find the chapel empty – no surprise, since it was midday and most families were at home, doors shut­tered for the day’s largest repast – reached for and embraced me, the last thing I had awaited, I found myself responding in a most unexpected fashion. ‘But the children – your late husband—’ I stammered, as she pushed me back against a column, so the dec­orative knobs of tibiae and the like bruised my spine, with her bare breasts crushed against my chest and her hot searching lips

  Card no. 20

  Description: A statue, whose dimensions are given as 13 by 5 by 5 [in, it is assumed], these last representing the base. A female goddess, in flowing robes, very much gravid, standing in a bronze boat formed like the body of a duck, whose head is the prow. Within its open beak it holds a cube.

  Text: certain? It’s only been a month …’ I lingered at these, my own words, astonished at the assertion. ‘Of course I am,’ she snapped back, then containing herself with difficulty, lowered her tone, and continued, ‘I’ve not been with anyone, before or since,’ she said, bitterly smiling. She was very much enceinte, astound­ingly so, in a way that would have been impossible had I been responsible for her state. I kept on looking at her in bewilderment. My first thought was ‘propulsive force – perhaps; generative principle – never!!’ Still holding my hand lightly, she followed up, saying, ‘It does seem impossible, doesn’t it? Not just the time – I mean, given what had happened to you, in addition. Think, though, was anything odd done to you then, or about that time? I mean…’ At that, the thought of the daily calls to the doctor snapped into mind. Once I had found out the disgusting source of the gold and green powders, I had ceased from visiting him again. Had our meeting in the ossuary been before or after the ‘treatment’s’ short course? I could not remember, for the life of

  Card no. 21

  Description: Another souvenir card assumed to be from the local natural history collection, exhibiting a quite large centipede of unknown type, with several interesting and anomalous features. The scale beside it a quarter-inch stick, since inches would make the creature ridiculously large.

  Text: smooth and horrendously distended vulva with a disgusting plop. The three witches – I cannot think of them as being other than that – hurried to the trestle immediately, clicking the emer­ald daggers they had for tongues excitedly against their teeth. The multitudinous onlookers and priests held their distance. Mrs F seemed to be in a state of shock, but was still breathing with eyes closed. Horrified, I cast a look at Alicia, who stood imper­turbed in her youthful nakedness, motionless, still holding the thick black candle cool as you like, as if she were in Westminster Abbey. The bloody caul and afterbirth were snipped at and cut with glassy tongues, and I saw, when the three stepped back, a foul, thick, twitching, segmented thing, snaky, glinting green and gold, thick as a moray eel, writhing between the poor woman’s bloody legs. The chief witch nodded to Alicia, who slowly moved forward, setting her candle carefully at her mother’s feet. At another signal, she picked up the glistening demonic shape, which unwound itself into a heavy, broad, segmented centipede-like beast of dimensions that left me gasping. Alicia uncoiled the slimy monster, gleaming with ichor, and draped the hellspawn ‘round her shoulders, just as if it was a feather boa. Pausing only for a moment, she turned to me with a thin leer, and asked ‘Want to hold it? It’s yours too!’ Revulsed, I turned, while she shrugged and set off on the ceremonial way, the crowd bowing to her and her half-brother, sister, or whatever, the belt of hol­low birds’ eggs – her only adornment – clicking around her slim hips, brown from hours on the temple steps – as she swayed, during

  Card no. 22

  Description: A shining centipede probably of gold, coiled upon a dais of ebony, or some other dark wood, this last encrusted with bejewelled precious metal of arabesque form. The central object’s size may be inferred from the various items imbedded in it: Roman cameos, Egyptian scarabs, coins from crushed empires and forgotten kingdoms, some thousands of years old, the votive offerings of worshippers over the millennia we infer the sculpture to have existed. The object is fabulous: an utter masterwork of the goldsmith’s art rivalled only by the Cellini salt cellar and one or two other pieces. It almost seems alive.

  Text: almost worth it. Calquon and Harrison are dead, what has become of Paul, who thought up all this, I have no idea. I have been subjected to the most hideous torture, and seen the most awful sights, that few can have experienced without losing their sanity. It is deeply ironic after all I have been through, that I by chance only yesterday discovered the object, hidden away in my belongings. What remains to be seen is whether I can bring it back to civilisation with myself intact. I cannot trust Alicia, who has clearly let her elevation to high priestess and chief insect-keeper go to her head. During my last interview with her, whilst she dangled her shapely foot provocatively over the arm of her golden throne, I, in a vain effort to play upon her familial bonds and old self, reminded her of her younger brother, who had not been seen for days. At that she casually let drop that he had been sold on to Zanzibar (where there is, I believe, an active slave market) to ultimately disappear into one of the harems of the Arabian peninsula (Philby may be able to inform more fully). ‘I never could stand the little pest,’ was her remark, so it would be foolish to hope for any sympathy from her quarter. I am being watched quite closely, with great suspicion. Can it be they know? If I ever leave here alive, it will be an absolute sensation. Biding my time, I cannot do anything now, but I can at least try to smuggle these surreptitiously scribbled notes out to the French vice-consul in the city where we bought the mules. He is a good fellow, though he drinks to excess at

  An additional 52 cards remain (see photo-copies), which although of great interest, bear no hand-written notes, and therefore are not described here, with the following single exception:

  Card: not in sequence, i.e. unnumbered by us

  Description: A photographic postal card of a large exterior wall of a stone building of enormous size. The impressive dimensions become apparent once one realises that the small specks and dots on the stereobate of the vaguely classical structure are in fact people – some alone, others in groups, these last for the most part sheltered under awnings set up on the steps. What most catches the eye, however, is the magnificent low relief work covering most of the wall, depicting, it would seem, some mythological scene whose iconographic meaning is not apparent. It is in character a harmonious mi
xture of several ancient traditions: one sees hints of the Hellenistic, Indo-Grecian, and traces even of South-East Asian styles. The contrasts of tone make clear that the bare stone has been brightly painted.

  The relief itself: It appears a judgement is being carried out. In the background, solemn ringlet-bearded men draped in graceful robes, all in the same pose, all copies of the other. All hold a square object, somewhat in form like a hand-mirror divided into one field black and one field white, and watch with blank eyes the man before them who is strapped to a plank, while a large fabulous beast, part man, part insect, with elements of the order Scolopendra predominating, tears at him in the fashion of the Promethean eagles, and worse. To the right, a young priestess or goddess, nude but for a chain of beads or eggs around her waist, stands contrapposto, with one arm embraced about an obscene creature, a centipedal monstrosity of roughly her own height, leaning tightly upright against her. She is pointing with her free hand towards the tortured man. The expression on her empty face has affinities with several known Khmer royal portrait sculp­tures. She faintly smiles, as if in ecstasy.