If the monks’ own records can be believed—and these accounts are vague on many points—by the late 1200s, the monks had succeeded, perhaps in partnership with Arab scientists traveling to Africa, in fashioning a mechanical equivalent to what presumably must have been a kind of symbiotic relationship with a form of Turrilepus Gigantis.
Over time—due in part to the creation of copies and the reduction in the number of monks from fatalities from drowning, slipping on wet stone floors, and the like—each monk came to be in possession of a replica of his own, although from the few descriptions, most of these may have been crude, nonfunctional copies.
The Shank—our Shank, the monks said fondly—soon became sanctified as a holy object. It became friend, confidant, and spiritual guide to every monk on the island, from the lowliest of the novitiate to the interim abbott. The monks carried the replicas around in their pockets, held them delicately (desperately) to their mouths, whispering secrets in the dark. Given the extraordinarily long lives of the monks, they had more secrets than most to confess to their small, metal friends.
After the silence of the Dark Ages, the Shank came once again to the notice of the burgeoning medical community in the West in the form of a smattering of accounts that hailed it as a kind of miraculous relic, but noting that even though healed, the recipients of the Shank suffered from a strange melancholy bordering on mania, following their treatment. Such patients drew pictures of the Shank—both the clockwork Turrilepad and the Turrilepad in the flesh. They painted portraits and composed sonnets and sang odes. They whispered the name of the lost saint in their dreams, and, as though suddenly losing sight of their senses, they would call out to him during the day, responding to the ensuing silence with fits of weeping. They left their families, left their businesses and affairs, and took to the sea, their eyes scanning the horizon for . . . well, they would not say. It was generally believed that they could not say.
Indeed, by the year 1522, Pope Adrian VI—having had enough of talk of floating islands, healing that resulted in death by melancholia, bleeding, or worse, and other rumors that, in his opinion, were, at best, due to the infernal influence of the followers of that fallen priest, Martin Luther, or, at worst (and Heaven forbid!), an insidious Ottoman plot—banned the use of the Shank, banned mention of the Shank, and excommunicated the entire Order of St. Brendan. “Since the presence or absence of suffering is due wholly to the whims of God, it is a blasphemy and an insult to thwart the divine Plan,” he wrote in October of that year, though, in his writings, he demonstrates an acute ignorance of how the Shank worked. He died a year later. It is doubtful that the monks on the wandering isle ever knew of their excommunication, or, indeed, that they would have cared.
Throughout the historical record, then, the actual function of the Shank had gone assiduously unmentioned in its brief appearances. The witnesses to the Shank merely attested that it worked, remaining curiously mum on other important matters for quite some time.
Perhaps because of this very mystery, Dr. Lambshead became keenly interested in locating one. Through his deep and multilayered explorations of the history of the medical arts, Lambshead had encountered several modern references to the Shank—particularly in his extensive rereading of The Trimble-Manard Omnibus of Insidious Arctic Maladies, edited by John Trimble and Rebecca Manard, long after his bitter and public feud with both Trimble and Manard—a kind of attempt through scholarship to reconcile. Still, he did not lay eyes on the object until many years later.
According to Dr. Lambshead’s journals, volume 27, book 4, he finally encountered the Shank during World War II, while performing his duty as a surgeon on the Island of Mykines, the Faroe Islands still under the British flag. (He would soon return to his wartime efforts at London’s Combustipol General Hospital.)
On October 5, 1941, the doctor wrote: “Patient arrived: an elderly gentleman, rapid heartbeat, high fever, terrible bleeding from the mouth and anus. Private Lansing informed me that the ancient man was found clinging to a leather-hulled skiff that had wedged between two large rocks at the lee of the island. The man was dressed in the manner of those bent toward monasticism—rough cloth, broken sandals, a rope binding the waist—and was impossibly old. His face had the look of leaves gone to mulch. His body was as light as paper and twice as fragile; his limbs fluttered and flapped as the breeze blew in cold gusts over the North Atlantic.”
Lambshead further notes, and the duty log from the day confirms, that “He claimed to be an abbot in the Order of St. Brendan, and asked for forgiveness several times, but for what we had no clue, except for frequent references to his ‘weakness.’ Where he had come from, we had no idea—due to the currents in that place and a partial blockade by the Germans, it was all but impossible that he had sailed his boat from another part of the island—he had to have come from the sea.” However, as Dr. Lambshead noted, there wasn’t another island within one hundred miles, and the monk’s boat could at best be classified “as a pathetic cockleshell.”
The man carried with him “an intricate mechanical device that he clutched tightly in his hands.” Although the artifact intrigued Lambshead, he had no time to examine it closely. The man was in need of immediate medical assistance. The bleeding was so profuse that it seemed to the doctor to have been caused by shrapnel, though that was “terribly unlikely.” There had been no attacks in the last week against any of the islands—just a long, tense stalemate—and the wound “was fresh, and flowing.”
The old monk explained that he had come from a place called Brendan’s Isle after his craft became tempest-tossed in a sudden gale, and the island disappeared, and the monk was left alone on the undulating waves. Somehow, the doctor did not quite believe this explanation, although “to this day I couldn’t say why I should doubt a dying monk.”2
“Come back,” the monk moaned, his eyes sliding past the rim of his sockets. “Oh, please come back with me.”
“Does it hurt here?” the doctor asked, ignoring the monk as he palpated the belly.
“Was this the fate of our beloved Brendan?” the old man wheezed. “To realize too late that he was wrong to leave, that he wanted to come home.” Tears leaked from the old man’s rheumy eyes. “Always we wander, and it is so lonely. No matter where our island travels.”
The doctor, assuming the man was raving, called the nurse to bring in the ether.
“Don’t operate,” the old monk raved, clutching his belly. “Oh, dear God, don’t take it away.”
“Don’t take what away?” Lambshead said reasonably. “Your odd artifact is safe with us. You can have it back once we’ve operated.” He wondered with growing irritation what on earth could be taking that nurse so long.
The monk’s thin arm shot from the gurney, grabbed the doctor’s crisp, white coat. “We were so alone,” the monk whispered. “The Isle of the Blessed is a cold and lonely and desperate place without our beloved saint. And I am alone, and not alone. My brother! My brother! Don’t take him!”
Lambshead reports that the monk shuddered so violently as the nurse came in, donning her surgical smock and mask, that he thought the monk might die right then, right there.
Five drops of ether, the doctor remembers thinking calmly. “Or, perhaps seven. Indeed, make it an even ten.”
Soon, Lambshead opened up the anesthetized man’s belly, and deep in the old monk’s gut he found a very large tumor—nearly the size of a rugby ball, though three times as heavy—and inside the tumor, happily burrowing and eating away, “was a specimen of some form of Turrilepus Gigantis! The mirror image of the complex clockwork artifact we had found in the monk’s pocket!”
After convincing the nurse to neither pass out nor leave the room, the doctor realized at once that the tumor, not the Turrilepus Gigantis—whether symbiotic or parasitic or belonging to some third classification—required immediate attention: “It was malignant and fast-growing, apparently too fast-growing to be mastered by the monk’s little brother.”
However
, even Lambshead’s best efforts were not enough.
“Exhausted and saddened by the outcome,” Lambshead writes, “I nonetheless, in the interests of science, immediately performed an autopsy and attempted to preserve the Turrilepus Gigantis in an empty marmalade jar.” What he found startled him: “This very old, tired man had had the organs and circulatory system of a twenty-five-year-old. If not for the aggressive growth of the tumor, a million-to-one anomaly that his symbiotic brother could not devour quickly enough, the monk might’ve lived another sixty or seventy years at least.”
He also found that the mindless movements of the pre-wound replica had an oddly “hypnotic and vaguely dulling effect on me, its copper snout curling and uncurling rhythmically.
“What happened on the Isle of St. Brendan, I have no idea,” Lambshead would write after the war, in a letter to the then-curator of the Museum of Medical Anomalies as part of the grant that included turning over the mechanical Shank and a half-dissolved, sad-looking Turrilepus Gigantis, “but I remain convinced that the last surviving member of Order of St. Brendan died on my operating table on 3 November 1941, and that this order had hitherto survived for centuries in part because of a symbiotic relationship with a creature that provided a high level of preventative medicine and thus conferred on these monks extremely long life. That extremely long life in such isolation may, in fact, be its own kind of illness I cannot speculate upon.”
A month after the death and burial of the castaway monk, one Private Lansing wrote this in his journal: “Doctor Lambshead, always an odd duck, becomes odder by the day, afflicted as he is by a strange, growing sadness. He stands at all hours at the edge of the sea, his hand cupped over his eyes, scanning the horizon. He mutters to himself, and raves. And what’s worse, he’s given himself over to a bizarre religious fanaticism, calling out the name of a saint, waking, dreaming, again and again and again.”
Whether this temporary melancholy was caused by the events of the war or by possession of the Shank is unknown, but in later years, Lambshead was known to remark, “I must say I was very happy to give the thing away.”
Due to issues of medical ethics, the Shank displayed in this exhibit has yet to be tested on human patients. Nor have other specimens of this particular type of Turrilepus Gigantis ever been found.
ENDNOTES
1. There is unsubstantiated conjecture by Menard and Trimble that somehow the abbott conveyed his own seeming good health upon the Viking, as a way of saving the island, and that the monks then sought some way to avoid a similar catastrophe in future by creating an artifact that could, without a similar later sacrifice, perform the same function.
2. Later investigation would uncover nine reports from fishermen claiming to have found a castaway floating in the remains of a broken boat. Each report described a man dressed in the habit of a monk and impossibly old—a face like leaves gone to mulch, a body light as paper. Each man raved and raved about the Shank and a saint lost forever. In each instance, they died before reaching land, and their bodies were given over to the sea. If any of these men hid anything among their possessions, no record of it exists. What catastrophe they might have been fleeing is unknown, although German U-boat records do contain references to the sinking of at least two “ships” that do not correspond to any losses in the records of the Allies.
The Auble Gun
Documented by Will Hindmarch
Drs. Franz S. Auble and Lauritz E. Auble, Inventor/Designer
Auble Gun, 1884–1922
Purchased by Dr. Lambshead, January 1922
1922.11.1a&b
My goal is to create a new battlefield milieu in which a select few do battle for the sake of their ideals and their nations with science and engineering on their backs; a new generation of gallant combatants and miniaturized engines of war—knights not with horses and lances but with boilers and bullets.
—DR. FRANZ AUBLE
The Development and Reputation of a Singular Weapon
According to Aidan Birch’s book, Cranks and Steam: The Story of the Auble Gun (1921), Franz Auble came to America from Prague in 1855, at the age of eleven, with his mother. Though the Aubles were wealthy enough to buy Franz out of military service, due to a near-tragic misunderstanding he fought in the American Civil War as part of a Northern artillery battery and went deaf in his right ear as a result. Young Franz Auble’s time among the deafening muskets and cannons may have inspired his idea for a shoulder-mounted weapon. “Franz Auble must very much enjoy being deaf,” wrote Martin Speagel in the St. Louis Gazette, “for it means he hears only half of his bad ideas.”
Although not widely known by the public, the Auble gun ranks among firearms and artillery enthusiasts as one of history’s great curios. Not quite a personal firearm and not quite miniaturized artillery, the Auble is a man-portable, multibarreled mitrailleuse designed to be carried and fired on an operator’s shoulder for “ease and haste of transport and displacement in tenuous battlefield circumstances,” according to a lecture given by Franz Auble in 1882.
American humorist and essayist Edgar Douglas, while on a monologue tour in 1891, famously deemed it “the Awful gun.” American shootists, in periodicals of the era, joked that it was the “Unstauble gun or Wobble gun.”
The weapon’s infamous instability was a result of the Aubles’ innovative “human bipod” design. Franz Auble’s vision cast able-bodied soldiers in the role of “specially trained mobile gunnery platforms,” which would operate in three-man fire teams, triangulating on enemy positions. “Ideally,” Franz Auble wrote, “the gun’s very presence is enough to stymie or deter enemy soldiers, ending battles through superior military posture and displays of ingenious invention rather than outright bloodshed.”
Word of Franz Auble’s interest in “military posturing” over battlefield effectiveness led to his being labeled “a showman, not a shootist” by Gentleman Rifleman editor Errol MacCaskill in the periodical’s winter 1882 issue. The Auble gun was still only in active development at the time. Billed as “a more personal approach to gentlemanly annihilation,” perhaps tongue-in-cheek, an early hand-cranked prototype of the Auble gun debuted in 1883, just a year before the first demonstration of a proper machine gun: the Maxim gun, invented by Sir Hiram Maxim. Whereas the Maxim gun’s reloading mechanism was powered by the weapon’s own recoil action, the first Auble gun prototype was still powered by a hand crank. It looked somewhat like an oversized, shoulder-mounted film camera—and, indeed, some early design prototypes might have allowed shooters to shoot what they were shooting, so to speak.
When the Maxim gun first gained real attention, in the mid-1880s, Auble went back to the drawing board and the firing range. The era of the machine gun was coming, and in his journals, Franz would later bemoan his “fatally late understanding that the revolution would be in the field of ever-swifter reloading mechanisms, not the perfection of techniques to balance machinery on the human shoulder! Who knew?”
In the middle of 1884, however, Franz Auble was diagnosed with Brandywine syndrome, a rare and misunderstood disease in that day and age. Knowing he had limited time left to continue his work, he retreated to a cottage outside Boston, intent on designing a mechanism that would put the Auble gun into serious competition with the Maxim.
Journal entries from the time are chaotic—Franz combined his engineering notes with a dream journal analyzing months of fevered and torrid dreams of war and his dead wife—but on November 12, 1884, Franz wrote, “If I cannot escape my dreams, I must learn from them. I see smokestacks and gun barrels. I hear gurgling boilers and empty shells raining on cobblestones. It seems clear what the gun is asking me for!”
What he had arrived at was bold and, some said, insane: the creation of a steam engine to load rounds into the weapon automatically at the same time that it discarded spent cartridges. He produced detailed drawings. He had patent forms drawn up. He ordered smiths to forge new boilers and frames. He gave his famous interview to Cranks and Steam author Aidan
Birch. Then he died.
The Auble Gun, probably being modeled by Dr. Lauritz E. Auble (from a badly damaged photograph, ca. 1912).
A Son Continues His Father’s Uncertain Legacy
It was edging toward the spring of 1885. Snow was melting into the mud on the day of Dr. Franz Auble’s funeral in Massachusetts, and it seemed at first that his work might never be completed. Lauritz was a dutiful son and devoted business partner, but as he would later tell Aidan Birch, “I lacked my father’s creative impulse. What came easily to him came to me with great difficulty. I did not have his head for numbers or his vision.” Birch is reputed to have replied that this might be more boon than curse, and when Lauritz asked him to elaborate, said that “vision is not the same as sight.” Thus bolstered, Lauritz set out to forge a future for the Auble gun.
Lauritz’s first goal was to improve the weapon’s stability, especially after early tests with the portable boiler revealed the weapon to be dangerously inaccurate. Between the bubbling boiler and the rattling barrels, the gun proved good at providing a harrowing base of fire . . . but little else. The boiler chugged. The gun trembled. The shooter shook. In one well-photographed demonstration in 1885, the gun walked itself upward in such a flash that it hurled the test-shooter onto his back, cracking the boiler and belching steam onto the shooter and his handlers.
In response to the accident, Lauritz Auble experimented with orangutan shooters with Auble guns upon their backs, but no orangutan would come near the steaming device. “Only humans,” Lauritz wrote in his journal, “are bold enough to master the Auble gun and its formidable report.”
The Thackery T. Lambshead Cabinet of Curiosities Page 4