Issue 121 October 2023

Editorial: The Veil of Shadows – Redefining Monsters in Dark Fantasy

by Anna Yeatts

October 1, 2023

October—a month where the veil between worlds seems thinnest, and creatures of night draw closer to our world. In this issue, we pull back the curtain on what lurks in the darkness, but with a twist. Instead of traditional monsters, we focus on those that challenge conventions, defy our expectations, and, perhaps, aren’t monsters at all.

In this shadow-draped issue, you’ll uncover:

  • To Slay a Goblin by Dylan Curry: Jump into a fast-paced adventure where goblin slaying turns into a lucrative business. With a voice that’s as sharp as a goblin’s blade, this tale promises fun with every turn of the page.

  • The Constellations of Daughter Death by Lyndsey Croal: Traverse the ethereal realms of the underworld with Death’s very own daughter. This tale radiates hope and beauty, even in the darkest of settings.

  • Saint Woad and Sister Welwitshcia by Katy Boyer: A village’s fate lies in the hues of deadly dyes. Drawing inspiration from real-life tragedies like the Radium Girls and arsenic dresses, this story stitches the historical with the fantastical.

  • Ursula the Monster by Chelsea Sutton (Reprint from Orca Literary, Summer 2022): A darkly humorous tale centered around a unique Halloween creature. Rich in voice and character, it’s sure to captivate and, perhaps, make you chuckle amidst the chills.

Enjoy!
Anna Yeatts
Publisher & Co-Editor-in-Chief

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To Slay a Goblin

by Dylan Curry

October 6, 2023

I didn’t expect it to be like this. I walked, no, strutted into town—and I’d be lying if I told you I remembered the name of the town—with my new sword on my hip and a smile hung crooked on my cheeks. This is what you do if you are an adventurer. You strut into town, and you fix their problems. That’s what I did. A withered woman, a village elder maybe, or maybe she was just old, told me what needed doing. Everyone else kept hidden in their muddy huts with thatched roofs. When I asked her why, she said, “Because they aren’t used to people strutting into town with swords on their hips.”

They’ve never seen an adventurer: no wonder this place is always plagued with goblins or a troll or rats the size of dogs. It’s always one of those, it’s supposed to be. I asked her if anything needed slaying. Or outsmarting, but mostly slaying.

She shrugged and said, “Yeah, could do that. This little bastard goblin keeps stealing food from our pantries. Took a whole wheel of cheese from me just yesterday.”

Good. A goblin, only one, was small game, but it was better than nothing. A good adventurous start. I would have it dead and slap its head on the old woman’s kitchen counter within the hour.

The old woman pointed to the river and I went. I offered her my map, to draw where the goblin lived, or at least to circle an area where it might be. She shrugged her infuriating shrug and waved me away.

“It’s a big old cave,” she said and hobbled back to her hut.

It took me two hours to find the big old cave. When I did find it, it was on the other side of the river. Well, it was more of a creek, so I waded across and instantly regretted it. With squelching boots, cold feet, and no torch—I forgot it at home—I slipped into the cave. It was only one goblin, but I thought it would be good goblin-slaying etiquette to ambush it anyway. I crouched down as low as I could and squelched through the dark, sword drawn, wit sharpened.

The goblin looked up from his desk and stared straight at me. He was decidedly un-goblin-like.

“Oh,” he said, putting his pen down and lowering his glasses.

“Oh,” I said. “Was it the boots?” I waddled in place to demonstrate for him. Squish, squash.

“No, you’re very big and you’re just crouching. You aren’t even wearing black, not that it would matter. You are very big.”

None of this was right. Goblins didn’t wear glasses and write poetry with pens. I was here to kill an animal, not an artist. Poet or not, the goblin had to be slain, I had to be an adventurer.

I stretched my sword arm, gave him a nod, and he understood. Time to assume our roles. He placed his glasses carefully on the desk, removed his sweater—making sure to fold it and place it neatly on his bed—grabbed a jagged, goblin-sized dagger from his bedside table and crouched. There it was! That’s what a goblin looks like. Small, violent, green, sharp teeth, red eyes, knife which may be poisoned. Although, it seems a hazard to keep a poisoned blade on one’s bedside table, so it was probably sans poison at the moment.

Now that we were ready to perform, he sighed and said, “Well, let’s get to it.”

“I’ll count,” I said, hoping to delay the slaying. “Three, two, one.” And before I finished, he ran. Down one tunnel then another, but my legs were long enough. I tackled him, which turned out to be a bad idea. As we rolled, he sliced my arm from armpit to chelidon. It hurt. I had always been told that daggers did minimal damage, and I suppose this cut was minimal, relatively speaking. But it hurt.

I scrambled back and the green thing followed, clinging to my chest. How had he gotten on top? This time, he stabbed me. A jerk at the last moment put the blade in my left side. Whoever said daggers didn’t do much damage had never been stabbed with one. In fact, I’d wager they’d never been stabbed at all.

Was I going to die? Goblins didn’t slay adventurers, it simply wasn’t done. I dropped my sword and grabbed him by his overalls. I shoved him against the cave wall, scrambled for my sword and turned. I wish I could say that I didn’t do the stabbing. That I turned as he ran forward and the momentum of his little green body did the rest. But that’s not what happened. He hadn’t made it to his feet yet, and I shoved my sword into his chest. It wasn’t easy. It took force and I felt the vibrations run up my arm. I felt the tip of my sword stop against his flesh, and then I felt it give. No one told me how horrible it would feel to take a life. I thought of adventurers slaying entire caves full of goblins and felt nauseous. But this is what adventurers do.

He didn’t die right away, he just lay there glaring at me with his red eyes. I couldn’t bear watching the life drain from them, so I left the cave and cried for a while, hardly the behavior of a goblin slayer. I thought about carrying his body back to town, but I couldn’t bring myself to drag him through the rough underbrush. Instead, I took his glasses and gave them to the old woman. She offered me gold like she was supposed to, but I turned it down.

If this is what adventurers do, I don’t want to be an adventurer.

PATREON EXCLUSIVE: INTERVIEW WITH AUTHOR DYLAN CURRY

FFO: What’s the most difficult part of writing a flash story?

DC: I recently saw a talk by Stephen Graham Jones in which he said, “I love how flash fiction is ending from the moment it starts. I like that kind of pressure on the page.” The pressure of writing a beginning and an end all at once is the trickiest part for me. And in flash fiction, the beginning and ending are so important. You have to nail it!

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The Constellations of Daughter Death

by Lyndsey Croal

October 13, 2023

When Death decided he wanted a child, he plucked a ghost orchid from the furthest edge of the world – the kind of flower that could survive in the dark indeterminate edges between life and death – and grew her from its roots.

Born from blackened soil, Daughter Death was a quiet baby. She simply gazed upwards and watched the sky, the roots of the above-world trailing through the whorl of obsidian clouds. Her eyes were round and silver like the coins gifted for the dead, and her smile was a crescent-moon, a sliver peeking light into the darkness. When she looked upon her father and reached out with chubby little hands to grab the skeletal ridges of his face, Death was immediately besotted.

Daughter Death became his pride and joy, a girl grown from such dark places that she could bloom anywhere. Everywhere she crawled, moths chased her luminescence, fluttering between her shoulders, settling within her hair, so that soon she was adorned with a cocoon crown. Occasionally moths would hatch and fly free, in search of gaps to break into the brighter world above. In these moments, Death would find himself worrying whether his Daughter’s own luminescence could last in his world.

Did any part of her know what lay above? In her dreams, did she imagine visiting the place where mothwings fluttered at dusk, and plants stretched towards the sun, not through the earth?

* * *

Between his travels, above and between, Death watched his daughter carefully, her expressions the shape of commas and question marks as she narrowed her glow-in-the-dark eyes and pointed to the sky and kept reaching.

It was the strangest thing, but she one day reached far enough into the above-world, that she was able to pluck something from it. A daisy, which she planted at her feet. At first, the flower remained closed, petals folded over in eternal night. Frustrated, Daughter Death tried to uncurl the petals gently, but they’d always retreat after she let go. She cried for the first time, then, tears silver like comet-trails across her cheeks.

On his next visit to the above-world, Death plucked more daisies from a field to bring home. But when he returned, the flowers were ash in his hands. Daughter Death still took the gift and sprinkled the remains around her own daisy, life and death, together.

* * *

Daughter Death kept searching for a way to make the flower bloom. She reached as far as she could, past the tallest mountains, through the brightest aurora, into the space above both worlds. There, Daughter Death plucked a star, like her surrounded by darkness, and planted it beside the daisy. The flower awoke and blossomed, casting the space around her aglow. Though Death found it strange, the look in his daughter’s eyes consoled him – shining so bright as if galaxies themselves lay within.

* * *

As Daughter Death’s meadow grew, she crafted daisy chains imbued with starlight, gifting one to Death himself. So, Death came to be adorned with her symbol of light, so that everywhere he went, he was reminded of how she bloomed and glowed. Even those he sought in the above-world found themselves drawn to the daisies with a smile, before willingly, accepting his hand.

* * *

As Daughter Death’s imagination grew, so did her power. Once, she captured a fly from the air, the kind that used to float aimlessly in the between-skies of the living and dead. As she held it in her palm, mouth scrunched up into an eclipse, the fly began glowing with a light so bright that when she let it go, it danced fireworks in the dark. One by one, she captured and released her newest creations into the land above, becoming little torches for wanderers on darkened nights.

Then came other luminescence where dark usually swallowed parts of the above-world whole. Daughter Death travelled the length and breadth of the land of death, so she could reach through the watery abysses of the above-sky, where oceans broke upon grey shores. Her hands grabbed jellyfish and algae, and odd-looking fish lurking in the darkest of depths, and lit them blue with phosphorescence.

Later, she journeyed far to the darkest corners of the below-world, pushed hands up through thick black peat to the above-fens and bogs. There, she set gases alight to dance amidst the fog and reeds, and come to be known as spirit lights, leading travellers to treasure, if they did not in their misfortune find Death.

Next, in spectral trees she wandered, with her cloak of daisies and her cocoon crown, where she reached past the tallest canopies, through gnarled sky-roots, breaking into the above-world woodlands. She found mushrooms, touched their mycelium hearts, and set them thrumming with a glow that dappled forest floors, atop rotted wood, between layers of lichen, beside carpets of moss, casting pinpricks of brightness under the cold night sky.

Soon these new lights spilled through into the land of death, the skies now glittering with constellations of Daughter Death’s own making. Horizons and canopies speckled with fireflies, fungi, and phosphorescence.

* * *

Death spent many long nights pondering his daughter’s creations. Where he brought darkness and decay, she brought a vibrance. A balance. This land was now as much hers as it was his.

When Death steered people here, Daughter Death would wait to greet them, with her wide silver eyes and thin crescent smile, and her hands that were half in and out of the skies above and below. She’d show them her constellations, and if one light snuffed out, she’d have them close their eyes and make a wish. As they held their breaths, she’d reach out to ignite something new in the above-world so that when they opened their eyes again, they witnessed a new light flash in the dark. It was a promise, from Daughter Death herself. That there was nothing to fear, no darkness she couldn’t overcome. And that here, in the land of death, a long, luminous life awaited.

Saint Woad and Sister Welwitshcia

by Katy Boyer

October 20, 2023

CW: Infant death

They called my sister Woad when she was born because her skin was the same blue tint as the dye we mixed for the crown prinsessa’s church gown. She dropped like a stone from my mother’s womb, dead, never to stir the dust with her breath, never to crunch across the rushes with fat feet. My mother’s skin was a white cloud floating in the woad sky of dye, of her blue baby. It never returned to the ruddy pink it had once been.

When Woad came to die, I was just old enough to understand: I was not to bounce a baby sister on my shoulders as I ran to the pond for my bath. She would never get soap in her eyes, nor soup on her chin. Her hands would never be stained with the dye that our village is famous for producing.

We buried the blue baby, tiny, in the plot by the drinking pond. Her body poisoned the minnows, and they drifted to the top like floating flowers. Now when I go to visit her, the only other guests at the grave are water striders and wandering weasels. When they see me, they bow at the waist and skitter away. I hope their dens are full. Sometimes I rub my face raw against the pumice of Woad’s headstone. Like her, the stone is small, but its color is more like flesh. My mother’s other baby, resting in the garden.

Every day, my father grinds the yellow woad flowers and their green stems into blue dye, into my sister. The color is driving him mad. When he stands before the window at dusk, I can see through him to his heart, beating sometimes red but mostly blue, the blue of Woad, and he trembles when he’s trying to be still.

We are a ghastly bunch, we who remain. We can eat little, our bellies grown hard and swollen, but each of us aches with a ceaseless thirst. I have found my mother crouched on the bank under the ripe moon, gulping handfuls of cloudy water until she retched up waterweeds. Her face, reflected in the water, was crumpled fabric, undyed silk.

I am the only pink peony child my mother will ever prune. She tells me that she named me Welwitschia because an angel told her to as she sewed the crown prinsessa’s riding habit. “The angel said, name you Welwitschia, child of the desert, plant that lives forever, for thousands of years.” I wonder what color of dye Welwitschia would make. I wonder if I will live forever, coiled in the dust.

The villagers grow silent when I carry our cloth to market, and none will look at me when I raise my blue hands in greeting. By their gazes I know that I must leave this place. Not today, but perhaps tomorrow, whenever I can slink away from my sister’s grave with a half-bow, like my weasel brothers and water strider suitors. I will go and serve the crown prinsessa. They say she is a living saint. Could she convene with the angels on my behalf? Could she ask them why I was given all the life of my mother’s other child?

This place is the desert, and it lays my mother and father out on the pumice to dry. I’ve heard that castle air is damp, and castle stone is moss-slimed basalt. They say that the crown prinsessa’s eyes are green. I want to swim in the eyes of a dame of heaven, to smear my hands with green algae, to submerge myself in pure water. I dream of sewing an older sister fine clothes, raiment fit for a saint, not a bluebaby martyr. The Feast of Saint Woad, a luncheon of my mother’s pinkness and my father’s firmness, a feast that stains your fingers with dye—or is it blood? Before I go (when will I go? or will I stay and burn for a thousand years?), I will drop the yellow flowers into the pond and pray that life returns.

Ursula the Monster

by Chelsea Sutton

October 27, 2023

Mr. Parson’s Pawn Shop accepts trade-ins, so Ursula removes her right arm and places it on the glass countertop. It feels good to be rid of it, an arm that so many have stroked and grabbed and bruised and licked. A bit of blood squirts from the arm and onto the apron of Mr. Parson himself. He sniffs and spits into an iron urn next to the register. Ursula points to a wall of body parts, at the arm of a lizard creature, three rows up and two to the right, with sharp green and yellow scales, elongated webbed fingers. I’ll take that one.

But Ursula is not satisfied. This Halloween, it is not enough to just be one monster.

Ursula removes her left arm and exchanges it for a vampire’s with pale, ashy skin, blood-caked fingernails. Her left leg she exchanges for the stub of a swamp thing, her right leg for the hairy thigh and hoof of a Minotaur, her chest for the gaping wound of a zombie’s torso.

Ursula’s face slips off easily, as if it never fit just right, as if something had dislodged and warped it long ago, as if it were a gold-plated cathedral door rusting on its hinges. This feels best of all—removing this face so many have kissed and hit and gazed and glared at. Her mouth muscles spring and squirt as she garbles the word werewolf and points with her vampire nails to a hairy face with a snout, sharp teeth clinging to a residue of flesh, fur jutting out from the forehead and down the back some three feet. Mr. Parson does not need to adjust the face. It locks into place and smiles as Ursula smiles, raises Ursula’s new furry eyebrows, its lips forming words that Ursula says: I’ll bring it all back tomorrow. 

That night the streets are filled with Halloween-as-per-usual, perfumes and vodka and sugar sweat, soaking Ursula as she strides through the crowd, through bars and parties, enjoying the new flavor of stares. Go ahead and look.

She scratches her clawed vampire nails down the bare back of a superhero who tries plopping something into her drink, sticks her lizard finger into the good eye of a pirate who looks at her funny, twists her hoof into the calf muscle of a sexy Red Riding Hood who elbows her way to the front of the line in the ladies’ restroom. She stamps her swamp stump on the toes of a ballerina who twirls her off the dance floor and into a gathering of movie characters, vintage get-ups, and costumes of the vaguely ironic. They laugh until she barks at them, clawing out strips of their shirts and flesh, painting her new nails a vibrant blood red.

But it’s not enough. Outside, just for fun, Ursula dumps a princess’s bag of candy into the empty zombie wound of her chest, letting the sweets seep into her rotting organs and telling the princess to go digging. I dare you. The princess is not a child, same age and taller than Ursula in fact, but is all pink and sequins and fluff and not sexy at all. She cries and wipes her arm across her tears. Ursula feels for just a moment that maybe she went too far, pulling a handful of candy out of her chest and shoving it with a sorry back into the princess’s bag.

But then, there it is.

The smell. Ursula sniffs the air with her werewolf nose and smells a familiar scent. The princess lifts her arm again to wipe a new gush of tears, and there it is, it is Ursula’s arm, the one with the soft blond hair and freckles, her right arm that had squirted blood onto Mr. Parson’s apron. Ursula sniffs the air again. On the street corner, a gypsy lifts Ursula’s left leg to stub out a cigarette, the leg with Ursula’s birthmark on the thigh. Outside the CVS, Cleopatra and Buffalo Bill wrap Ursula’s left arm and right leg around each other, the arm with three long scars on the wrist, the leg with the stretch marks curving down to her knee.

Ursula sniffs the air again.

Across the street, Ursula sees her own face on the wooly body of a werewolf, her blond hair spilling into the spiny matte of the wolf’s chest. Her face with the wolf eyes, staring, her lips the color of pomegranate juice, curling. That face, her face, looks comfortable for once, like it fits easily, every broken piece sliding securely into a place. That body smells familiar too, her own fur matching the fur of it, the gentle highlight of purple in the darker hairs that you’d miss if you didn’t pay very close attention.

Ursula slashes her vampire nails at a nearby circus clown who screams at the sight of his own blood, catching the attention of her face on the werewolf, the fur of the body prickling to attention when it sees Ursula, what used to be her eyebrows curving in concern.

Ursula smiles at herself.

You look good, Ursula growls and nods, turning toward the thick of the crowd, letting the old smell of herself dissolve into the fray as she licks her claws clean.

Originally published in Orca Literary, Summer 2022 (Literary Speculative issue). Reprinted here by permission of the author.

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