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Watch Out for Parasitic Fairy Bites

A scene from early on, illustrating one of the dangers of the wilds near Tabat: parasitic fairy bites.

The next morning, Teo did not like the priest’s look. His hands were clammy but his face was red as though with blushes. His forehead under Teo’s hand was scorching hot. After a few minutes of hesitation, Teo examined the spot he thought might be a Fairy bite.

His suspicions were confirmed by the lump that lay under the surface. He’d seen the alta treat such injuries. That would be best if she did it, but he didn’t think there was time enough for that. The parasite would grow and begin to control its host’s nervous system, making it little more than an empty shell, moving about to suit the creature’s needs, until the fairy was finally born. It would not emerge from the wound that shifted under Teo’s fingers. No, it would burrow deep, then upward, till it found itself in its host’s brain, which it would devour until sated. Once it was ready, it would eat its way out through his eyes or the soft tissues of his mouth. No, it would have to be removed now, before it burrowed any deeper.

He built the fire as high as it would go, and put the wineskin from the priest’s pack to the side near it, where it could warm without burning. He took the tiny kettle and filled it with water before sifting in the mixture of dried fish and tea that was the last of the priest’s chal; this far on the journey, he’d nearly run out, and he’d confided in Teo that he was saving it for some special occasion, but it was the most sustaining and easily fed to a patient thing that Teo could find in the pack. For what he had in mind would definitely require sustaining.

He had not seen it done, but he had listened to stories. Everyone was taught the signs of a fairy bite early on, and what to do if caught away from the village with one.

He prayed the priest would stay asleep during the operation. That would make things easier. But as his knife poised above the mark, Grave’s eyes opened.

“I have to do this,” Teo said to him, afraid that the priest would take this as some attempt to escape. “You have a Fairy egg in you, and I need to take it out before it hatches and starts eating inward.”

Grave’s lids fluttered, but he said nothing. His forehead was red with fever, and Teo wondered if the man even saw him. How would he react when he felt the cut of the knife? Would he thrash around, or think himself attacked and attack Teo in turn? He hesitated, not sure what he should do.

The words were barely audible, like a breath of breeze escaping the priest’s dry lips. “Give me something to bite on, first,” he whispered. “I do not wish to crack a tooth as well.”

Teo took a piece of leather and rolled it into a tight cigar, putting it sideways between the priest’s lips. “This will hurt,” he warned, and felt the words’ foolishness as soon as they left his mouth. Of course the priest knew that this would hurt, otherwise he would not have asked for something to bite down on during the operation. Teo took his own deep breath, steeling himself, and cut.

It was not a simple job. Blood welled up in the cut, obscuring the flesh, and Teo had to keep pouring water over it to clear it, eliciting a hiss of pain from the priest each time. But otherwise he remained silent, jaws clenched around the piece of leather.

Gently Teo sluiced the wound again as he peered into it. There. As gently as he could, he eased the knife’s tip into the dark spot he could see. The flesh resisted for a moment “” he should have sharpened the knife even more beforehand “” before giving way with a tiny, delicate pop. The priest inhaled raggedly.

That would kill the egg, perhaps, but it was not enough. Left inside, the creature would rot and the flesh around it would follow its example until the priest would have to face the same choice Futu once had: to have the limb cut away or die.

Carefully, carefully, he used the thin tip to open the egg. Clear fluid drained out, and then there was something struggling at the end of the knife blade, bumble-bee big, fighting to preserve itself and burrow further.

He jammed the tip into it. Muscles spasmed in the priest’s face but he remained rigidly still. Teo hooked the loathsome thing out and took no time to contemplate it as it hung mewling and wailing on the end. He flung it into the fire as quick as thought and with a last whimper it curled into ash.

He washed the wound once more with water, checking to make sure there were no more traces of the creature. Then, taking the wineskin from where it lay near the fire, he directed the hot wine across the flesh to keep it from putrefaction. Tendons of agony twisted in Grave’s face; when Teo took the leather from between his lips, he saw that it had been bitten almost entirely through.

He took needle and thread from the priest’s kit and took four careful stitches in the skin, tying it back together to close that painful looking mouth of flesh. All the time the priest was silent and still.

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Patreon Post: California Ghosts

Picture of two peopleThis post marks a change-up in my Patreon campaign – I will post content publicly. If you’re enjoying it and want to make sure it continues, please consider supporting my ongoing attempts with this publishing model! There are several levels of possible support, but you can do it for as little as a dollar a month.

I’m enjoying on retreat in California right now, which will explain what provoked this piece.

California Ghosts

When you walk in the hills in southern California, through stands of pine and tall grass, up shaly mountains where the sides fall away steeply and the rock splinters rather than crumbles, you can hear the sound of the wind in the treetops, making them sway, making them creak. Stand still and you will hear the little noises, the sound of a deer’s delicate steps, far away a Stellar’s jay scolding some interloper, the click and tap of falling rocks.

There are ghosts out there in the hills, walking the ridges, slipping among the trees, but they are mostly animal ghosts, the memories of deer and mountain lions, a flicker of rattlesnake among the grass stalks, an eagle’s shadow floating over the earth.

If you find a human ghost alone out there while walking, approach it with caution. Groups of ghosts are left behind by villages and tribes, and many of them died peacefully, among those they loved. Solo ghosts are usually ghosts who came to a violent end, blade or bullet or even bared teeth, and they do not want to be disturbed.

If such a ghost blocks your path, stand still enough to hear the protests of the pines, the slide of dust downhill. Do not look them in the eye, but at a point past their shoulder. At first they will know this for a ruse, but give it time and they will falter. Finally they will turn away and vanish, because you can never see the back of a ghost, and you will be free to move further.

There are other dangers in the hills, but you know if you keep walking towards the sunset, eventually you will find the ocean ““ perhaps cliffs dropping down, perhaps sand and rock sloping. There are more ghosts in the ocean than anywhere else, but that is because it is so very large, and most of them are fish and gulls, whose ghosts pay no attention to humans. Sit on the shore and listen again. You’ll hear it say, Why go on walking? and Who knows why the wind blows?

And when you realize that the only sounds you cannot hear are your breath, your heart, your body, you will know you are a ghost yourself, ready to go down to the sea, and swim there in the water, in the waves alive with noise.

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Exploring Near + Far's Interior Art: Row 1 (Giveaway Day One)
Art by Mark W. Tripp for Cat Rambo's Near + Far interior
Row 1

This week sees the book getting officially launched on Wednesday. This week I’ll be doing a series of five posts about the interior art. Comment on a post to be entered to win one of three pieces of Near + Far jewelry; comment on all five posts and you’ll be entered five times.

So left to right above are five of the interior illustrations from the book. One of the things Mom said to me last night was how much she was enjoying the afternotes, so I’m trying not to repeat those too much, but to add a touch more to them.

Leftmost is a star like pattern, which accompanies far future story “Timesnip,” in which 18th century Victoria Woodhull copes with life in the future as a traveling saleswoman dealing in time travel. It’s actually a version of one of the other illustrations, arranged in a star cluster, which mark didn’t point out to me till later. That seems very fitting, given the circularity of the story.

The second pattern is one that accompanies the story “Amid the Words of War.” Its cramped interior echoed the desperation on Six’s part that I wanted to convey over the course of the story. The story is about war and conflict and the distrust they force on each other. The pieces in the book are black and white and here Mark’s chosen to create a white “eye” for a number of the illustrations which (to me) just adds to the coolness and makes each one become a creature presenting itself sideways to the camera.

The third design accompanies the story “Kallakak’s Cousins”. Again, there’s that eye looking out, and sometimes it’s a creature and sometimes a face, sometimes a helmet built of butterflies and submarines.

The fourth accompanies a flash piece, “Futures.” It resembles a submarine, or perhaps a rocket ship, although once more there’s an eye, set dead center in this case.

The fifth is used with the slipstream afterlife story, “Bus Ride to Mars.” It’s one of Mark’s older pieces, a sideways slash of a piece that appears differently in here than in the book itself.

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