Thomas Ligotti is a writer of horror and weird fiction. A cult literary figure, he was interviewed in Tank Autum 2015. This year two of his early works will be republished by Penguin Classics, Songs of a Dead Dreamer and Grimscribe.
Stathis Tsemberlidis works with comics and short films. He is based in Copenhagen and Athens. He is one half of Decadence Comics. decadencecomics.com
The Idol and the Island
I HAVE UNCOVERED A RATHER WONDERFUL MANUSCRIPT, the letter began. It was an entirely fortuitous find, made during my day’s dreary labours among some of the older and more decomposed remains entombed in the library archives. If I am any judge of antique documents, and of course I am, these brittle pages date back to the closing decades of the last century. (A more precise estimate of age will follow, along with a photocopy which I fear will not do justice to the delicate, crinkly script, nor to the greenish black discoloration the ink has taken on over the years.) Unfortunately there is no indication of authorship either within the manuscript itself or in the numerous and tedious papers whose company it has been keeping, none of which seem related to the item under discussion. And what an item it is – a real storybook stranger in a crowd of documentary types, and probably destined to remain unknown.
I am almost certain that this invention, though at times it seems to pose as a letter or journal entry, has never appeared in common print. Given the bizarre nature of its content, I would surely have known of it before now. Although it is an untitled “statement” of sorts, the opening lines were more than enough to cause me to put everything else aside and seclude myself in a corner of the library stacks for the rest of the afternoon.
So it begins: “In the rooms of houses and beyond their walls – beneath dark waters and across moonlit skies – below earth mound and above mountain peak – in northern leaf and southern flower – inside each star and the voids between them – within blood and bone, through all souls and spirits – among the watchful winds of this and the several worlds – behind the faces of the living and the dead…” And there it trails off, a quoted fragment of some more ancient text. But this is certainly not the last we will hear of this all-encompassing refrain!
As it happens, the above string of phrases is cited by the narrator in reference to a certain presence, more properly an omnipresence, which he encounters on an obscure island located at some unspecified northern latitude. Briefly, he has been summoned to this island, which appears on a local map under the name of Nethescurial, in order to rendezvous with another man, an archaeologist who is designated only as Dr. N— and who will come to know the narrator of the manuscript by the self-admitted alias of “Bartholomew Gray” (they don’t call ’em like that any more). Dr. N—, it seems, has been occupying himself upon that barren, remote and otherwise uninhabited isle with some peculiar antiquarian rummagings. As Mr. Gray sails toward the island, he observes the murky skies above him and the murky waters below. His prose style is somewhat plain for my taste, but it serves well enough once he approaches the island and takes surprisingly scrupulous notice of its eerie aspect: contorted rock formations; pointed pines and spruces of gigantic stature and uncanny movements; the masklike countenance of sea-faring cliffs; and a sickly, stagnant fog clinging to the landscape like a fungus.
From the moment Mr. Gray begins describing the island, a sudden enchantment enters into his account. It is that sinister enchantment which derives from a profound evil that is kept at just the right distance from us so that we may experience both our love and our fear of it in one sweeping sensation. Too close and we may be reminded of an omnipresent evil in the living world and threatened with having our sleeping sense of doom awakened into full vigour. Too far away and we become even more incurious and complacent than is our usual state and ultimately exasperated when an imaginary evil is so poorly evoked that it fails to offer the faintest echo of its real and all-pervasive counterpart. Of course, any number of locales may serve as the setting to reveal ominous truths; evil, beloved and menacing evil, may show itself anywhere precisely because it is everywhere and is as stunningly set off by a foil of sunshine and flowers as it is by darkness and dead leaves. A purely private quirk, nevertheless, sometimes allows the purest essence of life’s malignity to be aroused only by sites such as the lonely island of Nethescurial, where the real and the unreal swirl freely and madly about in the same fog.
It seems that in this place, this far-flung realm, Dr. N— has discovered an ancient and long-sought artefact, a marginal but astonishing entry in that unspeakably voluminous journal of creation. Soon after landfall, Mr. Gray finds himself verifying the truth of the archaeologist’s claims: that the island has been strangely moulded in all its parts, and within its shores every manifestation of plant or mineral or anything whatever appears to have fallen at the mercy of some shaping force of demonic temperament, a genius loci which has sculpted its nightmares out of the atoms of the local earth. Closer inspection of this insular spot on the map serves to deepen the sense of evil and enchantment that had been lightly sketched earlier in the manuscript. But I refrain from further quotation (it is getting late and I want to wrap up this letter before bedtime) in order to cut straight through the epidermis of this tale and penetrate to its very bones and viscera. Indeed, the manuscript does seem to have an anatomy of its own, its dark green holography rippling over it like veins, and I regret that my paraphrase may not deliver it alive. Enough!
Mr. Gray makes his way inland, lugging along with him a fat little travelling bag. In a clearing he comes upon a large but unadorned, almost primitive house which stands against the fantastic backdrop of the island’s wartlike hills and tumorous trees. The outside of the house is encrusted with the motley and leprous stones so abundant in the surrounding landscape. The inside of the house, which the visitor sees upon opening the unlocked door, is spacious as a cathedral but far less ornamented. The walls are white and smoothly surfaced; they also seem to taper inward, pyramid-like, as they rise from floor to lofty ceiling. There are no windows, and numerous oil lamps scattered about fill the interior of the house with a sacral glow. A figure descends a long staircase, crosses the great distance of the room, and solemnly greets his guest. At first wary of each other, they eventually achieve a degree of mutual ease and finally get down to their true business.
Thus far one can see that the drama enacted is a familiar one: the stage is rigidly traditional and the performers upon it are caught up in its style. For these actors are not so much people as they are puppets from the old shows, the ones that have told the same story for centuries, the ones that can still be very strange to us. Traipsing through the same old foggy scene, seeking the same old isolated house, the puppets in these plays always find everything new and unknown, because they have no memories to speak of and can hardly recall making these stilted motions countless times in the past. They struggle through the same gestures, repeat the same lines, although in rare moments they may feel a dim suspicion that this has all happened before. How like they are to the human race itself! This is what makes them our perfect representatives – this and the fact that they are hand carved in the image of maniacal victims who seek to share the secrets of their individual torments as their strings are manipulated by the same master.
The secrets which these two Punchinellos share are rather deviously presented by the author of this confession (for upon consideration this is the genre to which it truly belongs). Indeed, Mr. Gray, or whatever his name might be, appears to know much more than he is telling, especially with respect to his colleague the archaeologist. Nevertheless, he records what Dr. N— knows and, more importantly, what this avid excavator has found buried on the island. The thing is only a fragment of an object dating from antiquity. Known to be part of a religious idol, it is difficult to say which part. It is a twisted piece of a puzzle, one suggesting that the figure as a whole is intensely unbeautiful. The fragment is also darkened with the verdigris of centuries, causing its substance to resemble something like decomposing jade.
And were the other pieces of this idol also to be found on the same island? The answer is no. The idol seems to have been shattered ages ago, and each broken part of it buried in some remote place so that the whole of it might not easily be joined together again. Although it was a mere representation, the effigy itself was the focus of a great power. The ancient sect which was formed to worship this power seem to have been pantheists of a sort, believing that all created things – appearances to the contrary – are of a single, unified, and transcendent stuff, an emanation of a central creative force. Hence the ritual chant which runs “in the rooms of houses”, et cetera, and alludes to the all-present nature of this deity – a most primal and pervasive type of god, one that falls into the category of “gods who eclipse all others”, territorialist divinities whose claim to the creation purportedly supersedes that of their rivals. (The words of the famous chant, by the way, are the only ones to come down to us from the ancient cult and appeared for the first time in an ethnographical, quasi-esoteric work entitled Illuminations of the Ancient World, which was published in the latter part of the 19th century, around the same time, I would guess, as this manuscript I am rushing to summarise was written.) At some point in their career as worshipants of the “Great One God”, a shadow fell upon the sect. It appears that one day it was revealed to them, in a manner both obscure and hideous, that the power to which they bowed was essentially evil in character and that their religious mode of pantheism was in truth a kind of pandemonism. But this revelation was not a surprise to all of the sectarians, since there seems to have been an internecine struggle which ended in slaughter. In any case, the anti-demonists prevailed, and they immediately rechristened their ex-deity to reflect its newly discovered essence in evil. And the name by which they henceforth called it was Nethescurial.
A nice turn of affairs: this obscure island openly advertises itself as the home of the idol of Nethescurial. Of course, this island is only one of several to which the pieces of the vandalised totem were scattered. The original members of the sect who had treacherously turned against their god knew that the power concentrated in the effigy could not be destroyed, and so they decided to parcel it out to isolated corners of the earth where it could do the least harm. But would they have brought attention to this fact by allowing these widely disseminated burial plots to bear the name of the pandemoniacal god? This is doubtful, just as it is equally unlikely that it was they who built those crude houses, temples of a fashion, to mark the spot where a particular shard of the old idol might be located by others.
So Dr. N— is forced to postulate a survival of the demonist faction of the sect, a cult that had devoted itself to searching out those places which had been transformed by the presence of the idol and might thus be known by their gruesome features. This quest would require a great deal of time and effort for its completion, given the global reaches where those splinters of evil might be tucked away. Known as the “seeking”, it also involved the enlistment of outsiders, who in latter days were often researchers into the ways of bygone cultures, though they remained ignorant that the cause they served was still a living one. Dr. N— therefore warns his “colleague, Mr. Gray”, that they may be in danger from those who carried on the effort to reassemble the idol and revive its power. The very presence of that great and crude house on the island certainly proved that the cult was already aware of the location of this fragment of the idol. In fact, the mysterious Mr. Gray, not unexpectedly, is actually a member of the cult in its modem incarnation; furthermore, he has brought with him to the island – bulky travelling bag, you know – all the other pieces of the idol, which have been recovered through centuries of seeking. Now he only needs the one piece discovered by Dr. N— to make the idol whole again for the first time in a couple of millennia.
But he also needs the archaeologist himself as a kind of sacrifice to Nethescurial, a ceremony which takes place later the same night in the upper part of the house. If I may telescope the ending for brevity’s sake, the sacrificial ritual holds some horrific surprises for Mr. Gray (these people seem never to realise what they are getting themselves into), who soon repents of his evil practices and is driven to smash the idol to pieces once more. Making his escape from that weird island, he throws these pieces overboard, sowing the cold gray waters with the scraps of an incredible power. Later, fearing an obscure threat to his existence (perhaps the reprisal of his fellow cultists), he composes an account of a horror which is both his own and that of the whole human race.
End of manuscript. (Except for the concluding lines, which reveal the somewhat extravagant, but not entirely uninteresting, conclusion of the narrator himself.)
Now, despite my penchant for such wild yarns as I have just attempted to describe, I am not oblivious to their shortcomings. For one thing, whatever emotional impact the narrative may have lost in the foregoing précis, it certainly gained in coherence: the incidents in the manuscript are clumsily developed, important details lack proper emphasis, impossible things are thrown at the reader without any real effort at persuasion of their veracity. I do admire the fantastic principle at the core of this piece. The nature of that pandemoniac entity is very intriguing. Imagine all of creation as a mere mask for the foulest evil, an absolute evil whose reality is mitigated only by our blindness to it, an evil at the heart of things, existing “inside each star and the voids between them – within blood and bone – through all souls and spirits”, and so forth. There is even a reference in the manuscript that suggests an analogy between Nethescurial and that beautiful myth of the Australian aborigines known as the Alchera (the Dreamtime, or Dreaming), a super-reality which is the source of all we see in the world around us. (And this reference will be useful in dating the manuscript, since it was toward the end of the last century that Australian anthropologists made the aboriginal cosmology known to the general public.) Imagine the universe as the dream, the feverish nightmare of a demonic demiurge. O Supreme Nethescurial!
The problem is that such supernatural inventions are indeed quite difficult to imagine. So often they fail to materialise in the mind, to take on a mental texture, and thus remain unfelt as anything but an abstract monster of metaphysics – an elegant or awkward schematic that cannot rise from the paper to touch us. Of course, we do need to keep a certain distance from such spectres as Nethescurial, but this is usually provided by the medium of words as such, which ensnare all kinds of fantastic creatures before they can tear us body and soul. (And yet the words of this particular manuscript seem rather weak in this regard, possibly because they are only the drab green scratchings of a human hand and not the heavy mesh of black type.)
But we do want to get close enough to feel the foul breath of these beasts, or to see them as prehistoric leviathans circling about the tiny island on which we have taken refuge. Even if we are incapable of a sincere belief in ancient cults and their unheard-of idols, even if these pseudonymous adventurers and archaeologists appear to be mere shadows on a wall, and even if strange houses on remote islands are of shaky construction, there may still be a power in these things that threatens us like a bad dream. And this power emanates not so much from within the tale as it does from somewhere behind it, someplace of infinite darkness and ubiquitous evil in which we may walk unaware.
But never mind these night thoughts; it’s only to bed that I will walk after closing this letter.
Later the same night.
Several hours have passed since I set down the above description and analysis of that manuscript. How naïve those words of mine now sound to me. And yet they are still true enough, from a certain perspective. But that perspective was a privileged one which, at least for the moment, I do not enjoy. The distance between me and a devastating evil has lessened considerably. I no longer find it so difficult to imagine the horrors delineated in that manuscript, for I have known them in the most intimate way. What a fool I seem to myself for playing with such visions. How easily a simple dream can destroy one’s sense of safety, if only for a few turbulent hours. Certainly I have experienced all this before, but never as acutely as tonight.
I had not been asleep for long but apparently long enough. At the start of the dream I was sitting at a desk in a very dark room. It also seemed to me that the room was very large, though I could see little of it beyond the area of the desktop, at either end of which glowed a lamp of some kind. Spread out before me were many papers varying in size. These I knew to be maps of one sort or another, and I was studying them each in turn. I had become quite absorbed in these maps, which now dominated the dream to the exclusion of all other images. Each of them focused on some concatenation of islands without reference to larger, more familiar land masses. A powerful impression of remoteness and seclusion was conveyed by these irregular daubs of earth fixed in bodies of water that were unnamed. But although the location of the islands was not specific, somehow I was sure that those for whom the maps were meant already had this knowledge. Nevertheless, this secrecy was only superficial, for no esoteric key was required to seek out the greater geography of which these maps were an exaggerated detail: they were all distinguished by some known language in which the islands were named, different languages for different maps. Yet upon closer view (indeed, I felt as if I were actually journeying among those exotic fragments of land, tiny pieces of shattered mystery), I saw that every map had one thing in common: within each group of islands, whatever language was used to name them, there was always one called Nethescurial. It was as if all over the world this terrible name had been insinuated into diverse locales as the only one suitable for a certain island. Of course there were variant cognate forms and spellings, sometimes transliterations, of the word. (How precisely I saw them!) Still, with the strange conviction that may overcome a dreamer, I knew these places had all been claimed in the name of Nethescurial and that they bore the unique sign of something which had been buried there – the pieces of that dismembered idol.
And with this thought, the dream reshaped itself. The maps dissolved into a kind of mist; the desk before me became something else, an altar of coarse stone, and the two lamps upon it flared up to reveal a strange object now positioned between them. So many visions in the dream were piercingly clear, but this dark object was not. My impression was that it was conglomerate in form, suggesting a monstrous whole. At the same time these outlines which alluded to both man and beast, flower and insect, reptiles, stones, and countless things I could not even name, all seemed to be changing, mingling in a thousand ways that prevented any sensible image of the idol.
With the upsurge in illumination offered by the lamps, I could see that the room was truly of unusual dimensions. The four enormous walls slanted toward one another and joined at a point high above the floor, giving the space around me the shape of a perfect pyramid. But I now saw things from an oddly remote perspective: the altar with its idol stood in the middle of the room, and I was some distance away, or perhaps not even on the scene. Then, from some dark corner or secret door, there emerged a file of figures walking slowly toward the altar and finally congregating in a half-circle before it. I could see that they were all quite skeletal in shape, for they were identically dressed in a black material which clung tightly to their bodies and made them look like skinny shadows. They seemed to be actually bound in blackness from head to foot, with only their faces exposed. But they were not, in fact, faces – they were pale, expressionless, and identical masks. The masks were without openings and bestowed upon their wearers a terrible anonymity, an ancient anonymity. Behind these smooth and barely contoured faces were spirits beyond all hope or consolation except in the evil to which they would willingly abandon themselves. Yet this abandonment was a highly selective process, a ceremony of the chosen.
One of the white-faced shadows stepped forward from the group, seemingly drawn forth into the proximity of the idol. The figure stood motionless, while from within its dark body something began to drift out like luminous smoke. It floated, swirling gently, toward the idol and there was absorbed. And I knew – for was not this my own dream? – that the idol and its sacrifice were becoming one within each other. This spectacle continued until nothing of the glowing, ectoplasmic haze remained to be extracted, and the figure – now shrunken to the size of a marionette – collapsed. But soon it was being lifted, rather tenderly, by another from the group who placed the dwarfish form upon the altar and, taking up a knife, carved deep into the body, making no sound. Then something oozed upon the altar, something thick and oily and strangely coloured, though not with any of the shades of blood. Although the strangeness of this colour was more an idea than a matter of vision, it began to fill the dream and to determine the final stage of its development.
Quite abruptly, that closed, cavernous room dissolved into an open stretch of land: open yet also cluttered with a bric-a-brac topography whose crazed shapes were all of that single and sinister colour. The ground was as if covered with an ancient, darkened mould, and the things rising up from it were the same. Surrounding me was a landscape that might have been of stone and earth and trees (such was my impression) but had been transformed entirely into something like petrified slime. I gazed upon it spreading before me, twisting in the way of wrought-iron tracery or great overgrown gardens of writhing coral, an intricate latticework of hardened mulch whose surface was overrun with a chaos of little carvings, scabby designs that suggested a world of demonic faces and forms. And it was all composed in that colour which somehow makes me think of rotted lichen. But before I exited in panic from my dream, there was one further occurrence of this colour: the inkish waters washing upon the shores of the island around me.
As I wrote a few pages ago, I have been awake for some hours now. What I did not mention was the state in which I found myself after waking. Throughout the dream, and particularly in those last moments when I positively identified that foul place, there was an unseen presence, something I could feel was circulating within all things and unifying them in an infinitely extensive body of evil. I suppose it is nothing unusual that I continued to be under this visionary spell even after I left my bed. I tried to invoke the gods of the ordinary world – calling them with the whistle of a coffee pot and praying before the icon of the electric light – but they were too weak to deliver me from that other whose name I can no longer bring myself to write. It seemed to be in possession of my house, of every common object inside and the whole of the dark world outside. Yes – lurking among the watchful winds of this and the several worlds. Everything seemed to be a manifestation of this evil and to my eyes was taking on its aspect. I could feel it also emerging in myself, growing stronger behind this living face that I am afraid to confront in the mirror.
Nevertheless, these dream-induced illusions now seem to be abating, perhaps driven off by my writing about them. Like someone who has had too much to drink the night before and swears off liquor for life, I have forsworn any further indulgence in weird reading matter. No doubt this is only a temporary vow, and soon enough my old habits will return. But certainly not before morning!
The Puppets in the Park
Some days later, and quite late at night.
Well, it seems this letter has mutated into a chronicle of my adventures Nethescurialian. See, I can now write that unique nomen with ease; furthermore, I feel almost no apprehension in stepping up to my mirror. Soon I may even be able to sleep in the way I once did, without visionary intrusions of any kind. No denying that my experiences of late have tipped the scales of the strange. I found myself just walking restlessly about – impossible to work, you know – and always carrying with me this heavy dread in my solar plexus, as if I had feasted at a banquet of fear and the meal would not digest. Most strange, since I have been loath to take nourishment during this time. How could I put anything in my mouth, when everything looked the way it did? Hard enough to touch a doorknob or a pair of shoes, even with the protection of gloves. I could feel every damn thing squirming, not excluding my own flesh. And I could also see what was squirming beneath every surface, my vision penetrating through the usual armour of objects and discerning the same gushing stuff inside whatever I looked upon. It was that dark colour from the dream, I could identify it clearly now. Dark and greenish. How could I possibly feed myself? How could I even bring myself to settle very long in one spot? So I kept on the move. And I tried not to look too closely at how everything, everything was crawling within itself and making all kinds of shapes inside there, making all kinds of faces at me. (Yet it was really all the same face, everything gorged with that same creeping stuff.) There were also sounds that I heard, voices speaking vague words, voices that came not from the mouths of people I passed on the street but from the very bottom of their brains, garbled whisperings at first and then so clear, so eloquent.
This rising wave of chaos reached its culmination tonight and then came crashing down. But my timely manoeuvring, I trust, has put everything right again.
Here, now, are the terminal events of this nightmare as they occurred. (And how I wish I were not speaking figuratively, that I was in fact only in the world of dreams or back in the pages of books and old manuscripts.) This conclusion had its beginning in the park, a place that is actually some distance from my home, so far had I wandered. It was already late at night, but I was still walking about, treading the narrow asphalt path that winds through that island of grass and trees in the middle of the city. (And somehow it seemed I had already walked in this same place on this same night, that this had all happened to me before.) The path was lit by globes of light balanced upon slim metal poles; another glowing orb was set in the great blackness above. Off the path the grass was darkened by shadows, and the trees swishing overhead were the same colour of muddied green.
After walking some indefinite time along some indefinite route, I came upon a clearing where an audience had assembled for some late-night entertainment. Strings of coloured lights had been hung around the perimeter of this area, and rows of benches had been set up. The people seated on these benches were all watching a tall, illuminated booth. It was the kind of booth used for puppet shows, with wild designs painted across the lower part and a curtained opening at the top. The curtains were now drawn back, and two clownish figures were twisting about in a glary light which emanated from inside the booth. They leaned and squawked and awkwardly batted each other with soft paddles they were hugging in their soft little arms. Suddenly they froze at the height of their battle; slowly they turned about and faced the audience. It seemed the puppets were looking directly at the place I was standing behind the last row of benches. Their misshapen heads tilted, and their glassy eyes stared straight into mine.
Then I noticed that the others were doing the same: all of them had turned around on the benches and, with expressionless faces and dead puppet eyes, held me to the spot. Although their mouths did not move, they were not silent. But the voices I heard were far more numerous than was the gathering before me. These were the voices I had been hearing as they chanted confused words in the depths of everyone’s thoughts, fathoms below the level of their awareness. The words still sounded hushed and slow, monotonous phrases mingling like the sequences of a fugue. But now I could understand these words, even as more voices picked up the chant at different points and overlapped one another, saying, “In the rooms of houses… across moonlit skies… through all souls and spirits… behind the faces of the living and the dead.”
I find it impossible to say how long it was before I was able to move, before I backed up toward the path, all those multitudinous voices chanting everywhere around me and all those many-colored lights bobbing in the wind-blown trees. Yet it seemed only a single voice I heard, and a single colour I saw, as I found my way home, stumbling through the greenish darkness of the night.
I knew what needed to be done. Gathering up some old boards from my basement, I piled them into the fireplace and opened the flue. As soon as they were burning brightly, I added one more thing to the fire: a manuscript whose ink was of a certain colour. Blessed with a saving vision, I could now see whose signature was on that manuscript, whose hand had really written those pages and had been hiding in them for a hundred years. The author of that narrative had broken up the idol and drowned it in deep waters, but the stain of its ancient patina had stayed upon him. It had invaded the author’s crabbed script of blackish green and survived there, waiting to crawl into another lost soul who failed to see what dark places he was wandering into. How I knew this to be true! And has this not been proved by the colour of the smoke that rose from the burning manuscript and keeps rising from it?
I am writing these words as I sit before the fireplace. But the flames have gone out, and still the smoke from the charred paper hovers within the hearth, refusing to ascend the chimney and disperse itself into the night. Perhaps the chimney has become blocked. Yes, this must be the case, this must be true. Those other things are lies, illusions. That mould-coloured smoke has not taken on the shape of the idol, the shape that cannot be seen steadily and whole but keeps turning out so many arms and heads, so many eyes, and then pulling them back in and bringing them out again in other configurations. That shape is not drawing something out of me and putting something else in its place, something that seems to be bleeding into the words as I write. And my pen is not growing bigger in my hand, nor is my hand growing smaller, smaller…
See, there is no shape in the fireplace. The smoke is gone, gone up the chimney and out into the sky. And there is nothing in the sky, nothing I can see through the window. There is the moon, of course, high and round. But no shadow falls across the moon, no churning chaos of smoke that chokes the frail order of the earth, no shifting cloud of nightmares enveloping moons and suns and stars. It is not a squirming, creeping, smearing shape I see upon the moon, not the shape of a great deformed crab scuttling out of the black oceans of infinity and invading the island of the moon, crawling with its innumerable bodies upon all the spinning islands of inky space. That shape is not the cancerous totality of all creatures, not the oozing ichor that flows within all things. Nethescurial is not the secret name of the creation. It is not in the rooms of houses and beyond their walls… beneath dark waters and across moonlit skies… below earth mound and above mountain peak… in northern leaf and southern flower… inside each star and the voids between them… within blood and bone, through all souls and spirits… among the watchful winds of this and the several worlds… behind the faces of the living and the dead.
I am not dying in a nightmare. §