And now her soul hath too its flight
And bid her spiteful foes good night.
As saltwater and foam rush across sandy shores and weathered stone, so, too, this flood spills from her, rushing over her chin and across her bare chest and shoulders. Disregarding gravity, it flows back and upwards, as well, entirely shrouding her face, filing her nostrils, sealing her eyes. There is only a passing, reflexive fleck of panic, that initial shock when she can no longer breathe or see and before she remembers that this is not what will kill her one day, somewhere farther along, and that she has done this thing so many nights before this night and, always, she has lived to entertain the needs of other visitations.
“Don’t waste your days afraid of ghosts,” her father says and bends to lift another piece of flotsam from the beach. The buttermilk sky is filled with dappled wings and the cries of wheeling gulls.
The viscous, colorless matter expelled from some unknown recess of her anatomy or mind or spirit has already heard the ghost leaning low over her, that sorrowful man who has come here to find something lost and not yet restored to him. Someone who still breathes, perhaps, or someone dead who has yet to cross his path, and maybe there are so many roads on the other side of death’s covered bridge that souls might wander all eternity and never find reunion. And, because she was born to be a violin or cello or a penny whistle, and because she is incomplete without a melody, she has disgorged this second, telepathic skin to read his thoughts, and that membrane expands and wraps itself tightly about her body until it has been pulled as thin as any human skin. Her face is no longer her own, but is the face Sneeds to see, the face that she was birthed to show him on this night when at last he has found his way to her bedroom. The caul hides away the indecent flush and warmth of her mortality, and now he can touch her as though the two of them were living or the both of them were not even as solid as a breeze.
He kisses her again, and the sempstress does not need to see to know that he is no longer frowning.
The preceding stories first appeared in Sirenia Digest, Issues No. 1-29, December 2005-October 2007. The author would like to thank all the people who have trade, and continue to make, the digest possible, beginning with the subscribers, and including William K. Schafer, Vince Locke, Kathryn Pollnac, Gordon Duke, Sonya Taaffe, and Geoffrey H. Goodwin. You guys keep the wolves at bay.
“A Child’s Guide to the Hollow Hills” and “The Hole With a Girl In Its Heart” originally appeared as “Untitled 23” and “Untitled 26,” respectively.
About the Author
Trained as a vertebrate paleontologist, Caitlín R. Kiernan did not turn to fiction writing until 1992. Since then, she has published six novels—The Five of Cups, Silk, Threshold, Low Red Moon, Murder of Angels, Daughter of Hounds, and, most recently, The Red Tree. Her short fiction has been collected in Tales of Pain and Wonder:; Wrong Things (with Poppy Z. Brite); From Weird and Distant Shores:; the World Fantasy award-nominated To Charles Fort, With Love; Alabaster; and A is for Alien. She has also published a short sf novel, The Dry Salvages, and two volumes of erotica, Frog Toes and Tentacles and Tales from the Woeful Platypus. She has scripted graphic novels for DC Vertigo, including thirty-eight issues of The Dreaming and the mini-series The Girl Who Would Be Death and Bast: Eternity Came. Her many chapbooks have included Trilobite: The Writing of Threshold, The Merewife, and The Black Alphabet. She is currently working on her next novel.
Version History
Version #: v3.0
Sigil Version Used: 0.7.2
Original format: ePub
Date created: May 20, 2013
Last edited: May 20, 2013
Correction History:
Version History Framework for this book:
v0.0/UC ==> This is a book that that's been scanned, OCR'd and converted into HTML or EPUB. It is completely raw and uncorrected. I do essentially no text editing within the OCR software itself, other than to make sure that every page has captured the appropriate scanning area, and recognized it as the element (text, picture, table, etc.) that it should be.
v1.0 ==> All special style and paragraph formatting from the OCR product is removed, except for italics and small-caps (where they are being used materially, and not as first-line-of-a-new-chapter eye-candy). Unstyled, chapter & sub-chapter headings are applied. ~35 search templates which use Regular Expressions have been applied to correct common transcription errors: faulty character replacement like "die" instead of "the", "comer" instead of "corner", "1" instead of "I"; misplaced punctuation marks; missing quotation marks; rejoining broken lines; breaking run-on dialogue, etc.
v2.0 ==> Page-by-page comparison against the original scan/physical book, to format scenebreaks (the blank space between paragraph denoting an in-chapter break), blockquotes, chapter heading, and all other special formatting. This also includes re-breaking some lines (generally from poetry or song lyrics that have been blockquoted in the original book) that were incorrectly joined during the v1 general correction process.
v3.0 ==> Spellchecked in Sigil (an epub editor). My basic goal in this version is to catch most non-words, and all indecipherable words (i.e., those that would require the original text in order to properly interpret). Also, I try to add in diacritics whenever appropriate. In other words, I want to get the book in shape so that someone who wants to make full readthrough corrections will be able to do so without access to the original physical book.
v4.0 ==> I've done a complete readthrough of the book, and have made any corrections to errors caught in the process. This version level is probably comparable in polish to a physical retail book.
Some additional notes:
vX.1-9 ==> within my own framework, these smaller incremental levels are completely unstandardized. What it means is that I—or you!—have made some minor corrections or adjustment that leave me somewhere between "vX" and "vX+1". It's very unlikely that I'll ever use these decimal adjustments on anything less than a "v3".
Correcting my ebooks — Even at their best, I've yet to read one of my v3.0s that was completely error free. For those of you inclined to make corrections to those books I post (v3, v4, v5, and all points in between), I gratefully welcome the help. However, I would urge you to make those correction in the original EPUB file using Sigil or some other HTML editor, and not in a converted file. The reason is this: when you convert a file, the code—and occasionally the formatting—is altered. If you make corrections in this altered version, in order to use that "corrected" version, I'm going to have to reformat it all over again from scratch, which is at best hugely inefficient and at worst impossible (if, say, I no longer have an original copy available). More likely, I'll just end up doing the full readthrough myself on my file and discarding all of your hard work. Unlike some of the saintly retail posters who contribute books that they have no interest whatsoever in reading, I never create a book that I don't want to read... at least a little. So, having to do a full readthrough on my own books isn't really going to put me out, but it will mean that the original editor's work (i.e. your work )will have been completely wasted, and I'd feel more than slightly crummy about that. So, to re-cap, I am endlessly grateful to those who add further polish to the books I make, but it's only an efficient use of your time if you make corrections in the original EPUB file as you downloaded it.
The Ammonite Violin & Others Page 24
