Tag: Lovecraft

Fiction — “Elegy of Entrails”

The gray ape scurried across circles, spins, and spirals, the feral geometry of a temple that once gave her the shakes, once reminded her of mournful teeth.

Now the architecture was as familiar as her mate, although there was no time to admire the fractals, to run her hands over the pillars. She was in a hurry.

She was expected.

Before the statue of Ezum, the ape kneeled, said a well-practiced prayer, and unsheathed fifteen arms, revealing parchment and bottles and green-yellow feathers from her sleeves. Every circle priest wore the robe. It was useful for implements and unflattering bodies.

Ezum would arrive. Somehow, someway, through its temple effigy, Ezum spoke, and the priests listened, and replied, and scratched the words into the Elegy of Entrails.


Writing Dialogue for the Elder Gods


As a writer, how do you format the dialogue of an elder god?

This was the problem I faced while writing “The Elegy of Entrails,” a Lovecraft lovefest set on an extraterrestrial world.

Quotation marks felt too petty. You don’t say “What’s up?” to Cthulhu and expect “Not much” in return. Sure, the gods in Homer’s The Illiad speak like anyone else, but what about those things beyond existence? Creatures more dream than meat?


Fiction — “The Immortality Cube”

[The follow is a drabble, or 100-word short story.]

There’s always that one friend who sticks to the group like a discount sticker on a used book, and who is tolerated by necessity because any removal might leave behind a sticky residue. Among Skye, Keith, and Kim, this was Lames, whose Mom had long admitted to being high when she tried to write “James” on the birth certificate. When Skye, Keith, and Kim came upon the Cube, without hesitation they excluded Lames from the Pact. And they didn’t care years later when, at Lames’s 89th birthday, he glared bitterly at their youthful bodies. They could wait a little longer.

Fiction — “Once there was an empty classroom”

During the day, the door remains unlocked—the lights flicked on by a sleepy department head and flicked off by a custodian whose back vac makes her a ghostbuster.

A general lack of students keeps the air icy and free of the muck-must of human bodies, a scent corrupted by cheetos and the cheese of feet, although the room occasionally feeds on students looking for a place to study, romantic couples with forged hall passes, and, once, a red-nosed assistant principal who napped by the cabinets.

Some grease and wet spray still lies on the carpet.

Since classrooms have no natural predator, the room sits, and sits, like a forgotten box of baking soda in the fridge. Its stomach grew between Science classes and a weedwork of wires and pink-feather insulation. Feeding on rats.

Now the stomach sits, hungry.

There was a man once. The first pang of its profession came with the appearance of a bearded teacher. Shaggy, shortsighted as a bear with spectacles, the creature lumbered through the door and fell on the desk.

The room waited, hoping the teacher would attract others.

But the teach hid there, received his paycheck, watched for enemies at the door, put up posters that read, “You never fail until you stop trying,” and “It’s okay to not know but it’s not okay to not try.” Perhaps he operated under that mantra of bibles and baseball movies—if you build it, they will come.

No one came. The room ate the man, absorbed his funky odors. And life returned to the humdrum of air-conditioned lungs.

Lovecraft Mimicry — “The Artist’s Wife”

Sluice Warrington was growing more and more annoyed with Rez, especially the man’s side-street studio with its clitter clatter of canvases and layers upon layers of dust and paint-pocked floors as mindless as a Jackson Pollock. But worse, he hated how the man’s oil canvases would sell for upwards of five grand; how entropy spawned celebrity. It seemed the more Rez became a mess of a human being, the more potent the paintings he pushed into galleries and living rooms and furniture stores and government buildings, while Sluice kept a tidy space—white and rounded as an Apple Store, clean and clinical as a nurse’s ass—debarring his passion only on canvas, releasing himself like a frothing inmate given knife and vein—and made nothing.

Not a quarter on skulls fading into moons, not a dime on robed figures biting into babies, not a nickel on statues wearing human skin, not a penny on nude women exhaling trails of beetles down their necks. But no one wanted truth anymore. No one wanted darkness. They wanted lazy pleasures that took a heartbeat to decipher. Rez’s slurred landscapes, his blotted horses, the slop he called wildflowers and slabs of meat he called people, that sold.


Short Prose (Lovecraft)

“Sluice Warrington was growing more and more annoyed with Rez, especially the man’s side-street studio with its clitter clatter of canvases and layers upon layers of dust and paint-pocked floors…”

Read more of “The Artist’s Wife.”


“Could be a man or a six-armed cow or a twenty-headed sex goddess.”

Read more of “Kervani.”


“A warehouse that could be the love child between a dumpster and a medieval castle. Coming from inside, groans. Moans.”

Read more of “Necronomi Con.”


“It was maybe the smell – the stench of it – which wafted from its corridor invisibly, or on a bad morning very visible, a blushing mist.”

Read more of “Pink Pastures.”