Jim Mountfield goes guising again

 

© Legiron Books

 

Two years ago, under my horror-fiction nom de plume Jim Mountfield, I had a short story called Guising published in an issue of the magazine The Sirens Call.  As its title indicates, this story centred on the Scottish Halloween custom of guising, which in the opening paragraphs I described thus:

 

Scottish people will tell you that guising isn’t the same as trick-or-treating, though it involves children dressed as ghosts, witches and monsters going to front doors and receiving confectionary or small sums of cash from householders.  The Scottish custom is transactional.  The children have to earn their rewards.  This means putting on a show for whoever they’re visiting.  A brief show, admittedly, like telling a story or singing a song.  Guising has its roots in the activities long ago of mummers who’d turn up at houses and taverns on special days such as Christmas, Easter, Plough Monday and All Souls’ Day, stage short plays, and afterwards collect money from their audiences…

 

Unfortunately, Sirens Call Publications recently ceased business, so I can no longer provide a link to the issue in question.

 

Well, I’ve just had another Halloween-themed short story published, again as Jim Mountfield and again (mostly) set in Scotland.  And there’s more guising in it.  This one is called Bag of Tricks and it appears in the collection Monster: Underdog Anthology 24 from Legiron Books.  All the stories in Monster involve Halloween and the anthology should have gone on sale a fortnight ago to coincide with October 31st.  However, a last-minute glitch with Amazon meant its appearance was delayed into November.

 

While the guising in Guising took place in the working-class streets of a small mill-town during the 1970s, the guising in Bag of Tricks is more suburban and up-to-date.  It happens in 2023, smartphones are present, and the brattiest kid is dressed as a character from the Saw (2005-23) franchise.  The setting is a smart, edge-of-town estate and the guising party is accompanied by adults – in the feral 1970s, kids were allowed to roam free at night, but in the more child-safety-conscious 21st century, they’re supervised.  Those adults have “decided that, because some houses belonged to older folk who remembered how Halloween had been in Scotland before it got Americanised, the children wouldn’t just chant, ‘Trick or treat!’ and expect to receive sweeties. No, they had to be traditional Scottish guisers and perform – delivering a joke, a story, a song – so that they earned the confectionary.”

 

Obviously, this being a horror story, those guisers get more than they bargained for as the evening progresses.

 

A bumper beast of a book containing 416 pages and 39 stories from 37 authors, Monster: Underdog Anthology 24 can be purchased as a paperback here, and in its Kindle edition here.

Rab Foster gets grim

 

 © Schlock! Webzine

 

Rab Foster, my penname when I write fantasy fiction, has just had a new story published.  It’s called The Mechanisms of Raphar and it appears in the November 2024 – Volume 18, Issue 13 – edition of Schlock! Webzine.

 

Once upon a time, I believed fantasy fiction came in two varieties only.  There were 1000-page-long, telephone-directory-sized epics whose narratives involved quests, wizards, kings and queens, elves, hobbits and orcs and the first thing you saw when you opened the books was a lavishly detailed map of the fantasy-land in question.  This J.R.R. Tolkien-esque variety was known as ‘high fantasy’.  And then there were short stories where Conan the Barbarian, armed with only a broadsword and a leather jockstrap, cut a bloody swathe through enemy warriors, slew the occasional giant snake and earned himself the adoration of the occasional busty maiden.  These were examples of the more down-and-dirty ‘sword and sorcery’ variety, of which Robert E. Howard was the leading practitioner.

 

But not anymore.  Nowadays, if I type the question, “What are the different types of fantasy fiction?” into Google, it gives me 24 sub-genres.  These include all sorts of nice, cheery-sounding things such as ‘hopepunk’ (“about characters fighting for positive change, radical kindness, and communal responses to challenges”), ‘romantasy’ (which are “typically set in fantastical worlds, with fairies, dragons, magic, but also feature classic romance plotlines – enemies-to-lovers, soulmates, love triangles”) and ‘cosy fantasy’ (“works that contain or portray a comforting healing ambience to the story… centre on slice of life moments… and are often gentle in their narratives”).  A well-known example of that last sub-genre is Travis Baldree’s 2023 novel Legends & Lattes, in which an orc and a succubus join forces to… open a coffee shop.  Now I’m not going to slag off Legends & Lattes because it’s wrong to diss a book I haven’t read.  Let me merely say it doesn’t sound like my cup of tea.  Or indeed, cup of coffee.

 

Meanwhile, at the opposite end of the niceness spectrum from hopepunk, romantasy and cosy fantasy is… grimdark.  This is the nihilistic, blood-soaked, everyone’s-a-bastard variety of fantasy most famously essayed in George R.R. Martin’s Game of Thrones books (1996-2011) and TV series (2011-19).  The science-fiction author Adam Roberts has described grimdark as fantasy stories where “nobody is honourable and might is right”, and which “turn their backs on the more uplifting Pre-Raphaelite visions of idealised medievaliana, and instead stress how nasty, brutish, short and, er, dark life back then really was.”

 

I’m not that big a fan of grimdark.  I sometimes find its ‘everything sucks’ attitude rather adolescent.  But The Mechanisms of Raphar is pretty grim, and pretty dark, so I guess it qualifies as a story of this type.  I’ve experienced a few lows recently, especially in my professional life, and I can hardly say I’m enchanted with the state of the world in 2024, so perhaps the story is a manifestation of my current discontent.

 

The Mechanisms of Raphar was vaguely inspired by the Edgar Allan Poe story The Pit and the Pendulum.  Unlike the famous 1961 movie version directed by Roger Corman, which was about Vincent Price mourning his dead wife in a castle that coincidentally happened to have a few torture instruments stowed in its cellar, Poe’s original tale is about a prisoner of the Spanish Inquisition who tries to withstand the various devices of torture they use against him.  In The Mechanisms of Raphar, the villains are an insane, sado-masochistic religious cult who worship a god of pain, have a giant temple that’s packed full of torture-machines, and make their services available – for a fee – to people who want other people to suffer horribly, such as despots and their prisoners or other religions and their heretics.  I’m from Northern Ireland, so I don’t have a high opinion of organised religion.  I think this shows in the story.

 

Incidentally, the name ‘Raphar’ is an anagram of ‘Har Par’, which is my tribute to Har Par Villa, the most extraordinary museum in Singapore.  Har Par Villa’s most famous – or notorious – attraction is a graphic representation of the Ten Courts of Hell where you can see the souls of sinners being horrifically tortured and punished for the crimes they committed while they were alive.  Indeed, the ‘Tree of Blades’ that features in the story is inspired by the ‘Tree of Knives’, festooned with bloodied bodies, on display in Har Par Villa’s depiction of hell.

 

 

Until the end of November, The Mechanisms of Raphar can be read here, while you can access the contents page of Volume 18, Issue 13 of Schlock! Webzine here.

 

And now that I’ve hopefully worked that bloodlust out of my system, maybe I will write a cosy fantasy next…  Maybe my next Rab Foster story will be one where a kelpie and a balrog join forces to open a tea-room in Goblin-land.

Jim Mountfield gets activated

 

© Cloaked Press, LLC

 

Back in September 2020, I had a story called The Nuclei included in an anthology called Xenobiology: Stranger CreaturesAll its stories, in the words of one of the editors, Michele Dutcher, shared a theme of “biology that has been artificially produced, or biological creatures that have been produced by genetic material being acted upon by outside sources to produce something new.”  Being about artificially-created biological creatures, The Nuclei was classifiable as science fiction, but it definitely lurked at the horror end of the sci-fi spectrum.  In fact, the creatures featured in The Nuclei were the result of me attempting to imagine the most revolting monsters possible.  For that reason, the story was credited to Jim Mountfield, the pseudonym I use for my macabre fiction.

 

The Nuclei was also a post-apocalyptic story, set in the ruins of Edinburgh – we definitely need more post-apocalyptic stories set in the capital of Scotland – after my revolting, artificially-created creatures had decimated humanity and brought human civilisation to an end.  The human characters, some ragged, malnourished survivors who belonged either to a loony religious cult or to an equally loony militia, referred to an event called ‘the Activation’ shortly before civilisation fell, when the artificially-created horrors were first unleashed on mankind.  That gave me the idea of writing a prequel to the story, detailing what happened at the Activation, i.e., on Day One of the nightmare.

 

I have now written that story, called The Activation, and have just had it published under the penname of Jim Mountfield too.  It features in Nightmare Fuel: Body Horror 2024, the latest instalment in the annual Nightmare Fuel collections of scary fiction put out by Cloaked Press, LLC.  As its title indicates, the theme for this year’s collection was body horror, which Wikipedia defines as “a subgenre of horror fiction that intentionally showcases grotesque or psychologically disturbing violations of the human body or of another creature.”  Well, the modus operandi of the creatures in The Nuclei involved a lot of body horror, so this seemed a natural home for its prequel.

 

The setting and main character of The Activation were inspired by something that happened to me once and by somebody I used to know.  Firstly, the happening was a misadventure I had while travelling on the London Tube back in 2016, somewhere between King’s Cross and Liverpool Street Stations – I must have been on either the Circle, Metropolitan or Hammersmith and City lines.  A young woman had what is euphemistically described as an ‘episode’ and started screaming hysterically at her fellow passengers.  Unfortunately, among the things she screamed was the claim that she was carrying a bomb.  The train promptly stopped at the next station and remained there with its doors sealed for 20 or 25 minutes.  Nobody could get in or out.  Meanwhile, the woman kept shrieking gibberish at everyone.

 

At one point, a pair of British Transport Police officers walked down the train, but didn’t actually stop to deal with the unhinged woman when they reached her.  No, they just walked past her, to the train’s far end, and then walked back – again doing nothing when they passed her a second time.  Later, when I researched the protocol for occurrences like this, I found out that the Transport Police officers had done an ‘assessment of the incident scene’.  Satisfied that they knew where the problem was, and that it wasn’t a case of terrorism, and that there weren’t any other problems elsewhere, they then informed the local police and told them where to find the problem.  When those police arrived on the platform, the nearest set of doors were opened so that they could board the train and remove said problem.

 

Obviously, this took time.  And with those doors sealed until the local police came, it made me wonder what would have happened to the folk stuck on the train if there’d been a real terrorist present.  I guess we were considered ‘expendable’.

 

By the time the Transport Police did their assessment, it’d become clear to everybody that the young woman causing the trouble wasn’t a terrorist.  She was just some poor, mixed-up soul who’d probably forgotten to take her medication that day.  I realised this when, at one point during her ravings, she started listing ‘all the great prophets in history’.  These were Buddha, Jesus, Mohammed and… Zippy, the gimpy zip-mouthed puppet from the British kids’ TV show Rainbow (1972-92).

 

I had to put that detail into my story The Activation.  Although, because Nightmare Fuel: Body Horrors is an American publication, I changed Zippy from Rainbow to the better-known Cookie Monster from Sesame Street (1969-present).  Sorry about that, Zippy, but you just aren’t internationally famous enough.

 

© Teddington Studios / Thames Television

© Sesame Workshop / BBC / From X

 

Secondly, the main character in The Activation was inspired by a former colleague, a PE teacher, who was employed by an English private school I worked at in 2002.  He was an ex-soldier.  One evening, the two of us were having a pint in the neighbourhood pub when he told me – with a preliminary request not to say anything about it to the school’s headmistress – that when he went to the school to be interviewed for the PE-teacher position, he’d been homeless.  At the time he was sleeping inside some giant concrete pipes at the side of a road that were soon to be popped in the ground for a sewage or drainage project.  Homelessness among former members of the Armed Forces is something that’s tragically common.

 

Anyway, for The Activation, I thought the hero would be somebody with experiences similar to my old colleague – a former soldier, homeless, desperately trying to turn his life around.  And then he gets caught up in the hideous events of the story and is put through hell.  Yes, I know.  I’m a sadist.

 

Containing 14 tales of grisly, gruelling terror, Nightmare Fuel: Body Horror 2024 can now be purchased on Kindle here and as a paperback here.

Jim Mountfield goes to the pub

 

© Schlock! Webzine

 

Jim Mountfield, the nom de plume I use when writing fiction of a scary nature, has a new short story featured in the October 2024 edition of the online publication Schlock! Webzine.  It’s entitled The Hole in the Wall and it chronicles the spooky events that befall a real-ale enthusiast while he’s researching a pair of English pubs.  Writing The Hole in the Wall allowed me to poke a little gentle fun at the organisation the Campaign for Real Ale (CAMRA) and its members, though here the main character belongs to an outfit called ABRA, “the association for Action on Bars and Real Ale”.

 

Now I whole-heartedly believe CAMRA does sterling work in Britain promoting decent-tasting beer and fighting for the preservation of pubs, and I have absolutely nothing against its members.  Indeed, in my youth, I was in CAMRA myself.  But a few CAMRA-ites I knew could be somewhat intense and zealous.  I recall doing a work-experience stint as a trainee journalist with the magazine Camping and Caravanning in 1992.  To keep me busy, the editor suggested I write a feature about cider – the next issue was to focus on camping and caravanning in Somerset and Devon, a region famously home to much of England’s cider.  A mate in CAMRA put me in touch with the organisation’s cider authority, whom I interviewed for the feature over the phone.  More than an hour later, I could not get the interview to end.  The guy would not stop talking about cider.  At  one point he started singing wassailing songs down the phone-line at me.  Such enthusiasm for his favourite beverage was impressive, if frightening.

 

Of the pubs featured in The Hole in the Wall, one is a dive and is called the Year and a Day Tavern, which was based on now-closed hostelry on Norwich’s Magdalen Street, the Cat and Fiddle.  I visited it once or twice when I lived in the city in 2008-9 and I have to agree with an acerbic reviewer of the bar who advised online: “…don’t go to the toilet in any circumstances unless you’re wearing a full nuclear biological and chemical protection suit and gas mask.”  The other pub in the story, a smart one called the Cache, was based on a couple of places I used to imbibe in, including the Bodega on Newcastle-upon-Tyne’s Westgate Road and the Fat Cat on Norwich’s West End Street, though the hanging ‘artefacts’ on view inside it were inspired by the décor in the Nutshell in Bury St Edmunds, which claims to be the smallest pub in Britain.

 

For the next month, The Hole in the Wall is available to read for free here, while the contents page of Schlock! Webzine’s October 2024 issue can be accessed here.  So, please pull up a stool, pour yourself a pint and enjoy.

Mither

 

© Jim Barton / From wikipedia.org

 

Today, September 18th, is the tenth anniversary of 2014’s referendum on Scottish independence.  Yes, a decade has now passed since the Scottish electorate voted, by a majority of 55% to 45%, in favour of remaining part of the United Kingdom. 

 

In the referendum’s aftermath, I was inspired to write a short story entitled Mither.  This poked fun at a narrative peddled by the mainstream media that the referendum had turned Scotland into a bitterly divided country – parents, children, siblings who’d previously lived together in harmony suddenly transformed into rabid yes-sers and no-ers who were at each other’s throats, families in turmoil, that sort of thing.  It also paid homage to a classic and highly influential movie.  Needless to say, the story was too weird and too daft to ever get published.

 

However, ten years on, I thought I would take advantage of the occasion and post it here.  I now give you…  Mither.

 

© Labour for Independence / From wikipedia.org

 

I must have dozed while I sat in the office and read the literature that’d landed on our porch floor that morning.  I hadn’t heard her go out.  I only heard the porch door scrape open and shut as she came back.

 

‘Mither,’ I said when she entered the office.  ‘You were outside.’

 

She settled into the armchair with the tartan-patterned cushions that’d been her seat – her throne, we called it – when she ran the business by herself.  Now that I was mostly in charge, I had my own seat in the office but I kept the throne there should she want to use it.  She smoothed her skirt across her knees.  She was a modern-minded woman – at times too modern-minded because she had some ideas you’d expect more in a giddy teenager – but she avoided trousers and stuck to old-fashioned long skirts.  ‘Aye, Norrie.  I’ve been out and about.’

 

I didn’t like the sound of that but before I could quiz her she leaned forward from the throne and took the leaflet out of my hand.  ‘What’s this you’re reading?  Don’t say they’ve shovelled more shite through our door.’

 

It pained me to hear her genteel voice soiled by coarse language.  But I stayed patient.  ‘It’s actually interesting, Mither.  It’s an interview with a normal young couple, a professional young couple, about what might happen if the referendum result is…’  I searched for a word that’d cause minimum offence.  ‘Unexpected.’

 

Mither sighed and her eyes swivelled up in their sockets.

 

‘Now I ken you’re sceptical, Mither.  But they seem decent.  He’s called Kenneth and she’s called Gina.  And they’re worried about the effect independence would have on them.’

 

Mither’s eyes swivelled down again.  Then I saw them twitch from side to side while they scanned the text on the leaflet.

 

I pressed on.  ‘It wouldn’t have a good effect, Mither.  It’d be bad for them.’  Why did my voice tremble?  Why was I afraid?  ‘The financial uncertainty. How would decent hardworking people like them – like me – cope if all the business fled south and the prices shot up?  And the banks…  Why, I read in the paper the other day about an expert who said the bank machines would stop dispensing cash if the vote was yes.’

 

‘Does,’ asked Mither, ‘this say what Kenneth does for a living?’

 

‘And even if we still have cash, Mither, what would our currency be?  We won’t have the pound – George Osborne and Ed Balls down in Westminster won’t allow it.  We’ll have to make do with some banana-republic-type currency.  Or worse, the euro!’

 

‘Norrie,’ said Mither, ‘calm down.  Does this leaflet actually say what Kenneth’s job is?’

 

‘Aye, of course it does.’  I faltered.  ‘Well, no. Maybe it doesn’t.’

 

She sighed.  ‘It certainly doesn’t, Norrie.  And I’ll tell you why.’  She raised the leaflet so that I could see a picture of Kenneth, Gina and their children on it.  She placed a fingertip against Kenneth.  ‘It’s because he’s Kenneth Braithwaite, who’s one of our local councillors.  One of our Conservative Party councillors.  But that fact isn’t mentioned here.  It pretends that he’s an ordinary unbiased person like you or me.’

 

I chuckled nervously.  ‘Now Mither.  I wouldn’t say you were unbiased.’

 

Mither rose from her throne.  ‘I am unbiased.  My mind’s open to facts and I form opinions and make decisions based on those facts.  Facts, mind you.  Not the propaganda, smears and scaremongering that’s poured out of the political, business and media establishments during the last year.  Not the drivel that’s clogged and befuddled your impressionable young mind.’

 

Before I could reply, she tore the leaflet down the middle and returned it to my hands in two pieces.  Then she hustled out of the office and shut the door behind her with enough force to make a stuffed owl wobble and almost fall off a nearby shelf.  I heard her shoes go clacking up the stairs and then another door slam, presumably the one leading into her room.

 

I seethed.  How I hated, how I loathed this referendum!  Setting family members against one another day after day!  I looked at the leaflet again and realised that by a creepy coincidence Mither had ripped it down the middle of the family-picture.  Now Kenneth and a little boy occupied one half of it while Gina and a little girl were sundered and separate in the other half.

 

A family literally torn apart.

***

I hated the referendum but I couldn’t wait for the day of it, September 18th, to come – and take place and be over with.  The problem was that the time until then seemed to pass very slowly.  And during this time it felt like a war of attrition was being waged against me.  I grew more tired and depressed the longer those separatists raved in the media and on the streets and from the literature they popped through the slot in our porch door.  A rash of yes stickers and posters spread along the windows in the street-fronts of our neighbourhood.  Some of them even appeared on the houses of people I’d thought were decent and sensible.

 

I began to panic.  God, could it happen?  I had visions of the doors padlocked and the windows boarded up on the old family business and Mither and I living in poverty alongside hundreds of thousands of other suddenly-penniless Scots.  While around us, food prices and fuel prices skyrocketed, the banks and financial companies whisked all their offices away to London, the housing market disappeared into a giant hole, the hospitals became like those in the developing world, and terrorist cells congregated in Glasgow and Edinburgh and prepared to attack England across the new border.

 

But worst of all was the madness this referendum campaign inspired in Mither.

 

She sensed when I was worn out.  While I was napping, or nodding off behind the desk in the office, or slumped in a stupor in front of the TV, she’d leave her room and creep down the stairs and do things.

 

These might be wee things.  If I wasn’t in the office, she might use the computer and I’d discover hours later that it was open at frightful separatist websites like Bella Caledonia or National Collective or Wings over Scotland.  The day’s Scottish Daily Express might disappear from the kitchen table and turn up, scrunched into a ball, in the recycling bin in the corner.  Or if the Express was left on the table, any photographs in it of Alistair Darling or George Osborne might have shocking words like tosser or bampot graffiti-ed across them in Mither’s curly handwriting.

 

More worrying was her tendency sometimes to sneak outdoors.  It would’ve been bad enough in normal times because she was too old and frail to be wandering the streets alone.  But in these dangerous times, who knew what she was up to and who she was associating with?

 

© National Collective / From Stirling Centre of Scottish Studies

 

The evidence disturbed me.  When I visited her room I found a growing collection of things that she could only have acquired during trips outside – little Scottish saltire and lion-rampant flags, booklets of essays and poems written in support of independence, brochures for events with sinister titles like Imagi-Nation and Yestival, posters where the word can’t had the t scrawled out so that they read can instead.  She’d amassed badges, stickers and flyers with the word yes emblazoned on them.  What a disgusting-sounding word yes had become to me.  I’d contemplate Mither and imagine that horrible word spurting from her lips –

 

‘Yes!  Yes!  Yes – !’

 

And she’d argue.  Goodness me, what had got into the woman to make her so bloody-minded?  In between quoting names of people I’d never heard of, but who were undoubtedly up to no good, like Gerry Hassan, David Greig and Lesley Riddoch, she’d taunt me mercilessly.

 

‘So go on.  Tell me.  Explain.  Why can we not be independent?’

 

‘Because… We can’t!  We just can’t!  We’re too… too…’

 

‘Too wee?’

 

‘Aye!  Well, no.  Not that, not only that.  We’re also…’

 

‘Too poor?’

 

‘Aye, that’s true, Scotland’s too poor to be independent.  But the main reason is that we’re…’

 

‘Too stupid?’

 

‘Och stop it, Mither!  Stop!  You’re putting words in my mouth!’

 

‘But you agree with that basic proposition?  Scotland can’t be independent because it’s too small, its economy’s too weak and its people aren’t educated enough?’  She sighed.  ‘That’s what we’re up against.  A mass of our fellow Scots, yourself included, brainwashed by the establishment into believing their own inferiority!’

 

I stormed out of the room at that point.  What horrible people had she been talking to?

 

A few weeks before the referendum-day, her madness reached what I assumed was its peak.  After the last guests had left the premises and after I’d washed and put away the breakfast things, I took the vacuum cleaner into the porch and started on the carpet there.  It took me a minute to notice something odd about the rack on the porch wall where I stored leaflets about local attractions that our guests might be interested in: Rosslyn Chapel, Abbotsford, Traquair House, Melrose Abbey and so on.  The leaflets in the rack had changed.  The tourist ones had disappeared.  In their place were different ones.  Political ones.

 

© Women for Independence / From wikipedia.org

 

I put down the vacuum-hose and approached the rack.  Crammed into it now were leaflets I’d seen in her room advertising those sinister-sounding events like Imagi-Nation and Yestival and other ones promoting the unsavoury websites she’d consulted on the computer like National Collective, Bella Caledonia and Wings over Scotland.  Also there were leaflets for organisations with different but strangely-repetitive names: Women for Independence, Liberals for Independence, Polish for Independence, Asians for Independence, English for Independence, Farmers for Independence…  One organisation, whose leaflets were merely sheets of photocopied and folded-up A4 paper, was even called Hoteliers for Independence.

 

I couldn’t help reading that Hoteliers for Independence leaflet.  It ended with the exhortation, ‘Please contact Hoteliers for Independence for more information at…’ and gave an address.  My insides turned cold as I read the address.  I found myself pivoting around inside the porch and facing different internal doors that led to different parts of the guesthouse.  I half-expected one door to have hanging on it a sign that said HOTELIERS FOR INDEPENDENCE – THIS WAY.

 

Then I peered up towards the first floor, where a certain bedroom was located, and lamented, ‘Oh, Mither.’

***

One afternoon, close to September 18th, I woke from an unplanned doze at the desk in the office.  I’d been dreaming.  A voice in the dream had droned about – what else? – that ghastly referendum.  Disconcertingly, back in the conscious world, the voice continued to talk to me.  I realised it came from a shelf above me, where the radio was positioned between a stuffed gull and a stuffed pheasant.  The radio was tuned in to a local station and the voice belonged to a newsreader.  He was explaining that a politician, a Labour Party MP, was visiting our region today.

 

This MP had toured the high streets and town centres of Scotland lately.  To get people’s attention he’d place a crate on the pavement, stand on top of the crate and deliver a speech from it.  He’d speak bravely in favour of Great Britain and the Union of Parliaments and denounce the separatists and their vile foolish notions of independence.  And I’d heard from recent news reports that the separatists hadn’t taken kindly to his tour.  Well, as bullies, they wouldn’t.  They’d gone to his speaking appearances with the purpose of heckling him and shouting him down.

 

Then the newsreader named the town the MP was due to speak in this afternoon.  It was our town.

 

And immediately I felt uneasy because I realised I hadn’t seen or heard anything of Mither for the past while.  I went upstairs and knocked on her door.  There was no reply.  The guesthouse was empty that afternoon and so I hung the BACK SOON sign in the porch-window, went out and locked the door after me.  Then I headed for the middle of town.

 

It wasn’t hard to find where the Labour MP was speaking because of the hubbub.  The MP seemed to have turned his microphone’s volume to maximum so that he could drown out the heckling and shouting from the separatists in his audience.  I emerged from a vennel, onto the high street, and saw the crowd ahead of me.  It contained fewer people than I’d expected.  Some of them wore no badges and carried no placards – among them, I thought I glimpsed Kenneth and Gina from the brochure that Mither had ripped up – and some had badges and placards saying yes.  Looming above everyone was the MP on his crate.

 

© Thomas Nugent / From wikipedia.org

 

The separatists present were trying to make themselves heard – without success, thanks to the MP’s bellowing voice and the amplification provided by the microphone.  It wasn’t until I reached the edge of the small crowd that I could understand what they were saying.

 

‘Answer the question, Murphy!’

 

‘He won’t answer the question!’

 

‘Quit shouting, man, and answer the question for God’s sake!’

 

Then I saw a figure standing at the back of the crowd a few yards along from me.  The figure wore a long flowing skirt, a woollen cardigan and a lacy Sunday bonnet that obscured its face.  A handbag dangled from one of its elbows and a small egg carton was clasped in its hands.  As I watched, the figure prised the lid off the carton,  lifted one of the six eggs inside and stretched back an arm in readiness to throw it –

 

I rushed at her and shouted, ‘Mither! Oh my God!’

 

What happened next is confusing.  I remember reaching her and knocking the carton from her hands so that eggs flew in all directions.  I remember not being able to halt myself in time and crashing into her so that she fell and I fell too, on top of her.  But then, somehow, I found myself lying alone on the ground.  Mither had disappeared.  She must’ve been sprightlier than I’d thought.  She’d gathered herself up and hurried away and left me there.

 

One of the eggs had made its way into my right hand.  Now it was a ruin of broken shell.  Meanwhile, the yolks, whites and shell-pieces of other eggs formed a gelatinous mess on the front of my woollen cardigan.

 

Then I was being helped to my feet.  Around me, I heard voices:

 

‘Who is it?’

 

‘Some auld lady.’

 

‘No, wait… Christ!  It’s a man!’

 

‘It’s young Bates.  You ken, Norrie Bates?  Him that runs the Bates Bed and Breakfast?’

 

‘Why’s he togged out like that?’

 

Someone took my arm and led me away.  Behind us, the MP, who seemed not to have noticed the commotion with Mither and me, kept roaring into his microphone.  We turned a corner into a side-street and paused there.  I identified the man steering me as Dougie Bremner, who was the proprietor of another B and B in the town, a few streets away from ours.  He’d always seemed a gentle friendly type and it surprised me to see a yes badge stuck to his jacket lapel.

 

© Yes Scotland / From wikipedia.org

 

Dougie looked perplexed.  He scanned me up and down as if my appearance was a puzzle he wanted to solve.  ‘Norrie,’ he said at last.  ‘I think you need to go home.  As fast as you can manage.’

 

My head ached.  Something was squeezing my skull, which in turn was squeezing my brain.  I raised a hand and found my head enclosed in a lady’s bonnet.  It exuded two ribbons that were knotted under my chin.  In a final gesture of spite Mither must’ve fastened it on my head before she’d escaped.  ‘Aye,’ I whispered.  ‘I’ll go home.’

 

‘By the way,’ added Dougie, who seemed greatly troubled now.  ‘How’s your mither?  I haven’t seen her for a while.’

***

It was the morning of September 19th.  The radio had disappeared from the office and I guessed it’d travelled upstairs to Mither’s room and informed her of the result.  Still, in case she hadn’t heard, I felt obliged to go to her room and let her know.

 

She looked very small, thin and frail as she huddled there amid the paraphernalia she’d acquired, the flags, placards, badges, posters, leaflets and booklets.  On the floor around her, in a serpentine coil, there even lay a blue-and-white woollen scarf with a pair of knitting needles embedded in one unfinished end of it.  That was another lark she’d been up to.  Knitting for independence.

 

Because she looked so weak and unwell now, I understood that she knew.  The result seemed to have drained the life from her, leaving her a husk.

 

But I repeated the news.  ‘Mither.  It’s a no.’

 

She didn’t answer.  No sound came from her mouth, which was stretched back in a rictus – if I hadn’t known she was grimacing in pain and dismay, I’d have thought she was grinning.  I looked into her eyes, trying to find a glimmer of acknowledgement for me, a spark of recognition that I was standing before her.  But the eyes were blank and gaping, almost like they weren’t eyes at all but two dark holes.

 

And although I was relieved and delighted about the result, I suddenly and inexplicably felt as though a part of me was dead.

 

© Paramount Pictures / From tvtropes.org

 

With apologies to Robert Bloch, Alfred Hitchcock and Anthony Perkins.  No apologies to Jim Murphy.

 

And tomorrow, on September 19th, I’ll raise a glass to the memory of the late Charlie Massie, who cheered me up after the result ten years ago by taking me on a pub crawl in Delhi.  Though it probably wasn’t wise to go into the bar in the British High Commission, where we ended up stuck at a table in front of a giant TV screen, showing the news, with a lengthy interview in progress with Boris Johnson.  Bojo was spewing shite about how great it was that the Jocks had embraced the Union and all the benefits that went with it.  Those future Union benefits would include Brexit and having him as Prime Minister. 

Rab Foster makes a straw man argument

 

© Swords & Sorcery Magazine

 

The Scarecrow of Terryk Head is the name of a short story I’ve just had published using the pseudonym Rab Foster.  I always attribute any fantasy fiction I write to Rab Foster and, accordingly, this story is about an elderly witch who tries to enjoy a peaceful retirement in a remote farming valley, only to have her solitude disturbed by the local farmers, who beg her to use her magical powers to combat a fearsome and malignant totem that’s suddenly appeared at the top of the valley – the titular scarecrow at the titular Terryk Head.  The story appears in Issue 151 of the online Swords & Sorcery Magazine.

 

It wasn’t so long ago that I commented on this blog that I felt scarecrows had been overdone in fantasy fiction.  Well, I still believe that, but I thought the idea behind The Scarecrow of Terryk Head was good enough to justify the presence of a tattie-bogle (as we call the things in Scotland).  I have to admit the story was influenced, slightly, by scarecrows that appeared in the Thomas Ligotti tale The Shadow at the Bottom of the World, which was published in his 1991 collection Grimscribe: His Lives and Works; and in a story featured in the 2010 collection The Mirror of Paradise by the Sri Lankan writer Asgar Hussein.  Unfortunately, I can’t remember what Hussein’s scarecrow story was called, and I haven’t been able to find its title online.  But I enjoyed it a lot.

 

Other influences on The Scarecrow of Terryk Head include, curiously enough, Roald Dahl’s Fantastic Mr. Fox (1970) and, yes, the Bronte sisters.  And, writing it, I had fun paying homage to a scene from the 1961 film Murder, She Said.  This was a cinematic adaptation of Agatha Christie’s Miss Marple novel 4.50 from Paddington (1957) and starred two of my all-time favourite performers, Margaret Rutherford and James Robertson Justice.  What, you may wonder, does a fantasy story about witches and scarecrows have to do with an old black-and-white Miss Marple movie?  Well, read the darned thing and find out.

 

For the next month, The Scarecrow of Terryk Head can be accessed here; while the main-page of the 151st edition of Swords & Sorcery Magazine, which contains two other stories and an essay, can be reached here.

Jim Mountfield visits the colonies

 

© The Sirens Call

 

The Colony, a short horror story I wrote under the pseudonym of Jim Mountfield, has just been published in Issue 66, the summer 2024 edition, of the fiction and poetry magazine The Sirens Call.

 

For Issue 66, the Sirens Call’s editors suggested that contributors write something on the theme of ‘heat’.  I thought I would write a sci-fi / horror story set in the globally-warmed future.  Come to think of it, you can no longer describe global warming as ‘science fiction’.  We’re living in a globally-warmed world now.  This year, for example, my current place of residence Singapore has been stricken with extreme temperatures.  It was headline news here in March when thermometers recorded highs of 36 degrees.  And the local taxi drivers’ main – only? – topic of conversation in recent months is how they can’t remember the city-state being as swelteringly hot as this before.

 

Major inspiration for The Colony came from an article I read last year in the web magazine Atlas Obscura about the O.H. Hinsdale Wave Research Lab in Oregon where, among other things, scientists have been experimenting with an item called a ‘chungus’.  This combats coastal erosion by “dampening the waves, robbing them of some of their energy before they crash onto the… shore.”  A chungus is a ‘five-foot-wide, lumpy brown blob floating in the water, encased in webbing and studded with… floaties.  Long plastic tentacles trail from its underside like vinyl seaweed.”  The lab’s researchers suggest that “future versions… would be connected in a vast network, their plump bodies seeded with marsh grasses and seaweed.  Eventually, they would form floating gardens surrounding coastal cities like fluffy green tutus, potentially saving them from disaster… a network of them could dampen a real-world storm surge.”

 

Of course, my warped mind quickly got wondering…  What if these floating blobs of tentacles and vegetation weren’t inanimate objects but sentient creatures designed, then cloned, in genetic research laboratories, and tethered offshore in their millions to stop coastal erosion and storm surges caused by global warming and rising sea-levels?  And what if, in the tradition of sci-fi horror stories, The Science Goes Wrong?

 

Meanwhile, it was a no-brainer where to set the story.  I spent a couple of years living in East Anglia, one of England’s most scenic areas but also its flattest and lowest.  It’s severely prone to coastal erosion – something whose effects are in plain view if you visit places along the East Anglian coast like Dunwich, Happisburgh and Orford.

 

 

As ever, Issue 66 of The Sirens Call is an absolute bargain, being free and having some 280 pages stuffed with stories and poems.   It can be downloaded here.

Rab Foster makes it 100

 

© Crimson Quill Quarterly

 

The Drakvur Challenge is a sword-and-sorcery story of mine that’s just been published in Volume 3 of the magazine Crimson Quill Quarterly.  Like all the fantasy fiction I write, it appears under the penname Rab Foster.

 

As its main character, The Drakvur Challenge features the swordswoman Cranna the Crimson, someone who takes no shit from anyone – male chauvinists least of all.  She previously appeared in my tale Vision of the Reaper, published last year in the anthology Fall into Fantasy 2023.

 

This new story was inspired by the Tirta Gangga Royal Water Garden in Bali, Indonesia, which my partner and I visited a year ago.  The Water Garden made a big impression on me with its beautiful ponds, its colourful fish, its networks of stepping stones, its towering and gorgeous fountains… and its statues, some of which were startlingly monstrous-looking.  The setting of The Drakvur Challenge has similar things as details, though because it’s a fantasy story, they’re exaggerated and made much more dramatic and dangerous.

 

And if I say that the story was also – like a lot of my fantasy fiction – inspired by the movies of Ray Harryhausen, you can probably guess what happens regarding the statues.

 

The Drakvur Challenge is a writing milestone for me because, according to my calculations, it’s the 100th story I’ve had published.  If I was a gloomy, miserable bastard, I’d remark that I’m delighted to have reached treble figures just before AI technology renders all human writers redundant.  But I’m not, so I won’t.

 

Volume 3 of Crimson Quill Quarterly, which also contains six other sterling sword-and-sorcery stories besides The Drakvur Challenge, can now be purchased at Amazon as a paperback here and on kindle here.

 

© Morningside Productions / Columbia Pictures

Jim Mountfield does some crawling

 

© Sirens Call Publications

 

The Crawler, a short story I wrote under the penname Jim Mountfield, is now available to read in the latest edition, Issue 65, of the magazine The Sirens Call.

 

As usual with the stuff I write as Jim Mountfield, The Crawler is a dark, scary tale.  It’s set in Northern Ireland and part of the inspiration for it came from my memory of how, when I was a kid, there seemed to be lots of old women living alone in my neighbourhood.  Occasionally, they stayed in big houses – but often their homes were small and impoverished.  I recall one elderly lady, Rachel, who lived up the road from us in a little cottage that didn’t even have running water.  Each day she had to collect buckets of water from a spring in the nearby fields.  Those memories date back to the early 1970s, and those women were at least in their seventies, so I wonder if their lives had been impacted by World War I.  They were deemed to be of ‘marriageable age’ during a period when many young men were being slaughtered on the battlefields of Belgium and France.  Afterwards, there weren’t enough young men left to go round, which doomed them to a lifetime’s spinsterhood.  Anyway, The Crawler’s setting came from that melancholy memory.

 

I also had a blunter reason for setting the story in Northern Ireland.  For plot reasons, the main character needed to have access to a gun.  Thanks to strict gun-ownership laws, most people in the British and Irish islands don’t have access to guns – which, incidentally, is something I strongly approve of – but that wouldn’t be problem in Northern Ireland if your main character was a policeman during or just after the Troubles that blighted the province from the 1960s to the 1990s.

 

Issue 65, the spring 2024 edition, of The Sirens Call can be downloaded here for free.  As always, it’s an absolute bargain, being 283 pages long and home to some 200 stories and poems.

Jim Mountfield gets some followers

 

© Stygian Lepus

 

Issue 11 of the webzine The Stygian Lepus has just appeared online and its contents include a short story by Jim Mountfield, the pseudonym under which I write horror fiction.  Entitled The Followers, it’s the tale of some creative-writing-course students being sent out onto the streets to do a research assignment – never suspecting that, gradually, they’re being drawn into a scenario best described as one of cosmic horror.

 

Like the previous story I had published by The Stygian Lepus, A Man about a Dog, which appeared in their eighth issue last November, The Followers is set in a northern-English city inspired by Newcastle-upon-Tyne, where I lived from 2002 to 2005.  In fact, its two settings are based on Stowell Street, home to Newcastle’s tiny Chinatown, where I used to work; and on its majestic covered market-hall, Grainger Market, where I used to do much of my shopping.

 

For the next while, The Followers can be directly accessed here, while the main page of The Stygian Lepus, Issue 11, can be reached here.