Sunday, August 14, 2016

From The Vault: The Drifter's Hand

From The Vault: The Drifter's Hand — Blue Ink Alchemy

Courtesy impactguns.com
Last week, I posted some Flash Fiction that put some old gods in new situations. This has been an interest of mine for some time. I thought I'd pull in some old stories of mine and see what else can be done. Like this one - The Drifer's Hand. It would be silly to try and translate every story from the Eddas in this way, but I still feel like there's more story, here. I don't know if I'll do anything with it, but maybe... Just maybe... We'll see, I suppose.
The Eddas are full of manliness, with epic tales of heroes facing down monsters and often paying a dear price for being who and what they are. And many Old West tales bring us images of stalwart, stoic men standing in dusty roads, eyes narrowed at an opponent, unwilling to back down even if it means a bullet for their trouble. It felt, to me, like a match made in Asgard, and the result is The Drifter's Hand. You can read the text below, or download the PDF here. Either way, read, comment & enjoy. [spoiler] For a good portion of the late 1800s, the Arizona boom-town Midgard was every bit as prosperous and populous as her sisters. She never quite grew to the proportions of Tombstone, though, and as the new century approached she began to shrink. There was talk of the railroad going through or near the town, but local lawlessness kept the Santa Fe people from really committing to any sort of construction. The stranger approached Midgard on a strong but tired horse, his hat half-tipped over his eyes, his beard disheveled and lips cracked from the road. His boots were caked with mud and his duster had more than a couple holes in it, some natural wear and tear while others clearly indicated the paths of past bullets. He seemed heedless of the looks he was getting from Midgard's locals as he rode into town, his horse unerringly heading for the nearest trough of fresh water. As soon as his steed was positioned to wash away some of the dust from the road, the stranger swung down from the saddle, tying the horse to the nearby hitch. Removing one of his gloves, the man bent to the trough and drank some of the water himself. Flicking some droplets away from his beard, he turned and headed in the direction of the saloon. His spurs tapped against the wooden floor. The mid-afternoon crowd in the saloon barely numbered a dozen, roughly half of them at or near the Faro table in the corner. The man behind the cards, a well-groomed gent with a dark waistcoat and thin mustache, glanced up at the stranger before declaring the player to his right the winner. The stranger removed his hat and approached the barkeep. "I'd like a room, if one's available." "Ain't seen you 'round here before," the barman observed as he placed a shot glass on the bar and produced a bottle whiskey. Seeing it, the stranger nodded. "You just passin' through?" "I've been on the road quite a while. Not sure if my last stop'll be Tombstone or further west." The barman nodded, pouring the drink. "Well, there's a room available for the night, if you want it. Dollar and a half a week to occupy it, and that entitles you to breakfast in the mornin'." "Sounds like a good deal." The stranger was rummaging under his duster for his money when the saloon doors swung open again, permitting a stocky man in a widebrimmed hat to enter. The sash around his waist, the band at his arm and the kerchief tied around his neck were all the same color, the red of blood pumping from a gaping wound. "Oh, horseshit." The color drained from the barman's face. "It's Tuesday, Dwight," the newcomer bellowed. "Fenris wants their money." "I don't have it all." The man behind the bar, his hand shaking, produced a modest iron box with a handle. He opened it and pulled out a small wad of bills. "The rooms ain't been full all week and not many people been stoppin' by..." "Stuff it." The newcomer snatched the money from the shaking hand offered to him, and quickly counted it. "This is all? What about that city slicker in the corner?" At mention of the corner, the crowd around the Faro table scattered. The man who'd been dealing raised his eyebrows at them. "Looks like he just lost most of his profit," he observed, not looking at the newcomer. "I already paid Dwight for this week." The newcomer slammed a fist into the table in frustration and grabbed Dwight by the lapels. "I oughta break your face. You holdin' out on Fenris? You know that ain't smart." "I'm sorry! I'll have it tomorrow!" "Tomorrow is when Fenris comes through here and burns this stinkin' waterin' hole to the ground!" The sound of a gun being cocked echoed through the saloon. The newcomer's eyes slid to his right, towards the barrel pressed to his temple. The stranger set down the shot glass with his right hand, the left occupied with gripping the Colt Peacemaker. "I think now's a good time to leave," he told the newcomer. "You lost your marbles, stranger? This ain't your concern." "I plan on sleeping here. If you and whomever this Fenris guy is plan on burning the place down while I'm sleeping in it, I'd say that damn well makes it my concern." "Fenris ain't one guy. Fenris is a force of nature! It'll sweep through this town like a plague outta the Bible!" "Well, you can tell Lucifer all about it when I send you to meet him. Which'll be in 5 seconds if you don't haul ass." The newcomer's face slackened, his eyes flicking between the hard countenance of the stranger and Dwight's disbelieving expression. At the fourth second, he swallowed. "This ain't over." He backed away from the gun, and then shook a fist at Dwight. "This ain't over!" "It is for now," the stranger said. "Disappear." He did. Dwight poured the stranger another whiskey. "Nobody's stood up to a Fenris man for months. You must really not be from around here." The stranger knocked back the shot. "Mind telling me who or what Fenris is?" "Wolves of Arizona." The voice came from the man behind the Faro table, who stood and walked over to join the stranger at the bar. "Thieves, bank robbers, kidnappers and murders. Just the worst sort of cowboy. Most of 'em just wear the red sashes. Fenris folk go the extra mile with those red kerchiefs and armbands of theirs." "Heard most of the cowboys were down near Tombstone." "So they are, stranger, so they are. One for me too, Dwight." "Right away, Mr. Frey." Dwight produced a second glass, cleaning it quickly to pour the dealer his whiskey. "Needless to say," Frey went on, "you've made yourself an enemy, and one that won't easily be placated, Mister..." "Tyr. Jim Tyr." "Pleased, Mr. Tyr. Arthur Frey, at your service." "You can just call me Jim. Mr. Tyr's my father." "In that case, Jim, why don't you call me Art?"
Tiwaz rune
"So why are we playing poker now, instead of Faro?" Art shrugged. "I like changing the game. I call." Jim rubbed his trimmed beard and considered his hand. Three threes wasn't a strong one but it wasn't bad, either. He didn't fold. The locals at the table did. Art turned his cards over, showing a straight. Jim leaned back and gestured to the pot. "All yours." Art smiled a bit and raked in the winnings as Jim turned back to his supper. Dwight had waived the fee for his room earlier, and after coming back from a bath and shave, Jim had found a plate of warm food waiting for him, also courtesy of the barkeep. "I hear you ran off one of the Fenris boys." Jim stopped in the middle of slicing a bit of chicken with a dull knife. "He was hassling Dwight and threatening to burn the place down. I'm sleeping here tonight. Didn't want to wake up on fire." "An understandable concern, stranger, but most folk around here don't want to piss off the Wolf." Jim looked up. The man standing over him wore a dark patch over his left eye and the star of a United States Marshall. "They aren't afraid of you, I take it?" "They know I can't be everywhere at once. And when I'm gone they think it's fun to shoot my deputies. Always have plenty of witnesses to say it was self-defense or some such, though. Everybody's afraid of 'em. They, on the other hand, don't seem to be afraid of anything." "They should be. Every man's got the same blood, same skin, same tendency to die when shot or stabbed." "Now there's a pitch-black observation." The Marshall leaned on the bar. "Where are you from anyhow, Mr. Tyr?" Jim bristled. "Back East. Grew up around Arlington." "You fight in the war?" He looked at the Marshall. "Yeah. Did you?" Before the Marshall could answer, the doors of the saloon burst open. Three men walked in, all wearing the red of Fenris. Dwight ducked behind the bar and the music stopped. "Odin! Where is he?" The Marshall turned. "Right here next to me, Luke Hundr. And you ain't taking him tonight." Luke stalked towards the table, his two cronies in tow. Art made a move to stand, but Jim shook his head. He stepped away from the others and hooked his thumbs in his gun belt. "You looking for me?" Luke scowled. "Hear you pulled a gun on my man Butch." "Butch was shaking down Dwight for money he didn't have. He threatened to burn the place down. Since I'm sleeping here, I asked him not to." "You've got it wrong, stranger. Butch wasn't going to do a thing on his own. WE will burn this place down. We put up the money for Dwight to open this little establishment, and if we want to burn it down since he can't pay us, we'll do just that." "Not in city limits," Odin said. "You got a permit for this land, Luke? if so, you'll want to evict Dwight and foreclose." Luke waved a hand dismissively. "That takes too long. I want my money or my land. If I can't have one I'll take the other." He smirked at Odin. "And I know you got a hangin' to be at tomorrow, Marshall. Got that nasty murderer Surtur locked up an' ready to swing. Wouldn't want to miss that, would you? Been chasing him, what, ten years?" Odin's eye narrowed and his mustache curled around his face in a frown. Luke looked past the Marshall at Jim. "Tomorrow, you meet me out in the street or I burn this place down with you in it. Got it?" Jim crossed his arms. "So you and all of your boys can shoot me at once? I didn't fall off the stage yesterday." "It'll just be you an' me. We'll settle this." Luke smiled unpleasantly and tipped his hat to Odin. "Have a nice trip, Marshall." The Fenris men left in short order. Jim rubbed the bridge of his nose. "Regretting pulling that gun on Butch?" "I don't do regret, Marshall. I take it he's met men in the street before?" "Many a time. Like I said, always plenty of witnesses saying the deputy or other poor sod drew down first. They say Luke's got a sense for traps. Any time more than a couple of my men have been waiting for him to show, he doesn't." "And I gather Luke won't be showing up alone." "Probably not." Odin patted him on the arm. "Nobody'll think the less of you if you're gone before dawn." "And leave them to burn Dwight's place down? No way, Marshall. I'm not letting a mongrel like that run me out of town, and Dwight's place is better standing and unscorched." "I have to agree." Art Frey had resumed shuffling the cards, but wasn't paying much attention to them. His eyes were on the men discussing the showdown. Music was playing again and people were going about their business. "This is our town, Marshall. It doesn't belong to Fenris." "Art Frey, you ought to be ashamed of yourself." Odin looked the gambler over with his good eye. "Siting here behind your cards for months not doing a damn thing about these hooligans. Why now?" "They never threatened Dwight like this before. It's be a very lean time. He hasn't had lodgers, nor I many punters. Dwight and I got a good partnership going. I don't want to see it end in flames." "Do you even own a gun?" "Matter of fact, I do. Damn peculiar Henry rifle. Most people find it's too heavy in the barrel or the stock, but if you know her balance and how to use it, the damn thing very nearly aims itself." Odin looked back to Tyr, who shrugged. The marshall then ordered three whiskeys, drank with the men and replaced his hat. "I need to see to Surtur's transportation. We'll be gone before dawn. I wish I could delay but the judge is eager to put this on in the books. Good luck, gentlemen. You're gonna need it." Odin left the saloon. Art turned to Jim. "I hear you served in the war?" "51st Virginia. You?" "I'm a Massachusetts man, myself." They drank their next shot of whiskey in silence.
Tiwaz rune
The horse at the hitching post turned to Jim, as if to ask a question. The drifter saw the look, knowing what it meant. "I don't know what I'm doin' out here, either." The dawn broke over Midgard, painting the town and the surrounding parched lands in pinkish reds. The stagecoach with Marshall Odin, his prisoner and deputies had already rattled out of town. The sound of hooves brought Jim's attention back to the street ahead of him. Around him, the signs of the shops swung in the morning breeze. The large sign for the livery stayed in place, dominating the second floor of the barn on the north end of town and sheltered from the wind. Jim stepped away from his horse, hands held at shoulder height. He didn't want to get shot before Luke Hundr had a chance to get off his ride. Eight men on horses came around the corner and down the street. Jim frowned. "I'm here like we agreed, Luke Hundr." He waved his right hand. "My gun hand's empty. I thought you said it'd be just you and me." Luke smirked as he swung down from his horse. The other Fenris men stayed mounted, and Jim saw one of them was Butch, the beefy face under the wide-brimmed hat leering at him. Nobody else was out in the street or even near windows Jim could see. That was probably a safe bet on their part. Without a word, Luke drew his pistol and shot Jim. The impact of the bullet half-spun the drifter to his right and sent him to the dirt. Jim had been shot before, which didn't make it sting any less, but helped him fight down the sense of panic that always came with it. He saw his right hand, ruined, pumping blood into the dust. "I told my first lie when I was six years old," Luke told Jim as the hooting from his men died down. "I ain't quit since then." "Yeah, well. I may not have the experience you do, but I ain't always a hundred percent truthful either." Luke cocked his head to one side, leveling his pistol. "Really? Do tell." "For one, I ain't alone either." From behind the livery sign came a loud crack. Butch was taken right off the back of his horse, a hole opened up in his chest. The others' mouths opened in shock and Luke turned to see what'd happened. That was his mistake. In a flash, Tyr grabbed the pearl handle of his Colt with his left hand, drew the gun and fired. His shot caught Luke in the shoulder, spinning him fully towards his men. Jim rose behind him, the wide eyes of the mounted Fenris men on every move he made. "For another, I'm a southpaw." The second bullet shoved Luke to the ground, his skull shattered from the impact. Tyr, his right hand at his side and streaming blood down his leg, aimed his gun at the next Fenris man. When another tried to draw down on him, the Henry rifle made itself heard again, dropping the offender. The remaining Fenris wheeled their horses, and two more were shot down as they rode for their lives. Jim sank to his knees. He holstered his gun and raised his right arm with his left hand, trying to slow the bleeding by elevating the wound. Art Frey appeared beside him minutes later, the Henry rifle slung over his shoulder. His clothing was still somehow immaculate, despite having to climb into the trestle of a stable in the dark. "Here, Jim." Art handed him a flask, which Art discovered was full of single malt scotch. He nearly coughed when it hit the back of his throat. The gambler helped him to his feet. "Let's get that hand looked at." "Whatever hand I'm holding next, Frey, it's going to beat yours. I'm feeling pretty damn lucky today." Art chuckled. "I'll take that bet, Tyr. Now, let's make sure you don't bleed to death before I take the rest of your money, too."
~ fin ~
[/spoiler]
Blue Ink Alchemy

From The Vault: The Drifter's Hand

From The Vault: The Drifter's Hand — Blue Ink Alchemy

Courtesy impactguns.com
Last week, I posted some Flash Fiction that put some old gods in new situations. This has been an interest of mine for some time. I thought I'd pull in some old stories of mine and see what else can be done. Like this one - The Drifer's Hand. It would be silly to try and translate every story from the Eddas in this way, but I still feel like there's more story, here. I don't know if I'll do anything with it, but maybe... Just maybe... We'll see, I suppose.
The Eddas are full of manliness, with epic tales of heroes facing down monsters and often paying a dear price for being who and what they are. And many Old West tales bring us images of stalwart, stoic men standing in dusty roads, eyes narrowed at an opponent, unwilling to back down even if it means a bullet for their trouble. It felt, to me, like a match made in Asgard, and the result is The Drifter's Hand. You can read the text below, or download the PDF here. Either way, read, comment & enjoy. [spoiler] For a good portion of the late 1800s, the Arizona boom-town Midgard was every bit as prosperous and populous as her sisters. She never quite grew to the proportions of Tombstone, though, and as the new century approached she began to shrink. There was talk of the railroad going through or near the town, but local lawlessness kept the Santa Fe people from really committing to any sort of construction. The stranger approached Midgard on a strong but tired horse, his hat half-tipped over his eyes, his beard disheveled and lips cracked from the road. His boots were caked with mud and his duster had more than a couple holes in it, some natural wear and tear while others clearly indicated the paths of past bullets. He seemed heedless of the looks he was getting from Midgard's locals as he rode into town, his horse unerringly heading for the nearest trough of fresh water. As soon as his steed was positioned to wash away some of the dust from the road, the stranger swung down from the saddle, tying the horse to the nearby hitch. Removing one of his gloves, the man bent to the trough and drank some of the water himself. Flicking some droplets away from his beard, he turned and headed in the direction of the saloon. His spurs tapped against the wooden floor. The mid-afternoon crowd in the saloon barely numbered a dozen, roughly half of them at or near the Faro table in the corner. The man behind the cards, a well-groomed gent with a dark waistcoat and thin mustache, glanced up at the stranger before declaring the player to his right the winner. The stranger removed his hat and approached the barkeep. "I'd like a room, if one's available." "Ain't seen you 'round here before," the barman observed as he placed a shot glass on the bar and produced a bottle whiskey. Seeing it, the stranger nodded. "You just passin' through?" "I've been on the road quite a while. Not sure if my last stop'll be Tombstone or further west." The barman nodded, pouring the drink. "Well, there's a room available for the night, if you want it. Dollar and a half to occupy it, and that entitles you to breakfast in the mornin'." "Sounds like a good deal." The stranger was rummaging under his duster for his money when the saloon doors swung open again, permitting a stocky man in a widebrimmed hat to enter. The sash around his waist, the band at his arm and the kerchief tied around his neck were all the same color, the red of blood pumping from a gaping wound. "Oh, horseshit." The color drained from the barman's face. "It's Tuesday, Dwight," the newcomer bellowed. "Fenris wants their money." "I don't have it all." The man behind the bar, his hand shaking, produced a modest iron box with a handle. He opened it and pulled out a small wad of bills. "The rooms ain't been full all week and not many people been stoppin' by..." "Stuff it." The newcomer snatched the money from the shaking hand offered to him, and quickly counted it. "This is all? What about that city slicker in the corner?" At mention of the corner, the crowd around the Faro table scattered. The man who'd been dealing raised his eyebrows at them. "Looks like he just lost most of his profit," he observed, not looking at the newcomer. "I already paid Dwight for this week." The newcomer slammed a fist into the table in frustration and grabbed Dwight by the lapels. "I oughta break your face. You holdin' out on Fenris? You know that ain't smart." "I'm sorry! I'll have it tomorrow!" "Tomorrow is when Fenris comes through here and burns this stinkin' waterin' hole to the ground!" The sound of a gun being cocked echoed through the saloon. The newcomer's eyes slid to his right, towards the barrel pressed to his temple. The stranger set down the shot glass with his right hand, the left occupied with gripping the Colt Peacemaker. "I think now's a good time to leave," he told the newcomer. "You lost your marbles, stranger? This ain't your concern." "I plan on sleeping here. If you and whomever this Fenris guy is plan on burning the place down while I'm sleeping in it, I'd say that damn well makes it my concern." "Fenris ain't one guy. Fenris is a force of nature! It'll sweep through this town like a plague outta the Bible!" "Well, you can tell Lucifer all about it when I send you to meet him. Which'll be in 5 seconds if you don't haul ass." The newcomer's face slackened, his eyes flicking between the hard countenance of the stranger and Dwight's disbelieving expression. At the fourth second, he swallowed. "This ain't over." He backed away from the gun, and then shook a fist at Dwight. "This ain't over!" "It is for now," the stranger said. "Disappear." He did. Dwight poured the stranger another whiskey. "Nobody's stood up to a Fenris man for months. You must really not be from around here." The stranger knocked back the shot. "Mind telling me who or what Fenris is?" "Wolves of Arizona." The voice came from the man behind the Faro table, who stood and walked over to join the stranger at the bar. "Thieves, bank robbers, kidnappers and murders. Just the worst sort of cowboy. Most of 'em just wear the red sashes. Fenris folk go the extra mile with those red kerchiefs and armbands of theirs." "Heard most of the cowboys were down near Tombstone." "So they are, stranger, so they are. One for me too, Dwight." "Right away, Mr. Frey." Dwight produced a second glass, cleaning it quickly to pour the dealer his whiskey. "Needless to say," Frey went on, "you've made yourself an enemy, and one that won't easily be placated, Mister..." "Tyr. Jim Tyr." "Pleased, Mr. Tyr. Arthur Frey, at your service." "You can just call me Jim. Mr. Tyr's my father." "In that case, Jim, why don't you call me Art?"
Tiwaz rune
"So why are we playing poker now, instead of Faro?" Art shrugged. "I like changing the game. I call." Jim rubbed his trimmed beard and considered his hand. Three threes wasn't a strong one but it wasn't bad, either. He didn't fold. The locals at the table did. Art turned his cards over, showing a straight. Jim leaned back and gestured to the pot. "All yours." Art smiled a bit and raked in the winnings as Jim turned back to his supper. Dwight had waived the fee for his room earlier, and after coming back from a bath and shave, Jim had found a plate of warm food waiting for him, also courtesy of the barkeep. "I hear you ran off one of the Fenris boys." Jim stopped in the middle of slicing a bit of chicken with a dull knife. "He was hassling Dwight and threatening to burn the place down. I'm sleeping here tonight. Didn't want to wake up on fire." "An understandable concern, stranger, but most folk around here don't want to piss off the Wolf." Jim looked up. The man standing over him wore a dark patch over his left eye and the star of a United States Marshall. "They aren't afraid of you, I take it?" "They know I can't be everywhere at once. And when I'm gone they think it's fun to shoot my deputies. Always have plenty of witnesses to say it was self-defense or some such, though. Everybody's afraid of 'em. They, on the other hand, don't seem to be afraid of anything." "They should be. Every man's got the same blood, same skin, same tendency to die when shot or stabbed." "Now there's a pitch-black observation." The Marshall leaned on the bar. "Where are you from anyhow, Mr. Tyr?" Jim bristled. "Back East. Grew up around Arlington." "You fight in the war?" He looked at the Marshall. "Yeah. Did you?" Before the Marshall could answer, the doors of the saloon burst open. Three men walked in, all wearing the red of Fenris. Dwight ducked behind the bar and the music stopped. "Odin! Where is he?" The Marshall turned. "Right here next to me, Luke Hundr. And you ain't taking him tonight." Luke stalked towards the table, his two cronies in tow. Art made a move to stand, but Jim shook his head. He stepped away from the others and hooked his thumbs in his gun belt. "You looking for me?" Luke scowled. "Hear you pulled a gun on my man Butch." "Butch was shaking down Dwight for money he didn't have. He threatened to burn the place down. Since I'm sleeping here, I asked him not to." "You've got it wrong, stranger. Butch wasn't going to do a thing on his own. WE will burn this place down. We put up the money for Dwight to open this little establishment, and if we want to burn it down since he can't pay us, we'll do just that." "Not in city limits," Odin said. "You got a permit for this land, Luke? if so, you'll want to evict Dwight and foreclose." Luke waved a hand dismissively. "That takes too long. I want my money or my land. If I can't have one I'll take the other." He smirked at Odin. "And I know you got a hangin' to be at tomorrow, Marshall. Got that nasty murderer Surtur locked up an' ready to swing. Wouldn't want to miss that, would you? Been chasing him, what, ten years?" Odin's eye narrowed and his mustache curled around his face in a frown. Luke looked past the Marshall at Jim. "Tomorrow, you meet me out in the street or I burn this place down with you in it. Got it?" Jim crossed his arms. "So you and all of your boys can shoot me at once? I didn't fall off the stage yesterday." "It'll just be you an' me. We'll settle this." Luke smiled unpleasantly and tipped his hat to Odin. "Have a nice trip, Marshall." The Fenris men left in short order. Jim rubbed the bridge of his nose. "Regretting pulling that gun on Butch?" "I don't do regret, Marshall. I take it he's met men in the street before?" "Many a time. Like I said, always plenty of witnesses saying the deputy or other poor sod drew down first. They say Luke's got a sense for traps. Any time more than a couple of my men have been waiting for him to show, he doesn't." "And I gather Luke won't be showing up alone." "Probably not." Odin patted him on the arm. "Nobody'll think the less of you if you're gone before dawn." "And leave them to burn Dwight's place down? No way, Marshall. I'm not letting a mongrel like that run me out of town, and Dwight's place is better standing and unscorched." "I have to agree." Art Frey had resumed shuffling the cards, but wasn't paying much attention to them. His eyes were on the men discussing the showdown. Music was playing again and people were going about their business. "This is our town, Marshall. It doesn't belong to Fenris." "Art Frey, you ought to be ashamed of yourself." Odin looked the gambler over with his good eye. "Siting here behind your cards for months not doing a damn thing about these hooligans. Why now?" "They never threatened Dwight like this before. It's be a very lean time. He hasn't had lodgers, nor I many punters. Dwight and I got a good partnership going. I don't want to see it end in flames." "Do you even own a gun?" "Matter of fact, I do. Damn peculiar Henry rifle. Most people find it's too heavy in the barrel or the stock, but if you know her balance and how to use it, the damn thing very nearly aims itself." Odin looked back to Tyr, who shrugged. The marshall then ordered three whiskeys, drank with the men and replaced his hat. "I need to see to Surtur's transportation. We'll be gone before dawn. I wish I could delay but the judge is eager to put this on in the books. Good luck, gentlemen. You're gonna need it." Odin left the saloon. Art turned to Jim. "I hear you served in the war?" "51st Virginia. You?" "I'm a Massachusetts man, myself." They drank their next shot of whiskey in silence.
Tiwaz rune
The horse at the hitching post turned to Jim, as if to ask a question. The drifter saw the look, knowing what it meant. "I don't know what I'm doin' out here, either." The dawn broke over Midgard, painting the town and the surrounding parched lands in pinkish reds. The stagecoach with Marshall Odin, his prisoner and deputies had already rattled out of town. The sound of hooves brought Jim's attention back to the street ahead of him. Around him, the signs of the shops swung in the morning breeze. The large sign for the livery stayed in place, dominating the second floor of the barn on the north end of town and sheltered from the wind. Jim stepped away from his horse, hands held at shoulder height. He didn't want to get shot before Luke Hundr had a chance to get off his ride. Eight men on horses came around the corner and down the street. Jim frowned. "I'm here like we agreed, Luke Hundr." He waved his right hand. "My gun hand's empty. I thought you said it'd be just you and me." Luke smirked as he swung down from his horse. The other Fenris men stayed mounted, and Jim saw one of them was Butch, the beefy face under the wide-brimmed hat leering at him. Nobody else was out in the street or even near windows Jim could see. That was probably a safe bet on their part. Without a word, Luke drew his pistol and shot Jim. The impact of the bullet half-spun the drifter to his right and sent him to the dirt. Jim had been shot before, which didn't make it sting any less, but helped him fight down the sense of panic that always came with it. He saw his right hand, ruined, pumping blood into the dust. "I told my first lie when I was six years old," Luke told Jim as the hooting from his men died down. "I ain't quit since then." "Yeah, well. I may not have the experience you do, but I ain't always a hundred percent truthful either." Luke cocked his head to one side, leveling his pistol. "Really? Do tell." "For one, I ain't alone either." From behind the livery sign came a loud crack. Butch was taken right off the back of his horse, a hole opened up in his chest. The others' mouths opened in shock and Luke turned to see what'd happened. That was his mistake. In a flash, Tyr grabbed the pearl handle of his Colt with his left hand, drew the gun and fired. His shot caught Luke in the shoulder, spinning him fully towards his men. Jim rose behind him, the wide eyes of the mounted Fenris men on every move he made. "For another, I'm a southpaw." The second bullet shoved Luke to the ground, his skull shattered from the impact. Tyr, his right hand at his side and streaming blood down his leg, aimed his gun at the next Fenris man. When another tried to draw down on him, the Henry rifle made itself heard again, dropping the offender. The remaining Fenris wheeled their horses, and two more were shot down as they rode for their lives. Jim sank to his knees. He holstered his gun and raised his right arm with his left hand, trying to slow the bleeding by elevating the wound. Art Frey appeared beside him minutes later, the Henry rifle slung over his shoulder. His clothing was still somehow immaculate, despite having to climb into the trestle of a stable in the dark. "Here, Jim." Art handed him a flask, which Art discovered was full of single malt scotch. He nearly coughed when it hit the back of his throat. The gambler helped him to his feet. "Let's get that hand looked at." "Whatever hand I'm holding next, Frey, it's going to beat yours. I'm feeling pretty damn lucky today." Art chuckled. "I'll take that bet, Tyr. Now, let's make sure you don't bleed to death before I take the rest of your money, too."
~ fin ~
[/spoiler]
Blue Ink Alchemy

Friday, July 29, 2016

So. Good Grief.

So. Good Grief. — Blue Ink Alchemy

Courtesy Virgin EMI
In case you weren't aware, I am a huge fan of the band Bastille. Their first album, Bad Blood, continues to be a part of my regular CD rotation in my car. (Yes, my car still uses CDs when the radio's not on, I need to re-install my head unit.) Specifically, 'Pompeii', 'Icarus', 'Flaws', and 'Things We Lost In The Fire' are particularly emotional for me, to hear or to sing along with (Do you understand that we will never be the same again? / The future's in our hands, and we will never be the same again.) It's soil rich for planting our own experiences next to the thoughts and feelings conveyed in the music, and reaping the benefits of a more complete, more complex, more satisfying understanding of where we are in the world. So let's talk about the first single from their follow-up album, Wild World, simply entitled 'Good Grief'. It's an example of Dan Smith speaking as if he's rooting around inside of my brainpan. I'm going to break it down from my perspective and try to explore why it's hitting me so hard where I live.
  1. Much like their first single, 'Pompeii', Bastille perfectly juxtaposes an upbeat, even bouncy tune with quite serious and introspective lyrics. You can easily dance to 'Good Grief', but if you stop and listen to the words, you almost feel abashed for doing so. It sounds happy, but it isn't. This is going to be a classic and exemplary song of Bastille's.
  2. From the very start, and throughout, is the notion of "watching through [our] fingers". It's something terrifying in front of us, and we don't want to see it, but it's still something we have to face. We're scared. We're confused. We want to hide, but we can't run. So we do what we can. We cry into our hands and we keep our face hidden, but we watch. In horror, in curiosity, in a desire to hold onto as much as we can, we watch.
  3. Grief is grief is grief. It's something I've learned the hard way. It's difficult to tell if the singer is going through the process of mourning the death of a loved one, or trying to survive a particularly bad break-up. Memories and feelings linger on, even if the person in question has ceased to exist (or we want them to). So things like old photographs where the person is not missing, their favorite song... they trigger those feelings and memories, and we do irrational things, like dancing at a somber funeral, or drinking until we lose control of our words.
  4. The way the last syllable of each repeated line in the verses feels like the singer is trying to get their thoughts and feelings out, but can't quite see it through to the end. They lose their strength before they reach the end of the line. So much energy is being devoted to just staying alive, getting through another day, just fucking breathing, that it's difficult to even speak completely. Sometimes you can't even get out of bed in the morning. How can you be expected to complexly imagine your situation and find your way through it?
  5. "What's going to be left of the world if you're not in it?" This is such a powerful line. Our worlds change drastically when a loved one dies or a lover leaves us. We have to realign ourselves with our own hearts and our own goals, and we can easily lose sight of that because of the upheaval. We cope in different ways - casting our beloved as dastardly villains or shrieking monstrosities, denying anything bad actually happened, curling up in a dark corner wishing the world would go away - but in the end, we come back to questioning what is going to happen next in our world. And this is the question we need to face... even if we're watching it through our fingers.
  6. Every minute we miss those no longer with us. When we stumble or make a mistake, we want that person there to either laugh with us through the foible or support us in picking ourselves back up. It underscores the loss, makes it more powerful in our minds, strains our hearts, and we miss them more.
  7. The burning clothes is either a reference to cremation for the dead or the catharsis of burning items connected to the lost partner. This is not always done by angry ex-lovers; sometimes, it's part of a calming, cleansing ritual, part of an attempt to move on, at least in some measure. A Viking funeral for a love that was followed with audacity and fought for with bravery until the weight of the world crushed it. ... Did I mention I'm a hopeless romantic? Which is an odd turn of phrase considering when you're a "hopeless" romantic, you hold onto hope a lot more than some others. ... Where was I?
  8. The female voice feels like an outside perspective. It's interesting that Dan chose these lines from Weird Science. While it seems like it could be echoes of whomever was lost, it feels to me more like this is a current partner or friend or family member, trying to get the singer out and about, to re-embrace the life they've felt they've lost due to their grief. We all need friends like that.
  9. Grief isn't just limited to us. It spirals out from the source of the loss and touches so many people. More than we might expect. Faced with the scope of the tragedy, be it an accidental one or the result of a choice, falling into the embrace of something like alcohol can be easier than dealing with all of these conflicting, devastating thoughts and emotions. We can get drunk, be foolish, lose control of our senses or our words, but in the end, we are put back in our place. And much like the interlude returns to the driving chorus, we come back to feeling that loss, seeing the ghost of the one we've loved, and every minute of every hour, we miss them. We miss them. We miss them more.
  10. The video. Oh, the video. The video is so brilliant. There are memories, dreams, and more that begin to have their narratives blending into one another, so many routes to escapism. But we keep coming back to Dan, wandering and alone, trying so hard to reconnect with whatever he's lost in the real world. Watch the way the color palettes change. We want to be happy. We want to escape. But the real world keeps pulling us back... putting us in our place.
This is seriously one of the very best songs I've heard in a long time, and it's going to be in my heart and on my mind for a long time. I'm hoping that taking this time to ruminate on it, as well as the general upswing in energy I've been feeling, will help me carve out more portions of the days ahead to get more writing done, be it here or in ways that push me past tomorrow. It's good to be back.
[tube]ZWCB3hpJDXM[/tube]

Blue Ink Alchemy

So. Good Grief.

So. Good Grief. — Blue Ink Alchemy

Courtesy Virgin EMI
In case you weren't aware, I am a huge fan of the band Bastille. Their first album, Bad Blood, continues to be a part of my regular CD rotation in my car. (Yes, my car still uses CDs when the radio's not on, I need to re-install my head unit.) Specifically, 'Pompeii', 'Icarus', 'Flaws', and 'Things We Lost In The Fire' are particularly emotional for me, to hear or to sing along with (Do you understand that we will never be the same again? / The future's in our hands, and we will never be the same again.) It's soil rich for planting our own experiences next to the thoughts and feelings conveyed in the music, and reaping the benefits of a more complete, more complex, more satisfying understanding of where we are in the world. So let's talk about the first single from their follow-up album, Wild World, simply entitled 'Good Grief'. It's an example of Dan Smith speaking as if he's rooting around inside of my brainpan. I'm going to break it down from my perspective and try to explore why it's hitting me so hard where I live.
  1. Much like their first single, 'Pompeii', Bastille perfectly juxtaposes an upbeat, even bouncy tune with quite serious and introspective lyrics. You can easily dance to 'Good Grief', but if you stop and listen to the words, you almost feel abashed for doing so. It sounds happy, but it isn't. This is going to be a classic and exemplary song of Bastille's.
  2. From the very start, and throughout, is the notion of "watching through [our] fingers". It's something terrifying in front of us, and we don't want to see it, but it's still something we have to face. We're scared. We're confused. We want to hide, but we can't run. So we do what we can. We cry into our hands and we keep our face hidden, but we watch. In horror, in curiosity, in a desire to hold onto as much as we can, we watch.
  3. Grief is grief is grief. It's something I've learned the hard way. It's difficult to tell if the singer is going through the process of mourning the death of a loved one, or trying to survive a particularly bad break-up. Memories and feelings linger on, even if the person in question has ceased to exist (or we want them to). So things like old photographs where the person is not missing, their favorite song... they trigger those feelings and memories, and we do irrational things, like dancing at a somber funeral, or drinking until we lose control of our words.
  4. The way the last syllable of each repeated line in the verses feels like the singer is trying to get their thoughts and feelings out, but can't quite see it through to the end. They lose their strength before they reach the end of the line. So much energy is being devoted to just staying alive, getting through another day, just fucking breathing, that it's difficult to even speak completely. Sometimes you can't even get out of bed in the morning. How can you be expected to complexly imagine your situation and find your way through it?
  5. "What's going to be left of the world if you're not in it?" This is such a powerful line. Our worlds change drastically when a loved one dies or a lover leaves us. We have to realign ourselves with our own hearts and our own goals, and we can easily lose sight of that because of the upheaval. We cope in different ways - casting our beloved as dastardly villains or shrieking monstrosities, denying anything bad actually happened, curling up in a dark corner wishing the world would go away - but in the end, we come back to questioning what is going to happen next in our world. And this is the question we need to face... even if we're watching it through our fingers.
  6. Every minute we miss those no longer with us. When we stumble or make a mistake, we want that person there to either laugh with us through the foible or support us in picking ourselves back up. It underscores the loss, makes it more powerful in our minds, strains our hearts, and we miss them more.
  7. The burning clothes is either a reference to cremation for the dead or the catharsis of burning items connected to the lost partner. This is not always done by angry ex-lovers; sometimes, it's part of a calming, cleansing ritual, part of an attempt to move on, at least in some measure. A Viking funeral for a love that was followed with audacity and fought for with bravery until the weight of the world crushed it. ... Did I mention I'm a hopeless romantic? Which is an odd turn of phrase considering when you're a "hopeless" romantic, you hold onto hope a lot more than some others. ... Where was I?
  8. The female voice feels like an outside perspective. It's interesting that Dan chose these lines from Weird Science. While it seems like it could be echoes of whomever was lost, it feels to me more like this is a current partner or friend or family member, trying to get the singer out and about, to re-embrace the life they've felt they've lost due to their grief. We all need friends like that.
  9. Grief isn't just limited to us. It spirals out from the source of the loss and touches so many people. More than we might expect. Faced with the scope of the tragedy, be it an accidental one or the result of a choice, falling into the embrace of something like alcohol can be easier than dealing with all of these conflicting, devastating thoughts and emotions. We can get drunk, be foolish, lose control of our senses or our words, but in the end, we are put back in our place. And much like the interlude returns to the driving chorus, we come back to feeling that loss, seeing the ghost of the one we've loved, and every minute of every hour, we miss them. We miss them. We miss them more.
  10. The video. Oh, the video. The video is so brilliant. There are memories, dreams, and more that begin to have their narratives blending into one another, so many routes to escapism. But we keep coming back to Dan, wandering and alone, trying so hard to reconnect with whatever he's lost in the real world. Watch the way the color palettes change. We want to be happy. We want to escape. But the real world keeps pulling us back... putting us in our place.
This is seriously one of the very best songs I've heard in a long time, and it's going to be in my heart and on my mind for a long time. I'm hoping that taking this time to ruminate on it, as well as the general upswing in energy I've been feeling, will help me carve out more portions of the days ahead to get more writing done, be it here or in ways that push me past tomorrow. It's good to be back.
[tube]ZWCB3hpJDXM[/tube]

Blue Ink Alchemy

Tuesday, July 5, 2016

The White Knight

The White Knight — Blue Ink Alchemy

Templar
He dons the armor polished to a mirror shine. He sharpens the sword he draws without prompt. He mounts his charger and takes off to battle. He does not think of relying upon others. He does not allow contemplations of defeat. He never hesitates, never questions, never retreats. His thoughts are on one thing, and one thing only: The Maiden. She did not anticipate his arrival. She barely hears his declarations of fealty. She is not necessarily interested in his courtship. Her citadel is strong in and of itself. She is a nation of her own making, Neither needing nor wanting a suitor who pines. Yet the knight persists. He draws his sword, shining in the sun. He holds it aloft, his voice raised. "My sword and heart are yours!" is his cry. He does not wait for her response. He knows his actions will win her. He turns the steed towards the mountains. He rides, undeterred, towards his intended foe: The Dragon. It shifts slightly in its sleep. It sits atop a hoard, a clutch of eggs. It protects its home as it slumbers. It is awakened by a shouted challenge. It opens an eye to see the figure at the mouth. It blinks in confusion at the accusations. The knights lays into the dragon with fury. He hears the cries of pain as roars. He sees blood from scales and presses on. He feels righteous in his searing anger. He plunges the blade home over and over. He ignores his arms turning to lead with fatigue. He does not stop when the dragon wheezes a final breath. He spits upon the corpse of the parent and protector. His chest swells with pride. His body returns to its steed. His spurs catch flesh and prompt the return. He goes, now, to claim his prize. The maiden to whom he is entitled. The heart of the bepedestaled woman he adores. He has no idea of what he has truly left behind. He's ignorant of the cost of his actions. He cannot and will not see how toxic he has become. He does not care. That dragon was his to slay. That maiden is his to bed and wed. These things are his to take for himself. He is entitled. He is righteous. He is The White Knight. And he is everything the world tells him a man should be.
Blue Ink Alchemy

Monday, June 27, 2016

The Challenge

The Challenge — Blue Ink Alchemy

Dueling Pistols
You. I challenge you. I may hear you across a room. Read your messages or tweets. See you in a mirror. Doesn't matter. I demand satisfaction. I challenge you to love. Let compassion prevail over myopia. I challenge you to change perspective. I know another's shoes don't fit; that they're painful and weird, especially to walk a mile in them. I challenge you to walk in them anyway. I challenge you to silence your fear. Allow light to dispel the shade you'd throw on another. Would you want another to diminish your shine? No? Then I challenge you to not diminish others'. I challenge you to rise above your bullshit. I challenge you to be mindful. To listen to the lessons of music. To say "I will survive". To break "the sound of silence". To remember that you'll never know "who lives, who dies, who tells your story". I challenge you to unchain your heart from the pain of the past. I challenge you to learn from failure and doubt. I challenge you to move in the direction of tomorrow. I challenge you to embrace the joy of simply being alive. I challenge you to take up arms, to rail against ignorance and indecision, to fucking fight for yourself. I challenge you to believe. Believe in yourself. And if you're gonna dig, I challenge you to dig for the heavens.
Blue Ink Alchemy

The Fire

The Fire — Blue Ink Alchemy

The plan was that I'd just go away. That I would cease to exist. They would blow out the fire inside of me. They've never seen fire like mine before. This isn't a campside fire. This isn't a flicked Bic. This is not a yule log ready for chestnuts. I don't burn like those fires. My fire comes from deep within. Stoked by years of grief and anger. Fed lies and tears and the ichor of lost love. I burn like the core of the earth. In that fire I am forged anew. Tempered, beaten, squelched, and ignited, Over and over, day after day, without reprieve. I am someone you've never seen. My kindness has been mistaken for weakness. I've been cuckolded, manipulated, pushed to despair. Voices within and voices without conspiring to end me. Underestimating me is your biggest mistake. I slay the voices within when they get too loud. I shove cowards and abusers out of my life. I fight until I bleed to keep faith with true friends. I have not given up on happiness or love. I will continue to burn like no other fire. I will remain this terrifying beacon in the night. Catch the scent of my flame on the wind. And follow it. If you dare.
Blue Ink Alchemy