Starting back up with the next episode of the anthropomorphic wuxia novel Broken Sorrows, I offer today Act I of "Seven Jade Doors". The story was originally going to be titled "The Frog Queen" but has since been changed.
Enjoy.
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"Seven Jade Doors" is copyright 2010 by Charles Shaver. All rights reserved.
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THE HEAVENLY COURT OF THE SEVEN JADE DOORS: Wherein Ketsueki Sato Calls for a Challenge Against Xiao-tep; The Gods Gather in Counsel to Discuss the Fates of Xiao-tep and Wu Chan Chu; Chiava and Wu Chan Chu Meet, Striking a Deal to Travel Together
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Part 1
Came the mad spearhead of the Eternal Empress' army to Caerraul, a small town atop a hill near the river Ursk that flows into the bogs of the Imps. Here, the Thousand and One Horned Demon Ketsueki Sato came with Elkhorn and his men. Ketsueki razed many of the homes in Ursk, finally settling into the home of the largest family, the Galseas. Ketsueki held them there, captive in their own home. He tortured Father Galsea for hours, bleeding him to unconsciousness, healing him then waking him to bleed him some more.
"Where is the fox-god?" asked Ketsueki Sato.
"I've said it before," gasped Father Galsea, hanging by his feet from the rafters of the home he had built, "we've had no dealings with gods."
"Do you mean to tell me your beautiful young family makes no prayers? No offerings? Do you worship no god?"
"Yes, yes. We pray to the goddess Lei-Zi for we make many silks in this town."
"Lei-zi?" raged the demon, his voice grumbling with fury. He brought himself closer to Father Galsea, their cheeks touching, splinters from the demon's face scraping at Father Galsea's flesh. Ketsueki yelled at the mortal, staring deeply into his eyes, "Mother to Xiao-tep?"
Father Gansea nodded. "The very one."
Ketsueki spoke lowly, "What do you know of Xiao-tep?"
"He is a kind god," answered Father Galsea. "And a mighty one. And though his spear is mighty, his heart is mightier. Recently he has sworn off fighting, destroying the Spear of Sorrows, and taken on the life of a monk."
Ketsueki considered this. "Do you speak true?" he asked.
"This is as I've heard," said Father Galsea.
Ketsueki smiled at the thought of Xiao-tep gone cold to the fight. He smiled and brought his tentacles up to touch at the mortal as his woody claws scratched along his head. He spoke lowly, menacingly, "How dare you speak that name before me? You may not know my present form, but dost thou know my name, mortal? Do you recognize the name Ketsueki Sato?"
Father Galsea's eyes grew wide. "No, it is impossible! You cannot be the demon!"
Ketsueki smiled to his wooden fangs shaped like splinters.
"But Ketsueki was killed within the Cottonwood Chamber! Xiao-tep delivered the final blow himself!"
"Your knowledge of Heavenly affairs is well versed, though incomplete. I should have known a follower of Lei-Zi would not know of the rise of Ketsueki Sato."
"But how?" Father Galsea gasped.
Ketsueki glowered at the man. "I am Ketsueki Sato, the demon that defied all the Hells. I cannot be stopped. And soon, I shall be known by one and all as Ketsueki the God-Killer, the Destroyer of Xiao-tep."
Ketsueki drove a tentacle into Father Galsea's neck, seeping in the blood there and killing the mortal. His family screamed in horror, hiding their eyes.
"Why did you kill him?" protested Elkhorn. "We still do not know the whereabouts Comet Fox and the princess Alecto."
"His impudence offended me," Ketsueki offered. "Besides, his house is full of mouths ready to speak. Shall we take next the mother? No, she would likely die for her children. Let's instead take one of her children, shall we say the eldest girl? Surely there's a bond between the two. Besides, I am convinced Comet Fox avoids the towns we meet in hopes we follow him and leave the townsfolk unharmed. I will not allow this. I will instead head into every town he brings us close to and I will continue to slaughter them all until I draw him out. This... this is the way to kill a god."
Elkhorn grabbed the wrist of the eldest girl child. She was not yet thirteen in age, not quite a woman.
Ketsueki started for the door. Elkhorn's men barred the house and set it afire. As it burned, he called to the people of Caerraul, demanding they come forth. Few obeyed this, in fear for their lives. But many, almost all, peered through windows and from behind doors, around corners and from the cellars beneath homes. When Ketsueki was satisfied he had their attention, he addressed them loudly, the fire raging behind him, the screams of the Galsea's lifting into the air and the eldest daughter crying and firmly grasped in his wooden grip. He told them, "I am Ketsueki Sato, your destroyer. I seek two things and if I obtain them, I shall leave this world and return to the Many Hells. First, I seek the princess named Alecto, daughter to Sulia Laree the Eternal Empress. For as long as she runs, I shall raze the world. For as long as she hides, I shall drink your blood! If you find her; if you should see her; if you hear as much as a whisper of a rumor, you will come to me with it. You will point in the direction she runs. You will point to the tree she hides behind. You will whisper the rumors you have heard into my ear.
"Secondly, I seek the fish-god Xiao-tep. I call on him to come to me. I challenge him to one more fight. If I lose, I will return to the Many Hells. Should I win... well, should I win I shall feast upon his blood and then return to the Many Hells. But for every day he remains unfaithful to his people; for every day he remains disloyal to those loyal to him; for every day he remains unwilling to fight is another day I remain in your world. Every day he remains hiding from me is another day I kill. Every hour he stays away from me is another hour for me in invade your homes, to burn your crops and bring illness to your land. Every day my demands are not satisfied is another day I have to kill the lot of you, to kill your children, to end your finite lives.
"Let it be known this is a test placed upon the fish-god. What value does he place upon your lives? He will live forever. You may die at any time. But will you die in your old age as The Cosmos commands, or will you die at my hands because that fish-god be unwilling to face me? What value have you to he? Now is the hour to find the answer. Now is the hour of temptation and faith. Is he worthy of your prayers? Or will he turn his back to you in your final, horrifying hour?
Ketsueki looked to the night sky as he spoke the following words, "Let the fish-god choose! I call upon him! I demand his presence! Come, Xiao-tep! Come to town of Caerraul and face your enemy!"
Ketsueki remained gazing upon the Kalavata's wings a moment. When Xiao-tep did not show, as Ketsueki expected he would not, Ketsueki lowered his head. His eyes leveled upon the town. He looked for every hiding eye. He smiled a wicked smile. His tentacles then grabbed the eldest daughter by the waist and shoulders, twisting them in opposite directions until the girl was torn in half.
Ketsueki threw the corpse's two halves into the center of town as the citizenry fled into the night.
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Part 2
The gods were called together within the realm of the Many Heavens to lock themselves away, leaving servants out of their conversations and turning demi-gods and Immortals aside for only gods and goddesses may enter the Heavenly Court of Seven Jade Doors; only gods and goddesses may enter any one of its seven doors of green jade and remain within its walls of white jade with ribbons of varying purples throughout; with its silver bells and spreading laurels, Cinnamons, chestnuts and yews reciting soft poems as they are touched by the fingers ofAeolus; with the ever flowering Narcissus and all of this guarded by a thick layer of clouds that befuddle and turn around all but the gods and goddesses that may enter this court. Here did they hold council for three weeks; For three weeks did the skies over all the world remain clear; For three weeks did the nights pass without disturbance as the gods attended to matters entirely disturbing only to themselves for the many and multitudinous gods held counsel to discuss the matter of Hapi's children.
"Hapi!" called Freyr.
Hapi reluctantly came forth, his feet slapping at the white jade floors, the girth of his rotund belly quaking with effort, his hands clenching and un-clenching with profound nervousness. He stood amidst the collected gods and goddesses, their many eyes upon him.
Freyr said, "It has come to my attention that our fellow Hapi has procreated. This god that now stands at our center has made not only a demi-goddess, but another god and he has put forth effort to hide this fact from us."
Hapi shook his head defiantly and fearfully.
"What evidence have you to this claim?" asked Kurupi of Freyr.
"This tale has been told to me, first by the dwarf Brok," answered Freyr.
"Brok!" Hapi exclaimed. "But if you know the tale of..." Hapi's voice trailed off in horror at his mistake.
"The tale of?" asked Freyr. "Who's tale should we have heard of? Do you mean the tale of your son, Xiao-tep?"
The gathered gods and goddesses rumbled with rumor.
"Nonsense!" cried Hapi. "What you speak of is nonsense. It is a convenient thing, indeed, for you to slander my name with a false tale of someone that cannot be here to tell it himself! A convenience indeed that Brok himself cannot be allowed into the Hall of the Seven Jade Doors to tell his tale, yet here you stand with the tale upon your tongue and using its ferocity to dismiss my status. If there be new gods in our midst, it is more likely to be the lascivious acts of Kurupi's prehensile penis than of my own acts."
Kurupi lowered his head to hide his face as the accusation was true, he had fathered many children the world over.
"Perhaps I should not have spoken of Brok, then," said Freyr. "Perhaps I should have gone immediately to the second storyteller to tell me the same tale."
"Bah! I defy anyone to tell the tale in my presence!" said Hapi.
"Then you shall be defied," said Freyr. "Lei-zi, please come forward."
As Lei-Zi stepped from the amassed crowd, walking slowly and delicately across the jade floor, her head down in proper respect for her fellow gods and goddesses, the court echoed with fury and wonder.
"What's this?" Hapi demanded. "How have you persuaded Lei Zi to tell your lies, Freyr?"
Lei-Zi raised a hand to all and was given quiet. She bowed respectfully and spoke. "I am Lei-Zi, Goddess of Thunder. I have, indeed, come to you this day to tell you a tale; a tale of a new god."
The gods and goddesses again spoke with great voice. Again Lei-Zi held up a hand to call for quiet and this was granted.
Except fr Kurupi who called out, "How do you know of this new god? How can you prove your claim?"
Lei-Zi nodded to Kurupi and said, "I know of this new god for I am his mother."
"And Hapi is the father," sneered Freyr.
"How dare you insult me!" cried Hapi.
"Why was this not brought to our attentions before?" asked Atai.
"But it has," said Freyr. "It came to me as I noticed the mortals of the world growing religion about this new god, the one called Xiao-tep. It is then I discussed the matter with a mortal sage and, upon hearing of my curiosity, the dwarf Brok came to me to confirm Xiao-tep's existence. Many of you may know of him but did not recognize him as a god for he is none other than the current caretaker of Taleisin."
Several gods cried out in anger at this while a few nodded that they had known of Xiao-tep, though admitted they did not know his origins or lineage.
"Why was this kept from us, Hapi?" demanded Smertrios.
Hapi stammered, seeking an answer that would end the conflict. He could find no true answer.
"I made no mention of this," spoke Lei-Zi, "for I did not know it was meant to be brought forth to the many gods. I felt it right for Xiao-tep, my son, to find his own way through the world. When Freyr came to me seeking truth in the tale, I confirmed Xiao-tep's life and am now here presenting the very same to all of you. I apologize for any transgression I may have committed."
"Even should we believe you did not know this matter should be brought to us," said the Ašvieniai in unison, "we cannot believe the both of you did not know. Why did Hapi not bring this to our attentions upon Xiao-tep's birth?"
At this, Lei-Zi looked to Hapi. Hers was not a gaze of honor or respect, but of hurt and hatred. She answered, "He wanted me to deliver Xiao-tep unto him upon birth. He planned to eat Xiao-tep. I could not allow this. This is my child we speak of. I cannot simply deliver him unto death. I would rather risk my own life. I fooled Hapi into thinking a fish taken from the seas was his son and he ate that, thinking the matter over with until he discovered the truth."
"Then it is the mother's blame," spoke Volos. "Her punishment should be swift and severe."
"One cannot blame a mother for wanting to save the life of a son," said Rhea.
"Had she been a loyal consort," retorted Volos, "she would have followed Hapi's instructions and Xiao-tep would not be a matter to be discussed currently."
"Indeed!" cried Hapi. "It is the fault of Lei-Zi a new religion grows! It is the fault of Lei-Zi we gather her now."
Lei-Zi opened her arms, invitingly, saying, "I will take upon any punishment required of me, even death. I ask only Xiao-tep be spared. He had no choice in his birth."
"Hapi is not so guiltless," said Freyr. "Hapi may have been fooled into thinking Xiao-tep dead at one point, but he learned this was not true far sooner than we learned of Xiao-tep. And, may I remind you, I also said Hapi has father a demi-goddess. His transgressions are twice that of Lei-Zi."
"We can hardly punish Hapi for the birth of a demi-goddess," said Anjana. "There are far too few of us that have not birthed a half-mortal child.
"This is true," agreed Freyr, "but why is it we've not heard of either until now? His demi-goddess daughter serves only to further purport his concealment of matters; it serves to undermine his word."
"What about Coyote? Know you that Xiao-tep makes friends with a son, another new god, named Comet Fox?"
"We all know of Comet Fox," said Freyr. "His expolits amongst mortals are well known. He does not threaten us nor the Many Heavens, rather he aides mortals in their trials."
"We cannot surely deny Coyote his nature," giggled Uzume.
Hapi growled at Uzume.
"Nip at her like a dog, Hapi," said Freyr, "and I'll slap you down like one."
Hapi raged incoherently at this, then gethered himself enough to say, "That is unfair!"
"We are not interested in fairness here," said Freyr.
Hapi fell silent at this prejudice.
"What suggestion do you make, Freyr? How shall we handle this new god, if not his demi-goddess sister?" asked the ibis-headed Thoth.
"What should be done," said Freyr, "is a matter of accordance. We should invite this new god, this son of Lei-zi and Hapi, the one called Xiao-tep, here into the Many Heavens."
At this the many gods stirred with suspicion.
"Cease your fears, friends," soothed Freyr, "what can but one god do onto our kingdom we cannot refute in force? Let Xiao-tep come here and, should he truly be a god, enter here the Heavenly Court of Seven Jade Doors. If he truly be worthy, he shall be allowed passage in. And once here, we shall stand him in our midst to answer any query we would put to him, to sum up his worth and value, to surmise his wisdom and effect upon the mortals."
"That is an outrageous suggestion!" yelled Hapi. "How dare you? How dare you defy my wishes for his death? He is a new god and as such does not deserve life!"
"And who would judge this so?" asked Freyr.
Hapi, emboldened by anger, stepped forward. "I would make such a claim, the damned god's father!"
Several of the gods whispered fear at Hapi's damning another god.
Freyr considered this, considered Hapi. "Perhaps your opinion would hold more weight," he answered, "if at first you had not failed to kill Xiao-tep."
"I was tricked by Lei-zi!"
"Then you should be honored to have fallen prey to another god and not a mere mortal," suggested Freyr.
Hapi could give no retort.
"What shall happen to my son should you judge him worthy?" asked Lei-zi.
"That is a matter we must contend with should the need arise," answered Freyr.
"What shall we do should Xiao-tep stand before us and, having judged him, we decide him unworthy?" asked the sun-faced Tohil.
"We shall strike him down without prejudice," said Freyr.
Hapi smiled and Lei-zi frowned at hearing this.
"And what of the demi-goddess?" asked Haumia Tiketike.
Again Freyr took a moment to think. He then said, "I will send forth our loyal servant and elder Immortal Chiava. We all know him and have come to trust him well enough to allow his living within the Many Heavens. He thrives on adventure and is quite personable. He would love to go forth to find this demi-goddess, this... what was her name?"
Hapi frowned, at first refused, then gave up his daughter's name, "Wu Chan Chu."
"Wu Chan Chu," Freyr repeated. "He will present himself as a mortal in some capacity of his own choosing, perhaps in need of help carrying out a task, and will effectively spy on her for us. With his spying done, he will report back to us."
"What task shall be ascribed to Chiava?" asked Kumugwe.
it was Hanuman that gestured with a wave of his hand. From his waist he produced a length of emerald green silk with gold piping and tassels along the edge. He Stepped forward, handed to Freyr, and said, "Have Chiava take this to some destination. Should Wu Chan Chu be trustworthy, she shall not steal it and thereby prove her dharma. She may be tempted, however, for she is, after all, a great fighter that seeks the next great fight."
Freyr unraveled the silk to discover held within was a vajra of pure gold. Many gods drew nearer to behold the beautiful weapon before Freyr wrapped it in the green silk once more.
The gods were nearly all in agreement on this, but those who opposed did so silently for their objections in their hearts were minor and their curiosity for the new demi-goddess too persuasive.
Freyr then stepped to Lei-zi, saying, "And we will send you to retrieve for us your son."
Lei-zi bowed respectfully.
The seven jade doors of the Heavenly Court were thrown wide and the gods and winds were released.
Lei-zi descended from the Many Heavens towards Taleisin.
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Part 3
After the Battle Upon the Plain of Adoration, the mighty demi-goddess Wu Chan Chu wandered the world a while until she came once more to The Peony Teahouse. She found, upon her return, she was well received by many fans and regular, but not by Sal Igo - proprietor of the teahouse.
"Go back from whence you came, frog demi-goddess!" Sal Igo spat. "We're no longer in need of your services here at the Peony Teahouse!"
Sal Igo made this proclamation in the presence of many of his patrons so as to make a point of humiliating Wu Chan Chu, to send her off with the knowledge he did not want her.
But Wu Chan Chu was not ashamed nor humiliated. She demanded, "What is this attitude and position you take against me? I have always been welcomed here, if not as Wu Chan Chu the Peony Teahouse Champion then in the very least as a competitor. Is the house championship no longer open to all challengers? Have you changed the rules?"
"The rules have not changed," said Sal Igo, "for anyone but you, Wu Chan Chu. You are of special notoriety within our house rules. Namely and precisely, your presence is no longer welcomed here at the Peony Teahouse."
Several of the patrons grumbled with frustration and contempt at this rule.
"Why is this?" asked Wu Chan Chu.
"Because I have found you to be unfaithful to the House Championship. You are a wanderer, Wu Chan Chu. You come and go as you please and have left here with the championship title upon your shoulders more than once. I cannot tolerate this sort of behavior. I cannot allow a champion to leave as she would like, leaving me to establish yet another lengthy and costly tournament to find another champion. Do you know? This last time that you left your obligations here, the last time you vacated the championship, I did not even put forth the money to promote and establish a new champion. I simply allowed whomever desired to take to fighting upon the floor. After three days, one fighter alone remained standing against all challengers. And so I had to proclaim him champion." Sal Igo stroked his silk robes, straightening himself so as to be dignified. He looked to Wu Chan Chu and said, "His name is Iron Shirt."
"I will fight him for the Peony Teahouse championship."
"You will do no such thing," said Sal Igo. "As I have already made mention, you are no longer welcome here. That is to say you are no longer welcome here under any capacity: as champion, as challenger, as drinker of teas or of wines or as gambler. Wu Chan Chu is not a welcome guest of the Peony Teahouse."
"How dare you treat a demi-goddess this way? How dare you treat a former champion - and a champion that filled your coffers to overflowing - this way! How dare you treat me this way after I've found your coffers and returned them to you!" Wu Chan Chu stepped heavily towards Sal Igo.
The teahouse proprietor stepped back, nervous and afraid of Wu Chan Chu's strength and fury. Though he feared her, he felt he must remain stolid against her for the betterment of his business. "Go away, Wu Chan Chu. Go back to whichever pond you came from."
The gathered clientele of the teahouse began to argue with Sal Igo. They demanded he let Wu Chan Chu fight.
"Surely!" cried one patron. "Surely you see the brilliance in allowing Wu Chan Chu to fight Iron Shirt. Both are perhaps the best fighters you've ever had! Let them fight!"
A subtle chant of "Ku-mi-te!" was begun.
"No!" cried out Sal Igo. "This will never be! Wu Chan Chu, go now from my teahouse and never again return!"
Wu Chan Chu glowered at Sal Igo. She flicked out her tongue to catch a fly bussing near Sal Igo's head. The teahouse proprietor flinched at this. Wu Chan Chu swallowed down the fly, belched, turned and left the Peony Teahouse.
Once outside, Wu Chan Chu stood under the gossamer moon. Paper lanterns cast a warm, red glow upon her form. She was looking to each direction wondering where next to roam when an elderly man in a dark blue robe and a hemp sack slung over one shoulder approached her.
"Excuse me," said he.
"Hmmph?" Wu Chan Chu grunted in question.
"You look to be quite the strong and trustworthy Blessed One. Would you, by chance, be interested in making a few coins?"
"You have piqued my interests, old man."
"I am Chiava and I'm afraid I've found myself with an inheritance from my recently departed sister. I fear continued travel upon the road home alone. For a few coins, would you be so kind as to escort me home?" asked the old man.
"Where is your home?" asked Wu Chan Chu.
"In the city of Azipoor south of Tenhar."
"I thought Ife was south of Tenhar?" asked Wu Chan Chu.
"It is, further south than Azipoor."
"Have you means to travel?" asked the demi-goddess.
"Only my feet," answered the old man.
"Why don't you take some of your inheritance and buy yourself a horse or wagon?"
Chiava hung his head low, his head turning sideways and his eyes darting about, looking for eavesdroppers. He spoke lowly now, "The inheritance, you see, is not in coins. Rather, it is an item I carry now in this sack. There are very many thieves that would like to steal it from me and, as you might imagine, I cannot allow this."
Wu Chan Chu considered Chiava a moment. She then asked, "How many coin might I expect to be paid?"
"All that I have. I am old and need not eat on the journey. What I will need I can gather from the land as we travel."
"How much would you be carrying then?" Wu Chan Chu grew impatient, having not been given a straight answer.
"Thirty," said Chiava.
"Thirty!" cried Wu Chan Chu so loudly that Chiava startled, looking around to see if she had drawn attention to them. "Dear old man, I would not do this for thirty coins. I'll need far more than that."
Chiava frowned. He said, "All I can offer you is more payment once we reach my home. Once there, I can offer you more. But I can offer you nothing beyond the thirty presently."
Wu Chan Chu croaked. She looked into the four directions again, wondering where to wander. She looked to Chiava and said, "I suppose traveling with you is as good a choice as any. I will take your coins from you, old man. But should I find the trek harder than expected, should I decide my troubles outweight my rewards, I reserve the right to leave your side at any moment."
Chiava nodded. He reached into a pocket of his robe and pulled forth the coins, handing them to Wu Chan Chu. Together the two set out to the east, walking for Azipoor. Wu Chan Chu soon found herself frustrated with Chiava, saying, "Keep up, old man. I do not intend to make this journey with you last. Walk faster!"
"I'm walking as fast as my old body allows," said Chiava.
Wu Chan Chu sighed. She stopped on the road and let Chiava pass her some ways. She watched him walking slowly, shambling. She shook her head.
"First to be thrown out of the Peony Teahouse and now I've thrown in with an old man," Wu Chan Chu shook her head. "The gods must hate me."
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I hope it was worth the wait! Check back next week for Act II!!!
Showing posts with label Wu Chan Chu. Show all posts
Showing posts with label Wu Chan Chu. Show all posts
Friday, March 26, 2010
Friday, September 5, 2008
"Song of Momoki" -- Act III
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“Song of Momoki”
© 2008 by Charles Shaver. All rights reserved.
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ACT III
THE DESTINIES OF FRIENDS: Wherein Momoki Receives Training; Balori Makes Peace; Wu Chan Chu Wars with Herself; Many Move Towards a Great Battle
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CHAPTER 1
Within the many layers of Hell; within one of its planes resting under a staring, indifferent red eye there was an enchanted forest of silver. It glimmered crimson under the undying, unmoving sun that never set, never rose, never wavered or blinked. It was through this forest of dead trees with chrome-like bark Momoki the Marmoset ran through, chased by the crystalline baboon of purple amethyst. He ran frantically, grunting with every effort. He jumped to the side of a tree and rebounded off it into the branches of another. The amethyst baboon, however, did not give up the chase. Instead it stopped, glared up and climbed the very tree in which Momoki sought refuge.
Momoki shivered nervously. He peered at the ground, wondering if he could jump from his great height within the tree and survive the fall. Could an undead marmoset die? He once thought an immortal marmoset could not die, yet he was wrong. If her were to fail here within the dark depths of Hell, what fate would he be cursed with? Would it be worse than the Chamber of Despair? Worse than the tortures of Radiant Gui?
His mind raced with thought. So much so he did not realize the baboon approached him now.
The baboon cackled, howled, raised crystal claws and slashed at him.
Momoki’s smoky black flesh parted under the sharp crystals. He stumbled backwards upon the branch, lost his footing and fell the length of the tree to slam into the blackened, chalky ground with a small thud.
Radiant Gui roared, appeared from the beshadowed landscape and came to stand beside the tree in which Momoki and the baboon now were.
“You fool! You let him come upon you!” cried Radiant Gui.
Momoki’s wounds healed. He lifted himself off the ground. “I did not know where else to go.”
“Fool!” Radiant Gui reached down and backhanded Momoki. He twisted and turned through the air before landing some distance away. Radiant Gui followed him. “You’re supposed to be training for your fight against Yaska Selith, not falling out of trees like idiot monkeys.”
At this the baboon growled. It leapt from the tree and joined Radiat Gui, sitting near the horse-demon’s foot.
“The baboon will attack you again. Defend yourself or it will be more tortures for you!”
The baboon leapt into action, pouncing on top of Momoki.
Momoki shrieked under the weight of the crystal baboon.
The baboon’s claws dug into the ground, pinning the marmoset down. His jaws snapped at Momoki’s head, dripping hot saliva on his face.
Momoki knew he could not throw off the baboon lest he endanger himself. He thought of his fall from the tree, thought of the claws wounds that hand healed over immediately. He knew he could take the damage.
The baboon’s maw opened wide, thrust forward. His teeth snapped together again and again.
Momoki raised his arm, somewhat limited by the baboon’s hold upon his shoulders. He baited the baboon. The baboon wrapped his teeth about the marmoset’s forearm.
The baboon now caught, somewhat limited in his own motions with his claws in the ground and jaw unrelenting upon Momoki’s forearm, Momoki was able to twist his hips, pulled sideways with his arm and using leverage toppled the baboon from off him.
The baboon and the marmoset squared off.
Momoki’s forearm healed.
The baboon jumped at Momoki.
Momoki sidestepped, struck out his palm and pressed against the baboon’s face, pushing him sideways and deflecting the attack. Again and again the baboon attacked. Again and again Momoki deflected. He ducked behind trees. He defended, but he did not run. Momoki stood his ground.
Radiant Gui sat upon his laurels and silently watched, pleased with Momoki’s progress.
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CHAPTER 2
On went Balori Shongoyo the Towering Elephant and with him his three companions. On they went across the countryside. In every town, as they stopped for provisions, word of their presence spread. Soon people from every walk of life – those seeking glory, those seeking righteousness, those seeking to acquaint themselves with a Gifted One like Balori – came forth and asked if they could join the quest to the Plain of Adoration, the quest to retrieve the Jewel of Zingtai.
Balori did not enjoy the idea of further people joining them, nor did he enjoy his further impeded progress by their joining, yet he saw the wisdom of their numbers. He knew there was a chance of war against the demon and a war would require an army, so he allowed their numbers to grow. Soon his three companions grew from three to five, then ten. Now, as they rode through a countryside turning gold with Autumn, their number was nearly two dozen.
The new members of his expedition brought their own supplies and shared weapons and armor with one another. None of them could be called rich and they could not afford full suit of armor. Many of them wore no more than one or two pieces.
One such man also had a yurt, an inheritance from his grandfather, and within it they stayed. Balori refused to join them, saying he hated being within its canvas walls. But afraid he would seem unappreciative or cause hurt feelings, he ventured a peek within it once for an inspection. He gave it his seal of approval.
As the sun set in the golden country, Balori sat atop a large boulder to watch the starless night wash over the land. He hated the slow going of his companions. He desired to fly right to the Plain of Adoration. But every time he thought this, he huffed and sighed and accepted the importance of his companions. He did so now.
It was Negkendra who came to him this night, asking if he could join the Gifted One seated upon the boulder.
Balori harrumphed. He said, “I suppose you could join me.”
Negkendra sat on a much small stone that lay at the foot of the boulder. Together the two watched the blank sky grow black overhead. They sat in silent contemplation together a long time.
At last, Negkendra said, “I’m sorry for my part in the Elephant Crusade.”
Balori was shocked but this. He grunted, but said nothing.
“It was wrong of us, wrong of the Eternal Empress. Wish that I could remake our histories.”
Balori breathed deep. He thought of Negkendra’s stand against Ghalib. He wondered at the man who was once supervisor over the Elephant Crusade now a crusader for the stars. He said, “I thank you for your stand. I thank you for your companionship now, though you once stood as my overseer.”
Negkendra nodded. Guilt weighed heavily upon him. He thought a moment of things, then said, “I wonder what’s happened with Ghalib.”
“I killed him,” informed Balori. “I crushed his head under my foot.”
This frightened Negkendra. He asked, “Why have you not done the same for me?”
Balori answered, “Because you ride with me now. I have much hatred filling my new form, Negkendra, but I fight it. I do not wish to be a simple killer, a mere spirit of vengeance. If I am to task myself with anything in this life, I must do so with intellect as well as passion and not with passion alone. To act on passion alone, I suppose I would take the hides and crush the heads of every man or woman in every country I came into. While that may be the act of vengeance, and I do enjoy the vengeance I took against Ghalib, I do not wish to be vengeful alone. I would like to commit something closer to justice, if I can.
“While once your were my overseer, while once you were amongst my captors, you are now at my side. I can assume you seek the same end as I?”
Negkendra nodded. “I seek righteousness. I cannot stand by and live my life while atrocities carry on in the world, especially when I once had a hand in them.”
“Then we are the same,” said Balori. “Many who travel with us now seek glory or wish only to be at my side so they can one day claim they were once at my side. I suspect many may run from us when we reach the Plain of Adoration. But you and I and Akadia and Macia are bound by the cause of righteousness.” Balori sighed, breathing easily now. He admitted, “Where once you were my enemy, now you are my brother.”
Negkendr turned and looked up at Balori. He smiled and said, “I, Negkendra the First Mahout, am at your side to the very end.”
Balori smiled back. “I know you will be.”
Balori moved his trunk to Negkendra’s side. With it he softly patted the former mahout, caressing him as he once caressed his own beloved Tafarri. To Balori’s accord, they were family now.
The two sat, Balori’s trunk about Negkendra’s shoulders, and stared into the dark, dark sky.
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CHAPTER 3
Momoki stepped cautiously through the silver forest. He knew the silver baboon was near, but he could not find the shiny creature. He feared a surprise attack. His fears were not unwarranted.
The silver baboon appeared from the silvery hide of a tree. His body melded perfectly with the dead thing, only his eyes could be seen against the tree’s bark, until, that is, it moved. The baboon shifted his weight and Momoki saw his movement as it catapulted from the tree at him.
Momoki screeched. He stumbled backwards under the weight of the baboon as he smacked Momoki in the face before running off and disappearing, blending with yet another tree.
Momoki stood. He peered about. His nerves settled. He knew he merely had to watch for the baboon’s movement. He saw it.
The baboon jumped, appearing from a tree’s branch. Momoki was able to sidestep, but still caught a claw to the face. A scar appeared across his cheek, but immediately began to heal.
Momoki watched as the baboon disappeared into the trees.
Radiant Gui, who was watching from the shadows outside the forest, spoke. His voice was deep and growling.
“You are well exposed, marmoset. Learn from the baboon’s ways.”
Momoki considered this. He was unsure what the demon meant. He wished he could see Radiant Gui, to speak with him and ask what it was he was required to do. He hated the demon that watched from the shadows.
Then a thought came to him. The shadows. Shadows grew long and full everywhere, especially in this land.
Momoki caught sight of silver streaking movement. The baboon launched itself into the air, descending upon the marmoset.
Momoki dropped to the blackened ground. He spread himself close to the chalky black dirt. He disappeared within its dark mass. Only his hat and eyes remained, but his form was difficult to determine.
Confused, the baboon struck where he had last seen Momoki, but Momoki crawled sideways and out of the way of the silver claws.
The baboon cackled angrily and jumped into the trees, bending well there.
Momoki moved within shadows, blending well there.
In the distance, Radiant Gui laughed with approval.
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CHAPTER 4
It took many days for Comet Fox to sober up upon the foothills of Taliesin. Xiao-tep cared for him in that time, sacrificing not his work for the Mountain that Lives in the Sky, but instead sacrificing his time with his friends Aglina and Zingtai.
As Kalavata flew overhead and Xiao-tep finished his day’s work of gardening, he came to Comet Fox who was resting upon a soft, cool, moss-covered stone. He brought with him fruits from the day’s harvest, including crab apples. Comet Fox ate them voraciously.
“It’s been a long time since last we met,” spoke Xiao-tep as he ate his own meal.
Comet Fox stayed his feeding a moment, the juice of the apples dripping from his long muzzle, and said, “That it has, friend. And I am ashamed I’ve come to you in the condition I did.”
“Thought I you swore off drinking.”
Comet Fox set the apple in his hand upon his knee. He stared at it a moment and thought of the wicked, enchanted fruits the demon Ketsueki Sato once fed him. He felt greater shame in his weakness. “I’m sorry, Xiao-tep. I-I suppose I grew weak. I’ve not had a good time of things as of late.”
“Oh?” Xiao-tep asked.
Comet Fox looked to the west and wondered if that was the direction of the Peony Tea House. “I’ve had a falling out with your sister.”
“Wu Chan Chu? Is she well?”
Comet Fox smiled. “You have much to be proud of her. She is champion at the Peony Tea House.”
Xiao-tep did not like this, despite Comet Fox’s assumption he would. Xiao-tep had learned to hate fighting. It pained him greatly to ham another creature. But he supposed Champion of the Peony of indeed a great feat. He said, “That is truly an accomplishment. I take it she’s well, then?”
“Oh, yes. She has all the food she can eat and all the tea she can drink. She’s come to favor the hooka. And she has room and board at the Peony as champion, and a cut of the teahouse’s winnings concerning her fighting. She has truly set herself up.”
Xiao-tep ate his apple. “Good. You spoke of a falling out?”
Comet Fox sighed. “Indeed. There was a theft at the Peony and I was blamed for it. As champion, of course, a theft against the Peony is a personal matter. We exchanged unfriendly words.”
“Hmm,” Xiao-tep considered this. “Were you behind the theft?”
Comet Fox wanted to be offended, but then realized the question was perhaps a good one to be asked. “No, it was merely assumed I was the thief.”
“Then where’s the problem?”
“Wu Chan Chu did the assuming. She struck me in anger and would not hear the truth of my innocence. I left,” Comet Fox picked the apple from his knee and bit it. As he chewed he said, somewhat forlornly, “That is when I returned to drinking. I felt full of shame and sorrow for myself. It was a stupid thing to drink under such emotion.”
Xiao-tep only nodded in concurrence.
“Thank you for caring for me, Xiao-tep. I see you’ve started a new life here? I had heard you were here from some migrating geese. I guess I came to see a familiar and friendly face.”
Xiao-tep looked to Comet Fox and smiled. He patted Comet Fox upon the knee where once the apple had been. “You’re always welcome here, old friend. Taliesin has been good to me. I care for her and she gives me plentiful fruits to eat. When I came here, the old caretaker had tragically gone. I am happy here.”
Comet Fox smiled and bit his apple, juice flowing from his mouth as he spoke, “Good. I am happy you’ve found a good home.”
“What of you?” Xiao-tep asked. “What have you done when last we met?”
Comet Fox finished his apple. “A great many things, including further training. But the largest event is my falling out with Wu Chan Chu. How I wish I could make matters better between us.”
They sat watching the world far below Taliesin.
After a while, after talking and reminiscing, they wondered up the mountain where Xiao-tep introduced Comet Fox to Aglina and Zingtai.
“She once was the stars,” explained Xiao-tep of Zingtai.
This jarred some memory within Comet Fox, the memory of a kind man who had cared for him while he was drinking and drunk and roaming the world. He said, “I believe I met a man in my travels, though truthfully I cannot recall if it is a memory or the memory of a dream. I believe he told me he was traveling to some plain…” Comet Fox’s face strained with consternation and thought. He said, “I believe it was the Plain of Adoration. They sought a demon and wanted to restore the stars. I seem to remember a Gifted One with them, a rather discourteous elephant.”
Xiao-tep’s eyes widened. “An elephant? Di he walk and talk as a man like we do?”
Comet Fox nodded.
“Balori!” he turned to Zingtai. “Zingtai! Balori remains on his quest for your jewel.”
At this Zingtai smiled and fluttered her wings happily. “If anyone can do this,” said she, “I begin to believe it will be him.”
“Know you this elephant?” asked Comet Fox.
Xiao-tep said they did, “He came to us some time ago seeking the matter with the night sky. He said he was sent forth by an empress to return the stars. When he came here, he learned of the theft of Zingtai’s jewel and the reason for her disappearance from the night. He must still be looking for her stolen jewel.”
Comet Fox said, “They appeared rather determined.” He wondered a moment. Curiousity infected him, as it always does, and he said, “Perhaps we should go find this Balori, go see this Plain of Adoration. I would bet the demon has Zingtai’s jewel.”
Xiao-tep shook his head vigorously. “No. This is Balori’s matter, not ours.”
“What matters whose matter it is? I didn’t ask to join his quest. I simply wish to see this demon they spoke up upon the Plain of Adoration. What harm could come by merely looking?”
Xiao-tep could not answer this. He could find no harm in it, yet he did not wish to be involved. He did not wish to be caught in a fight against yet another demon. He shook his head vigorously.
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CHAPTER 5
Momoki screeched in fear as the golden baboon chased him through the silver forest. He hid within the forest’s shadows, which work to some extent, but the baboon was far larger and stronger. He tried to parry and deflect the gold baboon’s assaults, some of which worked but many of the blows the gold baboon threw landed upon Momoki, knocking him backwards further and further.
Frustration welled within Momoki. If he were to take the fisted blows of the golden baboon, he wanted to give the creature a taste of the assaults. Momoki took a punch to the face, balled his fist and threw a punch of his own. It was weak and bounced harmlessly off the baboon’s neck.
The baboon paused his assault. He peered at Momoki, then cackled hysterically with laughter at his weak attack.
Radiant Gui sighed and stepped from the shadows. Said he, “Damn your hide, marmoset! If you are to defend yourself you must know how to deflect an attack or hide. But if you are to topple a demon, you must know also how to fight. That was no attack. That was pathetic. We must equalize the gold baboon’s strength with your own.
“Now think, marmoset. Think of some thing that you used in your day-to-day life, something you know well and are familiar with, something you can use as a weapon.”
Momoki thought on this. He searched his memory of his life on Taliesin. In his hand appeared a small, black version of his smoking pipe.
“What is this?” raged Radiant Gui. “A pipe? Of all the things you must have used you think of a pipe?”
Momoki, ashamed, lowered his head and said, “It was there during my happiest times. I would smoke it when my friends and I would picnic under the trees.”
“Bah! What a fool! A pipe is no weapon!” Radiant Gui sighed. He shook his head in disgust. “Very well, carry on with your training.” Radiant Gui melted again into the shadows.
At this the gold baboon struck. He pounced atop Momoki, slamming him to the ground. Momoki struggled to get away from him, beating the baboon about the head with the pipe. This did nothing to the baboon but further anger him.
At last Momoki thought of his first fight, with the amethyst baboon, and how he allowed that baboon to close in so he may wrestle it off himself. Momoki stopped defending, stopped fighting the gold baboon and let his muzzle come close to Momoki’s face with its snarling, saliva-cover teeth. The teeth snapped at Momoki and as they came so close Momoki thought he might be bitten, he lifted his pipe, turned it round and used the pointed mouthpiece as a small spear.
The pipe entered the gold baboon’s temple.
The baboon screamed in horror. He let go of Momoki, stumbled backward, then toppled.
Momoki lifted himself off the ground. He had fought before coming to Hell, but never before had he taken the life of another creature. He stared at the gold baboon with his mouth ajar as Radiant Gui laughed in the background. Momoki felt as though everything within his form suddenly sank, leaving him incredibly empty.
Radiant Gui stepped out of the shadows once more. He said, “I suppose your pipe is a good weapon after all.”
The horse-demon grabbed the pipe with the tips of his massive claws. He pulled it free from the dead baboon’s temple. He handed it back to Momoki.
“Your training is now complete. You should be proud. You’ll ride against Yaska Selith in the name of all demons. But now you must train your own band of warriors to ride with you. I will hand-pick these warriors and I will chose those who have fallen in some way to Yaska Selith. Such warriors, ones with some investment in the outcome, are most likely to succeed, and succeed you must.”
The horse-demon looked into the distance, as if thinking. Momoki thought as if he were worried.
“Y-you’re afraid?” he said.
Radiant Gui looked to Momoki. His face twisted with anger.
“Me? Afraid? Bah! I fear nothing!” the demon lied. “But know this: the one who cursed all demons did so due to Yaska Selith. Though she is a mere demi-goddess, she could cause all the layers of Hell some problems should she decide to fulfill her curse. This is why I train you, to avoid that minor complication. But if we can rid the world of this pseudo-demon, this false demon that causes peril for all demons, she will most likely forget her curse.”
Momoki nodded in understanding.
“Know this, too, marmoset: I know I’ve proven myself a liar, but should you succeed, I will promise never to harm your friends. Have we a deal?”
Momoki nodded. “I will do this.”
Radiant Gui left Momoki.
Momoki returned to the massive doors of the Chamber of Despair. He opened them and entered. The doors shut behind him.
His friends sat in the hut, chatting idly. Gogi, seeing Momoki had returned, ran to his side, saying, “Momoki! Momoki! Look!”
Gogi lead him to a corner of the courtyard that had obviously been worked. Gogi said, “I brought with me a few seeds, so today while you were out I worked the ground here and planted them. I’m uncertain that they’ll grow. The soil here doesn’t look particularly fertile and while you and Twila don’t need to eat, Szu Ri and I still do and so I planted this garden.”
Gogi looked up at Momoki, seeking approval. “Is this okay with you, Momoki.”
Momoki smiled down at his friend, though his smile went unseen. Momoki nodded, saying, “It is, indeed, old friend. I’m proud of you.”
Hearing this, Gogi swelled with pride in himself. He looked at his garden before returning to the hut with Momoki.
Szu Ri and Twila welcomed him back.
“Are you well, Momoki?” Twila asked.
Momoki nodded and stroked her head with a loving finger. He then said to his friends, “I’ll soon have to leave this Chamber. I hope it will only be for a short time. But I’d like the three of you to go with me. I do not trust you under the care of Radiant Gui.”
His friends knew what he was asked to do, knew he was to fight a demon with others. They feared going with him. But they also feared Radiant Gui.
At last Twila said, “As long as we’re with you, we know we’ll be okay.”
Szu Ri and Gogi nodded in agreement.
They chatted on other things for a time before, tired, Szu Ri and Gogi fell asleep. Twila cuddled up next to Momoki as he watched over them.
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CHAPTER 6
Wu Chan Chu kicked the doors of the Peony Tea House open, nearly kicking them both from the hinges. She pulled the mule and its cart into the teahouse until, at last, he stopped them in the center of the fighting floor. He called out for Sal Igo and the owner of the teahouse came. He recognized the coffers immediately.
“The coffers!” cried Sal Igo. “you’ve returned them to the teahouse! Our hero is Wu Chan Chu!”
Great applause was sent up for the frog demi-goddess.
Sal Igo pulled her aside. “Where did you find them, my friend?”
“I discovered the real thieves, one being Roku whom I turned into you. The other escaped me, but I was able to retrieve the coffers for you. Know this: Comet Fox had no dealings in the theft.”
Sal Igo nodded. “Very well. Now let us discuss your return as our champion. We’ll have to redecorate your room, but we’ll put it back the way it was before, or make it better if you’d like.”
Wu Chan Chu considered this. Guilt filled her for having blamed Comet Fox without evidence as the thief. She said, “No, I’ll not be your champion.”
“But why? Do you wish a larger cut in the winnings? If so, then it is done.”
Wu Cha Chu shook her head. “No. I’ve got to find the other thief and bring him to justice. It’s the least I can do since…” she wanted to say she wanted to do more than clear Comet Fox’s name, but to bring the real thief to justice in the name of her friend. She could not bring herself to do this, however. She said, “I’ll take my brass knuckles and a reward and I’ll go.”
“Go? Feh! You’ll go nowhere and I’ll pay you no reward! I offered no reward!”
Wu Chan Chu grabbed the man by his throat. “I believe a reward is nonetheless appropriate.”
Sal Igo nodded. “Okay, okay. You’ll receive a small reward.”
Wu Chan Chu let him go.
And so the frog demi-goddess gather provisions and left the Peony Tea House, heading east, searching for the Immortal called Black Tentacle.
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CHAPTER 7
Rain fell hard upon the lands as thunderstorm after thunderstorm rolled over the farmlands.
Shabar packed a small sack and saddlebags with preserved fruits and a bedroll, items he would need while traveling.
“You cannot do this to me,” said Alai. “You cannot do it to your children. By the gods, Shabar, you have an unborn child!”
Shabar did not look at her as he continued packing. “I called on Old Man Arnas again. I did so yesterday. He knows I’m leaving. In two days’ time he’ll send his daughter here or when the rains let up. She had three children. She’ll be able to help with the birth.”
Alia filled with anger. She slapped Shabar hard along the length of his cheek. He did not turn to her. He did not respond except a brief pause in his packing.
He began packing again.
“I don’t understand why you go. There are others to go forth like this, others without families and without children. I’m certain they are on their way to make things right.”
Shabar stopped his packing. He finally looked at his wife. “I’m certain there are others, too. But I cannot allow this to carry on, especially since I had a hand in matters. Even if I had no part in things, I could not stand by. I cannot help but think those who watch atrocities committed by others are much involved in their continuance. I cannot watch.” He returned to his packing. “I have to go.”
“You are a damned fool! Don’t you care for your family? Why would you leave us?”
Shabar’s son, frightened at his arguing parents, scrambled from under the table where they ate to hide under his wooden bed beside the stove and its warming fire. He could not understand the things happening in his home, but he knew his father was leaving. He didn’t want his father to leave, but was unsure how to keep him home.
She followed him outside where he placed a saddle upon his mule. She stood under the overhanging eave of their home Shabar had built himself. She watched him.
Shabar came to her side. “Kiss me a last time before I go.”
Again Alia slapped him across the face.
“Don’t let me leave like this,” he begged.
“I won’t kiss you!” screamed Alia. “I won’t love a man that will not stay and provide for his family! I cannot love you! I hate you!”
She slapped him again.
Shabar glowered at her. He turned and mounted his mule.
Alia ran out into the rain. Thunder broke high overhead as she cried out, “If you leave, don’t ever come back! Don’t ever show your face here again! I hate you! I hate you! Don’t you dare come back!”
She collapsed into mud. Her chest heaved with sobs. Her hands surrounded her belly as she tried to hug her unborn child. “Shabar!” she screamed. “Shabar! Don’t leave me! No! No! Don’t! Shabaaar!”
Thunder roared. Rains pounded the lands around her, staining her clothes with thick mud. She screamed and screamed as Shabar left her.
As he rode away, Shabar’s tears disappeared into the rain.
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CHAPTER 8
As Balori’s army grew and marched from the west; as Wu Chan Chu came from the far, far northwest; as Shabar left his heartbroken wife and traveled south; as Momoki the Marmoset was training in Hell; so came Comet Fox to the Black Mountains that bordered the western edge of the Plain of Adoration and with him, at the urging of his friends Aglina and Zingtai, came Xiao-tep the Ankh-fish. They came, flying from the beautiful mountain Taliesin and lighted upon one small mountain within the Black Mountains range. They peered down into the valley and onto the Plain of Adoration.
There they saw the horrors of the Bone Warrior army. There they saw the vile orgies and wicked fighting the followers of the demon-dog dearly loved. There they saw the Weasel King Raiju Yu as he raped small boys. There they saw Neboshazzar feasting upon the flesh of the weak and the dead. There they saw the Brothers Jackal howling with laughter at the mention of the torment of others. And there, lastly, they saw the gigantic demon-dog known as Yaska Selith.
“By the gods,” gasped Comet Fox, “he is far larger than even Ketsueki Sato.”
Xiao-tep nodded in concurrence.
“Could it mean he is also stronger?” Comet Fox asked.
Xiao-tep did not answer for he did not know.
Within the Ankh-fish waged a war of emotions. Never did he want to fight again. Never did he want to take up arms against another creature, even one most evil. He loved his life within the fields and gardens of Taliesin. He loved his friends Aglina and Zingtai and Otti. He did not want to fight, yet he knew this blight upon the land needed expunging. He, at last, made his decision.
“I must return to Taliesin to retrieve my Spear of Sorrows,” said he. “And we will need help.”
Comet Fox cocked his head curiously. He thought a moment. He then asked and suggested both at once, “Wu Chan Chu?”
Xiao-tep merely nodded, saying, “And perhaps many more.”
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That's it folks! I hope you've enjoyed "Song of Momoki". Come back next week to read Act I of "Warriors of the Midnight Sun", the final tale within this storyline set in the wuxia world of The Children of Gods.
“Song of Momoki”
© 2008 by Charles Shaver. All rights reserved.
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ACT III
THE DESTINIES OF FRIENDS: Wherein Momoki Receives Training; Balori Makes Peace; Wu Chan Chu Wars with Herself; Many Move Towards a Great Battle
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CHAPTER 1
Within the many layers of Hell; within one of its planes resting under a staring, indifferent red eye there was an enchanted forest of silver. It glimmered crimson under the undying, unmoving sun that never set, never rose, never wavered or blinked. It was through this forest of dead trees with chrome-like bark Momoki the Marmoset ran through, chased by the crystalline baboon of purple amethyst. He ran frantically, grunting with every effort. He jumped to the side of a tree and rebounded off it into the branches of another. The amethyst baboon, however, did not give up the chase. Instead it stopped, glared up and climbed the very tree in which Momoki sought refuge.
Momoki shivered nervously. He peered at the ground, wondering if he could jump from his great height within the tree and survive the fall. Could an undead marmoset die? He once thought an immortal marmoset could not die, yet he was wrong. If her were to fail here within the dark depths of Hell, what fate would he be cursed with? Would it be worse than the Chamber of Despair? Worse than the tortures of Radiant Gui?
His mind raced with thought. So much so he did not realize the baboon approached him now.
The baboon cackled, howled, raised crystal claws and slashed at him.
Momoki’s smoky black flesh parted under the sharp crystals. He stumbled backwards upon the branch, lost his footing and fell the length of the tree to slam into the blackened, chalky ground with a small thud.
Radiant Gui roared, appeared from the beshadowed landscape and came to stand beside the tree in which Momoki and the baboon now were.
“You fool! You let him come upon you!” cried Radiant Gui.
Momoki’s wounds healed. He lifted himself off the ground. “I did not know where else to go.”
“Fool!” Radiant Gui reached down and backhanded Momoki. He twisted and turned through the air before landing some distance away. Radiant Gui followed him. “You’re supposed to be training for your fight against Yaska Selith, not falling out of trees like idiot monkeys.”
At this the baboon growled. It leapt from the tree and joined Radiat Gui, sitting near the horse-demon’s foot.
“The baboon will attack you again. Defend yourself or it will be more tortures for you!”
The baboon leapt into action, pouncing on top of Momoki.
Momoki shrieked under the weight of the crystal baboon.
The baboon’s claws dug into the ground, pinning the marmoset down. His jaws snapped at Momoki’s head, dripping hot saliva on his face.
Momoki knew he could not throw off the baboon lest he endanger himself. He thought of his fall from the tree, thought of the claws wounds that hand healed over immediately. He knew he could take the damage.
The baboon’s maw opened wide, thrust forward. His teeth snapped together again and again.
Momoki raised his arm, somewhat limited by the baboon’s hold upon his shoulders. He baited the baboon. The baboon wrapped his teeth about the marmoset’s forearm.
The baboon now caught, somewhat limited in his own motions with his claws in the ground and jaw unrelenting upon Momoki’s forearm, Momoki was able to twist his hips, pulled sideways with his arm and using leverage toppled the baboon from off him.
The baboon and the marmoset squared off.
Momoki’s forearm healed.
The baboon jumped at Momoki.
Momoki sidestepped, struck out his palm and pressed against the baboon’s face, pushing him sideways and deflecting the attack. Again and again the baboon attacked. Again and again Momoki deflected. He ducked behind trees. He defended, but he did not run. Momoki stood his ground.
Radiant Gui sat upon his laurels and silently watched, pleased with Momoki’s progress.
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CHAPTER 2
On went Balori Shongoyo the Towering Elephant and with him his three companions. On they went across the countryside. In every town, as they stopped for provisions, word of their presence spread. Soon people from every walk of life – those seeking glory, those seeking righteousness, those seeking to acquaint themselves with a Gifted One like Balori – came forth and asked if they could join the quest to the Plain of Adoration, the quest to retrieve the Jewel of Zingtai.
Balori did not enjoy the idea of further people joining them, nor did he enjoy his further impeded progress by their joining, yet he saw the wisdom of their numbers. He knew there was a chance of war against the demon and a war would require an army, so he allowed their numbers to grow. Soon his three companions grew from three to five, then ten. Now, as they rode through a countryside turning gold with Autumn, their number was nearly two dozen.
The new members of his expedition brought their own supplies and shared weapons and armor with one another. None of them could be called rich and they could not afford full suit of armor. Many of them wore no more than one or two pieces.
One such man also had a yurt, an inheritance from his grandfather, and within it they stayed. Balori refused to join them, saying he hated being within its canvas walls. But afraid he would seem unappreciative or cause hurt feelings, he ventured a peek within it once for an inspection. He gave it his seal of approval.
As the sun set in the golden country, Balori sat atop a large boulder to watch the starless night wash over the land. He hated the slow going of his companions. He desired to fly right to the Plain of Adoration. But every time he thought this, he huffed and sighed and accepted the importance of his companions. He did so now.
It was Negkendra who came to him this night, asking if he could join the Gifted One seated upon the boulder.
Balori harrumphed. He said, “I suppose you could join me.”
Negkendra sat on a much small stone that lay at the foot of the boulder. Together the two watched the blank sky grow black overhead. They sat in silent contemplation together a long time.
At last, Negkendra said, “I’m sorry for my part in the Elephant Crusade.”
Balori was shocked but this. He grunted, but said nothing.
“It was wrong of us, wrong of the Eternal Empress. Wish that I could remake our histories.”
Balori breathed deep. He thought of Negkendra’s stand against Ghalib. He wondered at the man who was once supervisor over the Elephant Crusade now a crusader for the stars. He said, “I thank you for your stand. I thank you for your companionship now, though you once stood as my overseer.”
Negkendra nodded. Guilt weighed heavily upon him. He thought a moment of things, then said, “I wonder what’s happened with Ghalib.”
“I killed him,” informed Balori. “I crushed his head under my foot.”
This frightened Negkendra. He asked, “Why have you not done the same for me?”
Balori answered, “Because you ride with me now. I have much hatred filling my new form, Negkendra, but I fight it. I do not wish to be a simple killer, a mere spirit of vengeance. If I am to task myself with anything in this life, I must do so with intellect as well as passion and not with passion alone. To act on passion alone, I suppose I would take the hides and crush the heads of every man or woman in every country I came into. While that may be the act of vengeance, and I do enjoy the vengeance I took against Ghalib, I do not wish to be vengeful alone. I would like to commit something closer to justice, if I can.
“While once your were my overseer, while once you were amongst my captors, you are now at my side. I can assume you seek the same end as I?”
Negkendra nodded. “I seek righteousness. I cannot stand by and live my life while atrocities carry on in the world, especially when I once had a hand in them.”
“Then we are the same,” said Balori. “Many who travel with us now seek glory or wish only to be at my side so they can one day claim they were once at my side. I suspect many may run from us when we reach the Plain of Adoration. But you and I and Akadia and Macia are bound by the cause of righteousness.” Balori sighed, breathing easily now. He admitted, “Where once you were my enemy, now you are my brother.”
Negkendr turned and looked up at Balori. He smiled and said, “I, Negkendra the First Mahout, am at your side to the very end.”
Balori smiled back. “I know you will be.”
Balori moved his trunk to Negkendra’s side. With it he softly patted the former mahout, caressing him as he once caressed his own beloved Tafarri. To Balori’s accord, they were family now.
The two sat, Balori’s trunk about Negkendra’s shoulders, and stared into the dark, dark sky.
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CHAPTER 3
Momoki stepped cautiously through the silver forest. He knew the silver baboon was near, but he could not find the shiny creature. He feared a surprise attack. His fears were not unwarranted.
The silver baboon appeared from the silvery hide of a tree. His body melded perfectly with the dead thing, only his eyes could be seen against the tree’s bark, until, that is, it moved. The baboon shifted his weight and Momoki saw his movement as it catapulted from the tree at him.
Momoki screeched. He stumbled backwards under the weight of the baboon as he smacked Momoki in the face before running off and disappearing, blending with yet another tree.
Momoki stood. He peered about. His nerves settled. He knew he merely had to watch for the baboon’s movement. He saw it.
The baboon jumped, appearing from a tree’s branch. Momoki was able to sidestep, but still caught a claw to the face. A scar appeared across his cheek, but immediately began to heal.
Momoki watched as the baboon disappeared into the trees.
Radiant Gui, who was watching from the shadows outside the forest, spoke. His voice was deep and growling.
“You are well exposed, marmoset. Learn from the baboon’s ways.”
Momoki considered this. He was unsure what the demon meant. He wished he could see Radiant Gui, to speak with him and ask what it was he was required to do. He hated the demon that watched from the shadows.
Then a thought came to him. The shadows. Shadows grew long and full everywhere, especially in this land.
Momoki caught sight of silver streaking movement. The baboon launched itself into the air, descending upon the marmoset.
Momoki dropped to the blackened ground. He spread himself close to the chalky black dirt. He disappeared within its dark mass. Only his hat and eyes remained, but his form was difficult to determine.
Confused, the baboon struck where he had last seen Momoki, but Momoki crawled sideways and out of the way of the silver claws.
The baboon cackled angrily and jumped into the trees, bending well there.
Momoki moved within shadows, blending well there.
In the distance, Radiant Gui laughed with approval.
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CHAPTER 4
It took many days for Comet Fox to sober up upon the foothills of Taliesin. Xiao-tep cared for him in that time, sacrificing not his work for the Mountain that Lives in the Sky, but instead sacrificing his time with his friends Aglina and Zingtai.
As Kalavata flew overhead and Xiao-tep finished his day’s work of gardening, he came to Comet Fox who was resting upon a soft, cool, moss-covered stone. He brought with him fruits from the day’s harvest, including crab apples. Comet Fox ate them voraciously.
“It’s been a long time since last we met,” spoke Xiao-tep as he ate his own meal.
Comet Fox stayed his feeding a moment, the juice of the apples dripping from his long muzzle, and said, “That it has, friend. And I am ashamed I’ve come to you in the condition I did.”
“Thought I you swore off drinking.”
Comet Fox set the apple in his hand upon his knee. He stared at it a moment and thought of the wicked, enchanted fruits the demon Ketsueki Sato once fed him. He felt greater shame in his weakness. “I’m sorry, Xiao-tep. I-I suppose I grew weak. I’ve not had a good time of things as of late.”
“Oh?” Xiao-tep asked.
Comet Fox looked to the west and wondered if that was the direction of the Peony Tea House. “I’ve had a falling out with your sister.”
“Wu Chan Chu? Is she well?”
Comet Fox smiled. “You have much to be proud of her. She is champion at the Peony Tea House.”
Xiao-tep did not like this, despite Comet Fox’s assumption he would. Xiao-tep had learned to hate fighting. It pained him greatly to ham another creature. But he supposed Champion of the Peony of indeed a great feat. He said, “That is truly an accomplishment. I take it she’s well, then?”
“Oh, yes. She has all the food she can eat and all the tea she can drink. She’s come to favor the hooka. And she has room and board at the Peony as champion, and a cut of the teahouse’s winnings concerning her fighting. She has truly set herself up.”
Xiao-tep ate his apple. “Good. You spoke of a falling out?”
Comet Fox sighed. “Indeed. There was a theft at the Peony and I was blamed for it. As champion, of course, a theft against the Peony is a personal matter. We exchanged unfriendly words.”
“Hmm,” Xiao-tep considered this. “Were you behind the theft?”
Comet Fox wanted to be offended, but then realized the question was perhaps a good one to be asked. “No, it was merely assumed I was the thief.”
“Then where’s the problem?”
“Wu Chan Chu did the assuming. She struck me in anger and would not hear the truth of my innocence. I left,” Comet Fox picked the apple from his knee and bit it. As he chewed he said, somewhat forlornly, “That is when I returned to drinking. I felt full of shame and sorrow for myself. It was a stupid thing to drink under such emotion.”
Xiao-tep only nodded in concurrence.
“Thank you for caring for me, Xiao-tep. I see you’ve started a new life here? I had heard you were here from some migrating geese. I guess I came to see a familiar and friendly face.”
Xiao-tep looked to Comet Fox and smiled. He patted Comet Fox upon the knee where once the apple had been. “You’re always welcome here, old friend. Taliesin has been good to me. I care for her and she gives me plentiful fruits to eat. When I came here, the old caretaker had tragically gone. I am happy here.”
Comet Fox smiled and bit his apple, juice flowing from his mouth as he spoke, “Good. I am happy you’ve found a good home.”
“What of you?” Xiao-tep asked. “What have you done when last we met?”
Comet Fox finished his apple. “A great many things, including further training. But the largest event is my falling out with Wu Chan Chu. How I wish I could make matters better between us.”
They sat watching the world far below Taliesin.
After a while, after talking and reminiscing, they wondered up the mountain where Xiao-tep introduced Comet Fox to Aglina and Zingtai.
“She once was the stars,” explained Xiao-tep of Zingtai.
This jarred some memory within Comet Fox, the memory of a kind man who had cared for him while he was drinking and drunk and roaming the world. He said, “I believe I met a man in my travels, though truthfully I cannot recall if it is a memory or the memory of a dream. I believe he told me he was traveling to some plain…” Comet Fox’s face strained with consternation and thought. He said, “I believe it was the Plain of Adoration. They sought a demon and wanted to restore the stars. I seem to remember a Gifted One with them, a rather discourteous elephant.”
Xiao-tep’s eyes widened. “An elephant? Di he walk and talk as a man like we do?”
Comet Fox nodded.
“Balori!” he turned to Zingtai. “Zingtai! Balori remains on his quest for your jewel.”
At this Zingtai smiled and fluttered her wings happily. “If anyone can do this,” said she, “I begin to believe it will be him.”
“Know you this elephant?” asked Comet Fox.
Xiao-tep said they did, “He came to us some time ago seeking the matter with the night sky. He said he was sent forth by an empress to return the stars. When he came here, he learned of the theft of Zingtai’s jewel and the reason for her disappearance from the night. He must still be looking for her stolen jewel.”
Comet Fox said, “They appeared rather determined.” He wondered a moment. Curiousity infected him, as it always does, and he said, “Perhaps we should go find this Balori, go see this Plain of Adoration. I would bet the demon has Zingtai’s jewel.”
Xiao-tep shook his head vigorously. “No. This is Balori’s matter, not ours.”
“What matters whose matter it is? I didn’t ask to join his quest. I simply wish to see this demon they spoke up upon the Plain of Adoration. What harm could come by merely looking?”
Xiao-tep could not answer this. He could find no harm in it, yet he did not wish to be involved. He did not wish to be caught in a fight against yet another demon. He shook his head vigorously.
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CHAPTER 5
Momoki screeched in fear as the golden baboon chased him through the silver forest. He hid within the forest’s shadows, which work to some extent, but the baboon was far larger and stronger. He tried to parry and deflect the gold baboon’s assaults, some of which worked but many of the blows the gold baboon threw landed upon Momoki, knocking him backwards further and further.
Frustration welled within Momoki. If he were to take the fisted blows of the golden baboon, he wanted to give the creature a taste of the assaults. Momoki took a punch to the face, balled his fist and threw a punch of his own. It was weak and bounced harmlessly off the baboon’s neck.
The baboon paused his assault. He peered at Momoki, then cackled hysterically with laughter at his weak attack.
Radiant Gui sighed and stepped from the shadows. Said he, “Damn your hide, marmoset! If you are to defend yourself you must know how to deflect an attack or hide. But if you are to topple a demon, you must know also how to fight. That was no attack. That was pathetic. We must equalize the gold baboon’s strength with your own.
“Now think, marmoset. Think of some thing that you used in your day-to-day life, something you know well and are familiar with, something you can use as a weapon.”
Momoki thought on this. He searched his memory of his life on Taliesin. In his hand appeared a small, black version of his smoking pipe.
“What is this?” raged Radiant Gui. “A pipe? Of all the things you must have used you think of a pipe?”
Momoki, ashamed, lowered his head and said, “It was there during my happiest times. I would smoke it when my friends and I would picnic under the trees.”
“Bah! What a fool! A pipe is no weapon!” Radiant Gui sighed. He shook his head in disgust. “Very well, carry on with your training.” Radiant Gui melted again into the shadows.
At this the gold baboon struck. He pounced atop Momoki, slamming him to the ground. Momoki struggled to get away from him, beating the baboon about the head with the pipe. This did nothing to the baboon but further anger him.
At last Momoki thought of his first fight, with the amethyst baboon, and how he allowed that baboon to close in so he may wrestle it off himself. Momoki stopped defending, stopped fighting the gold baboon and let his muzzle come close to Momoki’s face with its snarling, saliva-cover teeth. The teeth snapped at Momoki and as they came so close Momoki thought he might be bitten, he lifted his pipe, turned it round and used the pointed mouthpiece as a small spear.
The pipe entered the gold baboon’s temple.
The baboon screamed in horror. He let go of Momoki, stumbled backward, then toppled.
Momoki lifted himself off the ground. He had fought before coming to Hell, but never before had he taken the life of another creature. He stared at the gold baboon with his mouth ajar as Radiant Gui laughed in the background. Momoki felt as though everything within his form suddenly sank, leaving him incredibly empty.
Radiant Gui stepped out of the shadows once more. He said, “I suppose your pipe is a good weapon after all.”
The horse-demon grabbed the pipe with the tips of his massive claws. He pulled it free from the dead baboon’s temple. He handed it back to Momoki.
“Your training is now complete. You should be proud. You’ll ride against Yaska Selith in the name of all demons. But now you must train your own band of warriors to ride with you. I will hand-pick these warriors and I will chose those who have fallen in some way to Yaska Selith. Such warriors, ones with some investment in the outcome, are most likely to succeed, and succeed you must.”
The horse-demon looked into the distance, as if thinking. Momoki thought as if he were worried.
“Y-you’re afraid?” he said.
Radiant Gui looked to Momoki. His face twisted with anger.
“Me? Afraid? Bah! I fear nothing!” the demon lied. “But know this: the one who cursed all demons did so due to Yaska Selith. Though she is a mere demi-goddess, she could cause all the layers of Hell some problems should she decide to fulfill her curse. This is why I train you, to avoid that minor complication. But if we can rid the world of this pseudo-demon, this false demon that causes peril for all demons, she will most likely forget her curse.”
Momoki nodded in understanding.
“Know this, too, marmoset: I know I’ve proven myself a liar, but should you succeed, I will promise never to harm your friends. Have we a deal?”
Momoki nodded. “I will do this.”
Radiant Gui left Momoki.
Momoki returned to the massive doors of the Chamber of Despair. He opened them and entered. The doors shut behind him.
His friends sat in the hut, chatting idly. Gogi, seeing Momoki had returned, ran to his side, saying, “Momoki! Momoki! Look!”
Gogi lead him to a corner of the courtyard that had obviously been worked. Gogi said, “I brought with me a few seeds, so today while you were out I worked the ground here and planted them. I’m uncertain that they’ll grow. The soil here doesn’t look particularly fertile and while you and Twila don’t need to eat, Szu Ri and I still do and so I planted this garden.”
Gogi looked up at Momoki, seeking approval. “Is this okay with you, Momoki.”
Momoki smiled down at his friend, though his smile went unseen. Momoki nodded, saying, “It is, indeed, old friend. I’m proud of you.”
Hearing this, Gogi swelled with pride in himself. He looked at his garden before returning to the hut with Momoki.
Szu Ri and Twila welcomed him back.
“Are you well, Momoki?” Twila asked.
Momoki nodded and stroked her head with a loving finger. He then said to his friends, “I’ll soon have to leave this Chamber. I hope it will only be for a short time. But I’d like the three of you to go with me. I do not trust you under the care of Radiant Gui.”
His friends knew what he was asked to do, knew he was to fight a demon with others. They feared going with him. But they also feared Radiant Gui.
At last Twila said, “As long as we’re with you, we know we’ll be okay.”
Szu Ri and Gogi nodded in agreement.
They chatted on other things for a time before, tired, Szu Ri and Gogi fell asleep. Twila cuddled up next to Momoki as he watched over them.
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CHAPTER 6
Wu Chan Chu kicked the doors of the Peony Tea House open, nearly kicking them both from the hinges. She pulled the mule and its cart into the teahouse until, at last, he stopped them in the center of the fighting floor. He called out for Sal Igo and the owner of the teahouse came. He recognized the coffers immediately.
“The coffers!” cried Sal Igo. “you’ve returned them to the teahouse! Our hero is Wu Chan Chu!”
Great applause was sent up for the frog demi-goddess.
Sal Igo pulled her aside. “Where did you find them, my friend?”
“I discovered the real thieves, one being Roku whom I turned into you. The other escaped me, but I was able to retrieve the coffers for you. Know this: Comet Fox had no dealings in the theft.”
Sal Igo nodded. “Very well. Now let us discuss your return as our champion. We’ll have to redecorate your room, but we’ll put it back the way it was before, or make it better if you’d like.”
Wu Chan Chu considered this. Guilt filled her for having blamed Comet Fox without evidence as the thief. She said, “No, I’ll not be your champion.”
“But why? Do you wish a larger cut in the winnings? If so, then it is done.”
Wu Cha Chu shook her head. “No. I’ve got to find the other thief and bring him to justice. It’s the least I can do since…” she wanted to say she wanted to do more than clear Comet Fox’s name, but to bring the real thief to justice in the name of her friend. She could not bring herself to do this, however. She said, “I’ll take my brass knuckles and a reward and I’ll go.”
“Go? Feh! You’ll go nowhere and I’ll pay you no reward! I offered no reward!”
Wu Chan Chu grabbed the man by his throat. “I believe a reward is nonetheless appropriate.”
Sal Igo nodded. “Okay, okay. You’ll receive a small reward.”
Wu Chan Chu let him go.
And so the frog demi-goddess gather provisions and left the Peony Tea House, heading east, searching for the Immortal called Black Tentacle.
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CHAPTER 7
Rain fell hard upon the lands as thunderstorm after thunderstorm rolled over the farmlands.
Shabar packed a small sack and saddlebags with preserved fruits and a bedroll, items he would need while traveling.
“You cannot do this to me,” said Alai. “You cannot do it to your children. By the gods, Shabar, you have an unborn child!”
Shabar did not look at her as he continued packing. “I called on Old Man Arnas again. I did so yesterday. He knows I’m leaving. In two days’ time he’ll send his daughter here or when the rains let up. She had three children. She’ll be able to help with the birth.”
Alia filled with anger. She slapped Shabar hard along the length of his cheek. He did not turn to her. He did not respond except a brief pause in his packing.
He began packing again.
“I don’t understand why you go. There are others to go forth like this, others without families and without children. I’m certain they are on their way to make things right.”
Shabar stopped his packing. He finally looked at his wife. “I’m certain there are others, too. But I cannot allow this to carry on, especially since I had a hand in matters. Even if I had no part in things, I could not stand by. I cannot help but think those who watch atrocities committed by others are much involved in their continuance. I cannot watch.” He returned to his packing. “I have to go.”
“You are a damned fool! Don’t you care for your family? Why would you leave us?”
Shabar’s son, frightened at his arguing parents, scrambled from under the table where they ate to hide under his wooden bed beside the stove and its warming fire. He could not understand the things happening in his home, but he knew his father was leaving. He didn’t want his father to leave, but was unsure how to keep him home.
She followed him outside where he placed a saddle upon his mule. She stood under the overhanging eave of their home Shabar had built himself. She watched him.
Shabar came to her side. “Kiss me a last time before I go.”
Again Alia slapped him across the face.
“Don’t let me leave like this,” he begged.
“I won’t kiss you!” screamed Alia. “I won’t love a man that will not stay and provide for his family! I cannot love you! I hate you!”
She slapped him again.
Shabar glowered at her. He turned and mounted his mule.
Alia ran out into the rain. Thunder broke high overhead as she cried out, “If you leave, don’t ever come back! Don’t ever show your face here again! I hate you! I hate you! Don’t you dare come back!”
She collapsed into mud. Her chest heaved with sobs. Her hands surrounded her belly as she tried to hug her unborn child. “Shabar!” she screamed. “Shabar! Don’t leave me! No! No! Don’t! Shabaaar!”
Thunder roared. Rains pounded the lands around her, staining her clothes with thick mud. She screamed and screamed as Shabar left her.
As he rode away, Shabar’s tears disappeared into the rain.
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CHAPTER 8
As Balori’s army grew and marched from the west; as Wu Chan Chu came from the far, far northwest; as Shabar left his heartbroken wife and traveled south; as Momoki the Marmoset was training in Hell; so came Comet Fox to the Black Mountains that bordered the western edge of the Plain of Adoration and with him, at the urging of his friends Aglina and Zingtai, came Xiao-tep the Ankh-fish. They came, flying from the beautiful mountain Taliesin and lighted upon one small mountain within the Black Mountains range. They peered down into the valley and onto the Plain of Adoration.
There they saw the horrors of the Bone Warrior army. There they saw the vile orgies and wicked fighting the followers of the demon-dog dearly loved. There they saw the Weasel King Raiju Yu as he raped small boys. There they saw Neboshazzar feasting upon the flesh of the weak and the dead. There they saw the Brothers Jackal howling with laughter at the mention of the torment of others. And there, lastly, they saw the gigantic demon-dog known as Yaska Selith.
“By the gods,” gasped Comet Fox, “he is far larger than even Ketsueki Sato.”
Xiao-tep nodded in concurrence.
“Could it mean he is also stronger?” Comet Fox asked.
Xiao-tep did not answer for he did not know.
Within the Ankh-fish waged a war of emotions. Never did he want to fight again. Never did he want to take up arms against another creature, even one most evil. He loved his life within the fields and gardens of Taliesin. He loved his friends Aglina and Zingtai and Otti. He did not want to fight, yet he knew this blight upon the land needed expunging. He, at last, made his decision.
“I must return to Taliesin to retrieve my Spear of Sorrows,” said he. “And we will need help.”
Comet Fox cocked his head curiously. He thought a moment. He then asked and suggested both at once, “Wu Chan Chu?”
Xiao-tep merely nodded, saying, “And perhaps many more.”
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That's it folks! I hope you've enjoyed "Song of Momoki". Come back next week to read Act I of "Warriors of the Midnight Sun", the final tale within this storyline set in the wuxia world of The Children of Gods.
Wednesday, April 23, 2008
Xiao-tep and his wuxia world return this Friday!
The universe of Xiao-tep returns this Friday!
Last June and July I posted a 5-part epic wuxia tale about Xiao-tep, The Ankh-Fish of 100,000 Sorrows and Beauty in the blogged novella "The Children of Gods". January of this year I then posted "At The Peony Teahouse", a continuation of tales from the same universe starring some of the same characters.
Now, this Friday, I begin posting "The Theft of Heaven", the next story within the series. In this new story, we will be introduced to Momoki the Marmoset and his friends. This story will lead into another and all of it will lead up to the proposed summer blog-buster tale "Warriors of the Midnight Sun"! I expect to do a lot of blogging this summer as I write these stories. I'm certain it will take my time ALL SUMMER LONG. Be sure to watch for it all here at http://lordshen.blogspot.com/.
If you like wuxia, martial arts, mythology and high fantasy adventure tales, you're sure to love "THE THEFT OF HEAVEN"!
Last June and July I posted a 5-part epic wuxia tale about Xiao-tep, The Ankh-Fish of 100,000 Sorrows and Beauty in the blogged novella "The Children of Gods". January of this year I then posted "At The Peony Teahouse", a continuation of tales from the same universe starring some of the same characters.
Now, this Friday, I begin posting "The Theft of Heaven", the next story within the series. In this new story, we will be introduced to Momoki the Marmoset and his friends. This story will lead into another and all of it will lead up to the proposed summer blog-buster tale "Warriors of the Midnight Sun"! I expect to do a lot of blogging this summer as I write these stories. I'm certain it will take my time ALL SUMMER LONG. Be sure to watch for it all here at http://lordshen.blogspot.com/.
If you like wuxia, martial arts, mythology and high fantasy adventure tales, you're sure to love "THE THEFT OF HEAVEN"!
Friday, January 11, 2008
"At the Peony Tea House" - Part 2
Here is Part 2 of my original short story "At the Peony Tea House". Enjoy.
"At the Peony Tea House" - Part 2
by Charles Shaver. Copyright 2008 by Charles Shaver. All rights reserved.
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PART II
THE FOX AND THE FROG: Wherein Wu Chan Chu and Comet Fox Fight; Old Friends Reminisce; A Small Fortune Goes Missing
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Comet Fox danced back and forth. His arms swayed from side to side while his feet took turns supporting him atop the polished wood floor of the Peony. His red fur waved as an ocean at sunset.
Wu Chan Chu was confused by this new dance. Never had she seen her old friend move so. "What new trickery have you learned in our time apart?" she asked.
"Come," Comet Fox challenged, sneering, "Find out what new tricks this old dog has learned."
Wu Chan Chu charged Comet Fox, but Comet Fox cartwheeled sideways and was suddenly at his opponent's side with a fist in her gut.
Wu Chan Chu gave a small croak.
The crowd roared with laughter and cheers.
Wu Chan Chu stepped away, coughed, and said, "Beautifully executed, but tricks will not win a war."
Comet Fox answered by jumping, flying, darting towards Wu Chan Chu with great speed.
Wu Chan Chu took a defensive stance, her eyes upon the swiftly approaching fists. She brought up her arms in a block.
Comet Fox, just before hitting Wu Chan Chu, pulled up quickly, flipping mid-air over Wu Chan Chu. His fists, instead of landing upon Wu Chan Chu's raised arms, floated instead to his sides while his head slammed into the top of Wu Chan Chu's skull in a fierce headbutt. She groaned, coughing, gurgling. Blood sprayed from her left nostril.
Comet Fox landed softly upon the wood floor behind her.
Wu Chan Chu wiped the blood from her nose and turned to face Comet Fox. She wanted to scream her dissatisfaction at him, but chose to take a defensive stance once more instead.
Comet Fox flew at her once more. This time Wu Chan Chu was ready. She jumped, meeting him mid-air with a knee to his chest. Both fell to the ground, Wu Chan Chu upon her feet and Comet Fox Rolling on his side.
Comet Fox rolled up to his feet, sneering, laughing quietly.
The two warriors fought for hours, testing each other, feeling each other out. For a long time Comet Fox showed he had the edge, throwing more punches, landing more blows. In the end, both were bloody and bruised and the crowd was captivated.
"We have fought long enough," Comet Fox whispered to his opponent. "Let us end this."
"Indeed," Wu Chan Chu agreed. "Let's end this."
They circled, increasing distance from one another. When at lasdt they were at the farthest edges of the wooden floor from one another, they charged. Comet Fox flew. Wu Chan Chu jumped. Both struck and both blows were hard. Comet Fox's fist found Wu Chan Chu's neck. It sank into deep folds, finding esophagus and pinching it. Wu Chan Chu's eyes grew wide as she gasped for air.
As Comet Fox's blow landed, so too did Wu Chan Chu's. She brought both her knees up, one slightly above the other. One struck Comet Fox in the chest, expelling all the air from his body. The other struck his gut, sending bile into his throat.
Comet Fox and Wu Chan Chu both fell to the floor, coughing, choking, rolling in pain.
The people screamed, they cheered. They cried out for more. Men grabbed men and shook each other in excitement. Women grabbed women and screeched with joy. But soon, as the two fighters rolled across the wooden floor in agony, they all turned to wonder at who should be declared the winner. A clear winner was needed to settle all the bets.
The owner of the Peony stepped forward. "Let us agree," he cried out, "that whosoever should stand first shall be declared the winner!"
The people cheered, then grew silent. Then chants began, some for the champion Wu Chan Chu, some for the challenger Comet Fox.
Both struggled to stand. Both fell in doing so. But it was at last Wu Chan Chu who first got to her feet and was declared winner.
The crowd screamed with delight. A few booed. All applauded as the two fighters walked off the floor together.
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The room was small and smelled of stank tobacco and sweat. Comet Fox couldn't quite get used to it. There was a small bed and a blue glass hookah in the center of the room. Flies and cockroaches skittered and flew everywhere.
Wu Chan Chu fell atop the bed. Comet fox used an overturned wood crate as a seat. He dabbed at blood trickling from his mouth with his pawed hand.
Wu Chan Chu busily, meticulously prepared some herbal leaves in the hookah. She carefully lit the flavored leaves and offered Comet Fox a hose. He took it and drew on the sweet smoke. It tasted of peaches. His mind went wild and he puffed out two more clouds of smoke. Wu Chan Chu did the same with another hose.
"You learned a new style," Wu Chan Chu said.
"And you're as strong as ever," Comet Fox replied.
"Tell me, where did you learn this new way of fighting?"
"After we parted," Comet Fox said, "I traveled the mortal realm for quite a time. I sowed a few seeds, drank a lot, and woke up one day with an island sun blinding me. On that island is where I learned my new fighting style. There I met Master Bakongo. There I learned from him Capoeira."
************************************
The Island of Black Soil and Oranges was small, sunny, bright and off the coast of a southern continent. It was populated by a mere few hundred and was occasionally adorned with hardened lava floes from a long-dead volcano. The people were happy, their lives hard but good. Fish and oranges were staples in their diet. It was here that Comet Fox awoke from a drunken haze.
He wandered the island until he found several people, both men and women, working on nets and lines and preparing foods before the day's fishing. Comet Fox asked, "I beg for your kindness... have you something for me to eat?"
The people laughed and scoffed at him. A woman named Risueña Cara grabbed his pawed hand and placed some netting in it that needed to be repaired, stating, "Work first, then we eat."
"But I'm hungry and I do not live here," Comet Fox explained.
"Then you do not eat here, either," said the Risueña Cara.
Comet Fox, with great reluctance, learned how to tie and repair nets for fishing that morning. As soon as the work was through, the whole community came out to eat. He was accepted into their midst, many gawking at him and asking questions, but none were mean, foul or inconsiderate. They allowed him to eat all he wanted and he ate his fill.
"Come," said Risueña Cara once more, "we must go to work."
"But, but..." Comet Fox stammered. "I do not live here."
"But if you would like to, you must work."
Fearing offending his hosts, Comet Fox boarded a boat and helped paddle out and helped with the day's fishing.
Later that night the groups of boats return with fish and food for the night's meal.
And so went Comet Fox's life for many days. He would awake, repair tools, eat, fish all day, return to the island and eat and sleep. He lost weight, grew muscles, gained clarity of mind.
After many weeks on the Island of Black Soil and Oranges, the people had a Moon Festival. Comet Fox did his part in the festival's preparation. He fished, decorated, chopped wood for big bonfires.
On the night of the Moon Festival the people danced, ate and ate and sang. At one point someone produced a ball and a type of singing, dancing game was started. Comet Fox found himself thrown into the mix. He laughed and hooted and cheered as he kicked the ball and danced and celebrated with the people. The people cheered his deft athleticism at the game. He flew above their heads with torches in each hand to light the night sky already bright with a full moon.
The following morning when he awoke for the day's work, he was told not do so.
"But why?" he asked.
"Someone wishes to speak with you today," Risueña Cara told him.
"Who?"
"Just stay while we go out fishing today," said Risueña Cara.
Comet Fox did as he was told, though he wondered if he had offended the good people of the island in some way the night before.
He sat along the shore a long time after the people had paddled out to sea before someone approached him. He was an elderly man, wrinkled with time and skin dark with the sun. "I am Akan Bakongo," the old man introduced himself.
"I am Comet Fox."
"I saw you playing our game last night."
"The one with the ball?"
"Yes."
Comet Fox smiled, "Yes, I liked it."
"You are quite good at it, quite natural to physical movement."
"Comet Fox shrugged, "I guess so."
"Come," Akan Bakongo said. He lead Comet Fox into a stand of palms Comet Fox had seen but never thought to venture into. Deep within was a small hut with a single room within. They entered. The hut smelled moist and alive. In the center of its lone room was a ball much like Comet Fox had played with the night before at the Moon Festival. Akan Bakongo tapped it with his foot. The ball slowly rolled to Comet Fox's feet.
"Kick it back," Akan Bakongo said.
Comet Fox did so and did so slowly, just as it had been kicked to him.
Akan Bakongo, with a quick twist of his ankle, kicked the ball again, this time sailing at a high speed toward Comet Fox's head.
Comet Fox deflected the ball with his head. The ball fell back to the floor and rolled towards Akan Bakongo who kicked it once more, this time even harder and with greater speed.
Comet Fox swung his arms, twisting his body as he had dancing the night before, and leaned way back to avoid the ball aimed for his chest. "What are you trying to do?" Comet Fox demanded as he straightened.
"Teach you."
"Teach me what? How to avoid being hit by a ball?"
"Exactly. Now return the ball to me. And keep those legs moving as if dancing, just like in the game last night."
************************************
"And so began my training in Capoeira," Comet Fox explained. "What of you? How is it you've come to be the champion here?"
Wu Chan Chu sighed. "XXiao-tep and I traveled together a long time after we left the Cottonwood Chamber, but eventually the time came for us to part. He needed to go his way and I mine. I supported myself by fighting here and there for money. Finally, a traveling immortal told me of this place and said there's money to be made here for a good fighter. As champion, I get ten percent of the house's take on the gambling plus this room to stay in and all the tea and food I want. It's been a pretty good life for me. A hard one, but a good one."
Comet Fox nodded.
A great commotion erupted in the hall outside the door. Wu Chan Chu flicked her tongue out and used it to slide the door open. People we rerunnign after the owner of the tea house.
Wu Chan Chu stood up and left, Comet Fox following closely behind.
When they reached the owner's side, Wu Chan Chu asked, "What is it? What's the problem?"
"Oh, my champion!" cried the owner. "The coffers! The Peony's coffers have gone missing! We are broke! Someone has stolen all our money!"
Wu Chan Chu grunted, sighed, then looked at Comet Fox.
"What? Why are you looking at me?" Comet Fox asked.
*****************************************
Look for Part 3 next Friday!!!
"At the Peony Tea House" - Part 2
by Charles Shaver. Copyright 2008 by Charles Shaver. All rights reserved.
************************************
PART II
THE FOX AND THE FROG: Wherein Wu Chan Chu and Comet Fox Fight; Old Friends Reminisce; A Small Fortune Goes Missing
************************************
Comet Fox danced back and forth. His arms swayed from side to side while his feet took turns supporting him atop the polished wood floor of the Peony. His red fur waved as an ocean at sunset.
Wu Chan Chu was confused by this new dance. Never had she seen her old friend move so. "What new trickery have you learned in our time apart?" she asked.
"Come," Comet Fox challenged, sneering, "Find out what new tricks this old dog has learned."
Wu Chan Chu charged Comet Fox, but Comet Fox cartwheeled sideways and was suddenly at his opponent's side with a fist in her gut.
Wu Chan Chu gave a small croak.
The crowd roared with laughter and cheers.
Wu Chan Chu stepped away, coughed, and said, "Beautifully executed, but tricks will not win a war."
Comet Fox answered by jumping, flying, darting towards Wu Chan Chu with great speed.
Wu Chan Chu took a defensive stance, her eyes upon the swiftly approaching fists. She brought up her arms in a block.
Comet Fox, just before hitting Wu Chan Chu, pulled up quickly, flipping mid-air over Wu Chan Chu. His fists, instead of landing upon Wu Chan Chu's raised arms, floated instead to his sides while his head slammed into the top of Wu Chan Chu's skull in a fierce headbutt. She groaned, coughing, gurgling. Blood sprayed from her left nostril.
Comet Fox landed softly upon the wood floor behind her.
Wu Chan Chu wiped the blood from her nose and turned to face Comet Fox. She wanted to scream her dissatisfaction at him, but chose to take a defensive stance once more instead.
Comet Fox flew at her once more. This time Wu Chan Chu was ready. She jumped, meeting him mid-air with a knee to his chest. Both fell to the ground, Wu Chan Chu upon her feet and Comet Fox Rolling on his side.
Comet Fox rolled up to his feet, sneering, laughing quietly.
The two warriors fought for hours, testing each other, feeling each other out. For a long time Comet Fox showed he had the edge, throwing more punches, landing more blows. In the end, both were bloody and bruised and the crowd was captivated.
"We have fought long enough," Comet Fox whispered to his opponent. "Let us end this."
"Indeed," Wu Chan Chu agreed. "Let's end this."
They circled, increasing distance from one another. When at lasdt they were at the farthest edges of the wooden floor from one another, they charged. Comet Fox flew. Wu Chan Chu jumped. Both struck and both blows were hard. Comet Fox's fist found Wu Chan Chu's neck. It sank into deep folds, finding esophagus and pinching it. Wu Chan Chu's eyes grew wide as she gasped for air.
As Comet Fox's blow landed, so too did Wu Chan Chu's. She brought both her knees up, one slightly above the other. One struck Comet Fox in the chest, expelling all the air from his body. The other struck his gut, sending bile into his throat.
Comet Fox and Wu Chan Chu both fell to the floor, coughing, choking, rolling in pain.
The people screamed, they cheered. They cried out for more. Men grabbed men and shook each other in excitement. Women grabbed women and screeched with joy. But soon, as the two fighters rolled across the wooden floor in agony, they all turned to wonder at who should be declared the winner. A clear winner was needed to settle all the bets.
The owner of the Peony stepped forward. "Let us agree," he cried out, "that whosoever should stand first shall be declared the winner!"
The people cheered, then grew silent. Then chants began, some for the champion Wu Chan Chu, some for the challenger Comet Fox.
Both struggled to stand. Both fell in doing so. But it was at last Wu Chan Chu who first got to her feet and was declared winner.
The crowd screamed with delight. A few booed. All applauded as the two fighters walked off the floor together.
************************************
The room was small and smelled of stank tobacco and sweat. Comet Fox couldn't quite get used to it. There was a small bed and a blue glass hookah in the center of the room. Flies and cockroaches skittered and flew everywhere.
Wu Chan Chu fell atop the bed. Comet fox used an overturned wood crate as a seat. He dabbed at blood trickling from his mouth with his pawed hand.
Wu Chan Chu busily, meticulously prepared some herbal leaves in the hookah. She carefully lit the flavored leaves and offered Comet Fox a hose. He took it and drew on the sweet smoke. It tasted of peaches. His mind went wild and he puffed out two more clouds of smoke. Wu Chan Chu did the same with another hose.
"You learned a new style," Wu Chan Chu said.
"And you're as strong as ever," Comet Fox replied.
"Tell me, where did you learn this new way of fighting?"
"After we parted," Comet Fox said, "I traveled the mortal realm for quite a time. I sowed a few seeds, drank a lot, and woke up one day with an island sun blinding me. On that island is where I learned my new fighting style. There I met Master Bakongo. There I learned from him Capoeira."
************************************
The Island of Black Soil and Oranges was small, sunny, bright and off the coast of a southern continent. It was populated by a mere few hundred and was occasionally adorned with hardened lava floes from a long-dead volcano. The people were happy, their lives hard but good. Fish and oranges were staples in their diet. It was here that Comet Fox awoke from a drunken haze.
He wandered the island until he found several people, both men and women, working on nets and lines and preparing foods before the day's fishing. Comet Fox asked, "I beg for your kindness... have you something for me to eat?"
The people laughed and scoffed at him. A woman named Risueña Cara grabbed his pawed hand and placed some netting in it that needed to be repaired, stating, "Work first, then we eat."
"But I'm hungry and I do not live here," Comet Fox explained.
"Then you do not eat here, either," said the Risueña Cara.
Comet Fox, with great reluctance, learned how to tie and repair nets for fishing that morning. As soon as the work was through, the whole community came out to eat. He was accepted into their midst, many gawking at him and asking questions, but none were mean, foul or inconsiderate. They allowed him to eat all he wanted and he ate his fill.
"Come," said Risueña Cara once more, "we must go to work."
"But, but..." Comet Fox stammered. "I do not live here."
"But if you would like to, you must work."
Fearing offending his hosts, Comet Fox boarded a boat and helped paddle out and helped with the day's fishing.
Later that night the groups of boats return with fish and food for the night's meal.
And so went Comet Fox's life for many days. He would awake, repair tools, eat, fish all day, return to the island and eat and sleep. He lost weight, grew muscles, gained clarity of mind.
After many weeks on the Island of Black Soil and Oranges, the people had a Moon Festival. Comet Fox did his part in the festival's preparation. He fished, decorated, chopped wood for big bonfires.
On the night of the Moon Festival the people danced, ate and ate and sang. At one point someone produced a ball and a type of singing, dancing game was started. Comet Fox found himself thrown into the mix. He laughed and hooted and cheered as he kicked the ball and danced and celebrated with the people. The people cheered his deft athleticism at the game. He flew above their heads with torches in each hand to light the night sky already bright with a full moon.
The following morning when he awoke for the day's work, he was told not do so.
"But why?" he asked.
"Someone wishes to speak with you today," Risueña Cara told him.
"Who?"
"Just stay while we go out fishing today," said Risueña Cara.
Comet Fox did as he was told, though he wondered if he had offended the good people of the island in some way the night before.
He sat along the shore a long time after the people had paddled out to sea before someone approached him. He was an elderly man, wrinkled with time and skin dark with the sun. "I am Akan Bakongo," the old man introduced himself.
"I am Comet Fox."
"I saw you playing our game last night."
"The one with the ball?"
"Yes."
Comet Fox smiled, "Yes, I liked it."
"You are quite good at it, quite natural to physical movement."
"Comet Fox shrugged, "I guess so."
"Come," Akan Bakongo said. He lead Comet Fox into a stand of palms Comet Fox had seen but never thought to venture into. Deep within was a small hut with a single room within. They entered. The hut smelled moist and alive. In the center of its lone room was a ball much like Comet Fox had played with the night before at the Moon Festival. Akan Bakongo tapped it with his foot. The ball slowly rolled to Comet Fox's feet.
"Kick it back," Akan Bakongo said.
Comet Fox did so and did so slowly, just as it had been kicked to him.
Akan Bakongo, with a quick twist of his ankle, kicked the ball again, this time sailing at a high speed toward Comet Fox's head.
Comet Fox deflected the ball with his head. The ball fell back to the floor and rolled towards Akan Bakongo who kicked it once more, this time even harder and with greater speed.
Comet Fox swung his arms, twisting his body as he had dancing the night before, and leaned way back to avoid the ball aimed for his chest. "What are you trying to do?" Comet Fox demanded as he straightened.
"Teach you."
"Teach me what? How to avoid being hit by a ball?"
"Exactly. Now return the ball to me. And keep those legs moving as if dancing, just like in the game last night."
************************************
"And so began my training in Capoeira," Comet Fox explained. "What of you? How is it you've come to be the champion here?"
Wu Chan Chu sighed. "XXiao-tep and I traveled together a long time after we left the Cottonwood Chamber, but eventually the time came for us to part. He needed to go his way and I mine. I supported myself by fighting here and there for money. Finally, a traveling immortal told me of this place and said there's money to be made here for a good fighter. As champion, I get ten percent of the house's take on the gambling plus this room to stay in and all the tea and food I want. It's been a pretty good life for me. A hard one, but a good one."
Comet Fox nodded.
A great commotion erupted in the hall outside the door. Wu Chan Chu flicked her tongue out and used it to slide the door open. People we rerunnign after the owner of the tea house.
Wu Chan Chu stood up and left, Comet Fox following closely behind.
When they reached the owner's side, Wu Chan Chu asked, "What is it? What's the problem?"
"Oh, my champion!" cried the owner. "The coffers! The Peony's coffers have gone missing! We are broke! Someone has stolen all our money!"
Wu Chan Chu grunted, sighed, then looked at Comet Fox.
"What? Why are you looking at me?" Comet Fox asked.
*****************************************
Look for Part 3 next Friday!!!
Friday, January 4, 2008
"At the Peony Tea House" - Part 1
After a two week hiatus, I'm back to make the first post of the new year. I hope everyone's holiday season went well. Mine was good, if not rushed.
Today I present to you Part 1 of "At the Peony Tea House", a story expanding upon the characters and continuing the story lines from the five-act story "The Children of Gods" which I wrote and posted last year. These are fantasy Wuxia stories with anthropomorphic characters. I hope you enjoy.
Here are links to the original "The Children of Gods" story:
"The Children of Gods" Act I
"The Children of Gods" Act II
"The Children of Gods" Act III
"The Children of Gods" Act IV
"The Children of Gods" Act V
Afterword
Let's get started.
"At the Peony Tea House"
by Charles Shaver. Copyright 2008 by Charles Shaver. All rights reserved.
************************************
PART I
THE RESIDENT OF THE PEONY: Wherein Wu Chan Chu is Challenged by Comet Fox
************************************
Popular with those that walk with divinity is the Peony Tea House, though it is not so innocent and charming as its name would suggest. It is true that many an undertaking generally considered immoral or otherwise in poor taste finds a home within the tea house, yet gods and immortals of variety frequent the establishment. All affectionately called the tea house simply "The Peony".
The house is painted with the greens of spring and a pink so light one might consider it white if not glared upon with some small intensity. Tea is their specialty, and few dislike it, but wine is most common.
The house never closes. In that there were many that could in some small way consider this unimposing structure their home. Few, however, could make that claim with any truth. Only the owners and select few of the staff could truly call the tea house home. Among those was Wu Chan Chu, as she was the tea house's resident champion and as champion was granted a room, free of charge, for her lodging.
Sweat and the haze from every imaginable smoking herb hung in the air of the main room of the tea house. Tables line the walls as do booths and three bars. The center of the room is clear of all obstruction and has a floor of fine woods, polished though scarred. If one did not know its true purpose, one might consider it a proper dance floor.
A dance of sorts does occur on the floor, but not that which is generally considered fine and civilized. For the Peony Tea House, above all else - before its duties as a tea house, before its use as a brothel, before its importance as a gathering place, before its liquors and multiple indulgences - is first and foremost home to games of physical skill, of combat.
Wu Chan Chu stood at the center of the polished floor. Beside her was a small man, one of the owners, calling for a challenger. She had lost some weight since she had fought side-by-side with her brother, Xiao-tep, long ago in the Cottonwood Chamber. She still bore the mark he had given her in the belly.
Her eyes drifted up, up to a small loft with a veranda overlooking the floor. There, in a plush chair and accompanied by various peoples and creatures sat the god Hanuman, seeking the joys of night.
Wu Chan Chu's fists opened and closed in anticipation.
"Come! Challengers! We need challengers! We will give good odds to anyone with fighting skills!" called out the owner through a leather funnel that caused his voice to boom, echoing off the walls of the tea house.
His beckoning was answered by a man claiming to be immortal. Though small, he was muscular and looked quite athletic. He stepped forward to the center of the polished floor.
Bets were placed, cheers thrown out, excitement grew. Everyone had come to witness the grand and fine champion of the Peony Tea House.
The owner removed himself from the floor and the fight began.
The stranger approached with an aggressive stance, throwing a quick and short punch to test his range against Wu Chan Chu's. The frog demi-goddess had to do nothing to avoid the punch. The stranger followed with a quick and low kick to her legs. She blocked it and he shifted with blinding speed to deliver a similar kick with his other foot. This one hit her calf and sent a bit of pain into her body. She blinked but did nothing more.
The stranger bolted in with a kick aimed high at her chest. Wu Chan Chu blocked the kick with a folded arm and countered with a kick to his inner thigh.
The stranger worked in closer, trying to get within her comfortable range, and was finally left standing near her chest. Wu Chan Chu threw punch after punch, haymaker after haymaker at the stranger but his arms were folded at his sides and took the brunt of the damage. She swung wider and wider, opening her chest more and more to attack. At last, the stranger attacked.
He delivered three punches, two to her chest and one to the healed cut on her belly.
Wu Chan Chu lifted her knee into the face of the stranger and he was sent reeling from the blow. She pressed the attack ad the crowd cheered her on. She threw first one knee then the other into his chest as he tried to escape backwards. She let him go, let him catch his breath. The people screamed for blood and booed their champion for allowing the man time to recuperate.
The stranger gathered himself and slowly started in towards the center of the floor once more.
Wu Chan Chu ran, jumped in a small way for her, twisting the weight of her body and bringing her knee up and out like a spearhead. She flew higher than most men are tall and her knee came crashing down on his skull. Blood sprayed from his nose, coughing from between his teeth and the stranger fell to the floor.
Wu Chan Chu collected her prize money for the win as the stranger was helped up and out of the tea house.
The owner appeared once more.
He beckoned again through the leather funnel for challengers. He called out, threatened and finally begged for someone to step forward, but no one would. He did not want to call an end to the evening's festivities. An early end meant less wine and tea sold, less bets placed, less money made.
"Surely," said he, "someone finds our champion full of nothing but luck. Please! I beg you! Rid me of her!"
Wu Chan Chu had heard this all before and was not offended. The owner was simply doing his job, making the sale, tempting the would-be challengers in the crowd too full of self-doubt or not yet full enough of liquor to step forward.
"Come! All challengers! Anyone? What a sad night this would be with such a pathetic ending! We need a new challenger! Can we allow our honored guest," at this the owner waved a hand towards Hanuman seated high above, "go home tonight without proper entertainment?"
At last the crowd parted. At last someone stepped forward.
Through the crowd came an old familiar face. Through the crowd came Comet Fox.
"I will challenge your champion!" he proclaimed and smiled at Wu Chan Chu.
Comet Fox now donned a sash about his chest, yellow like wheat in the fall, and holding to his form his ulus, his weapons of choice.
As the fox-god and frog demi-goddess drew together at the center of the floor, Wu Chan Chu spoke. "We entertain a god tonight."
"What's a god to a god?" Comet Fox asked.
"Let's tear this place apart."
"I won't hold back," Comet Fox sneered. They backed away from one another and the owner announced the fight before disappearing into the crowd to collect bets.
The gathered crowd chanted, "KU-MI-TE! KU-MI-TE! KU-MI-TE!"
Wu Chan Chu squared herself.
Comet Fox backed away, turning to the crowd and clapping his pawed hands together in time with their chanting. The crowd began clapping along, creating a riotous beat echoing throughout the tea house.
He then turned back towards Wu Chan Chu and bent forward, his legs kicking up and back like a rooster scratching at the ground.
As he cartwheeled, Wu Chan Chu thought her old friend wanted to tumble rather than fight. Confused, she knew then Comet Fox had not lost his roots as the son of a trickster god.
**********************************************
Check back next week for Part 2 of "At the Peony Tea House"! Thanks for reading! Let's have a good new year!
Today I present to you Part 1 of "At the Peony Tea House", a story expanding upon the characters and continuing the story lines from the five-act story "The Children of Gods" which I wrote and posted last year. These are fantasy Wuxia stories with anthropomorphic characters. I hope you enjoy.
Here are links to the original "The Children of Gods" story:
"The Children of Gods" Act I
"The Children of Gods" Act II
"The Children of Gods" Act III
"The Children of Gods" Act IV
"The Children of Gods" Act V
Afterword
Let's get started.
"At the Peony Tea House"
by Charles Shaver. Copyright 2008 by Charles Shaver. All rights reserved.
************************************
PART I
THE RESIDENT OF THE PEONY: Wherein Wu Chan Chu is Challenged by Comet Fox
************************************
Popular with those that walk with divinity is the Peony Tea House, though it is not so innocent and charming as its name would suggest. It is true that many an undertaking generally considered immoral or otherwise in poor taste finds a home within the tea house, yet gods and immortals of variety frequent the establishment. All affectionately called the tea house simply "The Peony".
The house is painted with the greens of spring and a pink so light one might consider it white if not glared upon with some small intensity. Tea is their specialty, and few dislike it, but wine is most common.
The house never closes. In that there were many that could in some small way consider this unimposing structure their home. Few, however, could make that claim with any truth. Only the owners and select few of the staff could truly call the tea house home. Among those was Wu Chan Chu, as she was the tea house's resident champion and as champion was granted a room, free of charge, for her lodging.
Sweat and the haze from every imaginable smoking herb hung in the air of the main room of the tea house. Tables line the walls as do booths and three bars. The center of the room is clear of all obstruction and has a floor of fine woods, polished though scarred. If one did not know its true purpose, one might consider it a proper dance floor.
A dance of sorts does occur on the floor, but not that which is generally considered fine and civilized. For the Peony Tea House, above all else - before its duties as a tea house, before its use as a brothel, before its importance as a gathering place, before its liquors and multiple indulgences - is first and foremost home to games of physical skill, of combat.
Wu Chan Chu stood at the center of the polished floor. Beside her was a small man, one of the owners, calling for a challenger. She had lost some weight since she had fought side-by-side with her brother, Xiao-tep, long ago in the Cottonwood Chamber. She still bore the mark he had given her in the belly.
Her eyes drifted up, up to a small loft with a veranda overlooking the floor. There, in a plush chair and accompanied by various peoples and creatures sat the god Hanuman, seeking the joys of night.
Wu Chan Chu's fists opened and closed in anticipation.
"Come! Challengers! We need challengers! We will give good odds to anyone with fighting skills!" called out the owner through a leather funnel that caused his voice to boom, echoing off the walls of the tea house.
His beckoning was answered by a man claiming to be immortal. Though small, he was muscular and looked quite athletic. He stepped forward to the center of the polished floor.
Bets were placed, cheers thrown out, excitement grew. Everyone had come to witness the grand and fine champion of the Peony Tea House.
The owner removed himself from the floor and the fight began.
The stranger approached with an aggressive stance, throwing a quick and short punch to test his range against Wu Chan Chu's. The frog demi-goddess had to do nothing to avoid the punch. The stranger followed with a quick and low kick to her legs. She blocked it and he shifted with blinding speed to deliver a similar kick with his other foot. This one hit her calf and sent a bit of pain into her body. She blinked but did nothing more.
The stranger bolted in with a kick aimed high at her chest. Wu Chan Chu blocked the kick with a folded arm and countered with a kick to his inner thigh.
The stranger worked in closer, trying to get within her comfortable range, and was finally left standing near her chest. Wu Chan Chu threw punch after punch, haymaker after haymaker at the stranger but his arms were folded at his sides and took the brunt of the damage. She swung wider and wider, opening her chest more and more to attack. At last, the stranger attacked.
He delivered three punches, two to her chest and one to the healed cut on her belly.
Wu Chan Chu lifted her knee into the face of the stranger and he was sent reeling from the blow. She pressed the attack ad the crowd cheered her on. She threw first one knee then the other into his chest as he tried to escape backwards. She let him go, let him catch his breath. The people screamed for blood and booed their champion for allowing the man time to recuperate.
The stranger gathered himself and slowly started in towards the center of the floor once more.
Wu Chan Chu ran, jumped in a small way for her, twisting the weight of her body and bringing her knee up and out like a spearhead. She flew higher than most men are tall and her knee came crashing down on his skull. Blood sprayed from his nose, coughing from between his teeth and the stranger fell to the floor.
Wu Chan Chu collected her prize money for the win as the stranger was helped up and out of the tea house.
The owner appeared once more.
He beckoned again through the leather funnel for challengers. He called out, threatened and finally begged for someone to step forward, but no one would. He did not want to call an end to the evening's festivities. An early end meant less wine and tea sold, less bets placed, less money made.
"Surely," said he, "someone finds our champion full of nothing but luck. Please! I beg you! Rid me of her!"
Wu Chan Chu had heard this all before and was not offended. The owner was simply doing his job, making the sale, tempting the would-be challengers in the crowd too full of self-doubt or not yet full enough of liquor to step forward.
"Come! All challengers! Anyone? What a sad night this would be with such a pathetic ending! We need a new challenger! Can we allow our honored guest," at this the owner waved a hand towards Hanuman seated high above, "go home tonight without proper entertainment?"
At last the crowd parted. At last someone stepped forward.
Through the crowd came an old familiar face. Through the crowd came Comet Fox.
"I will challenge your champion!" he proclaimed and smiled at Wu Chan Chu.
Comet Fox now donned a sash about his chest, yellow like wheat in the fall, and holding to his form his ulus, his weapons of choice.
As the fox-god and frog demi-goddess drew together at the center of the floor, Wu Chan Chu spoke. "We entertain a god tonight."
"What's a god to a god?" Comet Fox asked.
"Let's tear this place apart."
"I won't hold back," Comet Fox sneered. They backed away from one another and the owner announced the fight before disappearing into the crowd to collect bets.
The gathered crowd chanted, "KU-MI-TE! KU-MI-TE! KU-MI-TE!"
Wu Chan Chu squared herself.
Comet Fox backed away, turning to the crowd and clapping his pawed hands together in time with their chanting. The crowd began clapping along, creating a riotous beat echoing throughout the tea house.
He then turned back towards Wu Chan Chu and bent forward, his legs kicking up and back like a rooster scratching at the ground.
As he cartwheeled, Wu Chan Chu thought her old friend wanted to tumble rather than fight. Confused, she knew then Comet Fox had not lost his roots as the son of a trickster god.
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Check back next week for Part 2 of "At the Peony Tea House"! Thanks for reading! Let's have a good new year!
Sunday, July 1, 2007
AFTERWORD: "Drawing Down the Sun, Uplifting the Stars"
Here is this week's offering of a short story or essay. This essay is number 13 of 13 weekly essay or short story posts.
"Drawing Down the Sun, Uplifting the Stars"
by Charles Shaver. Copyright 2007 by Charles Shaver. All rights reserved.
AFTERWORD: Wherein Charles discusses the major themes, purposes, influences and references within the fairy tale "The Children of Gods".
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Part 1
BILL MOYERS (BM): What happens when a society no longer embraces a powerful mythology?
JOSEPH CAMPBELL (JC): What we've got on our hands. If you want to find out what it means to have a society without any rituals, read the New York Times.
BM: And you'd find?
JC: The news of the day, including destructive and violent acts by young people who don't know how to behave in a civilized society.(1)
When first I heard these words they were revolution to me. In the infamous interviews conducted by Bill Moyers with the late Joeseph Campbell the condition of modern society and importance of unifying ethos became apparent. As Campbell spoke those words "What we've got on our hands" I knew them to be true for I was living proof.
I am an American and like many Americans I was taught I come from a place besides the United States. I am an American and like many Americans I was taught the United States is my homeland. I was taught that I and my ancestors are German, yet if I venture to Germany I find myself a foreigner. I was taught that I and my ancestors are Hawaiian, and thus Native American/American Indian/First Peoples, yet if I travel to Hawai'i I find I feel as an outsider. It took a great deal of time, observance and humbling quietude to feel at home on Maui where my ancestry dates back some 500 years. When finally I did feel at home, I was torn away from the island viciously by economy.
What I see in myself is what Joseph Campbell so simply and precisely described within these few lines quoted above. What I see in myself I see in my friends and family who grew up or old around me and with me. What I see in myself I see on the front page of the New York Times. What I see in myself is an odd mixture of backgrounds; a conglomeration of histories; a mutt gone astray in the neighborhood of his owning family and, while still near his home, unable to find his way back to his master.
What's more, as early as 1994 I began to see this in other parts of the world as global industrialization was expanding at a mad pace. On January 1 of that year, indigenous farmers took up arms in Chiapas, Mexico in a struggle against the industrialization of their land-owner heritage. They called themselves Zapatistas.
I see within continued global industrialization the threat it poses against regional cultures and people. This is not necessarily a negative criticism against industrialization, at least not for my purposes. It is an observation made about the difficult process of industrialization, difficult most of all for the people that live within the region that is being industrialized. Their lives and the rules of their society are being completely changed, sometimes over night. I can only imagine that such a process would leave a person feeling quite new and different from what they once were, an alien within one's homeland.
Yet regions currently going through industrialization are not the only ones to produce such feelings of alienation. For example, look what I wrote above about being Hawaiian: "I was taught that I and my ancestors are Hawaiian, and thus Native American/American Indian/First Peoples..." In many cases such as this we don't even know how to refer to ourselves. This is not unique to me. Having spent time at powwows and other indigenous gatherings it can be a difficult task for even the veterans of such events to speak articulately about who they are.
It was with these observances and this line of thought I set forth to writing tales of new gods, the children of old gods, to create a new mythos and perhaps reintroduce old ethos to a society fractured and broken in this area of understanding. Thus was born Xiao-tep, the fish-god both Egyptian and Chinese yet truly neither for he is not pedigree. He is uniquely American in this, or American-like, or post-industrialized-like.
Within this essay I will discuss the origins and purposes of Xiao-tep. I will break this essay into three major parts: a discussion of origins and analysis of themes within the fairy tale "The Children of Gods"; a listing of names and their root meanings, as well as other notes pertaining to original characters; and a point-by-point breakdown of the tale with underlying notes, references and trivia.
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Part 2
JC: People say that what we're all seeking is a meaning for life. I don't think that's what we're really seeking. I think that what we're seeking is an experience of being alive, so that our life experiences on the purely physical plane will have resonances within our own innermost being and reality, so that we actually feel the rapture of being alive. That's what it's all finally about, and that's what these clues help us to find within ourselves.
BM: Myths are clues?
JC: Myths are clues to the spiritual potentialities of the human life.
In 2000 I began working under the flag of the ideas of shifting global economies, a shrinking global village and regional cultures being threatened. Since then I have been working on what J. Ho dubbed my 'pirate epic'. It's a collection of fantasy tales that indeed have pirates and is ultimately closing in on the epic scale, but it's so much more. I wanted to use the words of Joseph Campbell as my battlecry and pick up the banner of the now fallen Tolkein and carry his quest further, but where Tolkein was attempting to create new tales for the future generations of the United Kingdom to latch onto, I want to do the same for the whole world. Therein lies the purpose of the 'pirate epic'.
Anthropomorphic characters play a major part in the 'pirate epic' and at one time I thought about introducing a talking koi fish to act as advisor to the main character. I felt the koi had little use in the 'pirate epic' and didn't quite fit the make-up of the rest of the cast of characters. I loved the idea of the talking koi, however, and stored him in the back of my mind for future uses.
Once more I was speaking with my good friend J. Ho. He is an illustrator by trade and has a blog wherein he posts different pieces of his art on a regular basis. He once asked if I would suggest something for him to draw and thinking of my little koi I said "mystical fish". From that was born 'ankh-fish'. I loved the idea of a fish with an ankh embedded into his forehead and asked J. Ho if I could write up the background to the little guy. He agreed.
I mixed J. Ho's ideas with my own and wound up with five Acts, 134 pages and some 30,000+ words of the fairy tale "The Children of Gods". I made the fish once more a koi and kept the ankh on his forehead. Seeing this fish in my mind, I knew I had the makings of a modern mythology that could express the odd feelings of displacement and, at the risk of sounding cliche, disenfranchisement so prevalent in the United States and areas of the globe being industrialized. I was intentionally creating a mythology for today. I was also cutting my teeth for further work on the 'pirate epic'.
I named the fish Xiao-tep.
As much as I am a fan of Robert E. Howard, I didn't want Xiao-tep to be a typical nor stereotypical brute slaughtering the evils of the modern age blindly. I wanted him to feel every death, to take in every breath, to be as much a thinker as a warrior. I didn't want him necessarily enlightened, but struggling to achieve whatever he deemed was right and just in the universe. I wanted him to be lost, unwanted, depressed even. I wanted him to feel every last emotion every single one of us, his readers, experience on any given day through the course of our own lives so that in future times we can look back and say, "What did Xiao-tep do here?" and then read or re-read part or all of his tales and appreciate them.
I wanted readers to look at Xiao-tep and, though he may be a god and a koi that can speak and fly, feel the very human struggles he was having.
I also used mythology and religion from all over the world so that no matter where a reader may be from the chances are they could find a character or something within the tale they could associate with on a cultural level. I'll discuss the specific origins of characters and such in Parts 3 and 4.
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Part 3
Here I will discuss the original character's names, the meanings thereof and give other assorted facts about characters. I will discuss only the original characters and not the gods or goddesses of the mythologies I pull influence from.
Xiao-tep: 'Xiao-tep' is a contraction of 'xiao', Chinese for 'little' (amongst other meanings), and Imhotep, an ancient Egyptian priest of Ra and the architect for the first pyramid (Step Pyramid at Sakkara aka Pyramid of Djoser). This, of course, means that his name could be roughly translated as 'Little Imhotep'. Xiao-tep is a koi fish, a symbol most commonly associated with Japanese culture. His mother is Lei-zi, the Chinese Goddess of Thunder, and his father is Hapi, the personification of the Nile River. In this, Xiao-tep represents three cultures: Egyptian, Chinese and Japanese. I wanted his name to reflect something amiable ('little') and intelligent (hence the reference to Imhotep).
Wu Chan Chu: I once more have to give thanks to J. Ho for he helped me translate 'battle toad' into Chinese. 'Battle toad' is a reference to the late-80's early-90's video game heroes Battletoads, a semi-generic rival for the Teenage Mutant Ninja Turtles. Wu Chan Chu roughly translates as 'warrior toad' and, as it is discussed within "The Children of Gods", is a misnomer since Wu Chan Chu is actually a frog. She is the daughter of Hapi, the god of the Nile River, and one of the many mortal frog attendants within his harem. She is largely Egyptian in origin, but her later name suggests a Chinese influence. Wu Chan Chu was originally named 'Kat Depet' by the slaver Kem Seqdew. 'Kat Depet' translates roughly from ancient Egyptian to English as "Ship Work" (please note within the original tale I wrote 'Kat Depet' translated as "Work Servant", I was wrong there and the story will be changed to reflect the correction in later versions). Wu Chan Chu is a demi-goddess, meaning that she is part mortal and part goddess.
Comet Fox: Comet Fox is the child of Coyote, the Trickster God of the Plains People of North America, and the Zorya, three sister Goddesses of Light from Slavic origin. Comet Fox is a god and is named thusly because he was born as a fox but can fly and when he does trails behind him a streak of white light like a comet's tail.
Ketsueki Sato: The Great Horned Demon of the Cottonwood Chamber. I wanted this demon to be truly vile and, taking a note from Been Eter (discussed below) I thought of calling the demon something along the lines of "Blood Drinker". I came up with 'Ketsueki Sato' instead. 'Ketsueki' comes from 'ketsueki-gata', roughly translating from Japanese as 'Blood Type'. It is often associated with a theory that one's personality may be predetermined by type of blood. 'Sato' has many translations, including as a Japanese surname or family name. It is also a Puerto Rican parlance for 'mutt'.
Kanaka Nui: The mortal fisherman that catches the large carp for Lei-zi to send in place of Xiao-tep for Hapi's meal. 'Kanaka Nui' roughly translates from Hawaiian as 'Big Person'.
Aileas: The Bean Nighe captured by the Dwarf brothers Brok and Sindri and bound to the Spear of Sorrows, the weapon that becomes Xiao-tep's trademark. She acts as a catalyst for Xiao-tep to receive the pains of the deaths of those he kills so that no death is simple nor without consequence to him. 'Aileas' is the Scottish form of 'Alice'. Bean Nighe are closely related to Bean Sidhe (most commonly written and pronounced 'Banshee').
Been Eter: Pronounced 'behn et-ur', he is the troll that becomes the first creature killed by Xiao-tep. 'Been Eter' roughly translates from old Dutch as 'Bone Eater'. I would be remiss to not include a mention of Tolkein's trolls from The Hobbit. Within that book I gained my first real exposure to trolls as characters and I'm sure my ideas of a troll are close to those depicted by Tolkein.
Awiti: The priest that prays to Hapi to discover the cause of the recent quakes. 'Awiti' is generalized as African in origin and means something to the effect of 'a child thrown away'. I used this to re-iterate the theme of this tale.
Kem Seqdew: A slaver that purchased Wu Chan Chu from her father with the intent of selling her. However, he could never bring himself to selling her and kept her instead under his watchful eye. 'Kem Seqdew' translates roughly from ancient Egyptian to English as 'Black Sailor'. That doesn't necessarily reflect his skin tone but his trade. Kem Seqdew's ship is called Mew Khet, which roughly translates from ancient Egyptian to "Water Thing".
Yannick: The Briton that Wu Chan Chu (as Kat Depet) spoke with aboard the ship Mew Khet. 'Yannick' is Breton and French for 'John'.
King Kleos: The Imp King and lap-dog of the demon Ketsueki Sato. Kleos is the ancient Greek concept of honor and renown, something that is hereditary and is meant to be a goal. For ancient warriors in Greece, it was an abstract concept that brought respect and was fought for. It is similar in may ways to the concepts of honor found within the samurai class of feudal Japan. Kleos was often a major theme for Homer, the epic poet of ancient Greece.
Hermit Snow: I borrowed the imagery of Hermit Snow from the classic kung-fu movie The Bride with White Hair, but also the general and stereotypical idea of what an old master hermit should look like. He is the essence of the element of snow and, as such, cannot be destroyed but instead turns back into snow from his human-looking form when Wu Chan Chu finally defeats him.
Master Liu: I named Master Liu for the venerable Gordon Liu, also known by many as Master Killer. He is most recently known for his portrayal as Johnny Mo, the leader of the Crazy 88, from the movie Kill Bill Vol. 1 and as Pai Mei, Uma Thurman's master, in Kill Bill Vol. 2.
Moon Maiden: The goddess that Master Liu convinces to make weapons for Comet Fox. I had originally wanted to make this the Inuit moon god Alignak to support the background of Comet Fox's weapons as being Inuit in origin, (he fights with dual ulus) but I liked the idea of a Moon Maiden better and the name seemed to fit. I simply created this goddess for my purposes.
King Spyridon: King Kleos' father, killed when bitten in half by a wolf. 'Spyridon' is Greek and Russian taken from the Latin 'spiritus' meaning 'spirit'. I wanted the imps not only to have Greek-like names (since imps are often credited to Greek mythology, though it is often assumed the concept of imps existed prior to the Greeks) but names reflecting their closeness to nature as well.
Demetrios: The imp soldier that finds the fishing village of mortals. 'Demetrios' is the original form of Demetrius which comes from the goddess Demeter, the 'Earth Mother'.
Georgios: The mortal fisherman met by Demetrios the imp. 'Georgios' is the Greek form of 'George' which translates as 'Earth Worker'.
Ipiretis: The Seneschal to King Kleos. His name translates roughly as, if I remember correctly (I cannot find my own source now... my apologies), 'one who sees' or 'overseer'. It may also be translated as 'aide'.
Sam and Tom: The two boys within the Epilogue of the fairy tale. Sam gets his name from Samuel Clemens, aka Mark Twain. Tom is named for Tom Spaulding, Doug's younger brother in Ray Bradbury's novel Dandelion Wine.
I should note that I gave no background for the villains in this tale. I think such things are often done in complete error as they are often not handled correctly. For instance, the three prequels to the original Star Wars movies above all else takes the character of Darth Vader, an otherwise icon of evil within our everyday language and society, and humanizes him. A background presented incorrectly takes the sting out of a villain's villainy. I refuse to do that with these tales. That does not mean that knowing the background to a villain will instantly make him or her likable. The creation of a villain can actually add to his villainy, but in many cases storytellers wind up doing the opposite by portraying their villains as victims and victims are almost always sympathetic characters. Sympathy and villainy can mix, but rarely do they not take away from one another. The only care an audience should ever have towards a villain is the care to see them stopped.
The villains in "The Children of Gods" are simple. They kept the heroes from doing the tasks they wanted or needed, most specifically the villains kept Xiao-tep, Wu Chan Chu and Comet Fox from escaping the Cottonwood Chamber.
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Part 4
Herein I will go page by page through the story and point out bits of trivia and relate notes concerning what went into creating the fairy tale "The Children of Gods".
ACT I - PART 1
First, a note about style. I move back and forth between a narrative voice that appears omnipotent ("Few know of the Celestial Garden...") and a more contemporary voice similar to that found in novels and short stories of our time. The omnipotent voice brings attention to the storyteller and is popular amongst those that tell tales at powwows or other live forums. It can be more engaging as it brings some focus onto the teller of the tale. It is similar, also, to the written tales of Homer whose epic poetry we know so well, at least by reputation. It is also a voice similar to that of the narration in All Men Are Brothers, a classic epic from China about 108 warriors battling tyranny. Besides Pearl Buck's translated version, All Men Are Brothers has also been translated under the title Outlaws of the Marsh. If you like wuxia (high fantasy martial arts) you'll definitely be wanting to read about the Mountain Bandits found within All Men Are Brothers or Outlaws of the Marsh. Also be aware that Gandhi wrote a book called All Men Are Brothers. Make sure to get the correct book.
ACT I - PART 3
The concept of the willow branch acting as a carrier of tears is relatively common in many regions of the world.
ACT II - PART 1
Of course, I used legends from Norse mythology and even some influence from R. E. Howard's tale "The Frost Giant's Daughter" to imagine the 'hoary hinterland' that Xiao-tep comes into at the top of Act II after having fled from his father in the Celestial Garden.
It was important for me to show what happens to Xiao-tep without his willow branch. Here in Act II, Part 1 i separated him from the branch. Eventually, Loki, disguised as Brok and feeding Xiao-tep lies, practically cripples Xiao-tep with sorrow. I needed to show the enormity of the sorrows Xiao-tep has the capacity to feel. As long as Xiao-tep has his branch, he still feels the sorrows but not to the extent of being unable to do more than double over and sob. I also used the moment to build up the villainy of Loki.
ACT II - PART 2
I needed to deal with some logistics of a fish handling a spear as a weapon, so I added Loki presenting the elixir from the Morrigan Hags that allowed Xiao-tep, once he drank it, to grow to any size up to his full size and morph his fins into arms. In my mind's eye, Xiao-tep's full natural height is about fifteen or so feet and I knew, too, he would one day travel to the mortal realm and would need to be able to grow smaller so as not to appear so monstrous to mortals.
My main purpose of introducing the troll Been Eter was to incorporate the element of fighting. These tales, above all else, were from the very beginning meant to be adventures filled with both emotional drama and combat. I looked at Act II as I was writing it and realized there was no real element of fighting to it, plus I needed to show Xiao-tep performing with his newly acquired Spear of Sorrows.
ACT II - PART 3
Coyote stars in some of my favorite tales. Long ago, I want to say 1987, I came across the book American Indian Myths and Legends. It's a great resource for anyone interested in such subject matter as the title would suggest. At the start of Act II, Part 3 I talk about Coyote being full of summer strawberries. It's a small reference to a tale within the aforementioned book. Coyote sees several beautiful women picking strawberries and he desires them, so he goes to the end of the long row of strawberries and buries himself completely except for the tip of his penis which sticks out, looking somewhat like a strawberry that's on the ground. The women come to the end of the row of strawberries and see this one lying on the ground. Try as they might they cannot pick it from the ground. They pull at it and pull at it until it excretes a small bit of milk-like substance. They move on and Coyote digs himself out of the ground. ;)
I named Comet Fox prior to researching his mother, so I had to find a goddess (or in this case three goddesses) that represented traveling light. The Zorya fit the bill.
There are many layers to Hell ruled by the Yama Kings, but I really liked the name Chamber of Dismemberment by Sawing. The other layers are: Chamber of Wind and Thunder, Chamber of Grinding, Chamber of Flames, Chamber of Ice, Chamber of Oil Cauldrons, Chamber of Dismemberment by Chariot, Chamber of Mountain of Knives, Chamber of Tongue Ripping, Chamber of Pounding, Chamber of Torso-severing, Chamber of Scales, Chamber of Eye-gouging, Chamber of Heart-digging, Chamber of Disembowelment, Chamber of Blood, Chamber of Maggots, and Chamber of Avici. (2)
ACT III - PART 1
I wanted my faun unlike those protrayed within recent movies(Mr. Tumnus in The Lion, The Witch and The Wardrobe and the faun in Pan's Labyrinth) so I did some research on fauns and discovered Lupercus the epithet of Faunus, the god of wilderness and fertility. I wanted him friendly and wise.
ACT III - PART 2
The kappa is another favorite legend of mine. I first learned of it in Obake: Ghost Stories of Hawaii by Glen Grant. It's a book I purchased in the first month or two after moving to Maui. I then came across the legend again while reading the graphic novels Usagi Yojimbo by Stan Sakai. In one Usagi tale he battles the kappa demon.
ACT III - PART 3
I currently live in an area of Michigan that becomes practically infested with cottonwood puffs every spring. It can be quite pretty, but also signals allergy season for me. In a discussion I remember with J. Ho long ago, I told him it makes the area look like I'm caught up in a wuxia tale. It was only natural I add cottonwoods to this tale and eventually call Ketsueki's realm The Cottonwood Chamber.
It was important that I did not have Xiao-tep out-and-out tricked to go into the Cottonwood Chamber. Having him actively seek it out and the aide of Ketsueki shows his desperation and hate towards his father.
Imps are often associated, some would argue incorrectly, with Wiccans. Some claim them tiny demons acting as familiars for witches. The truth is that imps have a history separate (largely) from that religion. But I drew upon this misnomer and portrayed the imps as having the once-perceived familiar-like quality of suckling blood from the third nipple of another's body. I understand fully I was playing on false beliefs developed by ignorance, but the legend has come into mainstream consciousness and felt it fit my needs. I took great care not to associate Ketsueki, Kleos or anything having to do with them with Wicca. My respect and love goes out to Wiccans everywhere.
ACT IV - PART 1
I needed to incorporate more fighting into the tale, hence my choice to incorporate flashbacks showing Wu Chan Chu's and Comet Fox's training and attainment of weapons as well as their fights with Xiao-tep.
The nose flute is a common musical instrument within Polynesian culture.
The idea of Wu Chan Chu watching the hawk comes from a quote in the Hagakure and recited by Forest Whitaker on the soundtrack to the movie Ghost Dog: The Way of the Samurai. The quote goes: "According to what one of the elders say, 'Taking an enemy on the battlefield is like a hawk taking a bird. Even though it enters into the midst of a thousand of them it pays no attention to any bird other than the one it has first marked.'"
ACT IV - PART 2
I wanted the entirety of the Cottonwood Chamber to appear alive and organic, hence my incorporation of spriggans. I got inspiration for them in the Palladium Fantasy Role-Playing Game. With gratitude to Kevin Siembieda.
ACT IV - PART 3
There is a brief reference to the tales of All Men Are Brothers here. In those classic Chinese tales, the character Black Whirlwind must take up residence with a school of monks. Black Whirlwind is the polar opposite of what a monk should be: he eats meat, does no chores, loves luxury and wealth and violence. As such, he does not hold sacred that which the monks hold sacred. One night, after sneaking away to a nearby village to eat and carouse, Black Whirlwind returned drunk and needing to pee. He winds up peeing behind the statue of the Buddha in the temple. Of course, the monks are outraged and a small moment of hilarity ensues. Here Comet Fox, drunk and needing to pee, urinates upon one of the hand-carved stone dragons of Master Liu.
While not necessarily the comic relief of the story, I did want Comet Fox to have a sense of humor about him and wanted humor to enter into the situations he found himself in. For instance, Master Liu reminiscing about watermelons while Comet Fox rages about plums. One of the things I find endearing about the Coyote tales that inspired Comet Fox was Ciyote's sometimes simple nature. Coyote wants what he wants and he'll do as he needs to get what he wants. I wanted Comet Fox to be much the same.
ACT IV - PART 4
Strategy and forethought is quite important in combat as is in life. The observation of nature is also important, most especially in kung fu. I wanted to portray that with this flashback-within-a-flashback from Master Liu's younger times. Most martial arts are also based upon basic principles and I wanted Master Liu to express those principles in his own way and portray them as he had learned them in life.
ACT IV - PART 5
From almost the first I wanted Comet Fox to brandish ulus as his weapons of choice. The problem I found was inspiration for how they were made. These heroes are in many ways quite plain and simple, but I wanted them also to have certain uniquenesses to them. Their weapons is one area I chose to make extravagant. Xiao-tep's Spear of Sorrows was made by dwarfs and has within it a bound Bean Nighe; Wu Chan Chu's brass knuckles were made by a master craftsman especially for her; Comet Fox's ulus needed, I felt, a mystical origin and since ulus look so much like half-moons I thought it only appropriate they come from the moon.
ACT IV - PART 6
I love Drunken Style. It looks so comical yet can be quick and effective and even graceful.
ACT V - PART 1
When it came time to write the final Act of this tale, I realized I needed to add a background story to the imps since they were to have a part in the usurping of Ketsueki Sato. I didn't want them to be the calvary riding in to save the day and all that schtick. They needed a reason, a purpose, and a stake in the outcome. Sadly, I went forward with this background in the final Act. I say 'sadly' because I felt that by the final Act the stage should have been completely set so that we could concentrate on the final battle. This did not happen. When I edit this for future readings, the background story of the imps will go in Act 3 just before the imp (you later discover him to be King Kleos) visits Xiao-tep and tells him to escape the Cottonwood Chamber.
I drew heavily upon ancient Greek culture for inspiration for the imps. It would seem that, while imps may have existed within the minds of humanity prior to Greece's heyday, the ancient Greeks were the first to truly adopt them into their culture in some way.
The separate bog-kingdoms I loosely based upon the Greek idea of city-states, with King Kleos' bog-kingdom being somewhat like Sparta in that they are the most war-like and most successful at war.
The wolf is a common character within ancient Greek tales.
ACT V - PART 2
I wanted to incorporate some level of political power within the imp's part of the tale, which is lacking elsewhere.
ACT V - PART 6
I also wanted the power struggle to last a bit to add a parallel level of the rising tension of the fight in the courtyard. I didn't want the finale to be one-dimensional where everyone was just fighting and things become more bleak by the minute as the enemy increases his troops and pressure. I wanted to express that rising tension through a feeling of emergency and emotion. Herein we find King Kleos not wanting to see his people slaughtered, yet wanting to fight for their freedom. I pulled inspiration for this from Homer's The Iliad
. In The Iliad the hero Achilles must make the decision to join an on-going war. He does not desire to do so, thus Homer creates an emotional trial for Achilles as his friends and countrymen die while he sits at home safely. I am not the world's biggest fan of The Iliad because it takes so very long for Achilles to join the war and, quite frankly, the ending is not without flaws. But had Homer made Achilles join the war far earlier within the tale, I might like The Iliad a bit more. Nevertheless, I borrowed the idea of having a perplexed character deciding to go to war from The Iliad.
ACT V - PART 7
King Kleos tells Ipiretus and his people to hack at the heels of the toad demons to sever the tendons within. For those of you who don't know, that tendon is often called the Achilles Tendon and if it is not in tact, a person will fall, incapable of walking or standing on that foot. Why is it called the Achilles Tendon? Once more I reference you the The Iliad
.
ACT V - PART 8
I wanted Ketsueki to be practically impenetrable. I also wanted the heroes to work together to defeat him so that no single character could say they did more than the rest. Lastly, Xiao-tep, being our main hero, needed to be the one that delivered the final blow. As a result, Comet Fox severed the horn of Ketsueki that would be used as the death-weapon, King Kleos gave the horn to Xiao-tep with the information that Ketsueki was weakest in the pit, Wu Chan Chu broke the knee of the demon which made him raise his arm and finally Xiao-tep drove the horn into the demon's pit. None could have succeeded without the other.
CONCLUSION
When all is said and done, I am simply writing a fairy tale (often associated with children's entertainment) about a flying, speaking fish. A certain amount of levity and light-heartedness must be taken when approaching the subject matter. I do approach it in this way, no matter how much heaviness of thought or philosophical background I may put into these stories.
But the backdrop of culture and ideas of post-industrialization are there. If you can latch onto them, by all means please do. If all you get out of reading this tale is a kick-in-the-pants kind of fun, that's great as well.
Thanks to everyone who has read and supported this work.
One last note: the title of this afterword is "Drawing Down the Sun, Uplifting the Stars". It is inspired from two sources. One is the Wiccan ritual of 'drawing down the moon' wherein a coven requests divine guidance. The other comes from, once again, All Men Are Brothers wherein the 108 heroes are released as spirits into the world and they fly through the sky like shooting stars. Hence, the title of this afterword could mean a calling upon divine guidance coupled with the releasing of heroes. The title could also mean banishing the light so that heroes can be raised in the hours of darkness.
With much love and respect,
~ charles
Here is a quick picture I did in MS Paint of Xiao-tep.
"Drawing Down the Sun, Uplifting the Stars"
by Charles Shaver. Copyright 2007 by Charles Shaver. All rights reserved.
AFTERWORD: Wherein Charles discusses the major themes, purposes, influences and references within the fairy tale "The Children of Gods".
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Part 1
BILL MOYERS (BM): What happens when a society no longer embraces a powerful mythology?
JOSEPH CAMPBELL (JC): What we've got on our hands. If you want to find out what it means to have a society without any rituals, read the New York Times.
BM: And you'd find?
JC: The news of the day, including destructive and violent acts by young people who don't know how to behave in a civilized society.(1)
When first I heard these words they were revolution to me. In the infamous interviews conducted by Bill Moyers with the late Joeseph Campbell the condition of modern society and importance of unifying ethos became apparent. As Campbell spoke those words "What we've got on our hands" I knew them to be true for I was living proof.
I am an American and like many Americans I was taught I come from a place besides the United States. I am an American and like many Americans I was taught the United States is my homeland. I was taught that I and my ancestors are German, yet if I venture to Germany I find myself a foreigner. I was taught that I and my ancestors are Hawaiian, and thus Native American/American Indian/First Peoples, yet if I travel to Hawai'i I find I feel as an outsider. It took a great deal of time, observance and humbling quietude to feel at home on Maui where my ancestry dates back some 500 years. When finally I did feel at home, I was torn away from the island viciously by economy.
What I see in myself is what Joseph Campbell so simply and precisely described within these few lines quoted above. What I see in myself I see in my friends and family who grew up or old around me and with me. What I see in myself I see on the front page of the New York Times. What I see in myself is an odd mixture of backgrounds; a conglomeration of histories; a mutt gone astray in the neighborhood of his owning family and, while still near his home, unable to find his way back to his master.
What's more, as early as 1994 I began to see this in other parts of the world as global industrialization was expanding at a mad pace. On January 1 of that year, indigenous farmers took up arms in Chiapas, Mexico in a struggle against the industrialization of their land-owner heritage. They called themselves Zapatistas.
I see within continued global industrialization the threat it poses against regional cultures and people. This is not necessarily a negative criticism against industrialization, at least not for my purposes. It is an observation made about the difficult process of industrialization, difficult most of all for the people that live within the region that is being industrialized. Their lives and the rules of their society are being completely changed, sometimes over night. I can only imagine that such a process would leave a person feeling quite new and different from what they once were, an alien within one's homeland.
Yet regions currently going through industrialization are not the only ones to produce such feelings of alienation. For example, look what I wrote above about being Hawaiian: "I was taught that I and my ancestors are Hawaiian, and thus Native American/American Indian/First Peoples..." In many cases such as this we don't even know how to refer to ourselves. This is not unique to me. Having spent time at powwows and other indigenous gatherings it can be a difficult task for even the veterans of such events to speak articulately about who they are.
It was with these observances and this line of thought I set forth to writing tales of new gods, the children of old gods, to create a new mythos and perhaps reintroduce old ethos to a society fractured and broken in this area of understanding. Thus was born Xiao-tep, the fish-god both Egyptian and Chinese yet truly neither for he is not pedigree. He is uniquely American in this, or American-like, or post-industrialized-like.
Within this essay I will discuss the origins and purposes of Xiao-tep. I will break this essay into three major parts: a discussion of origins and analysis of themes within the fairy tale "The Children of Gods"; a listing of names and their root meanings, as well as other notes pertaining to original characters; and a point-by-point breakdown of the tale with underlying notes, references and trivia.
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Part 2
JC: People say that what we're all seeking is a meaning for life. I don't think that's what we're really seeking. I think that what we're seeking is an experience of being alive, so that our life experiences on the purely physical plane will have resonances within our own innermost being and reality, so that we actually feel the rapture of being alive. That's what it's all finally about, and that's what these clues help us to find within ourselves.
BM: Myths are clues?
JC: Myths are clues to the spiritual potentialities of the human life.
In 2000 I began working under the flag of the ideas of shifting global economies, a shrinking global village and regional cultures being threatened. Since then I have been working on what J. Ho dubbed my 'pirate epic'. It's a collection of fantasy tales that indeed have pirates and is ultimately closing in on the epic scale, but it's so much more. I wanted to use the words of Joseph Campbell as my battlecry and pick up the banner of the now fallen Tolkein and carry his quest further, but where Tolkein was attempting to create new tales for the future generations of the United Kingdom to latch onto, I want to do the same for the whole world. Therein lies the purpose of the 'pirate epic'.
Anthropomorphic characters play a major part in the 'pirate epic' and at one time I thought about introducing a talking koi fish to act as advisor to the main character. I felt the koi had little use in the 'pirate epic' and didn't quite fit the make-up of the rest of the cast of characters. I loved the idea of the talking koi, however, and stored him in the back of my mind for future uses.
Once more I was speaking with my good friend J. Ho. He is an illustrator by trade and has a blog wherein he posts different pieces of his art on a regular basis. He once asked if I would suggest something for him to draw and thinking of my little koi I said "mystical fish". From that was born 'ankh-fish'. I loved the idea of a fish with an ankh embedded into his forehead and asked J. Ho if I could write up the background to the little guy. He agreed.
I mixed J. Ho's ideas with my own and wound up with five Acts, 134 pages and some 30,000+ words of the fairy tale "The Children of Gods". I made the fish once more a koi and kept the ankh on his forehead. Seeing this fish in my mind, I knew I had the makings of a modern mythology that could express the odd feelings of displacement and, at the risk of sounding cliche, disenfranchisement so prevalent in the United States and areas of the globe being industrialized. I was intentionally creating a mythology for today. I was also cutting my teeth for further work on the 'pirate epic'.
I named the fish Xiao-tep.
As much as I am a fan of Robert E. Howard, I didn't want Xiao-tep to be a typical nor stereotypical brute slaughtering the evils of the modern age blindly. I wanted him to feel every death, to take in every breath, to be as much a thinker as a warrior. I didn't want him necessarily enlightened, but struggling to achieve whatever he deemed was right and just in the universe. I wanted him to be lost, unwanted, depressed even. I wanted him to feel every last emotion every single one of us, his readers, experience on any given day through the course of our own lives so that in future times we can look back and say, "What did Xiao-tep do here?" and then read or re-read part or all of his tales and appreciate them.
I wanted readers to look at Xiao-tep and, though he may be a god and a koi that can speak and fly, feel the very human struggles he was having.
I also used mythology and religion from all over the world so that no matter where a reader may be from the chances are they could find a character or something within the tale they could associate with on a cultural level. I'll discuss the specific origins of characters and such in Parts 3 and 4.
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Part 3
Here I will discuss the original character's names, the meanings thereof and give other assorted facts about characters. I will discuss only the original characters and not the gods or goddesses of the mythologies I pull influence from.
Xiao-tep: 'Xiao-tep' is a contraction of 'xiao', Chinese for 'little' (amongst other meanings), and Imhotep, an ancient Egyptian priest of Ra and the architect for the first pyramid (Step Pyramid at Sakkara aka Pyramid of Djoser). This, of course, means that his name could be roughly translated as 'Little Imhotep'. Xiao-tep is a koi fish, a symbol most commonly associated with Japanese culture. His mother is Lei-zi, the Chinese Goddess of Thunder, and his father is Hapi, the personification of the Nile River. In this, Xiao-tep represents three cultures: Egyptian, Chinese and Japanese. I wanted his name to reflect something amiable ('little') and intelligent (hence the reference to Imhotep).
Wu Chan Chu: I once more have to give thanks to J. Ho for he helped me translate 'battle toad' into Chinese. 'Battle toad' is a reference to the late-80's early-90's video game heroes Battletoads, a semi-generic rival for the Teenage Mutant Ninja Turtles. Wu Chan Chu roughly translates as 'warrior toad' and, as it is discussed within "The Children of Gods", is a misnomer since Wu Chan Chu is actually a frog. She is the daughter of Hapi, the god of the Nile River, and one of the many mortal frog attendants within his harem. She is largely Egyptian in origin, but her later name suggests a Chinese influence. Wu Chan Chu was originally named 'Kat Depet' by the slaver Kem Seqdew. 'Kat Depet' translates roughly from ancient Egyptian to English as "Ship Work" (please note within the original tale I wrote 'Kat Depet' translated as "Work Servant", I was wrong there and the story will be changed to reflect the correction in later versions). Wu Chan Chu is a demi-goddess, meaning that she is part mortal and part goddess.
Comet Fox: Comet Fox is the child of Coyote, the Trickster God of the Plains People of North America, and the Zorya, three sister Goddesses of Light from Slavic origin. Comet Fox is a god and is named thusly because he was born as a fox but can fly and when he does trails behind him a streak of white light like a comet's tail.
Ketsueki Sato: The Great Horned Demon of the Cottonwood Chamber. I wanted this demon to be truly vile and, taking a note from Been Eter (discussed below) I thought of calling the demon something along the lines of "Blood Drinker". I came up with 'Ketsueki Sato' instead. 'Ketsueki' comes from 'ketsueki-gata', roughly translating from Japanese as 'Blood Type'. It is often associated with a theory that one's personality may be predetermined by type of blood. 'Sato' has many translations, including as a Japanese surname or family name. It is also a Puerto Rican parlance for 'mutt'.
Kanaka Nui: The mortal fisherman that catches the large carp for Lei-zi to send in place of Xiao-tep for Hapi's meal. 'Kanaka Nui' roughly translates from Hawaiian as 'Big Person'.
Aileas: The Bean Nighe captured by the Dwarf brothers Brok and Sindri and bound to the Spear of Sorrows, the weapon that becomes Xiao-tep's trademark. She acts as a catalyst for Xiao-tep to receive the pains of the deaths of those he kills so that no death is simple nor without consequence to him. 'Aileas' is the Scottish form of 'Alice'. Bean Nighe are closely related to Bean Sidhe (most commonly written and pronounced 'Banshee').
Been Eter: Pronounced 'behn et-ur', he is the troll that becomes the first creature killed by Xiao-tep. 'Been Eter' roughly translates from old Dutch as 'Bone Eater'. I would be remiss to not include a mention of Tolkein's trolls from The Hobbit. Within that book I gained my first real exposure to trolls as characters and I'm sure my ideas of a troll are close to those depicted by Tolkein.
Awiti: The priest that prays to Hapi to discover the cause of the recent quakes. 'Awiti' is generalized as African in origin and means something to the effect of 'a child thrown away'. I used this to re-iterate the theme of this tale.
Kem Seqdew: A slaver that purchased Wu Chan Chu from her father with the intent of selling her. However, he could never bring himself to selling her and kept her instead under his watchful eye. 'Kem Seqdew' translates roughly from ancient Egyptian to English as 'Black Sailor'. That doesn't necessarily reflect his skin tone but his trade. Kem Seqdew's ship is called Mew Khet, which roughly translates from ancient Egyptian to "Water Thing".
Yannick: The Briton that Wu Chan Chu (as Kat Depet) spoke with aboard the ship Mew Khet. 'Yannick' is Breton and French for 'John'.
King Kleos: The Imp King and lap-dog of the demon Ketsueki Sato. Kleos is the ancient Greek concept of honor and renown, something that is hereditary and is meant to be a goal. For ancient warriors in Greece, it was an abstract concept that brought respect and was fought for. It is similar in may ways to the concepts of honor found within the samurai class of feudal Japan. Kleos was often a major theme for Homer, the epic poet of ancient Greece.
Hermit Snow: I borrowed the imagery of Hermit Snow from the classic kung-fu movie The Bride with White Hair, but also the general and stereotypical idea of what an old master hermit should look like. He is the essence of the element of snow and, as such, cannot be destroyed but instead turns back into snow from his human-looking form when Wu Chan Chu finally defeats him.
Master Liu: I named Master Liu for the venerable Gordon Liu, also known by many as Master Killer. He is most recently known for his portrayal as Johnny Mo, the leader of the Crazy 88, from the movie Kill Bill Vol. 1 and as Pai Mei, Uma Thurman's master, in Kill Bill Vol. 2.
Moon Maiden: The goddess that Master Liu convinces to make weapons for Comet Fox. I had originally wanted to make this the Inuit moon god Alignak to support the background of Comet Fox's weapons as being Inuit in origin, (he fights with dual ulus) but I liked the idea of a Moon Maiden better and the name seemed to fit. I simply created this goddess for my purposes.
King Spyridon: King Kleos' father, killed when bitten in half by a wolf. 'Spyridon' is Greek and Russian taken from the Latin 'spiritus' meaning 'spirit'. I wanted the imps not only to have Greek-like names (since imps are often credited to Greek mythology, though it is often assumed the concept of imps existed prior to the Greeks) but names reflecting their closeness to nature as well.
Demetrios: The imp soldier that finds the fishing village of mortals. 'Demetrios' is the original form of Demetrius which comes from the goddess Demeter, the 'Earth Mother'.
Georgios: The mortal fisherman met by Demetrios the imp. 'Georgios' is the Greek form of 'George' which translates as 'Earth Worker'.
Ipiretis: The Seneschal to King Kleos. His name translates roughly as, if I remember correctly (I cannot find my own source now... my apologies), 'one who sees' or 'overseer'. It may also be translated as 'aide'.
Sam and Tom: The two boys within the Epilogue of the fairy tale. Sam gets his name from Samuel Clemens, aka Mark Twain. Tom is named for Tom Spaulding, Doug's younger brother in Ray Bradbury's novel Dandelion Wine.
I should note that I gave no background for the villains in this tale. I think such things are often done in complete error as they are often not handled correctly. For instance, the three prequels to the original Star Wars movies above all else takes the character of Darth Vader, an otherwise icon of evil within our everyday language and society, and humanizes him. A background presented incorrectly takes the sting out of a villain's villainy. I refuse to do that with these tales. That does not mean that knowing the background to a villain will instantly make him or her likable. The creation of a villain can actually add to his villainy, but in many cases storytellers wind up doing the opposite by portraying their villains as victims and victims are almost always sympathetic characters. Sympathy and villainy can mix, but rarely do they not take away from one another. The only care an audience should ever have towards a villain is the care to see them stopped.
The villains in "The Children of Gods" are simple. They kept the heroes from doing the tasks they wanted or needed, most specifically the villains kept Xiao-tep, Wu Chan Chu and Comet Fox from escaping the Cottonwood Chamber.
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Part 4
Herein I will go page by page through the story and point out bits of trivia and relate notes concerning what went into creating the fairy tale "The Children of Gods".
ACT I - PART 1
First, a note about style. I move back and forth between a narrative voice that appears omnipotent ("Few know of the Celestial Garden...") and a more contemporary voice similar to that found in novels and short stories of our time. The omnipotent voice brings attention to the storyteller and is popular amongst those that tell tales at powwows or other live forums. It can be more engaging as it brings some focus onto the teller of the tale. It is similar, also, to the written tales of Homer whose epic poetry we know so well, at least by reputation. It is also a voice similar to that of the narration in All Men Are Brothers, a classic epic from China about 108 warriors battling tyranny. Besides Pearl Buck's translated version, All Men Are Brothers has also been translated under the title Outlaws of the Marsh. If you like wuxia (high fantasy martial arts) you'll definitely be wanting to read about the Mountain Bandits found within All Men Are Brothers or Outlaws of the Marsh. Also be aware that Gandhi wrote a book called All Men Are Brothers. Make sure to get the correct book.
ACT I - PART 3
The concept of the willow branch acting as a carrier of tears is relatively common in many regions of the world.
ACT II - PART 1
Of course, I used legends from Norse mythology and even some influence from R. E. Howard's tale "The Frost Giant's Daughter" to imagine the 'hoary hinterland' that Xiao-tep comes into at the top of Act II after having fled from his father in the Celestial Garden.
It was important for me to show what happens to Xiao-tep without his willow branch. Here in Act II, Part 1 i separated him from the branch. Eventually, Loki, disguised as Brok and feeding Xiao-tep lies, practically cripples Xiao-tep with sorrow. I needed to show the enormity of the sorrows Xiao-tep has the capacity to feel. As long as Xiao-tep has his branch, he still feels the sorrows but not to the extent of being unable to do more than double over and sob. I also used the moment to build up the villainy of Loki.
ACT II - PART 2
I needed to deal with some logistics of a fish handling a spear as a weapon, so I added Loki presenting the elixir from the Morrigan Hags that allowed Xiao-tep, once he drank it, to grow to any size up to his full size and morph his fins into arms. In my mind's eye, Xiao-tep's full natural height is about fifteen or so feet and I knew, too, he would one day travel to the mortal realm and would need to be able to grow smaller so as not to appear so monstrous to mortals.
My main purpose of introducing the troll Been Eter was to incorporate the element of fighting. These tales, above all else, were from the very beginning meant to be adventures filled with both emotional drama and combat. I looked at Act II as I was writing it and realized there was no real element of fighting to it, plus I needed to show Xiao-tep performing with his newly acquired Spear of Sorrows.
ACT II - PART 3
Coyote stars in some of my favorite tales. Long ago, I want to say 1987, I came across the book American Indian Myths and Legends. It's a great resource for anyone interested in such subject matter as the title would suggest. At the start of Act II, Part 3 I talk about Coyote being full of summer strawberries. It's a small reference to a tale within the aforementioned book. Coyote sees several beautiful women picking strawberries and he desires them, so he goes to the end of the long row of strawberries and buries himself completely except for the tip of his penis which sticks out, looking somewhat like a strawberry that's on the ground. The women come to the end of the row of strawberries and see this one lying on the ground. Try as they might they cannot pick it from the ground. They pull at it and pull at it until it excretes a small bit of milk-like substance. They move on and Coyote digs himself out of the ground. ;)
I named Comet Fox prior to researching his mother, so I had to find a goddess (or in this case three goddesses) that represented traveling light. The Zorya fit the bill.
There are many layers to Hell ruled by the Yama Kings, but I really liked the name Chamber of Dismemberment by Sawing. The other layers are: Chamber of Wind and Thunder, Chamber of Grinding, Chamber of Flames, Chamber of Ice, Chamber of Oil Cauldrons, Chamber of Dismemberment by Chariot, Chamber of Mountain of Knives, Chamber of Tongue Ripping, Chamber of Pounding, Chamber of Torso-severing, Chamber of Scales, Chamber of Eye-gouging, Chamber of Heart-digging, Chamber of Disembowelment, Chamber of Blood, Chamber of Maggots, and Chamber of Avici. (2)
ACT III - PART 1
I wanted my faun unlike those protrayed within recent movies(Mr. Tumnus in The Lion, The Witch and The Wardrobe and the faun in Pan's Labyrinth) so I did some research on fauns and discovered Lupercus the epithet of Faunus, the god of wilderness and fertility. I wanted him friendly and wise.
ACT III - PART 2
The kappa is another favorite legend of mine. I first learned of it in Obake: Ghost Stories of Hawaii by Glen Grant. It's a book I purchased in the first month or two after moving to Maui. I then came across the legend again while reading the graphic novels Usagi Yojimbo by Stan Sakai. In one Usagi tale he battles the kappa demon.
ACT III - PART 3
I currently live in an area of Michigan that becomes practically infested with cottonwood puffs every spring. It can be quite pretty, but also signals allergy season for me. In a discussion I remember with J. Ho long ago, I told him it makes the area look like I'm caught up in a wuxia tale. It was only natural I add cottonwoods to this tale and eventually call Ketsueki's realm The Cottonwood Chamber.
It was important that I did not have Xiao-tep out-and-out tricked to go into the Cottonwood Chamber. Having him actively seek it out and the aide of Ketsueki shows his desperation and hate towards his father.
Imps are often associated, some would argue incorrectly, with Wiccans. Some claim them tiny demons acting as familiars for witches. The truth is that imps have a history separate (largely) from that religion. But I drew upon this misnomer and portrayed the imps as having the once-perceived familiar-like quality of suckling blood from the third nipple of another's body. I understand fully I was playing on false beliefs developed by ignorance, but the legend has come into mainstream consciousness and felt it fit my needs. I took great care not to associate Ketsueki, Kleos or anything having to do with them with Wicca. My respect and love goes out to Wiccans everywhere.
ACT IV - PART 1
I needed to incorporate more fighting into the tale, hence my choice to incorporate flashbacks showing Wu Chan Chu's and Comet Fox's training and attainment of weapons as well as their fights with Xiao-tep.
The nose flute is a common musical instrument within Polynesian culture.
The idea of Wu Chan Chu watching the hawk comes from a quote in the Hagakure and recited by Forest Whitaker on the soundtrack to the movie Ghost Dog: The Way of the Samurai. The quote goes: "According to what one of the elders say, 'Taking an enemy on the battlefield is like a hawk taking a bird. Even though it enters into the midst of a thousand of them it pays no attention to any bird other than the one it has first marked.'"
ACT IV - PART 2
I wanted the entirety of the Cottonwood Chamber to appear alive and organic, hence my incorporation of spriggans. I got inspiration for them in the Palladium Fantasy Role-Playing Game. With gratitude to Kevin Siembieda.
ACT IV - PART 3
There is a brief reference to the tales of All Men Are Brothers here. In those classic Chinese tales, the character Black Whirlwind must take up residence with a school of monks. Black Whirlwind is the polar opposite of what a monk should be: he eats meat, does no chores, loves luxury and wealth and violence. As such, he does not hold sacred that which the monks hold sacred. One night, after sneaking away to a nearby village to eat and carouse, Black Whirlwind returned drunk and needing to pee. He winds up peeing behind the statue of the Buddha in the temple. Of course, the monks are outraged and a small moment of hilarity ensues. Here Comet Fox, drunk and needing to pee, urinates upon one of the hand-carved stone dragons of Master Liu.
While not necessarily the comic relief of the story, I did want Comet Fox to have a sense of humor about him and wanted humor to enter into the situations he found himself in. For instance, Master Liu reminiscing about watermelons while Comet Fox rages about plums. One of the things I find endearing about the Coyote tales that inspired Comet Fox was Ciyote's sometimes simple nature. Coyote wants what he wants and he'll do as he needs to get what he wants. I wanted Comet Fox to be much the same.
ACT IV - PART 4
Strategy and forethought is quite important in combat as is in life. The observation of nature is also important, most especially in kung fu. I wanted to portray that with this flashback-within-a-flashback from Master Liu's younger times. Most martial arts are also based upon basic principles and I wanted Master Liu to express those principles in his own way and portray them as he had learned them in life.
ACT IV - PART 5
From almost the first I wanted Comet Fox to brandish ulus as his weapons of choice. The problem I found was inspiration for how they were made. These heroes are in many ways quite plain and simple, but I wanted them also to have certain uniquenesses to them. Their weapons is one area I chose to make extravagant. Xiao-tep's Spear of Sorrows was made by dwarfs and has within it a bound Bean Nighe; Wu Chan Chu's brass knuckles were made by a master craftsman especially for her; Comet Fox's ulus needed, I felt, a mystical origin and since ulus look so much like half-moons I thought it only appropriate they come from the moon.
ACT IV - PART 6
I love Drunken Style. It looks so comical yet can be quick and effective and even graceful.
ACT V - PART 1
When it came time to write the final Act of this tale, I realized I needed to add a background story to the imps since they were to have a part in the usurping of Ketsueki Sato. I didn't want them to be the calvary riding in to save the day and all that schtick. They needed a reason, a purpose, and a stake in the outcome. Sadly, I went forward with this background in the final Act. I say 'sadly' because I felt that by the final Act the stage should have been completely set so that we could concentrate on the final battle. This did not happen. When I edit this for future readings, the background story of the imps will go in Act 3 just before the imp (you later discover him to be King Kleos) visits Xiao-tep and tells him to escape the Cottonwood Chamber.
I drew heavily upon ancient Greek culture for inspiration for the imps. It would seem that, while imps may have existed within the minds of humanity prior to Greece's heyday, the ancient Greeks were the first to truly adopt them into their culture in some way.
The separate bog-kingdoms I loosely based upon the Greek idea of city-states, with King Kleos' bog-kingdom being somewhat like Sparta in that they are the most war-like and most successful at war.
The wolf is a common character within ancient Greek tales.
ACT V - PART 2
I wanted to incorporate some level of political power within the imp's part of the tale, which is lacking elsewhere.
ACT V - PART 6
I also wanted the power struggle to last a bit to add a parallel level of the rising tension of the fight in the courtyard. I didn't want the finale to be one-dimensional where everyone was just fighting and things become more bleak by the minute as the enemy increases his troops and pressure. I wanted to express that rising tension through a feeling of emergency and emotion. Herein we find King Kleos not wanting to see his people slaughtered, yet wanting to fight for their freedom. I pulled inspiration for this from Homer's The Iliad
. In The Iliad the hero Achilles must make the decision to join an on-going war. He does not desire to do so, thus Homer creates an emotional trial for Achilles as his friends and countrymen die while he sits at home safely. I am not the world's biggest fan of The Iliad because it takes so very long for Achilles to join the war and, quite frankly, the ending is not without flaws. But had Homer made Achilles join the war far earlier within the tale, I might like The Iliad a bit more. Nevertheless, I borrowed the idea of having a perplexed character deciding to go to war from The Iliad.
ACT V - PART 7
King Kleos tells Ipiretus and his people to hack at the heels of the toad demons to sever the tendons within. For those of you who don't know, that tendon is often called the Achilles Tendon and if it is not in tact, a person will fall, incapable of walking or standing on that foot. Why is it called the Achilles Tendon? Once more I reference you the The Iliad
.
ACT V - PART 8
I wanted Ketsueki to be practically impenetrable. I also wanted the heroes to work together to defeat him so that no single character could say they did more than the rest. Lastly, Xiao-tep, being our main hero, needed to be the one that delivered the final blow. As a result, Comet Fox severed the horn of Ketsueki that would be used as the death-weapon, King Kleos gave the horn to Xiao-tep with the information that Ketsueki was weakest in the pit, Wu Chan Chu broke the knee of the demon which made him raise his arm and finally Xiao-tep drove the horn into the demon's pit. None could have succeeded without the other.
CONCLUSION
When all is said and done, I am simply writing a fairy tale (often associated with children's entertainment) about a flying, speaking fish. A certain amount of levity and light-heartedness must be taken when approaching the subject matter. I do approach it in this way, no matter how much heaviness of thought or philosophical background I may put into these stories.
But the backdrop of culture and ideas of post-industrialization are there. If you can latch onto them, by all means please do. If all you get out of reading this tale is a kick-in-the-pants kind of fun, that's great as well.
Thanks to everyone who has read and supported this work.
One last note: the title of this afterword is "Drawing Down the Sun, Uplifting the Stars". It is inspired from two sources. One is the Wiccan ritual of 'drawing down the moon' wherein a coven requests divine guidance. The other comes from, once again, All Men Are Brothers wherein the 108 heroes are released as spirits into the world and they fly through the sky like shooting stars. Hence, the title of this afterword could mean a calling upon divine guidance coupled with the releasing of heroes. The title could also mean banishing the light so that heroes can be raised in the hours of darkness.
With much love and respect,
~ charles
Here is a quick picture I did in MS Paint of Xiao-tep.
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