Saturday, May 13, 2017

When Prince Co-wrote a Song with Morris Day Trying to Emulate the Sound of The Cure




Many fail to realize that Prince once tried to emulate The Cure. The sounds of their music was far apart, yet in 1984 Prince co-wrote "Ice Cream Castles" with Morris Day of The Time on the album of the same name. Morris Day recently told Rolling Stone that one of the favorite songs he collaborated with Prince on was "Ice Cream Castles."
[T]here were groups like the Fixx, the Cure [sic] doing those haunting, melodic songs and we wanted to do one of our own.
Robert Smith admired Prince, too. About a year ago I reported on my Cure blog that Robert Smith listed "Starfish and Coffee" as his favorite Prince song from the 1980s. When touring last summer in Minneapolis, Robert Smith again paid homage to the literary song. On his guitar was written a lyric from "Starfish and Coffee": "it was 7:45 we were all in line" Check out the photos at Glide Magazine.


Prince never wrote a Gothic song and The Cure never wrote an overtly sexy song. To at least some extent, however, Prince and The Cure liked each other's music and that's pretty cool.

#Prince #TheCure #TheTime

Saturday, April 15, 2017

Review of The Sorrows of Young Werther


Johann Goethe
(1749-1832)



Review of the Sorrows of Young Werther
by

Background
The literary impact of Johann Goethe's 1774 novel The Sorrows of Young Werther cannot be underestimated. It was the second Gothic novel, a decade after the first: Horace Walpole's The Castle of Ortranto. The Old English Barron followed in 1778 and The Mysteries of Udolpho in 1794. in 1796 The Monk was published and Mary Shelley's Frankenstein in 1818 where the unloved monster finds a worn copy of The Sorrows of Young Werther and likens himself to the protagonist. The Sorrows of Young Werther was impactful in ushering in the romantic age of literature--though Goethe nearly killed it off before it began. The novel was the foundation on which the German Sturm und Dang (storm and urge) literary style was launched, sporting reckless characters tossed about the seas of love.  

Comments
Poor, poor young Werther and his sorrows inflicted by a love interest who has a modicum of interest in him. Charlotte wants to be more friends than lovers. (Guys: Have you experienced that one before?) She is, after all, betrothed, and then married, to a plucky, self-absorbed man named Albert who can hardly be bothered with the young man named Werther who keeps hanging around the house.

In sharp contrast to his personality, Werther dresses like a bright canary (that alights on Charlotte's shoulder in the novel) in his blue suit jacket and yellow vest. He was Oscar Wilde a 100 years prior. His foppish outfit launched a fashion style during the late eighteenth century and the first rash of ancillary marketing ever experienced by a novel.













Think Eau de Werther cologne and China teapots on which portraits of the fictional Werther were hand painted as shown here, which the photo is copyright the Victoria and Albert Museum, and made in 1789. This is two years after the revised edition of The Sorrows of Young Werther was printed. The literary fever of the novel was still burning 15 years after its original publication. In Germany, where it was originally published, some 20 editions were already in print. Plays, operas, and satirical works soon followed. And copycat suicides that got the book banned in some German villages. The term "furor Wertherinus" was coined to reflect the suicidal passions of young men and woman scorned.






Parallels to Life
Most of the novel is written in epistolary form. Craftily, Goethe only lets the reader see the letters of Werther, not those of Wilhelm to whom he is writing. The Sorrows of Young Werther oozes in parallels to Goethe's own life. The novel is set in the fictional village of Walheim where "the reader need not take the trouble too look for the place...." But finding the real village was easy to do since, at the age of 19, Goethe met Charlotte Buff at a small dance in the German village of Whitsuntide in Wetzlar. (Stop it with the W names, Goethe!). He fell in love with her that evening but, just like in the novel, Charlotte was engaged to another.

The Forbidden Act
Two years prior to its publication, his friend Karl Wilhelm Jerusalem, committed suicide after falling in love with a married woman and "[in] that moment the plan of Werther was found...."
Consider this magazine excerpt from the early nineteenth century (Eight Historical Dissertations on Suicide, pg 117, 1859):
Let us, by way of specifying only a very few well-authenticated prominent instances, think of Captain Arenswald who shot himself Sept. 19, 1781, and had been fond of reading this Novel during the latter part of his life; 1) of Miss von Lassberg, one of Goethe's friends at the court of Weimar, who was found Jan. 17, 1778 drowned in the lime, with a copy of Werther's Leiden in her pocket; 2) of Gunderode who stabbed herself at Winkel on the Rhine from an unhappy attachment to an already married Heidelberg Professor, the learned and amiable Creuzer, and who used to read Werther together with her friend, the well-known Bettina von Arnim, and speak much about suicide. 3) — Aye, Mme. de Stael was not far wrong, when she asserted that it had "caused more suicides than the most beautiful woman," 4) nor does Goethe himself (in his Autobiography) deny that this aesthetical masterpiece of his proved a daemoniac charm which wrought deadly ruin unto many. Therefore, we cannot but pronounce it, in a moral point of view, a great error; for no book can be veritably of good which proves a sort of impulse and guide for the many unto self-destruction; — and what we may justly complain of is this: that Goethe, as far as we can learn, never regretted this its influence, never penned aught to counteract it, never, if I may here employ serious language, like a man and a christian repented of it!
IIL Ugo Fosoolo's le ultime lettere di Jacopo Orjtis (1802).

It was Goethe himself who stated: "Suicide is an event of human nature which, whatever may be said and done with respect to it, demands the sympathy of every man, and in every epoch must be discussed anew." My Life: Poetry and Truth

Rating & Recommendation
I recommend The Sorrows of Young Werner because of its high impact on literature. It was wholly cathartic for Goethe and left him feeling like he had made “a general confession, again happy and free and justified for a new life.”

I end this review with sage words of advice for our poor foppish Werther. Man-up, young Werther! Man-up. If the woman fails to reciprocate your love, forget her and move on as quickly as possible and you are sure to find your true love at another time.


#ReviewSorrowsofYoungWerther #WertherLiteraryImpact

Saturday, April 8, 2017

Top 10 Horror Short Stories from 1850-1899 Revealed by Andrew Barger

by
Andrew Barger

Over the past few months I have been counting down the best horror short stories from 1850-1899 under the guise that I would reveal the Top 10 Horror Short Stories in my new anthology. Well, the time has come and a hearty BOO! to all.
The best horror short stories from the last half of the nineteenth century are combined for the first time by Andrew Barger (that would be me), award-winning author and editor of 6a66le: Best Horror Short Stories 1800-1849. They are also annotated.

I have meticulously researched the finest Victorian horror short stories and combined them into one undeniable collection. I have added my familiar scholarly touch by annotating the stories, providing story background information, author photos and a list of horror stories considered.

Historic Horror. The best horror short stories from the last half of the 19th century include nightmare tales by Bram Stoker, Arthur Conan Doyle, Joseph Le Fanu, W. C. Morrow, H. G. Wells, Arthur Machen, Charlotte Perkins Gilman, and other early founders of the horror tale.
  • A Terror Tour Guide (2016) by Andrew Barger (A leading voice in the gothic literature space, I set the stage for this anthology of nightmares.)
  • The Pioneers of Pike’s Peak (1897) by Basil Tozer (Hoards of giant spiders on a Colorado mountain. What could go wrong?)
  • Lot No. 249 (1892) by Sir Arthur Conan Doyle (Perhaps the premier mummy horror story ever recorded from the master that is Sir Arthur Conan Doyle is measured out to its climatic ending.)
  • The Yellow Wallpaper (1892) by Charlotte Perkins Gilman (Explore the depths of insanity.)
  • Green Tea (1871) by Joseph Le Fanu (One of the most haunting horror stories by the Irish master.)
  • What Was It? (1859) by Fitz James O’Brien (Sometimes the worst horror is one you can't see.)
  • Pollock and the Porroh Man (1897) by H. G. Wells (Wells takes us deep into the jungle and its wrought supernatural horror.)
  • The Spider of Guyana (1857) by Erckmann-Chatrian (The first giant spider horror story is one of its best.)
  • The Squaw (1893) by Bram Stoker (The author of Dracula never disappoints.)
  • The Great God Pan (1894) by Arthur Machen (Mythic horror that gained much praise from H. P. Lovecraft.)
  • His Unconquerable Enemy (1889) by W. C. Morrow (A fiendish tale of torture sees Morrow at his best.)
  • Horror Short Stories Considered (I conclude the horror anthology by listing every horror short story he read to pick the very best.)
Read the premier horror anthology for the last half of the nineteenth century tonight! 
“But it now struck me for the first time that there must be one great and ruling embodiment of fear, a King of Terrors to which all others must succumb.”

1859 “What Was It?”
Fitz James O’Brien

#BestHorrorShortStories #NewHorrorAnthology

Friday, March 17, 2017

Robert Smith of The Cure and Morrissey Feud -- A Chronology




                                            Morrissey                                   Robert Smith                                           

The spat/feud/disagreement (whatever you want to call it) between Robert Smith of The Cure and Morrissey, formerly of The Smiths, has been percolating since 1984 when Morrissey first mouthed off to the press. Here is what my research found on the web. Enjoy.
                     
1984
UK music magazine The Face: "If I put you in a room with Robert Smith, Mark E. Smith and a loaded Smith and Wesson, who would bite the bullet first?"
Morrissey: "I'd line them up so that one bullet penetrated both simultaneously (chuckle). Mark E. Smith despises me and has said hateful things about me, all untrue. Robert Smith is a whingebag. It's rather curious that he began wearing beads at the emergence of The Smiths and (eyes narrowing) has been photographed with flowers. I expect he's quite supportive of what we do, but I've never liked The Cure... not even 'The Caterpillar'."

1989
UK music magazine NME, September 16, 1989 issues, Morrissey stated that The Cure gave "a new dimension to the word 'crap.'"

When told about the comment, Robert Smith said, "At least we've only added a new dimension in crap, not built a career out of it."

In the same article Morrissey added, "McDonald's bombed and Robert Smith popped (both actions require a similar voltage of explosives)."

1993
US music magazine SPIN, titled "Happily Ever After" for the November issues of 1993, Robert Smith stated: "I have never liked Morrissey and I still don't. I think it's hilarious actually, what things I've heard about him, what he's really like, and his public persona is so different. He's such an actor. There's one particular photo of Morrissey in his swimming trunks sitting by the pool in Los Angeles. I bet that one hasn't been approved!"

1997
US music magazine Rolling Stone, Robert opined: "I’d much rather have our fans than his — our fans are generally quiet, well-spoken and friendly and not pretentious in the slightest. Hopefully, that reflects the nature of the Cure. Despite what the mainstream media would have you believe, we’re a very natural group. The people who have been in the group over the years have been there because they have been friendly with each other. There has been no sense of purpose other than making music together. I think if Morrissey’s fans reflect what Morrissey is like as an individual or the way he projects himself as an individual then ... uh ... I’ll stop there."

2004
In the US Hollywood magazine Entertainment Weekly, Smith said about Morrissey: "He was constantly saying horrible things about [The Cure]. In the end, I kind of snapped and started retaliating. And it turned into some kind of petty feud. I've never liked anything he's done musically, but I don't have any kind of strong feelings of animosity towards him as a person because I've never met him."

Through the Years - Miscellaneous Statements
"The press tries to portray me as a gloom-and-doom-singer. But take a look at Morrissey. That man is a professional complainer!”"

"There's nothing that links Morrissey and The Cure in my mind," Smith commented. "As the years go by, it's very easy to think we were from the same generation, but we're not. The Cure recorded our first album in 1978 - we were on our third or fourth album by the time the Smiths started."

"[Morrissey] has been away for a number of years and has come back I think to capitalize on this resurgence of interest in a particular period of time," Smith says. "That has nothing to do with the Cure. We've been playing constantly every year for 25 years. We're a living and breathing band."

"Morrissey’s so depressing, if he doesn’t kill himself soon, I probably will."

"If Morrissey says not to eat meat, then I’m going to eat meat; that’s how much I hate Morrissey."

"fat clown with makeup weeping over a guitar."


#MorrisseyvsRobertSmith #RobertSmithMorrisseyFeud

By Andrew Barger - Author of the Rock trilogy of novels: The Divine Dantes.



Saturday, March 4, 2017

Review of Sometimes a Great Notion by Ken Kesey

Ken Kesey
(1935-2001)

Sometimes a Great Notion is an anti-union manifesto, a work of flowing literature that should be studied in the cloistering halls of higher learning--not as much for its deep meaning, but rather for the structure of its text (I dare a professor to take any one of the 600+ pages and study it for an entire semester), a masterpiece of prose, the second novel by The Great Ken Kesey, a juxtaposition of two brothers that has been unequalled since Tolstoy.

Sometimes a Great Notion is many things, including a followup to One Flew Over the Cuckoo's Nest published two years prior in 1962. The latter book is an undeniable classic of literature that has rarely been equaled. Read my review of One Flew Over the Cuckoo's Nest.

Sometimes a Great Notion was published in 1964 and Kesey's next novel would not be published until 1984 when Demon Box (a collection of short stories thinly-veiled as fiction) was launched. What was this supremely talented author doing for 20 years? Most would claim it was drugs. Kesey had spent time in clink to prove it. Who knows? And when he finally rid himself of the Technicolor synthetics flowing through his veins, his brain was fried into a pigskin cracklin'. Instead of the psychedelics unlocking fantastic worlds, they seem to have hidden them away from Kesey in a demon box.

Sometimes a Great Notion at times becomes a long-winded bore over vast swaths of pages. It makes one wonder if Ken Kesey lost the Oregon forest through the trees on which his characters hack out a living. At times he tries to be too literary. But Kesey pulls it out in the last 200 pages to a wonderful conclusion. A side note on the movie of the same name starring Robert Redford and Henry Fonda--skip over like a rolling log! It's a real Hollywood hack job that treats the novel as though it was a short story.

Sometimes
a
Great
Notion, in the hands of a master, is the closest you will ever get to the logging world of Oregon and the real-to-life characters Kesey created.

#ReviewSometimesaGreatNotion #KenKesey

By Andrew Barger - Author of The Divine Dantes trilogy

Saturday, February 25, 2017

The Permanent Stiletto by W.C. Morrow Picked as Best Horror Short Story 11 from 1850-1899


W. C. Morrow
(1854-1923)


William Chambers Morrow was an American writer known for his horror short stories. He was born in the Deep South of Selma, Alabama in 1854. He gained some fame--though not wealth--after moving to San Francisco and befriending Ambrose Bierce, who also gained fame from his supernatural stories. Yet the classic horror stories of Morrow do not need the supernatural. They are supported on their own two legs as undeniable masterpieces in the horror genre and are full of biting irony.

"The Permanent Stiletto" is one of W.C. Morrow's best tales of revenge. Upon encountering this singular story for the first time, Vincent Starrett commented:
There is more than a flavor of Poe in these lines; they are almost perfectly in the spirit of Poe; Poe in the half whimsical, half serious mood of The Cask of Amontillado. But Poe did not write them . . ..  


The Permanent Stiletto
1889


I had sent in all haste for Dr. Rowell, but as yet he had not arrived, and the strain was terrible. There lay my young friend upon his bed in the hotel, and I believed that he was dying. Only the jewelled handle of the knife was visible at his breast; the blade was wholly sheathed in his body.

"Pull it out, old fellow," begged the sufferer through white, drawn lips, his gasping voice being hardly less distressing than the unearthly look in his eyes.

"No, Arnold," said I, as I held his hand and gently stroked his forehead. It may have been instinct, it may have been a certain knowledge of anatomy that made me refuse.

"Why not? It hurts," he gasped. It was pitiful to see him suffer, this strong, healthy, daring, reckless young fellow.

Dr. Rowell walked in--a tall, grave man, with gray hair. He went to the bed and I pointed to the knife-handle, with its great, bold ruby in the end and its diamonds and emeralds alternating in quaint designs in the sides. The physician started. He felt Arnold's pulse and looked puzzled.

"When was this done?" he asked.

"About twenty minutes ago," I answered.

The physician started out, beckoning me to follow.

"Stop!" said Arnold. We obeyed. "Do you wish to speak of me?" he asked.

"Yes," replied the physician, hesitating.

"Speak in my presence then," said my friend; "I fear nothing." It was said in his old, imperious way, although his suffering must have been great.

"If you insist----"

"I do."

"Then," said the physician, "if you have any matters to adjust they should be attended to at once. I can do nothing for you."

"How long can I live?" asked Arnold.

The physician thoughtfully stroked his gray beard. "It depends," he finally said; "if the knife be withdrawn you may live three minutes; if it be allowed to remain you may possibly live an hour or two--not longer."

Arnold never flinched.

"Thank you," he said, smiling faintly through his pain; "my friend here will pay you. I have some things to do. Let the knife remain." He turned his eyes to mine, and, pressing my hand, said, affectionately, "And I thank you, too, old fellow, for not pulling it out."

The physician, moved by a sense of delicacy, left the room, saying, "Ring if there is a change. I will be in the hotel office." He had not gone far when he turned and came back. "Pardon me," said he, "but there is a young surgeon in the hotel who is said to be a very skilful man. My specialty is not surgery, but medicine. May I call him?"

"Yes," said I, eagerly; but Arnold smiled and shook his head. "I fear there will not be time," he said. But I refused to heed him and directed that the surgeon be called immediately. I was writing at Arnold's dictation when the two men entered the room.

There was something of nerve and assurance in the young surgeon that struck my attention. His manner, though quiet, was bold and straightforward and his movements sure and quick. This young man had already distinguished himself in the performance of some difficult hospital laparotomies, and he was at that sanguine age when ambition looks through the spectacles of experiment. Dr. Raoul Entrefort was the new-comer's name. He was a Creole, small and dark, and he had travelled and studied in Europe.

"Speak freely," gasped Arnold, after Dr. Entrefort had made an examination.

"What think you, doctor?" asked Entrefort of the older man.

"I think," was the reply, "that the knife-blade has penetrated the ascending aorta, about two inches above the heart. So long as the blade remains in the wound the escape of blood is comparatively small, though certain; were the blade withdrawn the heart would almost instantly empty itself through the aortal wound."

Meanwhile, Entrefort was deftly cutting away the white shirt and the undershirt, and soon had the breast exposed. He examined the gem-studded hilt with the keenest interest.

"You are proceeding on the assumption, doctor," he said, "that this weapon is a knife."

"Certainly," answered Dr. Rowell, smiling; "what else can it be?"

"It is a knife," faintly interposed Arnold.

"Did you see the blade?" Entrefort asked him, quickly.

"I did--for a moment."

Entrefort shot a quick look at Dr. Rowell and whispered, "Then it is not suicide." Dr. Rowell looked puzzled and said nothing.

"I must disagree with you, gentlemen," quietly remarked Entrefort; "this is not a knife." He examined the handle very narrowly. Not only was the blade entirely concealed from view within Arnold's body, but the blow had been so strongly delivered that the skin was depressed by the guard. "The fact that it is not a knife presents a very curious series of facts and contingencies," pursued Entrefort, with amazing coolness, "some of which are, so far as I am informed, entirely novel in the history of surgery."

A quizzical expression, faintly amused and manifestly interested, was upon Dr. Rowell's face. "What is the weapon, doctor?" he asked.

"A stiletto."

Arnold started. Dr. Rowell appeared confused. "I must confess," he said, "my ignorance of the differences among these penetrating weapons, whether dirks, daggers, stilettos, poniards, or bowie-knives."

"With the exception of the stiletto," explained Entrefort, "all the weapons you mention have one or two edges, so that in penetrating they cut their way. A stiletto is round, is ordinarily about half an inch or less in diameter at the guard, and tapers to a sharp point. It penetrates solely by pushing the tissues aside in all directions. You will understand the importance of that point."

Dr. Rowell nodded, more deeply interested than ever.

"How do you know it is a stiletto, Dr. Entrefort?" I asked.

"The cutting of these stones is the work of Italian lapidaries," he said, "and they were set in Genoa. Notice, too, the guard. It is much broader and shorter than the guard of an edged weapon; in fact, it is nearly round. This weapon is about four hundred years old, and would be cheap at twenty thousand florins. Observe, also, the darkening color of your friend's breast in the immediate vicinity of the guard; this indicates that the tissues have been bruised by the crowding of the 'blade,' if I may use the term."

"What has all this to do with me?" asked the dying man.

"Perhaps a great deal, perhaps nothing. It brings a single ray of hope into your desperate condition."

Arnold's eyes sparkled and he caught his breath. A tremor passed all through him, and I felt it in the hand I was holding. Life was sweet to him, then, after all--sweet to this wild dare-devil who had just faced death with such calmness! Dr. Rowell, though showing no sign of jealousy, could not conceal a look of incredulity.

"With your permission," said Entrefort, addressing Arnold, "I will do what I can to save your life."

"You may," said the poor boy.

"But I shall have to hurt you."

"Well."

"Perhaps very much."

"Well."

"And even if I succeed (the chance is one in a thousand) you will never be a sound man, and a constant and terrible danger will always be present."

"Well."

Entrefort wrote a note and sent it away in haste by a bell-boy.

"Meanwhile," he resumed, "your life is in imminent danger from shock, and the end may come in a few minutes or hours from that cause. Attend without delay to whatever matters may require settling, and Dr. Rowell," glancing at that gentleman, "will give you something to brace you up. I speak frankly, for I see that you are a man of extraordinary nerve. Am I right?"

"Be perfectly candid," said Arnold.

Dr. Rowell, evidently bewildered by his cyclonic young associate, wrote a prescription, which I sent by a boy to be filled. With unwise zeal I asked Entrefort,--

"Is there not danger of lockjaw?"

"No," he replied; "there is not a sufficiently extensive injury to peripheral nerves to induce traumatic tetanus."

I subsided. Dr. Rowell's medicine came and I administered a dose. The physician and the surgeon then retired. The poor sufferer straightened up his business. When it was done he asked me,--

"What is that crazy Frenchman going to do to me?"

"I have no idea; be patient."

In less than an hour they returned, bringing with them a keen-eyed, tall young man, who had a number of tools wrapped in an apron. Evidently he was unused to such scenes, for he became deathly pale upon seeing the ghastly spectacle on my bed. With staring eyes and open mouth he began to retreat towards the door, stammering,--

"I--I can't do it."

"Nonsense, Hippolyte! Don't be a baby. Why, man, it is a case of life and death!"

"But--look at his eyes! he is dying!"

Arnold smiled. "I am not dead, though," he gasped.

"I--I beg your pardon," said Hippolyte.

Dr. Entrefort gave the nervous man a drink of brandy and then said,--

"No more nonsense, my boy; it must be done. Gentlemen, allow me to introduce Mr. Hippolyte, one of the most original, ingenious, and skilful machinists in the country."

Hippolyte, being modest, blushed as he bowed. In order to conceal his confusion he unrolled his apron on the table with considerable noise of rattling tools.

"I have to make some preparations before you may begin, Hippolyte, and I want you to observe me that you may become used not only to the sight of fresh blood, but also, what is more trying, the odor of it."

Hippolyte shivered. Entrefort opened a case of surgical instruments.

"Now, doctor, the chloroform," he said, to Dr. Rowell.

"I will not take it," promptly interposed the sufferer; "I want to know when I die."

"Very well," said Entrefort; "but you have little nerve now to spare. We may try it without chloroform, however. It will be better if you can do without. Try your best to lie still while I cut."

"What are you going to do?" asked Arnold.

"Save your life, if possible."

"How? Tell me all about it."

"Must you know?"

"Yes."

"Very well, then. The point of the stiletto has passed entirely through the aorta, which is the great vessel rising out of the heart and carrying the aerated blood to the arteries. If I should withdraw the weapon the blood would rush from the two holes in the aorta and you would soon be dead. If the weapon had been a knife, the parted tissue would have yielded, and the blood would have been forced out on either side of the blade and would have caused death. As it is, not a drop of blood has escaped from the aorta into the thoracic cavity. All that is left for us to do, then, is to allow the stiletto to remain permanently in the aorta. Many difficulties at once present themselves, and I do not wonder at Dr. Rowell's look of surprise and incredulity."

That gentleman smiled and shook his head.

"It is a desperate chance," continued Entrefort, "and is a novel case in surgery; but it is the only chance. The fact that the weapon is a stiletto is the important point--a stupid weapon, but a blessing to us now. If the assassin had known more she would have used----"

Upon his employment of the noun "assassin" and the feminine pronoun "she," both Arnold and I started violently, and I cried out to the man to stop.

"Let him proceed," said Arnold, who, by a remarkable effort, had calmed himself.

"Not if the subject is painful," Entrefort said.

"It is not," protested Arnold; "why do you think the blow was struck by a woman?"

"Because, first, no man capable of being an assassin would use so gaudy and valuable a weapon; second, no man would be so stupid as to carry so antiquated and inadequate a thing as a stiletto, when that most murderous and satisfactory of all penetrating and cutting weapons, the bowie-knife, is available. She was a strong woman, too, for it requires a good hand to drive a stiletto to the guard, even though it miss the sternum by a hair's breadth and slip between the ribs, for the muscles here are hard and the intercostal spaces narrow. She was not only a strong woman, but a desperate one also."

"That will do," said Arnold. He beckoned me to bend closer. "You must watch this man; he is too sharp; he is dangerous."

"Then," resumed Entrefort, "I shall tell you what I intend to do. There will undoubtedly be inflammation of the aorta, which, if it persist, will cause a fatal aneurism by a breaking down of the aortal walls; but we hope, with the help of your youth and health, to check it.

"Another serious difficulty is this: With every inhalation, the entire thorax (or bony structure of the chest) considerably expands. The aorta remains stationary. You will see, therefore, that as your aorta and your breast are now held in rigid relation to each other by the stiletto, the chest, with every inhalation, pulls the aorta forward out of place about half an inch. I am certain that it is doing this, because there is no indication of an escape of arterial blood into the thoracic cavity; in other words, the mouths of the two aortal wounds have seized upon the blade with a firm hold and thus prevent it from slipping in and out. This is a very fortunate occurrence, but one which will cause pain for some time. The aorta, you may understand, being made by the stiletto to move with the breathing, pulls the heart backward and forward with every breath you take; but that organ, though now undoubtedly much surprised, will accustom itself to its new condition.

"What I fear most, however, is the formation of a clot around the blade. You see, the presence of the blade in the aorta has already reduced the blood-carrying capacity of that vessel; a clot, therefore, need not be very large to stop up the aorta, and, of course, if that should occur death would ensue. But the clot, if one form, may be dislodged and driven forward, in which event it may lodge in any one of the numerous branches from the aorta and produce results more or less serious, possibly fatal. If, for instance, it should choke either the right or the left carotid, there would ensue atrophy of one side of the brain, and consequently paralysis of half the entire body; but it is possible that in time there would come about a secondary circulation from the other side of the brain, and thus restore a healthy condition. Or the clot (which, in passing always from larger arteries to smaller, must unavoidably find one not sufficiently large to carry it, and must lodge somewhere) may either necessitate amputation of one of the four limbs or lodge itself so deep within the body that it cannot be reached with the knife. You are beginning to realize some of the dangers which await you."

Arnold smiled faintly.

"But we shall do our best to prevent the formation of a clot," continued Entrefort; "there are drugs which may be used with effect."

"Are there more dangers?"

"Many more; some of the more serious have not been mentioned. One of these is the probability of the aortal tissues pressing upon the weapon relaxing their hold and allowing the blade to slip. That would let out the blood and cause death. I am uncertain whether the hold is now maintained by the pressure of the tissues or the adhesive quality of the serum which was set free by the puncture. I am convinced, though, that in either event the hold is easily broken and that it may give way at any moment, for it is under several kinds of strains. Every time the heart contracts and crowds the blood into the aorta, the latter expands a little, and then contracts when the pressure is removed. Any unusual exercise or excitement produces stronger and quicker heart-beats, and increases the strain on the adhesion of the aorta to the weapon. A fright, fall, a jump, a blow on the chest--any of these might so jar the heart and aorta as to break the hold."

Entrefort stopped.

"Is that all?" asked Arnold.

"No; but is not that enough?"

"More than enough," said Arnold, with a sudden and dangerous sparkle in his eyes. Before any of us could think, the desperate fellow had seized the handle of the stiletto with both hands in a determined effort to withdraw it and die. I had had no time to order my faculties to the movement of a muscle, when Entrefort, with incredible alertness and swiftness, had Arnold's wrists. Slowly Arnold relaxed his hold.

"There, now!" said Entrefort, soothingly; "that was a careless act and might have broken the adhesion! You'll have to be careful."

Arnold looked at him with a curious combination of expressions.

"Dr. Entrefort," he quietly remarked, "you are the devil."

Bowing profoundly, Entrefort replied: "You do me too great honor;" then he whispered to his patient: "If you do that"--with a motion towards the hilt--"I will have her hanged for murder."

Arnold started and choked, and a look of horror overspread his face. He withdrew his hands, took one of mine in both of his, threw his arms upon the pillow above his head, and, holding my hand, firmly said to Entrefort,--

"Proceed with your work."

"Come closer, Hippolyte," said Entrefort, "and observe narrowly. Will you kindly assist me, Dr. Rowell?" That gentleman had sat in wondering silence.

Entrefort's hand was quick and sure, and he used the knife with marvellous dexterity. First he made four equidistant incisions outward from the guard and just through the skin. Arnold held his breath and ground his teeth at the first cut, but soon regained command of himself. Each incision was about two inches long. Hippolyte shuddered and turned his head aside. Entrefort, whom nothing escaped, exclaimed,--

"Steady, Hippolyte! Observe!"

Quickly was the skin peeled back to the limit of the incisions. This must have been excruciatingly painful. Arnold groaned, and his hands were moist and cold. Down sank the knife into the flesh from which the skin had been raised, and blood flowed freely; Dr. Rowell handled the sponge. The keen knife worked rapidly. Arnold's marvellous nerve was breaking down. He clutched my hand fiercely; his eyes danced; his mind was weakening. Almost in a moment the flesh had been cut away to the bones, which were now exposed,--two ribs and the sternum. A few quick cuts cleared the weapon between the guard and the ribs.

"To work, Hippolyte--be quick!"

The machinist had evidently been coached before he came. With slender, long-fingered hands, which trembled at first, he selected certain tools with nice precision, made some rapid measurements of the weapon and of the cleared space around it, and began to adjust the parts of a queer little machine. Arnold watched him curiously.

"What----" he began to say; but he ceased; a deeper pallor set on his face, his hands relaxed, and his eyelids fell.

"Thank God!" exclaimed Entrefort; "he has fainted--he can't stop us now. Quick, Hippolyte!"

The machinist attached the queer little machine to the handle of the weapon, seized the stiletto in his left hand, and with his right began a series of sharp, rapid movements backward and forward.

"Hurry, Hippolyte!" urged Entrefort.

"The metal is very hard."

"Is it cutting?"

"I can't see for the blood."

In another moment something snapped. Hippolyte started; he was very nervous. He removed the little machine.

"The metal is very hard," he said; "it breaks the saws."

He adjusted another tiny saw and resumed work. After a little while he picked up the handle of the stiletto and laid it on the table. He had cut it off, leaving the blade inside Arnold's body.

"Good, Hippolyte!" exclaimed Entrefort. In a minute he had closed the bright end of the blade from view by drawing together the skin-flaps and sewing them firmly.

Arnold returned to consciousness and glanced down at his breast. He seemed puzzled. "Where is the weapon?" he asked.

"Here is part of it," answered Entrefort, holding up the handle.

"And the blade----"

"That is an irremovable part of your internal machinery." Arnold was silent. "It had to be cut off," pursued Entrefort, "not only because it would be troublesome and an undesirable ornament, but also because it was advisable to remove every possibility of its withdrawal." Arnold said nothing. "Here is a prescription," said Entrefort; "take the medicine as directed for the next five years without fail."

"What for? I see that it contains muriatic acid."

"If necessary I will explain five years from now."

"If I live."

"If you live."

Arnold drew me down to him and whispered, "Tell her to fly at once; this man may make trouble for her."

Was there ever a more generous fellow?

* * * * *

I thought that I recognized a thin, pale, bright face among the passengers who were leaving an Australian steamer which had just arrived at San Francisco.

"Dr. Entrefort!" I cried.

"Ah!" he said, peering up into my face and grasping my hand; "I know you now, but you have changed. You remember that I was called away immediately after I had performed that crazy operation on your friend. I have spent the intervening four years in India, China, Tibet, Siberia, the South Seas, and God knows where not. But wasn't that a most absurd, hare-brained experiment that I tried on your friend! Still, it was all that could have been done. I have dropped all that nonsense long ago. It is better, for more reasons than one, to let them die at once. Poor fellow! he bore it so bravely! Did he suffer much afterwards? How long did he live? A week--perhaps a month?"

"He is alive yet."

"What!" exclaimed Entrefort, startled.

"He is, indeed, and is in this city."

"Incredible!"

"It is true; you shall see him."

"But tell me about him now!" cried the surgeon, his eager eyes glittering with the peculiar light which I had seen in them on the night of the operation. "Has he regularly taken the medicine which I prescribed?"

"He has. Well, the change in him, from what he was before the operation, is shocking. Imagine a young dare-devil of twenty-two, who had no greater fear of danger or death than of a cold, now a cringing, cowering fellow; apparently an old man, nursing his life with pitiful tenderness, fearful that at any moment something may happen to break the hold of his aorta-walls on the stiletto-blade; a confirmed hypochondriac, peevish, melancholic, unhappy in the extreme. He keeps himself confined as closely as possible, avoiding all excitement and exercise, and even reads nothing exciting. The constant danger has worn out the last shred of his manhood and left him a pitiful wreck. Can nothing be done for him?"

"Possibly. But has he consulted no physician?"

"None whatever; he has been afraid that he might learn the worst."

"Let us find him at once. Ah, here comes my wife to meet me! She arrived by the other steamer."

I recognized her immediately and was overcome with astonishment.

"Charming woman," said Entrefort; "you'll like her. We were married three years ago at Bombay. She belongs to a noble Italian family and has travelled a great deal."

He introduced us. To my unspeakable relief she remembered neither my name nor my face. I must have appeared odd to her, but it was impossible for me to be perfectly unconcerned. We went to Arnold's rooms, I with much dread. I left her in the reception-room and took Entrefort within. Arnold was too greatly absorbed in his own troubles to be dangerously excited by meeting Entrefort, whom he greeted with indifferent hospitality.

"But I heard a woman's voice," he said. "It sounds----" He checked himself, and before I could intercept him he had gone to the reception-room; and there he stood face to face with the beautiful adventuress,--none other than Entrefort's wife now,--who, wickedly desperate, had driven a stiletto into Arnold's vitals in a hotel four years before because he had refused to marry her. They recognized each other instantly and both grew pale; but she, quicker witted, recovered her composure at once and advanced towards him with a smile and an extended hand. He stepped back, his face ghastly with fear.

"Oh!" he gasped, "the excitement, the shock,--it has made the blade slip out! The blood is pouring from the opening,--it burns,--I am dying!" and he fell into my arms and instantly expired.

The autopsy revealed the surprising fact that there was no blade in his thorax at all; it had been gradually consumed by the muriatic acid which Entrefort had prescribed for that very purpose, and the perforations in the aorta had closed up gradually with the wasting of the blade and had been perfectly healed for a long time. All his vital organs were sound. My poor friend, once so reckless and brave, had died simply of a childish and groundless fear, and the woman unwittingly had accomplished her revenge.

#PermanentStiletto #BestHorrorShortStories




Saturday, February 18, 2017

The Purple Terror by Fred M. White - Best Horror Short Story 12 from 1850-1899 in Andrew Barger's Countdown


Fred M. White
(1859-1935)

One of the first plant horror stories was ushered into the world not by Edgar Allan Poe or Arthur Machen or H. G. Wells, but rather from a relatively unknown horror writer by the name of Fred White. "The Purple Terror" was published by the august English magazine The Strand Magazine in 1898. The editors were unafraid to publish supernatural fiction. Some of its published authors included H. G. Wells, Elizabeth Nesbit and Rudyard Kipling. Then, or course, The Strand Magazine embraced the Sherlock Holmes stories by Sir Arthur Conan Doyle. At its peak the magazine reached a circulation of half a million copies thanks in large part to these excellent short story writers.

Frederick M. White helped sell many copies of The Strand Magazine when his 1898 plant horror short story was published. He was born in West Bromwich, Staffordshire, England, UK and would later go on to find a modicum of fame in the classic science fiction genre by publishing his Doom of London collection of tales.

Given its rightful place as one of the first plant horror tales and the ghastly result of the story, I am placing it in spot 12 of my countdown of the best horror short stories published from 1850-1899. Enjoy and stay away from evil poppy trees.

The Purple Terror

I

LIEUTENANT Will Scarlett's instructions were devoid of problems, physical or otherwise. To convey a letter from Captain Driver of the Yankee Doodle, in Porto Rico Bay, to Admiral Lake on the other side of the isthmus, was an apparently simple matter.

"All you have to do," the captain remarked, "is to take three or four men with you in case of accidents, cross the isthmus on foot, and simply give this letter into the hands of Admiral Lake. By so doing we shall save at least four days, and the aborigines are presumedly friendly."

The aborigines aforesaid were Cuban insurgents. Little or no strife had taken place along the neck lying between Porto Rico and the north bay where Lake's flagship lay, though the belt was known to be given over to the disaffected Cubans.

"It is a matter of fifty miles through practically unexplored country," Scarlett replied; "and there's a good deal of the family quarrel in this business, sir. If the Spaniards hate us, the Cubans are not exactly enamoured of our flag."

Captain Driver roundly denounced the whole pack of them.

"Treacherous thieves to a man," he said. "I don't suppose your progress will have any brass bands and floral arches to it. And they tell me the forest is pretty thick. But you'll get there all the same. There is the letter, and you can start as soon as you like."

"I may pick my own men, sir?"

"My dear fellow, take whom you please. Take the mastiff, if you like."

"I'd like the mastiff," Scarlett replied; "as he is practically my own, I thought you would not object."

Will Scarlett began to glow as the prospect of adventure stimulated his imagination. He was rather a good specimen of West Point naval dandyism. He had brains at the back of his smartness, and his geological and botanical knowledge were going to prove of considerable service to a grateful country when said grateful country should have passed beyond the rudimentary stages of colonization. And there was some disposition to envy Scarlett on the part of others floating for the past month on the liquid prison of the sapphire sea.

A warrant officer, Tarrer by name, plus two A.B.'s of thews and sinews, to say nothing of the dog, completed the exploring party. By the time that the sun kissed the tip of the feathery hills they had covered some six miles of their journey. From the first Scarlett had been struck by the absolute absence of the desolation and horror of civil strife. Evidently the fiery cross had not been carried here; huts and houses were intact; the villagers stood under sloping eaves, and regarded the Americans with a certain sullen curiosity.

"We'd better stop for the night here," said Scarlett.

They had come at length to a village that boasted some pretensions. An adobe chapel at one end of the straggling street was faced by a wine-house at the other. A padre, with hands folded over a bulbous, greasy gabardine, bowed gravely to Scarlett's salutation. The latter had what Tarrer called "considerable Spanish."

"We seek quarters for the night," said Scarlett. "Of course, we are prepared to pay for them."

The sleepy padre nodded towards the wine-house.

"You will find fair accommodations there," he said. "We are friends of the Americanos."

Scarlett doubted the fact, and passed on with florid thanks. So far, little signs of friendliness had been encountered on the march. Coldness, suspicion, a suggestion of fear, but no friendliness to be embarrassing.

The keeper of the wine-shop had his doubts. He feared his poor accommodation for guests so distinguished. A score or more of picturesque, cut-throat-looking rascals with cigarettes in their mouths lounged sullenly in the bar. The display of a brace of gold dollars enlarged mine host's opinion of his household capacity.

"I will do my best, senors," he said. "Come this way."

So it came to pass that an hour after twilight Tarrer and Scarlett were seated in the open amongst the oleanders and the trailing gleam of the fire-flies, discussing cigars of average merit and a native wine that was not without virtues. The long bar of the wine-house was brilliantly illuminated; from within came shouts of laughter mingled with the ting, tang of the guitar and the rollicking clack of the castanets.

"They seem to be happy in there," Tarrer remarked. "It isn't all daggers and ball in this distressful country."

A certain curiosity came over Scarlett.

"It is the duty of a good officer," he said, "to lose no opportunity of acquiring useful information. Let us join the giddy throng, Tarrer."

Tarrer expressed himself with enthusiasm in favour of any amusement that might be going. A month's idleness on shipboard increases the appetite for that kind of thing wonderfully. The long bar was comfortable, and filled with Cubans who took absolutely no notice of the intruders. Their eyes were turned towards a rude stage at the far end of the bar, whereon a girl was gyrating in a dance with a celerity and grace that caused the wreath of flowers around her shoulders to resemble a trembling zone of purple flame.

"A wonderfully pretty girl and a wonderfully pretty dance," Scarlett murmured, when the motions ceased and the girl leapt gracefully to the ground. "Largesse, I expect. I thought so. Well, I'm good for a quarter."

The girl came forward, extending a shell prettily. She curtsied before Scarlett and fixed her dark, liquid eyes on his. As he smiled and dropped his quarter-dollar into the shell a coquettish gleam came into the velvety eyes. An ominous growl came from the lips of a bearded ruffian close by.

"Othello's jealous," said Tarrer. "Look at his face."

"I am better employed," Scarlett laughed. "That was a graceful dance, pretty one. I hope you are going to give us another one presently---"

Scarlett paused suddenly. His eyes had fallen on the purple band of flowers the girl had twined round her shoulder. Scarlett was an enthusiastic botanist; he knew most of the gems in Flora's crown, but he had never looked upon such a vivid wealth of blossom before.

The flowers were orchids, and orchids of a kind unknown to collectors anywhere. On this point Scarlett felt certain. And yet this part of the world was by no means a difficult one to explore in comparison with New Guinea and Sumatra, where the rarer varieties had their homes.

The blooms were immensely large, far larger than any flower of the kind known to Europe or America, of a deep pure purple, with a blood-red centre. As Scarlett gazed upon them he noticed a certain cruel expression on the flower. Most orchids have a kind of face of their own; the purple blooms had a positive expression of ferocity and cunning. They exhumed, too, a queer, sickly fragrance. Scarlett had smelt something like it before, after the Battle of Manila. The perfume was the perfume of a corpse.

"And yet they are magnificent flowers," said Scarlett. "Won't you tell me where you got them from, pretty one?"

The girl was evidently flattered by the attention bestowed upon her by the smart young AmericanThe bearded Othello alluded to edged up to her side.

"The señor had best leave the girl alone," he said, insolently.

Scarlett's fist clenched as he measured the Cuban with his eyes. The Admiral's letter crackled in his breast-pocket, and discretion got the best of valour.

"You are paying yourself a poor compliment, my good fellow," he said, "though I certainly admire your good taste. Those flowers interested me."

The man appeared to be mollified. His features corrugated in a smile.

"The señor would like some of those blooms?" he asked. "It was I who procured them for little Zara here. I can show you where they grow."

Every eye in the room was turned in Scarlett's direction. It seemed to him that a kind of diabolical malice glistened on every dark face there, save that of the girl, whose features paled under her healthy tan.

"If the señor is wise," she began, "he will not---"

"Listen to the tales of a silly girl," Othello put in menacingly. He grasped the girl by the arm, and she winced in positive pain. "Pshaw, there is no harm where the flowers grow, if one is only careful. I will take you there, and I will be your guide to Port Anna, where you are going, for a gold dollar."

All Scarlett's scientific enthusiasm was aroused. It is not given to every man to present a new orchid to the horticultural world. And this one would dwarf the finest plant hitherto discovered.

"Done with you," he said; "we start at daybreak. I shall look to you to be ready. Your name is Tito? Well, good-night, Tito."

As Scarlett and Tarrer withdrew the girl suddenly darted forward. A wild word or two fluttered from her lips. Then there was a sound as of a blow, followed by a little stifled cry of pain.

"No, no," Tarrer urged, as Scarlett half turned. "Better not. They are ten to one, and they are no friends of ours. It never pays to interfere in these family quarrels. I daresay, if you interfered, the girl would be just as ready to knife you as her jealous lover."

"But a blow like that, Tarrer!"

"It's a pity, but I don't see how we can help it. Your business is the quick dispatch of the Admiral's letter, not the squiring of dames." Scarlett owned with a sigh that Tarrer was right.

II

It was quite a different Tito who presented himself at daybreak the following morning. His insolent manner had disappeared. He was cheerful, alert, and he had a manner full of the most winning politeness.

"You quite understand what we want," Scarlett said. "My desire is to reach Port Anna as soon as possible. You know the way?"

"Every inch of it, señor. I have made the journey scores of times. And I shall have the felicity of getting you there early on the third day from now."

"Is it so far as that?"

"The distance is not great, señor. It is the passage through the woods. There are parts where no white man has been before."

"And you will not forget the purple orchids?"

A queer gleam trembled like summer lightning in Tito's eyes. The next instant it had gone. A time was to come when Scarlett was to recall that look, but for the moment it was allowed to pass.

"The señor shall see the purple orchid," he said; "thousands of them." They have a bad name amongst our people, but that is nonsense. They grow in the high trees, and their blossoms cling to long, green tendrils. These tendrils are poisonous to the flesh, and great care should be taken in handling them. And the flowers are quite harmless, though we call them the devil's poppies."

To all of this Scarlett listened eagerly. He was all-impatient to see and handle the mysterious flower for himself. The whole excursion was going to prove a wonderful piece of luck. At the same time he had to curb his impatience. There would be no chance of seeing the purple orchid to-day.

For hours they fought their way along through the dense tangle. A heat seemed to lie over all the land like a curse--a blistering sweltering, moist heat with no puff of wind to temper its breathleSsness. By the time that the sun was sliding down, most of the party had had enough of it.

They passed out of the underwood at length, and, striking upwards, approached a clump of huge forest trees on the brow of a ridge. All kinds of parasites hung from the branches; there were ropes and bands of green, and high up a fringe of purple glory that caused Scarlett's pulses to leap a little faster. 

"Surely that is the purple orchid?" he cried.

Tito shrugged his shoulders contemptuously.

"A mere straggler or two," he said, "and out of reach in any case. The señor will have all he wants and more to-morrow."

"But it seems to me," said Scarlett, "that I could--"

Then he paused. The sun like a great glowing shield was shining full behind the tree with its crown of purple, and showing up every green rope and thread clinging to the branches with the clearness of liquid crystal. Scarlett saw a network of green cords like a huge spider's web, and in the centre of it was not a fly, but a human skeleton!

The arms and legs were stretched apart as if the victim had been crucified. The wrists and ankles were bound in the cruel web. Fragments of tattered clothing fluttered in the faint breath of the evening breeze.

"Horrible," Scarlett cried, "absolutely horrible!"

"You may well say that," Tarrer exclaimed, with a shudder. "Like the fly in the amber or the apple in the dumpling, the mystery is how he got there."

"Perhaps Tito can explain the mystery," Scarlett suggested.

Tito appeared to be uneasy and disturbed. He looked furtively from one to the other of his employers as a culprit might who feels he has been found out. But his courage returned as he noted the absence of suspicion in the faces turned upon him.

"I can explain," he exclaimed, with teeth that chattered from some unknown terror or guilt. "It is not the first time that I have seen the skeleton. Some plant-hunter doubtless who came here alone. He climbed into the tree without a knife, and those green ropes got twisted round his limbs, as a swimmer gets entangled in the weeds. The more he struggled, the more the cords bound him. He would call in vain for anyone to assist him here. And so he must have died."

The explanation was a plausible one, but by no means detracted from the horror of the discovery. For some time the party pushed their way on in the twilight, till the darkness descended suddenly like a curtain.

"We will camp here," Tito said; "it is high, dry ground, and we have this belt of trees above us. There is no better place than this for miles around. In the valley the miasma is dangerous."

As Tito spoke he struck a match, and soon a torch flamed up. The little party were on a small plateau, fringed by trees. The ground was dry and hard, and, as Scarlett and his party saw to their astonishment, littered with bones. There were skulls of animals and skulls of human beings, the skeletons of birds, the frames of beasts both great and small. It was a weird, shuddering sight.

"We can't possibly stay here," Scarlett exclaimed.

Tito shrugged his shoulders.

"There is nowhere else," he replied. "Down in the valley there are many dangers. Further in the woods are the snakes and jaguars. Bones are nothing. Peuf, they can be easily cleared away."

They had to be cleared away, and there was an end of the matter. For the most part the skeletons were white and dry as air and sun could make them. Over the dry, calcined mass the huge fringe of trees nodded mournfully. With the rest, Scarlett was busy scattering the mocking frames aside. A perfect human skeleton lay at his feet. On one finger something glittered---a signet ring. As Scarlett took it in his hand he started.

"I know this ring!" he exclaimed; "it belonged to Pierre Anton, perhaps the most skilled and intrepid plant-hunter the Jardin des Plantes ever employed. The poor fellow was by way of being a friend of mine. He met the fate that he always anticipated."

"There must have been a rare holocaust here," said Tarrer.

"It beats me," Scarlett responded. By this time a large circle had been shifted clear of human and other remains. By the light of the fire loathsome insects could be seen scudding and straddling away. "It beats me entirely. Tito, can you offer any explanation? If the bones were all human I could get some grip of the problem. But when one comes to birds and animals as well! Do you see that the skeletons lie in a perfect circle, starting from the centre of the clump of trees above us? What does it mean?"

Tito professed utter ignorance of the subject. Some years before a small tribe of natives invaded the peninsula for religiouS rites. They came from a long way off in canoes, and wild stories were told concerning them. They burnt sacrifices, no doubt.

Scarlett turned his back contemptuously on this transparent tale. His curiosity was aroused. There must be some explanation, for Pierre Anton had been seen of men within the last ten years.

"There's something uncanny about this," he said, to Tarrer. "I mean to get to the bottom of it, or know why."

"As for me," said Tarrer, with a cavernous yawn, "I have but one ambition, and that is my supper, followed by my bed."

III

Scarlett lay in the light of the fire looking about him. He felt restless and uneasy, though he would have found it difficult to explain the reason. For one thing, the air trembled to strange noises. There seemed to be something moving, writhing in the forest trees above his head. More than once it seemed to his distorted fancy that he could see a squirming knot of green snakes in motion.

Outside the circle, in a grotto of bones, Tito lay sleeping. A few moments before his dark, sleek head had been furtively raised, and his eyes seemed to gleam in the flickering firelight with malignant cunning As he met Scarlett's glance he gave a deprecatory gesture and subsided.

"What the deuce does it all mean?" Scarlett muttered. "I feel certain yonder rascal is up to some mischief. Jealous still because I paid his girl a little attention. But he can't do us any real harm. Quiet, there!"

The big mastiff growled and then whined uneasily. Even the dog seemed to be conscious of some unseen danger. He lay down again. cowed by the stern command, but he still whimpered in his dreams.

"I fancy I'll keep awake for a spell," Scarlett told himself.

For a time he did so. Presently he began to slide away into the lane of poppies. He was walking amongst a garden of bones which bore masses of purple blossoms. Then Pierre Anton came on the scene, pale and resolute as Scarlett had always known him; then the big mastiff seemed in some way to be mixed up with the phantasm of the dream, barking as if in pain, and Scarlett came to his senses.

He was breathing short, a beady perspiration stood on his forehead, his heart hammered in quick thuds---all the horrors of nightmare were still upon him. In a vague way as yet he heard the mastiff howl, a real howl of real terror, and Scarlett knew that he was awake.

Then a strange thing happened. In the none too certain light of the fire, Scarlett saw the mastiff snatched up by some invisible hand, carried far on high towards the trees, and finally flung to the earth with a crash. The big dog lay still as a log.

A sense of fear born of the knowledge of impotence came over Scarlett; what in the name of evil did it all mean? The smart scientist had no faith in the occult, and yet what did it all mean?

Nobody stirred. Scarlett's companions were soaked and soddened with fatigue; the rolling thunder of artillery would have scarce disturbed them. With teeth set and limbs that trembled, Scarlett crawled over to the dog.

The great, black-muzzled creature was quite dead. The full chest was stained and soaked in blood; the throat had been cut apparently with some jagged, saw-like instrument away to the bone. And, strangest thing of all, scattered all about the body was a score or more of the great purple orchid flowers broken off close to the head. A hot, pricking sensation travelled slowly up Scarlett's spine and seemed to pass out at the tip of his skull. He felt his hair rising.

He was frightened. As a matter of honest fact, he had never been so horribly scared in his life before. The whole thing was so mysterious, so cruel, so bloodthirsty.

Still, there must be some rational explanation. In some way the matter had to do with the purple orchid. The flower had an evil reputation. Was it not known to these Cubans as the devil's poppy?

Scarlett recollected vividly now Zara's white, scared face when Tito had volunteered to show the way to the resplendent bloom; he remembered the cry of the girl and the blow that followed. He could see it all now. The girl had meant to warn him against some nameless horror to which Tito was leading the small party. This was the jealous Cuban's revenge.

A wild desire to pay this debt to the uttermost fraction filled Scarlett, and shook him with a trembling passion. He crept along in the drenching dew to where Tito lay, and touched his forehead with the chill blue rim of a revolver barrel. Tito stirred slightly.

"You dog!" Scarlett cried. "I am going to shoot you."

Tito did not move again. His breathing was soft and regular. Beyond a doubt the man was sleeping peacefully. After all he might be innocent; and yet, on the other hand, he might be so sure of his quarry that he could afford to slumber without anxiety as to his vengeance.

In favour of the latter theory was the fact that the Cuban lay beyond the limit of what had previously been the circle of dry bones. It was just possible that there was no danger outside that pale. In that case it would be easy to arouse the rest, and so save them from the horrible death which had befallen the mastiff. No doubt these were a form of upas tree, but that would not account for the ghastly spectacle in mid-air.

"I'll let this chap sleep for the present," Scarlett muttered.

He crawled back, not without misgivings, into the ring of death. He meant to wake the others and then wait for further developments. By now his senses were more alert and vigorous than they had ever been before. A preternatural clearness of brain and vision possessed him. As he advanced he saw suddenly falling a green bunch of cord that straightened into a long, emerald line. It was triangular in shape, fine at the apex, and furnished with hooked spines. The rope appeared to dangle from the tree overhead; the broad, sucker-like termination was evidently soaking up moisture.

A natural phenomenon evidently, Scarlett thought. This was some plant new to him, a parasite living amongst the tree-tops and drawing life and vigour by means of these green, rope-like antennae designed by Nature to soak and absorb the heavy dews of night.

For a moment the logic of this theory was soothing to Scarlett"s" distracted nerves, but only for a moment, for then he saw at regular intervals along the green rope the big purple blossoms of the devil's poppy. 

He stood gasping there, utterly taken aback for the moment. There must be some infernal juggling behind all this business. He saw the rope slacken and quiver, he saw it swing forward like a pendulum, and the next minute it had passed across the shoulders of a sleeping seaman.

Then the green root became as the arm of an octopus. The line shook from end to end like the web of an angry spider when invaded by a wasp. It seemed to grip the sailor and tighten, and then, before Scarlett's, afrighted eyes, the sleeping man was raised gently from the ground.

Scarlett jumped forward with a desire to scream hysterically. Now that a comrade was in danger he was no longer afraid. He whipped a jack-knife from his pocket and slashed at the cruel cord. He half expected to meet with the stoutness of a steel strand, but to his surprise the feeler snapped like a carrot, bumping the sailor heavily on the ground.

He sat up, rubbing his eyes vigorously.

"That you, sir?" he asked. "What is the matter?"

"For the love of God, get up at once and help me to arouse the others," Scarlett said, hoarsely. "We have come across the devil's workshop. All the horrors of the inferno are invented here."

The bluejacket struggled to his feet. As he did so, the clothing from his waist downwards slipped about his feet, clean cut through by the teeth of the green parasite. All around the body of the sailor blood oozed from a zone of teeth-marks.

Two-o'clock-in-the-morning courage is a virtue vouchsafed to few. The tar, who would have faced an ironclad cheerfully, fairly shivered with fright and dismay.

"What does it mean, sir?" he cried. "I've been---"

"Wake the others," Scarlett screamed; "wake the others."

Two or three more green tangles of rope came tumbling to the ground, straightening and quivering instantly. The purple blossoms stood out like a frill upon them. Like a madman, Scarlett shouted, kicking his companions without mercy.

They were all awake at last, grumbling and moaning for their lost slumbers. All this time Tito had never stirred.

"I don't understand it at all," said Tarrer.

"Come from under those trees," said Scarlett, "and I will endeavour to explain. Not that you will believe me for a moment. No man can be expected to believe the awful nightmare I am going to tell you."

Scarlett proceeded to explain. As he expected, his story was followed with marked incredulity, save by the wounded sailor, who had strong evidence to stimulate his otherwise defective imagination.

"I can't believe it," Tarrer said, at length. They were whispering together beyond earshot of Tito, whom they had no desire to arouse for obvious reasons. "This is some diabolical juggling of yonder rascally Cuban. It seems impossible that those slender green cords could---"

Scarlett pointed to the centre of the circle.

"Call the dog," he said grimly, "and see if he will come."

"I admit the point as far as the poor old mastiff is concerned. But at the same time I don't---however, I'll see for myself."

By this time a dozen or more of the slender cords were hanging pendent from the trees. They moved from spot to spot as if jerked up by some unseen hand and deposited a foot or two farther. With the great purple bloom fringing the stem, the effect was not unlovely save to Scarlett, who could see only the dark side of it. As Tarrer spoke he advanced in the direction of the trees.

"What are you going to do?" Scarlett asked.

"Exactly what I told you. I am going to investigate this business for myself."

Without wasting further words Scarlett sprang forward. It was no time for the niceties of an effete civilization. Force was the only logical argument to be used in a case like this, and Scarlett was the more powerful man of the two.

Tarrer saw and appreciated the situation.

"No, no," he cried; "none of that. Anyway, you're too late." He darted forward and threaded his way between the slender emerald columns. As they moved slowly and with a certain stately deliberation there was no great danger to an alert and vigorous individual. As Scarlett entered the avenue he could hear the soak and suck as the dew was absorbed.

"For Heaven's sake, come out of it," he cried. 

The warning came too late. A whip-like trail of green touched Tarrer from behind, and in a lightning flash he was in the toils. The tendency to draw up anything and everything gave the cords a terrible power. Tarrer evidently felt it, for his breath came in great gasps.

"Cut me free," he said, hoarsely; "cut me free. I am being carried off my feet."

He seemed to be doomed for a moment, for all the cords there were apparently converging in his direction. This, as a matter of fact, was a solution of the whole sickening, horrible sensation. Pulled here and there, thrust in one direction and another, Tarrer contrived to keep his feet.

Heedless of possible danger to himself Scarlett darted forward, calling to his companions to come to the rescue. In less time than it takes to tell, four knives were at work ripping and slashing in all directions.

"Not all of you," Scarlett whispered. So tense was the situation that no voice was raised above a murmur. "You two keep your eyes open for fresh cords, and cut them as they fall, instantly. Now then."

The horrible green spines were round Tarrer's body like snakes. His face was white, his breath came painfully, for the pressure was terrible. It seemed to Scarlett to be one horrible dissolving view of green, slimy cords and great weltering, purple blossoms. The whole of the circle was strewn with them. They were wet and slimy underfoot.

Tarrer had fallen forward half unconscious. He was supported now by but two cords above his head. The cruel pressure had been relieved. With one savage sweep of his knife Scarlett cut the last of the lines, and Tarrer fell like a log unconscious to the ground. A feeling of nausea, a yellow dizziness, came over Scarlett as he staggered beyond the dread circle. He saw Tarrer carried to a place of safety, and then the world seemed to wither and leave him in the dark.

"I feel a bit groggy and weak," said Tarrer an hour or so later: "but beyond that this idiot of a Richard is himself again. So far as I am concerned, I should like to get even with our friend Tito for this."

"Something with boiling oil in it," Scarlett suggested, grimly. "The callous scoundrel has slept soundly through the whole of this business. I suppose he felt absolutely certain that he had finished with us."

"Upon my word, we ought to shoot the beggar" Tarrer exclaimed.

"I have a little plan of my own," said Scarlett, "which I am going to put in force later on. Meanwhile we had better get on with breakfast. When Tito wakes a pleasant little surprise will await him."

Tito roused from his slumbers in due course and looked around him. His glance was curious, disappointed, then full of a white and yellow fear. A thousand conflicting emotions streamed across his dark face. Scarlett read them at a glance as he called the Cuban over to him.

"I am not going into any unnecessary details with you," he said. "It has come to my knowledge that you are playing traitor to us. Therefore we prefer to complete our journey alone. We can easily find the way now."

"The señor may do as he pleases," he replied. "Give me my dollar and let me go."

Scarlett replied grimly that he had no intention of doing anything of the kind. He did not propose to place the lives of himself and his comrades in the power of a rascally Cuban who had played false.

"We are going to leave you here till we return," he said. "You will have plenty of food, you will be perfectly safe under the shelter of these trees, and there is no chance of anybody disturbing you. We are going to tie you up to one of these trees for the next four-and-twenty hours."

All the insolence died out of Tito's face. His knees bowed, a cold dew came out over the ghastly green of his features. From the shaking of his limbs he might have fared disastrously with ague.

"The trees," he stammered, "the trees, señor! There is danger from snakes, and---and from many things. There are other places---"

"If this place was safe last night it is safe to-day," Scarlett said, grimly. "I have quite made up my mind."

Tito fought no longer. He fell forward on his knees, he howled for mercy, till Scarlett fairly kicked him up again.

"Make a clean breast of it," he said, "or take the consequences. You know perfectly well that we have found you out, scoundrel."

Tito's story came in gasps. He wanted to get rid of the Americans. He was jealous. Besides, under the Americanos would Cuba be any better off? By no means and assuredly not. Therefore it was the duty of every good Cuban to destroy the Americanos where possible.

"A nice lot to fight for," Scarlett muttered. "Get to the point."

Hastened to the point by a liberal application of stout shoe-leather, Tito made plenary confession. The señor himself had suggested death by medium of the devil's poppies. More than one predatory plant-hunter had been lured to his destruction in the same way. The skeleton hung on the tree was a Dutchman who had walked into the clutch of the purple terror innocently. And Pierre Anton had done the same. The suckers of the devil's poppy only came down at night to gather moisture; in the day they were coiled up like a spring. And anything that they touched they killed. Tito had watched more than one bird or small beast crushed and mauled by these cruel spines with their fringe of purple blossoms.

"How do you get the blooms?" Scarlett asked.

"That is easy," Tito replied. "In the daytime I moisten the ground under the trees. Then the suckers unfold, drawn by the water. Once the suckers unfold one cuts several of them off with long knives. There is danger, of course, but not if one is careful."

"I'll not trouble the devil's poppy any further at present," said Scarlett, "but I shall trouble you to accompany me to my destination as a prisoner."

Tito's eyes dilated.

"They will not shoot me?" he asked, hoarsely.

"I don't know," Scarlett replied. "They may hang you instead. At any rate, I shall be bitterly disappointed if they don't end you one way or the other. Whichever operation it is, I can look forward to it with perfect equanimity."


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