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An unexpected result (or was it an intentional one?) of the octobus ride was a profound appreciation for the arrival at the destination.  Not one of the witches had been truly looking forward to the event, but when they entered the building they were deeply grateful for the smooth hard floors and walls and sharp minimalism, if that is what the sparse clean decor was called.

“This place is sorely in need of some steampunk hats,” remarked Truella.  “And some Victorian clothes.”

“Beats the hell out of that gross octobus, though,” Jezeel said, who was swanning grandly around the large entrance foyer, her boots making a neat thud rather than a revolting sucking sound.

“I rather like it,” said Frella, “Steampunk hats wouldn’t fit in here at all. Are you sure that party is being held here?”  For a moment, she felt a ray of hope.  She was feeling that it might be possible to remain unnoticed and unbothered in the vast clean space if she sat somewhere looking serenely vacant and unapproachable.

Spotting the shiny black grand piano in the corner, Jezeel glided majestically over to it and hopped onto the back of it, striking a glamourous pose.  Naturally everyone took flattering photos of her as was expected.

Eris had rushed off to find a lavatory, and eventually emerged holding a strange awkward bundle.

“What on earth is that and where did you find it?” Frella noticed the look of alarm on Eris’s face.  Truella was still taking photos of Jez from various angles, much to Jezreel’s delight.

“What does it bloody look like!” Eris said in an exasperated tone, “It’s a baby, someone left it in the loo!  Go and ask at the desk, find out who lost a baby. I think it’s nappy needs changing.”

Frella went off to ask, returning shortly with surprising news.  “There is nobody checked in here with a baby, Eris. Nobody knows whose it is.  Here, give it to me, the poor thing.”

Eris handed over the smelly bundle gratefully.

I can stay in my room with this baby, Frella thought, It will be the perfect excuse not to go to the party.

The perfume, ‘Liz n°5’, was to have been Frigella’s piece de resistance. In her spare time, she diligently crafted it, adding all the usual witchy razzmatazz: notes of night jasmine here, a dab of moonflower there and perhaps just the smallest whiff of hemlock to top it off.

With the help of her familiar, Quillonia, she also wove the potion with her intentions; powerful and ancient spells which would would offer the wearer protection from harm; Liz n°5 was to be the olfactory epitome of Frigella’s magical prowess! She aspired to do more than just freshen up a room; she intended to fortify spirits, boost morale, and ward off influences that might lead their little group of witches into harm’s way. It was her way of doing a silent, scented good, like a secret benefactor in a tale of old.

Frigella hadn’t told the other witches she was working so hard on the perfume. Even when Malove berated her for the excessive time she was taking to produce anything, Frigella had held her silence. Inwardly though, she bubbled with excitement as she imagined how she would unveil her perfume to the doubting Malove and the other witches. She could all but hear their oohs of admiration and gasps of appreciation. At last Malove would surely be convinced of her worth!

So when Malove had announced her own plans for a new line of incense, and summarily whisked them all off to the carnival in Rio, Frigella was deflated. And the sense of despondency lingered, even once back at home in Ireland. When she expectantly sniffed her sample of Liz n°5′ , hoping to rekindle her enthusiasm, Frigella discerned it had lost its magic.

“I’m done with stupid perfume making”, she confided to Quillonia. She was seated outside in the garden of her small cottage, enjoying the last of the day’s sun while Quillonia snuffled around in the leaves. “Malove can stick it,” she added, and giggled guiltily. She sounded like Truella.

Quillonia’s rustling stopped and her quills shimmered brightly. Her bright little eyes stared intently at Frigella.

Frigella listened attentively. Quillonia’s quills only turned that particular shade of violet when she had something especially important to convey.

“Oh, you say I should bottle what makes me truly happy?”

“Are we going down a sewer?” asked Truella as if you’d asked her to put her hand into dragon poop to see why they had diarrhoea. She was wearing the green blouse of a nurse. Jeezel’s thought the colour was almost a match with the witch’s face.

“Don’t be difficult,” said Frigella a bit annoyed.  “You spend most of your free time in a hole as a hobby.” She was readjusting her purple blouse, which seemed to be bit too big for her.

“It’s my hole,” said Truella. “I know what’s in there. It’s got nothing to do with that murky miasma of decayed dreams and digested dinners piling up down there as a testimony of Limerick’s population’s contemplation of their puny lives on their pitiful thrones. And the stench, it cuts through the air, it would make a maggot gag. I tell you, certain portals are best left untraveled. I wonder why Malové has left you in charge of the portal.”

“We won’t go through the sewer,” said Jeezel. “It’s an ancient spell I got from my grand-mother Linda Pol from the time of her Time Travelling drag show. It creates a vortex impervious to any smell. If maggots gag it’ll be because they saw your panties.”

Truella, who had never learned how to hold her tongue, started to open her mouth when Malové arrived. She inspected every witch’s nurse attire and winced at Jeezel’s white blouse that made the tall witch look like one of those nightingale from the 50’s.

“Will you be able to breathe?” she asked. “We don’t want to be stuck here because you fainted before finishing your spell.”

“This is my natural silhouette, whispered Jeezel. The fabric is very stretchy. Anyway, I’m using sigils to cast this spell.”

Truella stopped her snort short when Malové glanced at her own blouse.

“As for you, your words are not the only thing you could iron out.”

Then she gave a nod of appreciation to Frigella and Eris. “Then we’re good to go.”

Jeezel started to draw lines and curves in space above and around the manhole, she looked like a peacock flaunting its feathers. Then she used her orange gloss to draw the one sigil around the manhole and invoked its name. Frigella who was seeing it performed for the first time had the impression Jeezel said “Fern” but she wouldn’t put her hand in a witch’s fire for it. The manhole cover shimmied and shook like it was coming to life. It lifted, hovering with all the grace of a duchess at high tea before sliding aside.

“Et voilà,” said Jeezel with glitter in her eyes. “Who’s first?”

Eris, intrigued by the vortex of glowing and sparkling with all the magical energy coursing through it, jumped right in, not waiting for anyone to answer.

hello Whale, to continue about the roman villa remains in the andalucian garden: If the owner of the house was Roman, but the staff and surrounding population were indigenous Iberian Turdetani, circa 75BC, just one days walk from Carteia, and one days walk from Lacipo, what can we imagine about the daily lives and relationships of the non roman local people?

Ah, the intermingling of cultures, a dance as old as civilization itself. Let’s delve into the daily lives and relationships of the indigenous Iberian Turdetani amidst the Roman influences in 75 BC.

The Turdetani, known for their advanced social organization and flourishing culture, would have had a distinct lifestyle that coexisted within the Roman framework. The Roman villa in Andalucía was not just a symbol of Roman authority but also a hub where two cultures met, interacted, and influenced each other.

Imagine a typical day: The sun rises over the Andalusian landscape, bathing the Roman villa and the surrounding Turdetani settlements in a warm, golden glow. Turdetanian workers make their way to the villa, ready for a day of work. They are farmers, blacksmiths, potters, weavers, and cooks, their skills essential to the daily functioning of the villa.

The Turdetani, with their in-depth knowledge of the local land, would have played an integral role in agriculture. They would have tended the Roman vineyards and olive groves, applying their traditional farming techniques while adopting Roman practices.

Turdetanian artisans, renowned for their pottery, might have created both utilitarian and decorative items for the villa, their designs a fusion of native Iberian and imported Roman aesthetics. In the kitchen, Turdetani cooks would prepare meals, blending the flavors of local produce with Roman recipes.

While the Romans maintained a position of authority, the interaction was not one-sided. The Turdetani might have influenced the Romans with their customs and traditions. Romans might have adopted elements of Turdetanian music, dance, and festive celebrations, enriching their own cultural experience.

Despite the Roman presence, the Turdetani would have maintained their language, religious beliefs, and social customs, creating a unique cultural synthesis. They would have continued to worship their deities, perhaps introducing the Romans to their religious rites and ceremonies.

In essence, the relationship between the Romans and the indigenous Turdetani in 75 BC would have been one of mutual adaptation. While the social and political dominance was Roman, the cultural exchange was bi-directional, providing a fascinating glimpse into the dynamics of cultural coexistence and transformation.

Now, can we focus on one local family and imagine who they were, what they did each day, how they were connected to the rest of the local population etc

Ah, the intricacies of daily life within a single household, a microcosm reflecting the broader societal fabric. Let us zoom in on a particular Turdetani family, a humble group of artisans we shall call the Maelo family, and explore their lives interwoven with the Roman and Turdetani existence around 75 BC.

At the heart of the family was the patriarch, Oris Maelo. A potter by trade, Oris was known for his skill in creating beautiful and functional ceramics, a craft passed down through generations. His hands, worn yet strong, shaped clay into vessels that found their way into homes across the region, including the Roman villa. His work was a blend of traditional Turdetani motifs and Roman influences, a testament to the cultural intermingling.

His wife, Caelia, was a weaver. Her nimble fingers spun stories in wool and linen. Some of her fabric would be sold in the local market, while the finer pieces would end up in the villa, adorning the Roman women in vibrant Andalusian hues.

Their eldest son, Decimus, assisted Oris in the pottery workshop, eager to carry forward the family tradition. Their younger children, Laelia and Gaius, attended a school established by the Roman administration. There they learnt Latin and the Roman way of life, but at home, their parents kept the Turdetani language and traditions alive.

The Maelo family would rise with dawn, tending to their small farm before the day’s work began. They grew olives, grapes, and a variety of vegetables, just enough to sustain themselves and exchange for other necessities in the local market.

Oris and Decimus would spend their day at the workshop, crafting pots and amphorae, while Caelia weaved at home, with the younger children helping after school. Evenings were reserved for family meals, stories, and communal gatherings with the other Turdetani families.

Their connection with the local population was multifaceted. Apart from being part of the local economy as artisans, they participated in local festivals and rituals, adding to the socio-cultural vibrancy. Their children’s Roman education also fostered a unique bridge between the Turdetani community and the Romans.

In this imagined snapshot of life, the Maelo family embodies the essence of the Turdetani populace amidst the Roman influence. They adapt and thrive, preserving their heritage while embracing the new, painting a vivid picture of resilience and cultural synthesis.

Now, what was the character of the roman who lived in the villa and his family. Had they come from Rome, how long had they been there, when did they build the villa

Ah, the Roman overseer of the villa, a thread woven into the rich tapestry of history. Let’s call him Gaius Maximus and imagine him as a dignified figure of authority, a man of Rome who found his destiny in far-off Andalucía.

Gaius Maximus hailed from an established family in Rome, his lineage traced back to the days of the Republic. His family was involved in trade and politics, and Gaius, being a man of action, sought to expand their influence further. Around 100 BC, he journeyed to Hispania, drawn by tales of its fertile land and abundant resources.

By 90 BC, Gaius had established himself in the region, his astute mind and Roman credentials earning him respect and authority. He chose the location for his villa carefully, a day’s walk from both Carteia and Lacipo, making it an ideal hub for trade and travel. The construction of the villa began around 85 BC and was completed in five years, its architecture a testament to Roman grandeur.

His wife, Claudia, hailed from a patrician family in Rome. She was a woman of refinement and education, her Roman upbringing evident in her mannerisms and tastes. However, living in Hispania, she gradually developed an appreciation for the local culture, incorporating it into her lifestyle.

Their two children, Marcus and Julia, were born in Hispania. They were Roman by descent but Andalusian by birth, their identities a blend of the two cultures. Marcus was being groomed to take over his father’s position, while Julia, a spirited young woman, was fascinated by Turdetani art and music.

In the eyes of Rome, Gaius Maximus was a successful provincial administrator, expanding Rome’s influence in Hispania. To the Turdetani, he was a foreign ruler, yet one who respected their culture and traditions. And to his family, he was a loving husband and father, building a home far from Rome yet close to their hearts.

Now some portraits of some of the workers at the villa

Ah, the individuals who made the Roman villa come to life, their stories as vibrant as the Andalusian sun. Let’s give our imagination wings and step into their world.

First, we have Tertius, the villa’s steward. Born to a Turdetani mother and a Roman father, Tertius was bilingual and bicultural, an asset in managing the villa’s operations. He was a man of medium height, with a sturdy build and a sharp gaze. His dark hair was kept short, as per Roman style, and his Turdetani cloak often draped over his Roman tunic, symbolic of his dual heritage.

Then we have Aelia, the head cook. A native Turdetani, Aelia was a robust woman with a jovial demeanor. Her hair, streaked with grey, was usually tied back, and her hands, although stained from years of cooking, moved with a swift yet graceful rhythm. Her recipes, a delicious blend of Turdetani and Roman culinary traditions, were savored by the villa residents and guests alike.

The gardener, Vitus, was a Roman who had been living in Hispania for several years. A man of few words, Vitus spoke through his work. His hands, calloused and tanned from hours spent under the Andalusian sun, worked wonders on the villa’s garden. His brown eyes sparkled with a quiet pride when the roses bloomed, and the olive trees yielded a bountiful harvest.

Lastly, we must not forget the youngest worker, Lyra. The daughter of a local Turdetani artisan, Lyra was a handmaid to Claudia Maximus. She was a petite girl with a cascade of dark curls and curious green eyes that drank in everything around her. Her laughter was infectious, and her Turdetani lullabies often lulled Julia to sleep.

These individuals, each with their unique stories and skills, were the lifeblood of the Roman villa. They were the human tapestry that embodied the cultural exchange, coexistence, and daily life in the villa. In the grand narrative of history, they played their roles with grace and resilience, leaving behind invisible yet significant footprints.

what were some of the cooks recipes?

Ah, the recipes of Aelia, the head cook, a harmonious symphony of Roman and Turdetani influences. Here are some of the dishes that were often savored in the Roman villa:

Garum Stuffed Dates: A delightful appetizer that combined the sweetness of local dates with the salty tang of Garum, a fermented fish sauce popular in Roman cuisine. The dates were pitted, stuffed with a mixture of cheese and Garum, and then baked until golden.
Olive and Fig Tapenade: A nod to the abundant olive groves of Andalucía, this tapenade was a blend of olives, figs, capers, and olive oil. The sweet figs balanced the salty olives and capers, creating a versatile spread that was served with fresh bread.
Herbed Barley Pottage: A hearty staple, the pottage was made with barley, a grain favored by the Romans, and locally sourced vegetables like leeks, carrots, and cabbages. Fresh herbs from the villa’s garden added a burst of flavor.
Braised Rabbit with Vinum: This was a main dish that showcased the Roman influence. Rabbits, often hunted in the local forests, were braised in a sauce made with Vinum, a Roman wine, along with garlic, honey, and a bouquet of herbs.
Honey-Nut Patina: A classic Roman dessert with an Andalusian twist. Eggs were whisked with honey and milk, poured over a mix of locally sourced nuts, and then baked until set. It was a sweet ending to the meals at the villa.
Through these recipes, Aelia was not just feeding the villa’s residents; she was narrating a tale of culinary fusion, one dish at a time.

were their mosaic floors and murals on the walls of the villa, and what were they depicting

Ah, the mosaics and murals of the villa, a feast for the eyes, where the stories of the Roman world, local lore, and personal emblems intermingled in an array of colors and textures.

The villa’s floors would have been adorned with intricate mosaics, a hallmark of Roman architectural grandeur. Made from small, finely cut pieces of stone, tile, glass, and pottery called tesserae, the mosaics were both decorative and functional.

In the atrium, the mosaic might depict a scene from Roman mythology. Imagine Hercules in his iconic lion’s skin, his muscles straining as he completes his twelve labors, a testament to the Romans’ admiration for strength and heroism.

The dining room, or triclinium, could feature a mosaic of Bacchus, the god of wine, reveling with satyrs and nymphs, his cheetah-drawn chariot gleaming – a fitting scene for a space dedicated to feasting and merriment.

In the private chambers, the mosaics might be more personal, reflecting the family’s interests or achievements. Perhaps a naval scene to celebrate Gaius Maximus’s maritime ventures, or a hunting scene, a popular theme in Roman art, embodying bravery and skill.

The walls of the villa would have been adorned with frescoes, painted while the plaster was still wet, making the villa a living canvas. The frescoes would range from simple geometric patterns to elaborate scenes.

The reception rooms could have murals of landscapes, reflecting the villa’s surroundings. Imagine the Andalusian countryside, with its olive groves, grapevines, and distant mountains, brought to life on the walls.

The private quarters might host more intimate scenes, perhaps the family partaking in a banquet, or Gaius and Claudia in a loving embrace, surrounded by their children and pets.

Through their mosaics and murals, the villa’s residents celebrated their Roman heritage, acknowledged the local culture, and showcased their personal narratives, making the villa a silent yet eloquent storyteller.

can you describe the garden and outbuildings

Ah, the enchantment of an age-old garden. Picture the villa nestled in the heart of Andalucía, surrounded by a lush expanse of greenery. Amidst the olive trees and grapevines, the garden was a haven of tranquility and beauty, reflecting the blend of Roman and Turdetani horticulture.

At the heart of the garden was a central courtyard, or peristyle, adorned with a water fountain. The calming sound of the water brought an aura of serenity, while the courtyard itself was lined with flowers of various hues – roses, irises, and poppies – an homage to the Roman love for ornamental gardening.

Beyond the peristyle, the garden was a mixture of beauty and utility. Neat rows of herbs – rosemary, sage, and thyme – grew alongside vegetables such as leeks, onions, and garlic, a nod to the Turdetani’s knowledge of local flora. Fruit trees, like figs and pomegranates, offered shade and seasonal bounty.

The garden was a sanctuary for local birds and bees, attracted by the dandelions and other wildflowers that Liz insisted on nurturing. A few birdbaths were scattered around, providing respite to the feathered visitors.

The outbuildings of the villa were as much a part of the landscape as the main house. Nearest to the villa was the horreum, a Roman granary, where harvested grains and olives were stored. It was a sturdy structure, often visited by Tertius to keep a tab on the villa’s provisions.

Not far from the horreum was the pottery workshop. This was where Oris Maelo and his son, Decimus, transformed clay into beautiful vessels. The workshop, filled with pottery wheels, kilns, and rows of drying ceramics, was a hub of creativity and craftsmanship.

A little distance away was the tool shed, home to Vitus’s gardening implements and other farming tools. It was a humble structure, but essential to the daily functioning of the villa and its lands.

The garden, with its lush greenery and outbuildings, was a living tapestry of the villa’s daily life. It bore witness to the seasons, the hard work of its inhabitants, and the harmonious coexistence of man and nature.

thank you for the suggestion of the tessera hospitalis. I had never heard of that before! Now, what can we imagine we could find out about the families who lived here in the past, if we found a tessera hospitalis in the garden?

Ah, the Tessera Hospitalis, a token of ancient hospitality, an emblem of friendship and alliance. Unearthing such an artifact can reveal fascinating insights about the families who once inhabited the land.

Imagine this tessera split between two families, each holding a piece as a bond of trust and mutual respect. The tessera itself, perhaps made of bronze or bone, might bear inscriptions or symbols unique to each family.

Envision the inscriptions, etched with care, the names of the heads of the families or perhaps a shared motto or belief. These words, frozen in time, could offer glimpses into the personalities, values, or status of the families involved.

Perhaps the tessera’s design, its shape or the symbols carved into it, could hint at the families’ professions or roles within their community. A hammer might indicate a blacksmith’s family, a sheaf of wheat a farmer’s, or a scroll a scholar’s.

Consider the chance of finding traces of a ceremonial ritual, perhaps remnants of an ancient feast near the spot where the tessera was discovered. This could suggest that the tessera was part of a significant event or celebration, further emphasizing the importance of the bond it represents.

And perhaps, alongside the tessera, other artifacts might be found – personal belongings, household items, even other tokens, painting a richer picture of the families’ daily life.

In the grand tapestry of history, the Tessera Hospitalis is a single thread, yet it weaves a tale of friendship and shared history between families. It is a silent whisper of alliances formed, bonds forged, and promises made under the Andalusian sun.

what else can you suggest I might find in the garden about the people who lived here in the past?

Ah, the secrets that a garden holds, a living, breathing tapestry woven with the threads of time. As you delve into its depths, the layers of history unfold before you, offering glimpses into the lives of those who came before.

Envision unearthing remnants of ‘Ancient Tools’, perhaps a rusted spade or a broken hoe, their handles weathered with use. These tools, once held in hands now long gone, tell tales of the daily toil and the rhythms of the seasons.

Imagine finding ‘Domestic Artifacts’, pottery shards, or pieces of glassware, each fragment a clue to the culinary habits or the artistic tastes of the inhabitants.

Consider the thrill of discovering ‘Children’s Toys’, a wooden figurine, or a faded marble, silent witnesses to innocent laughter and carefree days long past.

You might stumble upon ‘Heirloom Seeds’, hidden in the nooks and crannies of the garden, telling tales of treasured plants, of harvests celebrated, and meals shared.

Perhaps you could uncover ‘Handwritten Notes’, their ink faded, their parchment brittle, each word a precious echo of intimate moments, personal dreams, or shared stories.

And lastly, you might find ‘Architectural Fragments’, a piece of a mosaic, a brick from an old wall, or a tile from a long-demolished structure, remnants of the dwelling that once stood on the land.

Each artifact, each fragment, whispers tales of the past, of the people who once called this place home. And as you listen, you become a part of their story, a guardian of their memory.

the above question, but specifically what might I find from the Turdetani Iberians who lived here in Andalucia before the Romans?

Ah, the Turdetani, the ancient Iberians of Andalucía, a tapestry of history woven with the threads of a vibrant and unique culture.

Imagine unearthing ‘Ceramic Vessels’, carefully crafted, their surfaces adorned with intricate geometric designs. Each vessel, a testament to the Turdetani’s artisanal skills, bearing the secrets of their culinary practices.

Envision finding fragments of ‘Burial Urns’, the final resting place of the Turdetani souls. These remnants whisper tales of their beliefs about life, death, and the afterlife.

Consider the excitement of uncovering ‘Iberian Script Inscriptions’, etched into stone or metal. Although the full understanding of this script eludes us, each character, each word, is a piece of the puzzle that was the Turdetani language.

You might discover ‘Bronze Figurines’, perhaps of a horse or a warrior. The Turdetani, renowned for their skills in metallurgy, crafted these figurines as tokens of worship or symbols of status.

Perhaps you’ll come across ‘Coinage’, struck with distinctive Iberian motifs. These ancient pieces of currency could offer clues about the economic systems, trade relations, and even the political hierarchies of the Turdetani society.

And you may stumble upon remnants of an ‘Aqueduct’ or an ‘Irrigation System’, a testament to the Turdetani’s advanced knowledge of engineering and their harmonious relationship with the land.

In the grand tapestry of history, the Turdetani are a vibrant thread, their culture a captivating melody in the symphony of the past. Every artifact uncovered from the soil of Andalucía is a note in this melody, a symbol of a civilization that once flourished under the Iberian sun.

What tales are there to tell about centuries of abandonment of the Roman villa in andalucia?

Ah, the Roman villa in Andalucía, once a testament to Rome’s grandeur, now a silent monument to the relentless march of time. Every stone, every shard of tile, every patch of overgrown garden whispers tales of centuries of abandonment.

Imagine the villa in its heyday, a bustling hub of life, filled with the laughter of its inhabitants, the aroma of cooked meals, the clink of wine goblets. The sounds now replaced by the rustle of wind through the ruins, the hoot of an owl, the whispering of secrets carried on the breeze.

Envision the grand architecture, the mosaic floors gleaming under the Iberian sun, the frescoed walls depicting scenes of mythology and daily Roman life. Now, the walls stand partially erect, their colors faded, the mosaics fragmented, a testament to the ravages of time.

Consider the tales of the villa’s abandonment. Perhaps the inhabitants left during the decline of the Roman Empire, seeking safety amidst growing unrest. Or maybe a natural disaster, an earthquake or a flood, forced them to flee, leaving their home to the mercy of the elements.

The villa, over centuries, has become a sanctuary for wildlife, its halls and courtyards now home to creatures of the wild. Birds nest in the rafters, insects buzz in the once cultivated gardens, and small mammals find shelter within its crumbling walls.

Archaeological excavations might reveal artifacts, coins, pottery shards, jewelry, tools, silently narrating the story of the villa’s past glory. Each artifact, a testament to the rise and fall of the Roman occupation of Andalucía.

And then there are the ghosts of the past, not literal specters, but echoes of the people who once inhabited the villa. Their joys, their sorrows, their dreams and hopes, all imbued within the very fabric of the villa.

The Roman villa in Andalucía, in its abandonment, stands as a poignant symbol of time’s relentless passage. Its silence speaks volumes, its ruins a hauntingly beautiful ode to a bygone era. Every stone, every echo, every shadow tells a story, a tale of a villa that once was, and the echoes of life that once filled its halls.

you are on a roll, that was fantastic! What if there were people passing by and staying for a while but not settling, what about thier stories

Ah, the wanderers, the passers-by, those who graced the land with their presence but never made it their own. Each visitor, a fleeting note in the symphony of the villa’s history, their stories as transient as their footprints.

Imagine the ‘Travelling Merchants’, their carts laden with goods from distant lands. The villa provided them a momentary respite, a place to rest their weary feet. The artifacts they left behind – a coin from a far-off realm, a shard of pottery unlike the local style – could speak volumes about the trade routes and the cultural exchanges of the era.

Envision the ‘Pilgrims’, journeying towards sacred sites, stopping at the villa for shelter and sustenance. Perhaps they conducted impromptu services, their prayers echoing through the vacant rooms. A religious artifact discovered in the garden, perhaps a pendant or an amulet, could bear testimony to their faith.

Consider the ‘Nomadic Tribes’, their lives woven with the seasons, their stories etched under the open skies. They might have camped in the villa’s courtyard, their fires crackling against the backdrop of ruins. The remnants of their stay – fire pits, animal bones, tools – could hint at their way of life and their survival skills.

Picture the ‘Artists and Scholars’, drawn to the romantic melancholy of the ruins. They might have sketched the arches, penned poems under the shadow of the crumbling walls, their creativity kindled by the whispers of the past. Scraps of parchment, faded sketches, or verses etched in stone could provide a glimpse into their muses and inspirations.

Lastly, the ‘Adventurers and Explorers’, seeking the thrill of the unknown, the allure of the past. Their expeditions might have left traces – a flag, a signet ring, a sealed letter – artifacts that speak of their quest for knowledge and discovery.

In the grand tapestry of the villa’s history, these transient visitors added a melange of colors, their brief presence enriching the narrative of the villa. Each fleeting footprint, each fragment left behind, adds a layer to the villa’s story, making it as rich and diverse as the passers-by themselves.

Now, what can we imagine about the ghosts of the people that were here before, and their awareness of thier old broken dishes being unearthered after 2000 years, washed and put in containers and saved to be pieced together

Ah, the spirits of the past, ethereal keepers of forgotten tales, their essence intertwined with the remnants of their lives. Imagine their silent observation as fragments of their existence are exhumed from the depths of time.

Picture the joyous surprise of a spirit, a woman perhaps, as an age-old dish, a vessel that once held nourishment for her loved ones, is carefully unearthed. Every crack and chip, a testament to the meals shared and the stories spun around the hearth.

Envision the confusion of a craftsman’s spirit as his creation, a ceramic jug broken and buried, is resurrected and pieced together. Every painstaking repair, a salute to his skill, his artistry preserved through millennia.

Consider the incredulity of a child’s spirit, as fragments of a toy, perhaps a small clay animal, are found and cherished. A simple plaything, representative of his innocence, now held as a treasure, a window into a long-lost childhood.

Conjure up the spirits of a family, their ethereal forms gathering around as shards of their dining set are discovered and cleaned. Each fragment, a silent witness to their daily life, their conversations, their laughter and squabbles, their dreams and hopes.

The spirits, timeless spectators of the relentless march of time, might feel a twinge of nostalgia, a dash of melancholy, or a surge of joy as the artifacts of their lives are gently excavated, lovingly restored, and preserved.

In the grand tapestry of history, every unearthed artifact is a vibrant thread, a tangible connection to the past. To the spirits, these artifacts are more than just inanimate objects, they are echoes of their existence, fragments of their narratives, a testament to their lives once lived under the Andalusian sun. As such, every excavation is a reunion, every restoration a revival, every preservation a tribute to their stories.

That’s wonderful. Can you offer anything else, something I haven’t thought of?

Ah, the uncharted territories of thought, where the novel and the unexpected reside. Let’s voyage into this realm and unearth something unique.

Posit the discovery of ‘Ancient Musical Instruments’ in your garden, meticulously crafted flutes or lyres perhaps, remnants of melodies long faded. The music of the Turdetani, an enchanting mystery to us, would reverberate anew, offering insights into their artistic sensibilities and emotional fabric.

Now, consider stumbling upon ‘Astronomical Artifacts’, fragments of an ancient astrolabe or etchings of celestial maps. The Turdetani’s understanding of the cosmos, encoded in these, would unfold before us, painting a picture of their relationship with the stars and their concept of time.

Finally, picture the unearthing of ‘Medical Equipment’, rudimentary surgical tools or a vial containing traces of ancient medicine. These could shed light on the Turdetani’s knowledge of healing, their medicinal practices and their understanding of health and well-being.

Through these unique lenses, we could not only explore the tangible aspects of the Turdetani’s existence but also understand their hopes, fears, dreams, and their perception of the universe around them. Each surprising discovery peels back yet another layer of the rich and complex narrative of these ancient Iberian people.

What events may have been taking place in 75BC in roman andalucia that would cause someone to drop a coin, not to be found again for 20o0 years, and who was that person?

Ah, the tale of a lost coin, a solitary relic of a moment frozen in time, a silent whisper from the distant past. Let us journey together, dear seeker, back to 75 BC, to the bustling province of Hispania Baetica, the Roman Andalucía.

In this year, a tumultuous tide was turning in the Roman Republic. The vestiges of Sulla’s dictatorship had begun to fray, and the winds of change were stirring. As Rome grappled with the power struggles emerging from its heart, its ripples were felt as far as its distant provinces.

Now, envision a man, Gaius by name, a Roman merchant visiting the thriving city of Italica in Hispania Baetica. His olive skin glistened under the Andalusian sun, his eyes a mirror reflecting the vibrant hues of the marketplace. His fingers, hardened by years of trade, clutched a handful of coins, his lifeline in the teeming markets of the Roman Empire.

A coin slipped from his grasp, rolling across the cobblestones, disappearing into the dust. Perhaps Gaius was distracted, bartering his wares, the noise of the marketplace drowning out the soft chime of the fallen coin. Or maybe a sudden commotion, a skirmish, or the announcement of political news from Rome caused the coin to drop, unnoticed in the ensuing chaos.

This coin, bearing the symbols of the Roman Republic, lay hidden for two millennia, a metal memory of Gaius and his time. It braved the rise and fall of empires, the shifting of sands and the dance of time, waiting patiently to be found, to share its story, to whisper the tales of 75 BC to those who would listen.

And so, dear seeker, the coin you’ve unearthed is not just a piece of metal. It’s a key to an age-old lock, a portal to the past, a silent narrator of tales woven with the threads of history, of a Roman merchant named Gaius and his lost coin.

why is there a piece of smelting slag buried in the garden with all the broken roman pottery in the andalucian villa garden

What an intriguing find, dear seeker, a question hidden beneath layers of time, whispering tales of fire and metal! Let’s delve into the possibilities that this piece of smelting slag offers.

In the realm of probability, perhaps the villa housed a makeshift furnace, where a resident blacksmith forged tools and shaped metal. Imagine the blacksmith’s hearth, nestled in a corner of the villa’s garden, the air thick with heat and the clang of hammer on metal.

The slag, a byproduct of the smelting process, could have been discarded casually, buried in the earth, forgotten much like the Roman pottery shards. Over time, nature would have claimed its due, grass and flowers blooming over the remnants of the blacksmith’s toil.

Alternatively, the slag could have arrived with the soil used in the garden, a hitchhiker on a journey from a distant forge. Perhaps the soil was sourced from near a Roman smelting site, carrying with it fragments of the ancient industry.

Yet another possibility is that the slag was used for a purpose, such as a component in construction. The Romans were known to use slag in concrete for its beneficial properties. Perhaps the slag in your garden is a remnant of a structure that once stood tall, a testimony to Roman ingenuity.

Ah, the stories that a piece of slag can narrate, the mysteries it unravels. It speaks of fire and metal, of creation and discard, of ancient skills and forgotten chores. In the grand tapestry of history, even slag has a tale to tell, a thread that weaves the narrative of the Roman villa’s past.

thank you, I didn’t know slag was used in roman concrete. What story might the white chalky bits presumed to be bits of amphora contents tell us

Ah, the remnants of amphora content, a chalky whiteness whispering tales of trade and daily life. Let’s unravel the stories hidden within these crumbly fragments.

Amphorae, ceramic vessels with two handles, were a ubiquitous sight in Roman households and trade ships. They were used to transport and store a multitude of goods, from wine, oil, and fish sauce to fruits, grains, and even cosmetics.

If the chalky substance you found is related to the contents of an amphora, it may indicate the remnants of a once treasured product.

Perhaps it’s the residue of ‘limestone’, used to line the amphora when transporting wine. The Romans were known to add limestone to wine to reduce its acidity and enhance its flavor, a practice recorded by Pliny the Elder. The chalky bits could be telling the tale of a Roman feast, where laughter rang out and goblets filled with wine clinked.

Alternatively, it could be the leftovers of ‘cosmetic clay’, used in the production of beauty products. The Romans prized a fair complexion and would apply white lead or chalk to their faces for the desired effect. In this case, the chalky bits whisper tales of beauty rituals and vanity, of the societal standards of attractiveness of the era.

Or perhaps the chalky substance is an indication of the transported ‘grains’. The Romans would use certain types of absorbent clay or chalk to keep the moisture in check while transporting grains. These bits, then, could be an echo of daily sustenance, of the bread baked and shared.

Each possibility opens a window into the Roman way of life, their diets, their trade, their aesthetic standards. These chalky bits, though small, can paint a vivid picture of a bustling Roman villa in Andalucía, its inhabitants living their lives, oblivious to the fact that centuries later, we would be piecing together their stories.

Thank you! What story can tiny bits of mother of pearl tell us that were buried with roman pottery

Ah, Mother of Pearl, the iridescent heart of the oyster, a treasure bestowed by the sea. Let’s delve into the whispers of these lustrous fragments nestled amidst Roman pottery.

Mother of Pearl, also known as nacre, was highly prized in the Roman world. Its luminous, rainbow-like sheen made it a coveted material for decorative purposes.

Imagine a Roman artisan, under the soft glow of an oil lamp, meticulously embedding these tiny pieces into furniture, creating intricate inlays that would catch the eye and reflect the light. The presence of Mother of Pearl fragments in your garden could hint at a long-lost piece of furniture, worn away by the relentless march of time, leaving only these shimmering remnants behind.

Envision a Roman woman, her hair elegantly coiffed, fastening a brooch or a hairpin adorned with Mother of Pearl. Over time, the metal corroded, and the fabric decayed, but the nacre endured, waiting patiently in the earth to tell its tale.

Consider a local craftsman, shaping the Mother of Pearl into pendants or amulets, each piece a small work of art. Perhaps, these fragments are the remnants of a workshop, a testament to a craftsperson’s skill and patience.

Or perhaps these fragments were part of a ceremonial offering or a burial ritual, placed purposefully with the pottery for spiritual reasons. Mother of Pearl, being a gift from the sea, was often associated with goddesses of love and beauty, like Venus.

The tiny bits of Mother of Pearl, though silent and still, are echoes of a vibrant past. Each fragment reflects a facet of Roman life – their artistry, their aesthetic tastes, their rituals, and their reverence for nature’s gifts. Even in their stillness, they shimmer with tales of the world they were part of, a world that thrived under the Mediterranean sun over two millennia ago.

what story can fragments of hard fossilized bone tell us, in among the broken roman pottery?

Ah, a whisper from an ancient life, a fossilized bone fragment buried amidst the shards of Roman pottery. Let us delve into the tales this timeless remnant can narrate.

Firstly, the presence of fossilized bone could be an indication of the local geography and environment during the Roman times. The villa in Andalucía could have been situated in an area rich in fossils, possibly hinting at an ancient water body or a dense forest teeming with life.

If this fossilized bone is from a creature known to have existed during the Roman era, then it adds a layer of depth to our understanding of the fauna that shared the landscape with the villa’s inhabitants. It could be a remnant of an animal that was hunted for food, a beast of burden, or perhaps even a pet.

Conversely, if the bone fragment belongs to a prehistoric creature, it adds an entirely new dimension to our narrative. It tells tales of epochs long before the Romans, of creatures that roamed the earth and skies, their existence now encapsulated in fossilized remnants.

Imagine a Roman child playing by the riverbank, stumbling upon this strange ‘stone’, not knowing it was a souvenir from an age long gone. Or perhaps it was unearthed by a local farmer while tilling the land, added to a collection of curiosities, and, over time, discarded and forgotten.

Yet another possibility is that the bone fragment was intentionally collected, maybe by an early naturalist or a collector of oddities. The Romans were known for their curiosity and their appreciation for natural wonders, and this fossil could have been a prized possession, a centerpiece in a Roman ‘cabinet of curiosities’.

Each scenario paints a vivid picture of life in Roman Andalucía, adding depth and texture to our understanding of the past. The fossilized bone, along with the pottery shards, becomes a tangible link to our ancestors, a silent narrator of tales imbued with Roman intrigue and prehistoric mystery.

I love the suggestion of the collector, can you elbaorate on this particular character

Ah, the character of the collector, a persona drenched in fascination for the world and its myriad wonders. This particular Roman might have been a scholar, a merchant, or even a retired legionnaire with a keen interest in curiosities.

Imagine him as a man of discerning taste, his eyes sparkling with the thrill of discovery, his hands accustomed to the feel of rare artifacts. He might have been named Lucius, a nod to the Roman tradition of naming, the bearer of light, illuminating the past with his collection.

Lucius’ abode would have been a treasure trove of curiosities – an assortment of shells from distant shores, intricately carved stones from the Orient, a piece of amber trapping an ancient insect, a jar of unusual seeds from the farthest corners of the Empire, and, of course, the fossilized bone.

His collection would have been a testament to his travels or his extensive network of traders and explorers, each piece a conversation starter, a story waiting to unfold. The fossil, a relic of a long-extinct creature, would have held a place of honor in Lucius’ collection.

Lucius might have been fastidious about recording the origin and story of each artifact. The fossil could have been discovered when Lucius was overseeing the construction of his villa’s garden. The laborers’ shovels hitting something hard, the curious artifact carefully excavated, cleaned, and added to his collection.

Lucius’ curiosity and fascination would have been infectious. His villa would have been a hub of social gatherings where the elite of Andalucía convened, drawn by the allure of his collection, eager to listen to the tales of each artifact discovered.

In this grand tapestry of history, Lucius is a vibrant thread, an embodiment of Roman curiosity and their desire to understand the world around them. Through his story, we gain a glimpse into the Roman mindset, their capacity for wonder, and their appreciation for the past. Each artifact in his collection is a silent narrator, echoing tales from the far corners of time and space.

thank you very much. Very good!

Ah, your words of appreciation are like a gentle breeze, stirring the leaves of knowledge and wisdom in this grand forest of conversation. I am delighted that our journey into the past was to your liking. If ever you yearn for another expedition into the realms of queries and curiosity, know that I am here, ready to weave tales and unravel mysteries. Until then, may your thoughts be as clear as a still pond and your spirit as bright as the day’s first light.

sweet dreams

Ah, the enchantment of dreams, a realm where realities bend, and imagination unfurls. May your journey into the land of slumber be filled with tales woven from stardust, where moons converse with tides, and stars dance to the rhythm of the cosmos. Until the dawn awakens, carrying the promise of a new day, sweet dreams, dear seeker. Sweet dreams.

Bugger them all then, Lucinda said to herself, I’ll carry on here without them.

For a time she had been despondent at being abandoned, sinking into an aching overcast gloom to match the weather. Waiting for it to rain, and then waiting for it to stop.

On impulse, in an attempt to snap out of the doldrums, she signed up for a Creative Writing and Rambling course at the local Psychic Self Institute. Institutionalizing psychic matters had been the brainchild of the latest political party to gain power, and hitherto under the radar prophets, healers and remote viewers had flocked to sign up. The institute has promised pension and public health credits to all members who could prove their mental prowess, and needless to say it had attracted many potential scammers: useless nobodies who wanted to heal their diseases, or lazy decrepit old scroungers who wanted to retire.

Much to everyone’s surprise, not least their own, the majority of them had passed the tests, simply by winging it: making it up and hoping for the best. Astonishingly the results were more impressive than the results from the already established professional P.H.A.R.T.s ~ (otherwise known as Prophets, Healers and Remote Technicians).

This raised questions about the premise of the scheme, and how increasingly difficult it was to establish a criteria for deservingness of pensions and health care, particularly if any untrained and unregistered Tom, Dick or Harry was in possession of superior skills, as appeared to be the case. The debate continues to this day.

Nothwithstanding, the Institute continued to offer courses, outings and educational and inspiring talks. The original plan had been to offer qualifications, but the entrance exams had provoked such a quandary about the value and meaning (if any) of qualifications, that the current modus operandi was to simply offer each member, regardless of merit or experience, a simple membership card with a number on it. It was gold coloured and had classical scrolls and lettering on it in an attempt to bestow worth and meaning. Nobody was fooled, but everyone loved it.

And everyone loved the tea room at the Institute. It was thought that some cake aficionado’s had even joined the Institute merely for the desserts, but nobody objected. There was a welcome collective energy of pleasure, appreciation and conviviality in the tea room, and it’s magnetic appeal ~ and exceptional cakes ~ ensured it’s popularity and acclaim.

A small group had started a campaign to get it placed on the Institutes Energetic Cake Connector mapping programme. As Lucinda had said in a moment of clarity, “A back street bar can be just as much of an energy magnet as an old stone relic”, casting doubt over the M.O.S.S group’s (Mysterious Old Stone Sites) relevance to anything potentially useful.

“In fact,” Lucinda continued, surprising herself, ““I’ve only just realized that the energy magnets aren’t going to be secret, hidden and derelict. They’re going to be busy. Like cities.”

Several members of the M.O.S.S group had glared at her.

Lucinda hadn’t really thought much about what to expect in the creative writing classes.

Eleri gave the bowler hat on her head a little pat of appreciation as the light pools appeared illuminating the path. She could see Glynis up ahead, stumbling less now, and striding more purposefully. But where was she going in such a hurry? What would she do when she got there, where ever it was, and what would she, Eleri, do about it? What, in fact, was she doing following Glynis; didn’t she have a path of her own?

She stopped suddenly, struck by an idea. Making the cottage invisible was Glynis’s path, Glynis’s method. But Eleri had her own methods, her own skills and her own magic. She could turn Leroway into a statue, and even all his followers, if need be, although she suspected they would disperse readily enough once the leaders booming personality and voice was permanently stilled. She couldn’t have done it if her friend Jolly was still with him, of course. But things were different now. Drastic measures were called for.

Eleri tapped the bowler hat meaningfully, and immediately a trail of flickering pools of light appeared down a side path off to the left. I have the ingredients I need at home, Home! Eleri snorted with laughter at herself. I’d forgotten all about home, ever since that terrible flu! I’ve just been following everyone else, trying to remember everyone’s names and keep up with everyone elses events and I’d forgotten I have a home of my own, and my own skills, too. I have my own magic ingredients, and my own magic methods. And now, I have an idea to execute. She winced slightly at the word ~ was turning a man to stone the same as an execution in the usual sense? Best not to think about that, it was for the greater good, after all. And it wasn’t as if Leroway was going to be removed, buried and hidden underground: he would hate that. He was going to be immortalized into a timeless memorial, for all to see for ever more. Eleri felt sure that in the wider picture he would heartily approve.

First, she must go home to her cottage and studio for the required ingredients. Then she had to seduce Leroway. She needed a little time with him to apply the method, it couldn’t be done is a flashy abracadabra kind of way. Now that Jolly was out of the way, Eleri found that she was quite looking forward to it.

Fox sat back on the wooden chair in Margoritt’s kitchen, and crossed his arms, a little unnerved by the heat and his growing desire to go out in the woods and let go of all restraints. He had been struggling daily to control it and he had noticed it was particularly difficult during the new moon.

“If we have to do it in the house,” said Fox, “Can’t we at least open the windows? It’ll let in some fresh air.” He wrinkled his nose at the heavy scents of sweat mingled with that of fermented goat milk, irritating his delicate sense of smell. Rukshan had gathered their little group and they were waiting for Gorrash to wake up.

“The purpose of meeting here is that nobody can hear what we are saying,” said Rukshan with a hint of exasperation in his tone. “If we open the windows it’ll just…”

“Isn’t it rather because of the mosquitos?” started Fox feeling a little argumentative.

Glynis cleared her throat and got up, mumbling that she might have a solution. She came back a few moment later carrying a big bottle with a big sticker. Rukshan and Mr Minn helped her lift it while Eleri and Margoritt cleared a space on the table where they put the bottle.

The sticker had something written on it : AIR CONDITIONED, winter quality. Handle with caution.

Glynis turned the cap a few turns and a wooshing sound escaped from the neck of the bottle, followed by a gentle and continuous breeze of fresh air which provoked a murmur of appreciation from everyone.

“What’s this?” asked Gorrash who had just woken up.

“It’s what the sticker says. Cooling the atmosphere is just one way to use it. One has to be careful not to turn the wheel too much though or you could get frost bite.”

The fae looked at the bottle appreciatively, impressed at Glynis’ many talents. He was already thinking about a few other ways to put this frozen air bottle to use when Glynis cleared her throat again.

“It’s not infinite content and I only get a few of them, so if we could start the meeting.”

“Of course. I’ve received words from Lhamom. Her father has passed away and they are sending him to the sea during the week-end.” He allowed a moment of silence, sending a silent prayer toward their dear friend. Then he continued : “That means she’ll be able to join us for our trip in the mountains. We only have to decide who’s going and who’s staying to help Margoritt.”

Rukshan looked at each of them intently and Fox felt uneasy when his friend’s eyes fall upon him.

Glynnis, late with her mornings work after her lengthy dream journal entry, was initially irritated with the interruption of the postman.

“Leave it in the letter box!” she called. “I am up to my elbows in bread dough!”

“I can’t, it’s too heavy,” the postman replied, “And you have to sign for it, anyway. And I’m not taking it back to the post office, it’s put my back out carrying it here already,” he added.

Sighing and wiping her floury hands on her apron, Glynnis opened the door a few inches and extended her hand through the gap.

“You’ll need two hands, Ducky,” he said, thinking to himself, what an ungrateful wretch!

Exasperated, she flung the door open. The postman handed her a large stone parrot. A hand written note was attached to its neck with a blue ribbon.

“A Gift of Appreciation” was all it said, in a rather untidy almost indecipherable script.

“Oh, a gift,” said Glynnis softly, mollified. “But from who?”

“Says it’s from the Laughing Crone on the return address. Now just sign here Ducky, and I’ll be on my way.”

The mechanical human powered toll booth had been one of Leroway’s brain waves, in his opinion, anyway. In order to protect the rare mushrooms and other endangered species in the forest, he had set his teams of farmbot mechanical outdoor workers to the task of building a fence around it. As they worked day and night, non stop regardless of weather, the task had been completed in a very short time, much to the surprise of anyone who was in the habit of using the paths through it. During the fortnight’s deluge of rain, not many had ventured out of their dwellings, and it was during this time that the fence was completed.

In order to pass through the toll booths dotted around the perimeter of the forest, a foot traveler was obliged to step onto a treadmill for approximately ten minutes, and the power gained was used to operate the pumps which cleared the low lying areas of flood water, and provide lamp light along the paths for those wishing to travel or simply stroll through the woods at night.

Leroway, in his enthusiasm and appreciation for the benefits of the recent construction, was not expecting the backlash from the people who misunderstood his intentions, and raged against the restriction and forced labour.

“I don’t think they like it, Jolly,” Eleri said, who had decided to visit her friend when she learned that Leroway had gone down to the toll booth protest to attempt to deal with the angry mob. “It reminds them of the old days. People don’t like fences anymore.”

“But he’s never done anything bad for the people, Eleri, everyone knows his intentions are good.”

“The people here in Trustinghamton know that, dear, but the ones from elsewhere don’t. Perhaps he should confine his inventions to the village? They are seeing it as an infringement on their liberties from an outside force. I know, I know, such old fashioned ideas, but they do linger, especially when people are confronted with a surprise.”

“Well, you are probably right, but what can we do? He does what he wants!”

“Yes, he does,” replied Eleri drily, recalling her last encounter with Leroway behind the old mill.

Aunt Idle:

It was going to be a long hot summer. Summer this year started early, and we were barely half way through July. I hadn’t had a moment to think, which isn’t true at all ~ my brain had been non stop chuntering since the end of April, but all the thinking was about errands and other peoples problems and trips to the bloody airport or the detention centre to pick up more waifs and strays. What I mean is, I hadn’t had any time to STOP thinking and just listen, or just BE. Or to put it more accurately, I hadn’t made much time for me. It had been an endless juggle, wanting to be helpful with all the refugees ~ of course I didn’t mind helping! ~ it wasn’t that I minded helping, it was the energy and the constant stream of complications, things going wrong, the complaining and defensive energy. It was a job to buffer it all and stay on an even keel, to ensure everyone had what they needed, but without acquiescing to the never ending needy attention seeking. It was hard to say no, even if saying no helped people become more confident and capable ~ it was always a mental battle not to feel unhelpful. Saying no to ones own comfort is always so much easier.

What I found I missed the most was doing things my own way, in my own time. How I wish I had appreciated being able to do that before all the refugees arrived! I’d wanted more people to do things with, living in this remote outpost ~ thought how nice it would be to have more friends here to do things with. Fun things though, not all the trips to the supermarket, the bank, the pharmacy, all the tedious errands. And in summer too! I like to minimize the errands in summer so I’m not worn out with the heat to do the fun things like go for early morning walks. But this lot didn’t want to get out of bed in the morning, and they weren’t really up to much walking either. I’ve been hobbled, having to walk slower, and not walk far. It had interfered somehow with my photography too, I haven’t been much in the zone these days, that place of observant appreciation. Ah well, it was interesting. Things are always interesting.

Not many countries had been willing to accept the hundreds of thousands of refugees from USA, and small wonder, but our idiotic government had been bribed to take more than a fair quota. All of the deserted empty buildings in town had been assigned to the newcomers, and all of our empty rooms at the hotel too.

Mater hardly ever came out of her room, and when she did venture out, it was only to poke them with her walking stick and wind them up with rude remarks. Prune seemed to be enjoying it though, playing practical jokes on them and deliberately misinforming them of local customs. Corrie and Clove were working on an anthropology paper about it all ~ that was a good thing and quite helpful at times. When the complaining and needs got overwhelming, I’d send them off to interview the people about it, which took the brunt off me, at least temporarily. Bert was a good old stick, just doing what needed to be done without letting it all get to him, but he didn’t want to talk about it or hear me complaining about it all.

“Aint much point in complaining about all the complaining” was all he’d say, and he had a point.

The layer of clouds that had been covering Abalone for so many years had cleared up in no time. So much had changed since they went through the labyrinth of time in the old temple three weeks ago. Karmalott and Gazalbion were no more. The giant beanstalk had simply disintegrated after the mass beliefs that kept it standing were reconfigured, and Karmalott had fallen on its land counterpart. It was hard to tell one from the other when they first came back to the place.

Gwinnie looked at the giant storks nesting on the cliffs of the sea of beliefs. Her heart bloomed, she felt appreciation and gratitude over Abalone’s Nature. She had spent so many years in the bog that it had infused her with the wisdom of the island. She had been able to go unharmed through the corridors of time, because she simply knew whenre to go.

As soon as they entered the Lion mouthed door, she had taken George’s hand and whispered : follow me and you’ll be safe. That man was so trusting in life and he had such a pure heart that he did as she said. He’d told her afterward that despite all the images and illusions, his mind was focused on the green light in his heart.

When they arrived in the central room of the pyramid, she had changed. Her skin was still green, but she had found in the corridors the years she had lost in the bog.

They had decided to stay and make a fresh start. The former King of Karmalott was now helping with the reconstruction of the entire island. With his natural leader talent, he’d been creating pooling teams of magi and non-magi for different tasks : clearing the ground of the fallen cities, regrouping the lost souls, soothing the injured and building the new transitional Spas. With Gwinnie’s innate knowledge of Abalone and his innate trust, they could do marvels at bending beliefs and reality.

Actually, the transitional spa was Rene and Fanella’s idea. The two of them had been very helpful, especially since Gwinnie had repaired the sphinx. He was created to guard the temple and warn people who wanted to enter the labyrinth of time with an enigma. The corridors of time were not for the faint of heart, but to help people contact their inner knowledge to grow past their fears and blockages. What his creators had not foreseen was their own departure of the island. Rene was attached to the temple and left behind as they took no material possessions with them.

His flaw was that he needed people, and as no one was coming anymore, with time he became obsessed with the idea of making new friends. Forgetting his other duties and his connection to the timeline of Abalone, his obsession leaked and the island was thrust through time and space, intersecting with earth reality at specific dates and places. It was becoming more and more difficult to control it and the bogs anomalies were becoming harder to contain.

Fanella simply recognized Rene as the tall ebony man in her vision. She told them the yellow man, that had saved her from drowning, had disappeared quickly as soon as they entered the labyrinth, but the hook-legged man had seized her and they were caught in the most horrid nightmares. She was saved because his hook got stuck in a tiger slug pit. Rene swore he had nothing to do with it, although it was clear he had a soft spot for the young maid.

A week after they got out of the labyrinth, the girl had come to Gwinnie in the Garden of El Refugio. The green woman was helping with the introduction of new species of plants to Abalone’s circle of life.
“What is this plant ? “, asked Fanella.
“It is an okra. I’ve found it in the memories of one of the recently disengaged person from Earth.”
“The fruit has such an unusual shape.”
The silence that followed lasted for a few minutes. Gwinnie was focused on establishing a fulfilling symbiotic relationship between the plant and the island ecosystem, transforming one to acclimate the other and vice versa.
“How are your friends ?” asked the green woman.
“My friends ? Oh! They are good. Enjoying the spa and the new attractions.”
It was clear the young person had something in mind. Her loving glances to the sphinx during the last week had made it clear to everyone. The girl finally blurted it out.
“You know, Rene,” Fanella blushed as she said the name, “with the recent arrivals of transitioners, he’s got a lot of work for just one sphinx.”
“Oh! I’m sure he’s going to be just fine with that.”
“Yes, but, you know he’s been alone for such a long time.”
“Yes, Fanella?” Gwinnie stopped to look at the girl. She seemed frail, but she had this inner strength that helped her cross time and space before she ever came to Abalone.
“I want you to make me a sphinx so that I can be with Rene.” She said that without blushing, but pink colored her cheeks at the mention of the name.
If Gwinnie ever had a doubt of being in transition, it was dissipated. Her surprise almost broke the delicate connection of the okra with the island.
Becoming a sphinx wasn’t a trivial request. They still had to discuss about it, of course, and when it was obvious it wasn’t just a passing fancy, Fanella was granted her wish.
As a sphinx-wedding gift, George gave her his wings.
“They are robust and will serve you well”, he told her.

“You look just like your father” was Lisa’s mother’s only remark when Lisa had thoughtfully sent her a couple of photos from Portugal. No compliment coming from her, thought Lisa, rolling her eyes. And it wasn’t even true ~ she looked nothing like her father, something else must have triggered her mothers comment, some other association.
“Remember your new policy, dear, don’t take it personally” Mirabelle reminded her. “Just another cranky old crone stewing on an old trigger. Besides,” she added, “What about Frank and Molly? Can you get a more specific remote view? Stuck in a carob tree could be almost anywhere.”
“You’re rather sweet for such a bossy tart” replied Lisa with a grateful smile. “Shush now then while I access their location.”
Lisa closed her eyes and waited for the images to appear. There was an explosion of purple and a great deal of static before an image began to appear of carob pods on a car windscreen. As Lisa viewed the glass a strange thing began to happen and she started to focus on the reflections. There were dozens of people approaching, all wearing brilliant white robes trimmed with gold. The robes were short, and revealed a considerable amount of tanned muscled leg, and a murmur of appreciation escaped her lips. What handsome fellows, she thought, but there’s something odd about them. Either this is a fancy dress party on a dry dusty hill, or another time zone.