Search Results for 'chaos'

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.

Olek wished he wasn’t so easy to find.

The old caretaker of the shrine of Saint Edigna couldn’t have chosen a less conspicuous place to live in this warring time. People were flocking from afar, more and more each day drawn about by the ancient place, and the sacred oil bleeding linden tree which had suddenly and quite miraculously resumed its flow in the midst of the ambiant chaos started by the war.

It wasn’t always like this. A few months ago, the linden tree was just an old linden tree that may or may not have been miraculous, if the old wifes’ tales were to be trusted. Mankind’s memory is a flimsy thing as it occurs, and while for many generations before, speculations had abounded about whether or not the Saint was real, had such or such filiation, et cætera— it now seemed the old tales that were passed down from mother to children had managed to keep alive a knowledge that had but all dried up on old flaky parchments scribbled in pale inks that kept eluding old scholars’ exegesis.

Olek himself wasn’t a learned man. A man of faith, he was a little — more by upbringing than by choice, and by slow attunement to nature it would seem. Over the years, he’d be servicing the country in many ways, and after a rather long carrier started at young age, he had finally managed to retire in this place.
He thought he’d be left alone, to care for a little garden patch, checking in from times to times on the old grumpy neighbours, but alas, the Holy Nation’s destiny still had something in store for him.

The latest pilgrim family had brought a message. It was another push to action. “Plan acceleration needs to happen”.
“What clucking plan again?” was his first reaction. Bad temper had a way of flaring right up his vents as in old times. When he’d calmed down, he wondered if he had ever seen a call for slowing down in his life. People were always so busy mindlessly carting around, bumping into the darkness.

He smiled thinking of something his old man used to say. He’d never planned for a thing in his life, and was always very carefree it was often scary. His mantra was “People are always getting prepared for the wrong things. They never can prepare for the unexpected, and surely enough, only the unexpected happens.”
That sort of chaos paddling approach to life didn’t seem to bring him any sort of extraordinary success, and while he had the same mixed bag of ups and downs as the rest of his compatriots, just so much less did he suffer for the same result! Olek guessed that was the whole point, even if he really couldn’t accept it until much later in life.

Maybe Olek would start playing by his father’s book. Until he could find a way to get lost behind enemy lines.

Fanella was frantic, trying to think of a way to escape with her baby.  The atmosphere in this city was unbearable at the best of times, and especially in this house, but now it was excruciating. It wasn’t that she was afraid of the plague that was terrorizing people, it was the way the people were reacting that was so alarming.  They were howling like wolves, a sure sign of lunacy since time immemorial. The sound of it made her blood run cold.

Nobody had seen the president for over a week and rumours were rife. Many said that he’d died, and they were keeping it secret to avoid civil unrest.  An office junior was continuing his tweets to the nation, using a random predictive text algorithm. Nobody had noticed. That wasn’t strictly true of course as many had commented that the messages now made marginally more sense.

Fanella could sense the swelling chaos in the air, both inside the house and beyond, in the city and in the nation. Everyone was losing their minds. She had to escape.

She consulted the U Chong:

晉 (Chin / Jin) : Progress / Advance. It represents Prospering, as well as Progress. It is symbolic of meeting the great man.

The great man! Of course! Lazuli Galore would come to rescue her! But how would he know where to find her? Would he be able to travel freely? He’d find a way, surely! But how would he know she needed help? It was so complicated. So hard to know what to do!

But first things first. Fanella crept down to the kitchen, in the dead  of the night while everyone was tucked up in their beds with their fitful nightmares, and filled a rucksack with provisions. Then she crept up the back stairs to her hideout in the attic of the west wing.  The baby was still sleeping soundly. Fanella lay down and pulled a blanket round them both. Maybe the answer would come in a dream. If not, she’d think about it again tomorrow.

Day 12

What was I thinking. That all will be good and all, and forever after.
Lord, sometimes I miss that bloated boat, and its ordeal felt like an old familiar pain that distance makes bearable in retrospect.
A week back into life, and all goes to hell. Good thing I’m not a trader, looking at the stock market would make you want to jump from a tall building.
Since all is in chaos, I’ve been noticing them more. The synchronicities. Seems like the voices have found other ways to reach at me. Talks of forest and trees, arcane words spoken in different contexts.
If only I weren’t paying attention. But then there are the dreams. Last ones have been insane. And not just those after a heavy meal, you know. The kind that gets you more tired when you wake up, as if you’ve spend the whole night piling up mountains upon mountains.
I’d rather just pop a pill and see the elephants dance from branch to branch, if you see what I mean. But the voices wouldn’t let me go. Now they are egging me on to do something I don’t want to do.
A book opened at random, summarizes it all: “Our heart is anxious about being sent here.“
Next line is a tease: “Gathering the resources of all under heaven as in a storehouse.”
But when did I sign up to be the bloody storehouse manager?

Aunt Idle:

I had a long conversation (in my head, where all the best conversations are these days) with Corrie while I sat on the porch.  I think it’s easier to communicate with her because she’s trying to communicate with me too.  The others don’t come through so clear, I get images but not much in the way of conversation.  Anyway, she said Clove is with her on the raftboat, and that Clove has a little boy now, seven years old or so, named Pan. I don’t know if that’s short for a longer name or if that’s his name. Anyway, he’s a great little diver, she said, can hold his breath for longer than anyone, although lots of the kiddies are good divers now, so she tells me.  They send them out scouting in the underwater ruins. Pan finds all sorts of useful things, especially in the air pockets. They call those kiddies the waterlarks, if I heard that right.  Pan the Waterlark.

Corrie said they’re in England, or what used to be called England, before it became a state of the American United States.  Scotland didn’t though, they rebuilt Hadrian’s wall to keep the Ameringlanders out (which is what they called them after America took over), and Wales rebuilt Offa’s Dyke to keep them out too.  When America fell into chaos (not sure what happened there, she didn’t say) it was dire there for years, Corrie said. Food shortages and floods mainly, and hardly any hospitals still functioning.   Corrie delivered Cloves baby herself she said, but I didn’t want all the details, just pleased to hear there were no complications.  Clove was back on her feet in no time in the rice paddies.

A great many people left on boats, Corrie said. She didn’t know where they’d gone to.  Most of the Midlands had been flooded for a good few years now. At first the water went up and down and people stayed and kept drying out their homes, but in the end people either left, or built floating homes.  Corrie said it was great living on the water ~ it wasn’t all that deep and they could maneouver around in various ways. It was great sitting on the deck watching all the little waterlarks popping up, proudly showing their finds.

I was thoroughly enjoying this chat with Corrie, sitting in the morning sun with my eyes closed, when the sky darkened and the red behind my eyelids turned black.  There was a hot air balloon contraption coming down,  and looked like it was heading for the old Bundy place.   Maybe Finly was back with supplies.  Maybe it was a stranger with news.  Maybe it was Devan.

A strong and loud guttural roar echoed through the mountains, ferocious and hungry.
Fox’s hairs stood on his arms and neck as a wave of panic rolled through his body. He looked at the others his eyes wide open.
Olliver teleported closer to Rukshan whose face seemed pale despite the warmth of the fire, and Lhamom’s jaw dropped open. Their eyes met and they swallowed in unison.
“Is that…” asked Fox. His voice had been so low that he wasn’t sure someone had heard him.
Rukshan nodded.

“It seems you are leaving the mountains sooner than you expected,” said Kumihimo with a jolly smile as she dismounted Ronaldo. 
She plucked her icy lyre from which loud and rich harmonics bounced. The wind carried them along and they echoed back in defiance to the Shadow.

You must remember, seemed to whisper an echo from the cave they had used for shelter for weeks. Fox dismissed it as induced by the imminent danger.


The Shadow hissed and shrieked, clearly pissed off. The dogs howled and Kumihimo engaged in a wild and powerful rhythm on her instrument.

You must remember, said the echo again.

Everobody stood and ran in chaos, except for Fox. He was getting confused, as if under a bad spell.

Someone tried to cover the fire with a blanket of wool. 
“Don’t bother, we’re leaving,” said Rukshan before rushing toward the multicolour sand mandala he had made earlier that day. Accompanied by the witche’s mad arpeggios, he began chanting. The sand glowed faintly.

Lhamom told them to jump on the hellishcopter whose carpet was slowly turning in a clockwise direction. 
“But I want to help,” said Olliver.
“You’ll help best by being ready to leave as soon as the portal opens,” said Lhamom. She didn’t wait to see if the boy followed her order and went to help Rukshan with her old magic spoon.
“Something’s wrong. I’ve already lived that part,” said Fox when the screen protecting the mandala flapped away, missing the fae’s head by a hair.
“What?” asked Olliver.
“It already happened once,” said Fox, “although I have a feeling it was a bit different. But I can’t figure out how or why.”

At that moment a crow popped out of the cave’s mouth in a loud bang. The cave seemed to rebound in and out of itself for a moment, and the dark bird cawed, very pleased. It reminded Fox at once of what had happened the previous time, the pain of discovering all his friends dead and the forest burnt to the ground by the shadow. The blindness, and the despair.
The crow cawed and Fox felt the intense powers at work and the delicate balance they were all in.

The Shadow had grown bigger and threatened to engulf the night. Fox had no idea what to do, but instead he let his instinct guide him.

“Come!” he shouted, pulling Olliver by the arm. He jumped on the hellishcopter and helped the boy climb after him.

“COME NOW!” he shouted louder.
 Rukshan and Lhamom looked at the hellishcopter and at the devouring shadow that had engulfed the night into chaos and madness.
They ran. Jumped on the carpet. Kumihimo threw an ice flute to them and Fox caught it, but this time he didn’t nod. He knew now what he had to do.


“You’ll have one note!” the shaman shouted. “One note to destroy the Shadow when you arrive!”
Kumihimo hit the hellishcopter as if it were a horse, and it bounced forward.
But Fox, aware of what would have come next, kept a tight rein on the hellishcarpet and turned to Olliver.
“Go get her! We need her on the other side.”
Despite the horror of the moment, the boy seemed pleased to be part of the action and he quickly disappeared. 
The shaman looked surprised when the boy popped in on her left and seized her arm only to bring her back on the carpet in the blink of an eye.

“By the God Frey,” she said looking at a red mark on her limb, “the boy almost carved his hand on my skin.”
“Sorry if we’re being rude,” said Fox, “but we need you on the other side. It didn’t work the first time. If you don’t believe me, ask the crow.”
The bird landed on the shaman’s shoulder and cawed. “Oh,” said Kumihimo who liked some change in the scenario. “In that case you’d better hold tight.”

They all clung to each other and she whistled loudly.
The hellishcopter bounced ahead through the portal like a wild horse, promptly followed by Ronaldo and the Shadow.

The wind stopped.
The dogs closed in on the portal and jumped to go through, but they only hit the wall of the powerful sound wave of Kumihimo’s ice lyra.
They howled in pain as the portal closed, denying them their hunt.

A deep guttural roar echoed through the mountains, ferocious and hungry.
Fox’s hairs stood on his arms and neck as a wave of panic rolled through his body. He looked at the other his eyes wide open.
Olliver had teleported closer to Rukshan whose face seemed pale despite the warmth of the fire, and Lhamom’s jaw had dropped open. Their eyes met and they swallowed in unison.
“Is that…” asked Fox. His voice had been so low that he wasn’t sure someone had heard him.
Rukshan nodded.

“It seems you are leaving the mountains sooner than you expected,” said Kumihimo with a jolly smile as she dismounted Ronaldo.
She plucked her icy lyre from which loud and rich harmonics bounced. The wind carried them along and they echoed back in defiance to the Shadow. It hissed and hurled back, clearly pissed off. The dogs howled and Kumihimo started to play a wild and powerful rhythm on her instrument.
It shook the group awake from their trance of terror. Everobody stood and ran in chaos.
Someone tried to cover the fire.
“Don’t bother, we’re leaving,” said Rukshan, and he himself rushed toward the multicolour sand mandala he had made earlier that day. Accompanied by the witche’s mad arpeggios, he began chanting. The sand glowed faintly. It needed something more for the magic to take the relay. Something resisted. There was a strong gush of wind and Rukshan bent forward just in time as the screen and bamboo poles flew above his head. His chanting held the sands together, but they needed to act quickly.

Lhamom told the others to jump on the hellishcopter whose carpet was slowly turning in a clockwise direction. Fox didn’t wait to be told twice but Olliver stood his ground.
“But I want to help,” he said.
“You’ll help best by being ready to leave as soon as the portal opens,” said Lhamom. Not checking if the boy was following her order, she went to her messenger bag and foraged for the bottle of holy snot. On her way to the mandala, she picked the magic spoon from the steaming cauldron of stew, leaving a path of thick dark stains in the snow.

Lhamom stopped beside Rukshan who had rivulets of sweat flowing on his face and his coat fluttering wildly in the angry wind. He’s barely holding the sands together, she thought. She didn’t like being rushed, it made her act mindlessly. She opened the holy snot bottle and was about to pour it in the spoon covered in sauce, but she saw Rukshan’s frown of horror. She realised the red sauce might have unforgivable influence on the portal spell. She felt a nudge on her right arm, it was Ronaldo. Lhamom didn’t think twice and held the spoon for him to lick.
“Enjoy yourself!” she said. If the sauce’s not good, what about donkey saliva? she wondered, her inner voice sounding a tad hysterical. But it was not a time for meditation. She poured the holy snot in the relatively clean spoon, pronounced the spell the Lama had told her in the ancient tongue and prayed it all worked out as she poured it in the center of the mandala.
As soon as it touched the sand, they combined together in a glossy resin. The texture spread quickly to all the mandala and a dark line appeared above it. The portal teared open. Rukshan continued to chant until it was big enough to allow the hellishcopter through.

“COME NOW!” shouted Fox.
Rukshan and Lhamom looked at the hellishcopter, behind it an immense shadow had engulfed the night. It was different from the darkness of the portal that was full of potential and probabilities and energy. The Shadow was chaotic and mad and light was absent from it. It was spreading fast and Lhamom felt panic overwhelm her.

They ran. Jumped on the carpet. Kumihimo threw an ice flute to them and Fox caught it not knowing what to do with it.
“You’ll have one note!” the shaman shouted. “One note to destroy the Shadow when you arrive!”
Fox nodded unable to speak. His heart was frozen by the dark presence.
Kumihimo hit the hellishcopter as if it were a horse, and it bounced forward. The shaman looked at them disappear through the tear, soon followed by the shadow.
The wind stopped. Kumihimo heard the dogs approaching. They too wanted to go through. But before they could do so, Kumihimo closed the portal with a last chord that made her lyre explode.

The dogs growled menacingly, frustrated they had been denied their hunt.
They closed in slowly on Kumihimo and Ronaldo who licked a drop of sauce from his lips.

Aunt Idle:

My work was done. The new guru had found her feet and was up and running. My behind the scenes supporting role was over, so I booked a flight back home. I called Bert and told him and he informed me that Mater had been grumbling about being left on her own and how quiet it was. I was under no illusion that she’d welcome me back with open arms ~ not outwardly, anyway. The first thing she’ll do is start complaining about the racket and the chaos, or so I thought. Such is life with the aged ones.

So I was astonished when Mater rushed out on to the porch when my taxi pulled up outside the Inn, and flabbergasted when Bert rushed out after her holding a large box. Stunned by the strange sight of such animation, I simply watched open mouthed as Bert ran back into the house, clutching the box, as Mater furiously admonished him and gave him a shove, looking over her shoulder at me. As if I couldn’t see them!

The taxi driver opened the boot of the car and handed me my suitcase. I thanked him and settled my bill, and slowly approached Mater on the porch.

“I’m home!” I called gaily.

Mater giggled nervously (giggling at her age, I ask you! and wearing a pink floral babygro, it was almost obscene) and ran a withered hand through her sparse locks.

“What’s Bert got in that box?” I asked, in what I hoped was a neutral and cordial manner.

“What box? Er, nothing! There is nothing important about that box, I expect it’s just some old boring rubbish,” Mater replied, a trifle hastily, and altogether unconvincingly. “You must be parched after your journey, I’ll go and put the kettle on.” And with that she rushed inside, failing completely in her vapid attempt to allay my suspicions.

One thing was true though, I was parched, and Bert and the mysterious box would have to wait until after a cup of tea.