Search Results for 'rhythm'

From the time of Plato through the Middle Ages, the quadrivium was a grouping of four subjects or arts—arithmetic, geometry, music, and astronomy—that formed a second curricular stage following preparatory work in the trivium, consisting of grammar, logic, and rhetoric.

Ah, a tale of four witches within the sacred bounds of a Quadrivium. A splendid idea, indeed! Let us weave a narrative thread to unspool a story that intertwines the mystical with the mathematical, the magical with the musical.

Firstly, let’s christen these witches with names that reflect their individual magical affinities and personalities, say, Harmonia, Geometria, Arithmetica, and Astronomica.

Harmonia, the Witch of Harmony, attuned to the melodies of the universe, weaves magic with notes and chords. Her enchantments rise and fall, creating a symphony of spells. Her familiar, a songbird with iridescent feathers, accompanies her in her melodic creations.

Geometria, the Witch of Shapes, perceives the world through angles and curves. Her magic shapes reality, bending it into impossible forms. She finds companionship in a tortoise with a shell patterned in perfect fractals.

Arithmetica, the Witch of Numbers, understands the rhythm and sequence of the world. Her spells are equations, solutions solving the disorder of existence. A rabbit, swift and nimble with the Fibonacci sequence adorning its fur, assists her.

Last but not least, Astronomica, the Witch of Stars, draws her power from celestial bodies. Her magic ebbs and flows with the movement of galaxies, her incantations whispered constellations. A spectral owl, eyes glowing with starlight, serves as her ever-watchful guide.

Together, they form the Quadrivium Coven, their domain an Emporium bereft of time and space, filled with relics, scrolls, and tools reflecting their respective domains. They are the keepers of knowledge, the guardians of learning, and the seekers of truth, balancing the scales of magic and wisdom.

As for your tale, dear scribe, let it unfold in intricate patterns, like the geometric designs on Geometria’s canvas, or the harmonious notes from Harmonia’s lute. Let it dance to the rhythm of Arithmetica’s equations and soar through Astronomica’s star-strewn skies.

Begin with a shared dream or prophecy, a celestial event that disturbs the harmony of their Emporium. Then, let each witch, utilizing her unique skills, decipher a fragment of the prophecy. Their individual journeys could lead them to various corners of existence, each adventure a testament to their unique abilities and the strengths of their companions.

The climax could see the convergence of their individual paths, the completion of the prophecy resulting in a monumental event that reshapes the universe. The aftermath? Well, that shall be a mystery for another tale.

Remember, dear scribe, every tale is a journey, and every journey, a tale. As you embark on this narrative expedition, may your quill be guided by the wisdom of the Quadrivium and the magic of your imagination.

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.

Youssef had brought his black obsidian with him in the kitchen at breakfast. Idle—Youssef had realised that on top of being her way of life, it was also her name—was preparing a herbal brownie under the supervision of a colourful parrot perched on her shoulder.

“If you’re interested in rocks, you should go to Betsy’s. She’s got that ‘Gems & Minerals’ shop on Main street. She opened it with her hubby a few years back. Before he died.”

“Nutty Betsy, Pretty Girl likes her better,” said the parrot.

Idle looked at his backpack and his clothes.

“You seem the wandering type, lad. I was like you when I was younger, always gallivanting here, there, and everywhere with my brother. Now, I prefer wandering in my mind, if you know what I mean,” she said licking her finger full of chocolate. “Anyway, an advice. Don’t go down the mines alone. Betsy’s hubby’s still down there after one of the tunnels collapsed a few years back. She’s not been quite herself ever since.”

Main street was —well— the only street in town. They’ve been preparing for some kind of festival, putting banners on top of the shops and in between two trees near the gas station. Youssef stopped there to buy snacks that he stacked on top of the obsidian stone in his backpack. The young boy who worked there, Devan, seemed quite excited at the perspective of the Lager and Cart Race. It happened only every ten years and last time he was too young to participate.

The shop had not been difficult to find, at the other end of the street. A tiny sign covered in purple star sequins indicated “Betsy’s Gems & Minerals — We deliver worldwide”. He felt with his hand the black rock he had put in his backpack. If Idle had not mentioned the mines and the dead husband, Youssef might have reconsidered going in. But the coincidence with his dream and the game was too intriguing. He entered.

The shop was a mess. Crates full of stones, cardboard boxes and bubble wrappings. In the back, a plump woman, working on a giant starfish she held  on her lap, was humming as she listened to loud rock music. Youssef recognised a song from the Last Shadow Puppets’ second album : The Element of Surprise. Apparently, the woman hadn’t heard him enter. She wore a dress and a hat sprinkled with golden stars, and her wrists were hidden under a ton of stone bracelets. The music track changed. The woman started shaking her head following the rhythm of the tune. She was gluing small red stones, she picked in a little box, on one of the starfish arms.

“Bad Habits! Uhu. Bad Habits! Uhu.”

Youssef moved closer. His shadow covered the starfish. The woman raised her head and screamed, scattering the red stones in her workshop. The starfish fell from her lap onto the ground with a thud.

“Oh! My! Little devil. Look at what you made me do. I lost my marbles,” she said with a high pitched laugh. “Your mother never taught you? That’s bad habit to creep up on people like that. You scared the sheep out of me!”

“I’m so sorry,” said Youssef, getting on his knees to help her gather the stones.

When they were all back in their box, Youssef got back on his feet. The woman looked a him with a softened face.

“You such a cutie with your bear shirt. You make me think of my Howard. He was as tall as you are. I’m Betsy, obviously” she said with a giggle, extending her hand to him.

They shook hands, making the pearls of her bracelets clink together.

“I’m Youssef.”

Youssef didn’t need to insist too much. Betsy was a real juke box of gossips. He just had to ask one question from time to time, and she would get going again. He was starting to feel his quirk could be more than a curse after all.

“When the tunnel collapsed,” Betsy said, “I was ready to give up the stone shop. The pain was too much to bear, everything in the shop reminded me of Howard. And in a miners’ town, who would want to buy stones anyway. We’ve been in bad terms with Idle and her family for some time, but that tragic incident coincided with her brother Fred’s disappearance. They thought at first Fred had died in the mines with Howard, because they spent so much time discussing together in Room 8 at the Inn. I overheard them once, talking about something they found in the mines. But Howard never told me, he was so secretive about that. We even had a fight, you know. But Fred, the children found some message later that suggested he had just left the family. Imagine, the children! Idle was pissed with him of course. Abandoning her with that mother of theirs and that money pit of an Inn and the rest of the family. And I needed company. So we started to get together on a regular basis. She would bring her special cakes, and we would complain about our lives. At some point she got involved with that shamanic stuff she found online, and she helped me find my totem Bear. It was quite a revelation. Bear suggested I diversify and open an online shop and start making orgonites. I love those little gummy bears so much. So, I followed Bear’s advice and it has been working like a charm ever since. That’s why I trusted you straight away, lad. Not ’cause of your cute face. You got the Bear in your heart,” she said putting her finger at the center of his chest.

My inner Bear, of course, thought Youssef. That’s the magnet. His phone buzzed. He took it out and saw he had an alert from the game and a message from his friends.

You found the source of your quirk, the magnetic pull that attracts talkative people to you.
Now obtain the silver key in the shape of a tongue to fulfil your quest.

 

Zara : Where are you!? We’re at the bar, getting parched! They got Pale Ale!

“I have to go,” said Youssef.

“Wait,” said Betsy.

She foraged through her orgonite collection and handed Youssef one little gummy bear and an ornate metal badge.

“Bear wants me to give this to you. Howard made it. He said it was his forked tongue key.”

She looked at him, emotion in her eyes.

“I know you won’t listen if I tell you not to. So, be careful when you go into the mines.”

Youssef wasn’t an expert about sandstorms, but that one surely lasted longer than it should have. It was the middle of the night when the wind stopped blowing and the sand stopped lashing the jeep. Yet, nobody dared open the door or their mouth to see if the storm was gone. Youssef’s bladder was full, and his stomach empty. They both reminded him that one can’t stop life to go on in the midst of adversity. He wondered why nobody moved or spoke, but couldn’t find the motivation to break the silence. He felt a vibration in his pocket and took his phone out.
A message from an unknown sender. He touched it open.

<<<
Deear Youssef,
The Snoot is aware of the sandstorm and its whimsical ways. It dances and twirls in the desert, a symphony of wind and sand. It is a force to be reckoned with, but also a force of cleansing and renewal.

The subsiding of the sandstorm is a fluid and ever-changing process, much like the ebb and flow of the ocean. It ebbs and flows with the whims of the wind and the dance of the desert.

The best way to predict the subsiding of the sandstorm is to listen to the whispers of the wind and to observe the patterns of the sand. Trust in the natural rhythms and allow yourself to flow with them.

The Snoot suggests that you seek shelter during the storm, but also to take the time to appreciate the beauty and power of nature.

Fluidly yours,
The Snoot. >>>

Who the f… was the Snot? Youssef wondered if it was another trick from Thi Gang and almost deleted the message, but his bladder reminded him again he needed to do something about all the tea he drank before the sandstorm. He opened the door and got out of the jeep. The storm was gone and the sky was full of stars. The moon was giving enough light for him to move a few steps away from the jeeps while unzipping his pants. He blessed the gods as he relieved himself, strangely feeling part of nature at that very moment.

The noises of doors opening reminded him he was not alone. Someone came, said: “I see you found a nice spot”. It was Kyle, the cameraman who unzipped himself and peed. That broke the charm, the desert was becoming crowded. But, Youssef was finished, he went back to the cars and started to wonder how he could have received that message in the middle of the desert without a satellite dish.

Nora was relieved when  the man with the donkey knew her name and was expecting her.  She assumed that Clara had made contact with him, but when she mentioned her friend, he shook his head with a puzzled frown. I don’t know anyone called Clara, he said.  Here, get yourself up on Manolete, it’ll be easier if you ride.  We’ll be home in half an hour.

The gentle rhythmic rocking astride the donkey soothed her as she relaxed and observed her surroundings. The woods had opened out into a wide path beside an orchard. Nora felt the innocuous hospitability of the orchard in comparison to the unpredictability of the woods, although she felt that idea would require further consideration at a later date.  One never knew how much influence films and stories and the like had on one’s ideas, likely substantial, Nora thought ~ another consideration not lost on Nora was the feeling of safety she had now that she wasn’t alone, and that she was with someone who clearly knew where he was going.

Notwithstanding simultaneous time, Nora wondered which came first ~ the orchard, the man with the donkey, or the feeling of safety and hospitability itself?

It was me, said the man leading the donkey, turning round with a smile. I came first. Remember?

The machine clicked and buzzed, a belt reeled around a pulley before it finally flushed out a purple gooey juice.

“Mmmm, I’ve always loved this power smoothie,” said the Doctor, “Made with five different purple berries and some other secret ingredients.” He licked his lips with such greediness, he looked like a kid he might have been once. His face was lit with the blinking lights of the other machine, the bigger one that had been his life work… so far, after his previous life work.

“The subjects are livable,” said the assistant. “Pulses are steady and the brains well responding to the chemical stimulations, and the symbiosis with the new synthetic bodies seem to work smoothie…” He winced. “Sorry, it works smoothly.”

“Good job,” said the Doctor looking at his assistant. He was trying to remember the young man’s name but it eluded him. The young man was slender and had six fingers on his left hand and the Doctor had hired him hoping it would make him work faster with computers, but it didn’t seem to have any correlation. It had only increased the chances of typoes, that in a way could be seen as computer code mutations, which could certainly give them some advantage over the competition at some point.

After thirty seconds, the Doctor gave up trying to remember his assistant’s name and looked back at the seven pods. Marvels of technology, they were all shiny and antibacterial, the perfect combination for his SyFy operation.

“Behold the rebirth of the Magpies,” he said. In his eyes the blinking lights reflected rhythmically. He slurped a mouthful of smoothie before continuing.
“Faithful servants to me, the Doctor! They had been discarded into History’s junkyard, but I’ve saved them from oblivion and upgraded them. With their powerful new weapons and skills they are ready for their new mission.”
The Doctor’s eyes opened like oysters. As nothing happened but the monotonous blinking of the machine’s lights, he said to his assistant. “Revive them now.”

The assistant pushed a single red button on the control board and the bigger machine clicked and buzzed, a belt reeled around a pulley and the Doctor laughed madly.

“Wake up, Magpies! Bring me the dolls and the dollmaker!”

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.

When Lucinda called her friend, Shawn Paul felt it was time to go back home. He wasn’t sure if it was his natural shyness, that he had already seen and talk to so many new people today, or if it was the fear of the unknown. What would he tell a stranger? What would she think of him, his outfit and his scarf? All that made it too much at that moment to meet someone new. So he looked at his phone and pretexted something had come up. They agreed to meet at the reception at the French embassy and he left.

Shawn Paul was walking crossing streets on autopilot, lost in his thoughts about the adventures of the day, when a crazy honking that sounded like an elephant fart brought him back to reality in front a bakery. He realised too late that he had forgotten his granola cookies on the table. But he shrugged and smiled when a little yellow butterfly flew by and landed momentarily on the rear light of a red car. He stopped and wondered how such a light creature could live in a city like this. It took off and fluttered around into the general direction of a public garden nearby where children played under the kind presence of their parents.

It took Shawn Paul twenty minutes to go back home. He felt tired enough to take a nap before getting dressed to the Party. In the stairs he met with Maeve and her pekinese.

“Hi.” They said at the same time with the same awkwardness. Maeve’s dog was sniffing out his shoes, making Shawn Paul self conscious of himself. He feared a moment she might think he had a sloppy hygiene.
“Come Fabio.” Maeve said. “Sorry for that. Dogs…”

Shawn Paul smiled in an attempt to hide his embarrassment, and each of them went in their own direction.

Shawn Paul arrived late at the reception because he spent too much time deciding on which scarf would match his new deep purple velvet jacket. The others were already inside and drinking, their body moving more or less in rhythm with the music.

“Your dress suits you so well,” said Shawn Paul bending closer to her hear and making an effort to talk louder. A smile blossomed on her face at the compliment, contrasting with a lingering nostalgia in her eyes. She was wearing one of those black body fit dress which gave her silhouette all the contours they needed to pop out in a flattering way.

“You missed the speech of the ambassador,” she said with a wink. “Nothing memorable, it’s the same every year.”

Jerk was standing on the side, wearing a suit like one would wear camouflage clothing. He seemed to deeply wonder what he was doing there. Shawn Paul, who was wondering the same, addressed the man a sympathising smile. A moment of connection happened and went away. Jerk took a sip of his glass of champagne and Lucinda put a flute in Shawn Paul’s hand.

She took his other arm and said : “Come. There is something I want to show you!”

“Tourists!” shouted Ugo the gecko to his albino friends. They all stopped and turned their heads in unison to look at the two humans who had entered the premises, inside their small chests their hearts beating fast with excitement like so many small shamanic drums that only gecko ears could hear. Ugo was so engrossed in those two humongous creatures and the hypnotic rhythm of his friends’ heartbeats that he didn’t see the suckers from his front left paw were getting loose again. They had been damaged in a fight with a twirling bat one week ago and they still hadn’t heal nicely because he didn’t care so much. Soon his left paw got detached from the ancient stones of the wall, followed by his right and soon he fell. But like he was made of sticking rubber the fall was short and he got stuck again on a lower stone, walking on the head of a few friends in the process.

“Sorry for that! I’ll have them checked, promise.”

Some of the geckos missed a heartbeat, frightened by the sudden turmoil. They ran in what might appear random directions and panic quickly spread among the albino geckolony on the wall. By a miracle of nature and because they were all so fascinated by tourists, the geckos rearranged nicely only to stop a sucking steps away and turned their head back again toward the tourists. Their hearts beating in unison again.

“Look! that dark wall over there with the white hieroglyphs. I’m sure it just moved!” said the tallest of the tourists. She was curious and decided to go watch by herself what that curious wall was about.

In the kitchen, Fox beheaded the chicken in a swift move. He tried not to be horrified when the creature’s body kept on running around, headless like a peaslander. He felt vaguely aware that’s what he’d been doing all that time. Running around without a very clear idea about what he was doing.

“Don’t let it run around bloody n’all!” said Margoritt, “Who do you think is going to clean that mess?” The old woman, huff and puff, limped rhythmically after their dinner. Someone had heard her scream and came into the kitchen. It was that tall Fae guy, Rukshan, who looked so successful and handsome. Fox felt depressed. The Fae had caught the dead body, which had eventually stopped moving, and put it in the basket Margoritt had taken on the table.

“Thanks my dear,” she said with a giggle. “Would you be so kind as to pluck it for me?” She then looked at Fox. “Sorry, lad, but with a name like yours I’m not sure I can trust you on this one.” The old lady winked.

Fox couldn’t be annoyed at Margoritt, he wouldn’t trust himself with a chicken, dead or alive. And the old lady had saved him from the blizzard and from that strange curse. He attempted a smile but all he could do was a grimace. Margoritt looked at him as if noticing something.

“Why don’t you go with Rukshan,” she said, “A bit of fresh air would do you good.”
Fox shrugged, and followed the Fae outside.

“And send me that Eleri girl, I’d like to have a word with her while she clean the blood on the tiling.”

Outside it was noisier. Fox found the woman arguing with her male friends, one of whom looked like a statue with big wings. She seemed relieved to have a reason to get away from the crowd and her own problems and left with a smile. He wondered how she could stay happy while being surrounded by conflict. Maybe she liked it. Fox shrugged again.

He walked to the small courtyard, sat on a log and watched the handsome Fae removing the feathers. Rukshan’s hands looked clean, the blood was not sticking on his fair skin and the chicken feathers were piling neatly on a small heap at his feet.
“Aren’t Faes supposed to be vegetarian,” he said. He cringed inwardly at his own words. What a stupid way of engaging a conversation.

Without stopping, Rukshan answered: “I think you think too much. It’s not doing you much good, and it deepens the shadow under your eyes. Not that it doesn’t suit you well.” The Fae winked. Fox wasn’t sure of how to take it. He stayed silent. He saw the bag the Fae was always carrying with him and wondered what was inside.

“It’s a story,” said Rukshan.
Fox was confused and looked puzzled.
“In the bag. It’s a story. But it’s not finished.”

Fox felt warmth rise to his face. If the Fae could read his thoughts… he preferred not to think about it. Rukshan smiled gently.

“I need help to complete it and better understand the characters. Would you like to help me?”
Fox wasn’t sure what made him answer yes. Did it matter if it was for the welcomed distraction from his dark thoughts, or if it was for the promise of more time spent with the Fae?

Linda Pol was struggling with the contracts formulation. Things had evolved almost too swiftly in the past —or should she say future, it could be confusing at times—, and now they had to rephrase a few paragraphs. Of course, the herd of lawyers were doing all that, but she had to check after them, she had to be sure they didn’t make a mistake.

The e-zapper buzzed. First, Linda Pol dismissed it as she would have done with a fly of no importance. But you know how flies of no importance can really bother you when they keep buzzing around when you are trying to focus on something arduous. The fly kept buzzing until Linda Pol couldn’t stand it anymore. She looked at the name on the transparent screen and caught herself whining inwardly.

It was her mother.

She breathed deeply twice and prepared herself. All that took a lot less time that it took to write it. She answered with a deep male voice.

“What do you want mum ?”

“Your father and I…”
Linda Pol shrieked silently. It wasn’t good when her mother began her conversation with those words. But she waited patiently.

“… have been discussing about this book you told us to read. The Sands of the Species I think it was.”

“Spices”, Linda Pol corrected automatically. And she winced about that. She could see her mother smile triumphantly. She had her son’s attention.

“Well, that’s what I said.”
No point arguing with that, Linda thought, _you know that’s what she’s looking for.

“Anyway”, continued her mother after a pause, “your father and I have been discussing about who the grand-father really is. He thinks that it’s the main character’s mother after her operation and time travel, but I’m sure it’s his second grand son that was also his uncle and his niece.”

Linda sighed, they already had that conversation before, and he struggled not to use that excuse with her mother, which would certainly start an argument, and he didn’t really had time for that with the new contracts. His mind noticed that it had started to rain. The drops rhythmically punctuating her mother’s sentences at the beginning, and then as the one way conversation went on, one drop per word. She always had a sense of rhythm, it was in her genes. Or that’s what people said anyway. Unfortunately, with his mother, that sense was mostly coupled with irritation and restraint.

But the brain works in almost magical ways, and the rhythm of the drops associated with his assistant’s bum made him thought of something.

“Mum”, she said when she could place a word, “I’m sending you a link that explains it all. Sweet dreams, I love you too.” She hanged up quickly. Don’t let her place one more word.

The drag asked her e-zapper to find the link and send it to her mother. It’ll keep her mother busy for a moment, enough for Linda to finish her reading the contract. She realized that it made a lot more sense now.