Showing posts with label At Usher's Well. Show all posts
Showing posts with label At Usher's Well. Show all posts

Monday, 30 July 2018

Blue Monday

Every Monday I post a sexy excerpt for your entertainment!

Today, because we've finally been able to switch from grumbling about the heat to grumbling about the rain here in the UK, I've picked an excerpt from my soggiest story to date: At Usher's Well.


My Mistress is wrestling with God, and will not give an inch.

I watch her from the floor of her chamber, as I squat over the fireplace trying to get the logs to blaze properly. We’re using birch because it’s the only thing that’ll catch when wet, but it burns through so fast, and with so little heat, that I’m forever traipsing up and down the stairs with the log-basket on my back. She’s wrapped in a fur-lined pelisse to make up for my lack of success. Her face, thinner now after all these weeks of half-starving herself, catches the grey light along her cheek bone.

Oh Lord, but she looks like Finlay from that angle. My heart clenches inside me, a spasm of loss.

Finlay. Sweet Finlay with the curly brown hair and the fluff of beard on his lean cheeks. Finlay who would follow me into the dairy and press me against the shelves and call me his sweet Meg, his pretty Margaret, his windflower and his kitten and his little white dove. Who’d kiss my hands and my lips and hold me close, nuzzling my hair. Who swore he loved me, even when I laughed him off and pushed him away.

Gently. I was gentle with him. I didnae want to hurt his feelings. He said he loved me and would marry me and we would have beautiful bairns together, three of each, and the lassies would look like me and the lads would look like him.

It was all lies of course—no, not lies, but thistledown dreams. He was the smart one, the son who had learned his letters. He was destined for Oxford University far away down south, and so to take Holy Orders. He would never marry anyone. Besides, my Mistress would never countenance any one of her sons marrying a mere serving maid. Marriage is for equals, and I’d never be theirs’.

That hadnae stopped Finlay’s older brother Rory tumbling me of course—and taking my maidenhead, in fact. Rory was a big, straightforward fellow with a boisterous, ever-eager cock. He rummaged his way through every wench of beddable age in the household, but I doubt that anyone resented him for it, for he was always generous with his coins, and an easygoing master who often intervened with his mother to make sure there were extra portions at dinner for the servants, or to turn away her wrath at some domestic transgressor. Unlike my Mistress, Rory never complained that I was late lighting his fire in the morning, or slow serving at the table. He would only wink and smile at me and pat my rump, and when he came upon me in private he’d pull up my skirts and bend me over a press and slip me his length, strong and easy. On feast days he’d dance me on his broad lap until his prick was as hard as a pole and I was red and flustered, and then he’d touch me secretly under my skirts until I was running as wet and slick as a crock of butter left too close to the oven, and ready to do anything he wanted. That was how he had me, the first time.


Henry Matthew Brock, 1934

‘Are you a woman, yet, Meg?’ he’d murmured in my ear as he dandled me. He could have shouted it and no one would have heard over the ruckus.

‘No, Master Rory,’ I’d said, blushing, feeling my blood soar and my skin flame and my bones loosen.

‘Are you ready for me to make you one?’ His fingertips had stroked my purse until it gaped, begging for him to steal what lay within.

I’d moaned then, and shuddered on his lap.

‘Och, this medlar is ripe, I think,’ he’d said. His other arm was around me, his other hand stroking and squeezing my maiden breasts through my bodice. I was losing all sense; nothing in all the world mattered as much as that devastating tease between my thighs.

‘Aye,’ I’d whimpered. And as that wicked fingertip had circled the plump little pip of my medlar, I’d said ‘Aye!’ again and shut my eyes and pressed my face to his neck as I’d slithered helplessly over into paradise—right there in front of the whole household, his brothers and his mother and all the guests. I didnae cry out, but I heard the catch of Rory’s breath and then his long exhalation. I dinnae ken if anyone paid any attention. Well—I know that my Mistress saw, because she shot me a narrow-eyed glare as Rory eased me from his lap, patted my rear, and pushed me out of the hall in front of him.

It was the Midsummer feast. Rory led me out into the unmown hayfield and laid me down in the long grass, lifting my skirts. His length looked smooth as wood in the moonlight. He wet his thumb in my juices and placed it over my pip, and he kept that there, pressing and stirring, as he laid his cock to my gates and broke them down.

He was heavy, and the smell of wine and crushed grass made my head spin. I wondered why anyone did anything else but this all their lives.

My poor Mistress at the window there disnae look like Rory, and never has. I suppose he takes after his father, who was dead before I came to this place. Certainly he’s her favoured son.

Was her favoured son. It’s hard sometimes to remember that he’s dead, she denies it so adamantly. They’re all dead, drowned in the deep.


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Wednesday, 28 November 2012

Murder your darlings

Edward Robert Hughes (1851-1914): Oh What's That in the Hollow?
This Victorian (c.1895) painting of a rather attractive male corpse seems the ideal accompaniment to a story I've been writing recently, about a sexual encounter with the undead.

Today I thought I'd show you a short scene I cut out of the first draft - not because it was too offensive or creepy, but just because the story was sprawling and taking too long to get to the point. It's not a bad scene, and in a lot of ways I like it: it casts light on the protagonist's relationship with the other people she lives with, and hints at future conflicts and challenges that may arise when the short story is over. But the fact is that it needed cutting.

Sometimes you have to cut out good stuff to make the whole better. That's one of the hardest lessons you learn as an author. What's even worse: very often it's those inspired passages you are most proud of that are just out-of-place, and need to go.

“Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it – whole-heartedly – and delete it before sending your manuscripts to press. Murder your darlings.” - Arthur Qulller-Couch ("Murder your darlings" also attributed to William Faulkner)

Anyway, here's the piece:

In that stone chamber, every servant in the house is gathered, and everyone is talking at once. But they stop when I walk in. Faces turn, scared and angry.

"This is your fault, Meg!"

"Mine?" I sidle over to the fireplace and ram one of the iron pokers into the depths.

"You let them in!"
  
I shake my head. "I was told to. She told me."
  
"They are dead!"
  
"Didn't you see?"
  
"Their faces--"
  
"The stink of them!"
  
"It's just seaweed," I mumble, not wanting to meet their eyes. "It's not that bad."
  
"Not that bad? The dead walk!"
  
"And you would say that, Meg, wouldn't you?"
  
I turn to that last accuser, Auld Mary, the boys' own nurse from years back. She's never liked me, not since I took her place at the Mistress's side. "What does that mean?" I snap.
  
"Well, they all three dallied with you, and they all three drowned. Is that natural?"
  


I shake my head. I've heard this muttered before. It is my ill-luck that condemned them, they say. "Ach. Away with your blether."
  
But this time Auld Mary goes further. "Is't you who called your lovers back?"
  
She might as well have said the word witch. Suddenly my creeping horror and all fear of the revenants leaves me, washed away in a tide of rage. I draw myself up as tall as I am able. "Me? Go stick yourself up the arse with a besom, you poisonous old biddy! What shite you talk!"
  
"I've seen them! I'm seen them, all three, with you!"
  
"And if they cared more dearly for my bubs that your withered dugs, who is to blame them?"
  
"Whore!" The word is like a slap.
  
"Ach!" I sneer. "You've eaten too many green apples and grown sour yourself." Grabbing up the poker again, I jiggle it at her. "If no one'll give you a poke, have you thought of using something else to stir your dried-out clam?"
  
There a muffled explosion of sniggers and Auld Mary turns away, too affronted to carry on.  The poker handle is already warm enough to hurt my hand, but I don't drop it and I don't let it show on my face. I'm not taking the blame for this. If I don't make them laugh at her, the accusations will become serious and I'll end up hounded out of the house, or worse. 
  
"While you two cats fight, what about them?" complains Jacob loudly from his seat at the table, and the mood swings abruptly back to sobriety. "What about the dead men?"
  
"What do we do?" the cook takes up, wailing.
  
I pull a face. "What do we do? Obey our Mistress. Take logs to the fireplace. Cook a fine meal. Light the sconces."
  
"But they are dead!"
  
"We must call the priest!"
 
I want to slap them all. "Are you such cowards? You're like a gaggle of wee girls squealing at a squashed toad! Did you cower in terror of them while they were living? Well, why should they harm you more now that they are not?"
 
"But what did they come back for?"
  
"That is not our business," I insist. "Someone go for the priest if you want, but it's our duty to serve the family, is it not? We cannot all leave." We cannot leave her here on her own, I add to myself. She doesn't see them for what they are.
  
The thought is enough to propel me back to the great hall.