Posted on Leave a comment

The Merchant

As it was, they got to the village with dawn several hours away. The two made remarkable time. Sapphosia was not like the others, Yendor began to see. The others went through their rituals, they worked hard to achieve small things magically. Sapphosia was special and unlike Yendor, she hid it, perhaps even from herself. They had walked in the dark and not tripped or veered from the path. He picked up on how she did it in the same way that a novice tracker might learn from an expert. There was a kind of invisible light seen only by them that they used to find their way. They didn’t even have to cast it. It was already there. They just had to tune in to it.

When they reached the village, Sapphosia used a similar technique to divine the home of the jeweler. They found the area where he kept his stall by the residue of the stone Sappho had traded him. Then they identified from that an aura in his footprints, like a dog on the scent of a fox, thought Yendor. Sappho had not revealed that they would be using these techniques. She gave Yendor a look each time she showed him what she was doing that said, “This is between you and me.” Yendor understood. He had in fact, he realized also been hiding his skills from the the others. Even her until now, he realized. The others seemed to frown upon the discovery of abilities that were not formally taught.

As they approached his home, Yendor put his hand on the hilt of his sword in case there was trouble. He recoiled from it in shock to find it was hot. He put his hand back. It wasn’t really too hot to touch, just warm. He had just been surprised. Sappho turned on Yendor and hissed, “Take your hand off that thing!” Yendor moved his hand to his dagger. How had she known he was holding it? She was in front of him, and why didn’t she want him to touch it? And why was it hot? The domicile was one among a cluster of them, presumably other vendors at the market. They were all one room wattle and daub round huts with thatched roofs, including the jeweler’s, which seemed to suggest to yendor that he didn’t have the wealth of some jewelers he’d seen. There were snores coming from inside, the likes of which would have woken Yendor up and made it hard to go back to sleep if he had been part of that family.

“We should wait until market hours and simply offer to buy it back so he doesn’t suspect anything.” Yendor said.

Sapphosia gave Yendor a hard look. “We have to be back before anyone wakes at the coven!” she whispered. “Besides, it’s too late for subtleties. The sword knows its stone is here.” She seemed to steel herself to what she must do. She knocked on the door, quietly at first, but the house snored on. She rapped a little harder with no effect. She didn’t want to wake up the whole neighborhood, that would really be trouble. Yendor could smell the dew forming. This was the exact wrong time to be doing this. His stomach vacillated between a fear of what could go wrong and annoyance over the whole thing. What did it matter if the sword had one stone or another? Why had he been compelled to say anything? Why did they care if the coven discovered they were out? Why did she act like the sword was a living thing? He put his hand back on the hilt of the sword without thinking.

It sang.

Well, not like a person, but like a tuning fork. A clear, loud, lovely B tone; ringing in the night. Yendor removed his hand immediately. It was too late. Far too late. The pitch died out slowly like bell struck. The look in Sapphosia’s eyes was enough to make Yendor involuntarily take a step back.

“What in the bloody fuck was that?” came the jeweler’s gravelly voice. Once again, Sappho knocked. You could almost hear the jeweler frowning in the darkness. There was a shuffling sound and the door opened. He held up a dagger.

“What in the bloody fuck do you want?” He said. “It’s you lot!” He recognized them and there was the frown, just as Yendor had pictured it. He said again quieter and lower, “What in the bloody fuck do you want?”

“I am terribly sorry to bother you in the middle of the night.” Sapphosia said, “But our mission is quite urgent. We must have back our purchase. We will give you back what you paid us, plus extra to compensate you for your inconvenience. Once again, we are most dreadfully sorry.”

“You’re too late.” he said. “I’ve sold off the lot to the four winds. Now go away back to wherever you came from. It’s the middle of the fuckin’ night!”

“Please, sir,” Yendor said stepping forward, “It’s very important or we wouldn’t come in the middle of the night. You must realize that.”

“Bugger off! I’ve told you, it’s all gone! Now get the fuck out of here before I lose my temper!” He flashed his dagger.

Yendor thought for a beat. Fuck this. “You’re lying.” he said.

“Fuck you!” said the man. “I’ll gut you like a fish! I’m within my rights!”

Yendor drew the sword. It rang out and seemed to begin to glow.

“What in the bloody fucking hell…”

Yendor poised at quarte, as if to lunge and then instinctively raised the sword straight over his head. The amethyst rattled around from somewhere in the hut, broke lose from its box and flew into the setting, resulting in a blinding flash that would later be described as lightning. Everything returned to normal. As far as the sword was concerned. Yendor fished the diamond out of his pouch. He used his thumb to flip it to the merchant. Without further ado he turned and began to walk away. He heard Sappho follow. Even in the dark, the jeweler could tell it was a diamond. Exactly the same shape as the amethyst. “What in the bloody fucking hell…”

Posted on Leave a comment

Sumi Moon painting Color

I made this piece for my son, Gabriel, who is obsessed with the moon. Originally, I had planned on making it more detailed, but I really like the energy of this direct and simple execution. I am experimenting with this zen style of painting. The idea of the style is to empty your mind and let the energy of your spirit flow into the painting. When executing a Kanji calligraphy, the calligrapher would concentrate on the word or phrase and Chanel the energy of that into the calligraphy. When I do Sanskrit Calligraphy that’s what I do. It’s kind of a learning curve. I get a small brush and practice the word over and over until I’m comfortable with it. Even if it’s a word I know really well. Then I prepare several sheets of paper and execute the word full size several times. Sometimes I do several full size practices 1st, but if I have enough good paper, I just go for it, because sometimes the best one is what you thought was a practice one, and if you did it on practice paper, you’re screwed. At the end of the session, I’m exhausted and maybe have one or two good pieces. Maybe none came out good enough. It’s hard to tell because the aesthetic is different from traditional calligraphy. It has to have a vibe to it. It should also be relatively centered on the page and not have any glaring mistakes or drips.

A scene involving multiple subjects and composition and thought about meaning, mood, color, brushes, inks, requires too much mental activity to do it all in advance and then just execute a plan, like a well rehearsed dance. Spontaneity is a big part of of these pieces. It’s not Bach, it’s the blues. Pieces like the sumi moons on blue paper, are fairly spontaneous; I’ve painted similar scenes enough to not have to plan it out too much to get the right feel. Still the process of emptying my mind is the new element that has to fit into the puzzle. It’s difficult to do it for a prolonged period of time.

For this piece, I thought I would start with this simple moon/sky. First I did it in black; a series of enso circles to define the moon and the surrounding sky, then broader with water, to create a wash. Then back in with gold for the moon and a halo, and then blue violet for the sky, using the same technique. For each stroke, I empty my mind, breath out, breath in and then execute the stroke on the exhale, driving the energy through my body and down my arm and into the painting with each stroke. Then I had planned to go back and add detail to the moon, perhaps a ground beneath, maybe the ocean. Maybe add clouds, or stars. However, I was struck by the energy in the underpainting, and I thought further detail would weaken what seemed to me to be a strong piece. It’s for my son anyway, and not really for sale, so it doesn’t matter if it’s polished or not. He’s two years old. Almost three. But it was a real learning experience. To reset after each stroke, concentrate on what I am doing and not what I did or what I am going to do. This is the goal of this kind of technique. It’s a meditation practice for monks. Hopefully, I can keep this lesson learned.

A print of this piece can be purchased here.