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Category: Flash Fiction (Page 1 of 2)

Fresh Start

Micro-fiction competition by Thread LitMag on Threads July 2024.


Dried salt tightens burnt skin on my face, crusted eyelashes crack as tired eyes open.

A fresh sun burns an unfamiliar coastline into focus.

I am cast from the sea’s watery womb, reborn on an endless beach.

Split apart by a searing cannonball, an iron manacle, heavy on my wrist, anchors me to damp, pale sand as a calm lullaby seawater swish chaperones my ebbing limbs.

Timber plank slivers edge the dry sand, under drooping palms and hanging fruit.

Not a soul.

I am free, but alone.


87 Words.

Edited from an Original Post on:

M.E.Lucas Threads Post

Image by The Author

A Leap Backward

Short Story – 3,650 Words


An afternoon walk through the park on the outskirts of the city was Emmy’s daily mindfulness exercise. This parkland was not the usual provincial, town-planned green space. There were no manicured lawns and borders of beautiful flowers in meticulous patterns. Nor broken Victorian fountains full with murky stagnant water, bits of bicycle, and empty alcohol-free beer bottles. This was a vast nature reserve comprising acres of moors and forests, which included a network of streams flowing in and out of freshwater lakes; miles of dusty paths leading in every direction, some with signposts; and roaming wild animals, most not wanting to be seen. This was a proper unkempt wilderness. The place to go for inspiration, untroubled.

Emmy, enjoying the fresh air, traipsed along an arid grass track surrounded by blooming spiky gorse bushes. He soon arrived at the ancient, dark forest; a woodland, which stretched over the hills to the mountains beyond, and entered.

A swirling mix of musty, damp aromas and sweet perfumes invited him in. The change in acoustics was quite deafening; no white noise, only crisp bird chattering and sharp snapping twigs underfoot. Warm rays of sunlight shone through gaps in the tranquil canopy, spotlighting silky threads of spiders and flitting insects. Many crooked, haunting shapes from dead tree branches caught his eye. Then he tripped. With an unbalanced gait, he staggered a few steps then fell, disappearing into a wide patch of green fern plants.

He sat, wiped his face and spat out mini fractal fronds, thankful he’d avoided nearby stinging nettles. After freeing himself from his unwitting hiding place, he glanced back to see what caused his embarrassment. A dusty metallic lump of tech stuck out of the ground. Several electric diodes flashed on the sides. Emmy was a little surprised he hadn’t seen the gizmo before tripping over it.

What was this undeniable man-made object doing stuffed between old tree roots in this unspoilt countryside location? Half-buried by a tech-savvy fox for later exhumation, he mused, or dropped by a super-sized thieving magpie. Or, perhaps, left behind by an employee of Project Blue Book while walking their chihuahua?

“Hey!”

Emmy ducked in surprise. He spun round, looking for the yeller, and heard them again.

“Yes, I’m talking to you. Stay there.”

A hundred feet from him, Emmy thought he noticed a bulk of a man pushing through bowers towards him. A covering of dark camouflage, flashing between light and shade the reason for his doubt. He sensed danger. Anxious, and not wanting to turn his eyes, he backed away from the approaching oddity, leaving the electronic trip hazard behind.

The figure trampled closer, and Emmy could make out the cause of their darkness. A smattering of grey paint or ash, and reddened patches of skin, possibly burns, as if they’d been smoking a huge cigar, which had exploded. No doubt they were in severe pain.

“Come here,” they said, and although high-pitched, the voice confirmed they were an angry male. “You owe me an explanation.”

This random event required clarity. Emmy had heard no explosion, neither had he seen flames, nor smelt burning, and in a dry woodland setting, such news travels like, well, wild … fire. This guy was unfamiliar, and Emmy would recognise someone he owed the tiniest amount to. And he didn’t.

Covered in burns with flesh virtually hanging off, it was clear this man had a high pain threshold as he strode through the thicket of shrubs with ease. He vaulted decaying fallen logs like a professional hurdler using a springboard. Emmy couldn’t turn away, and careened sideways, careful not to stumble over branches or fall into badger setts.

“Stop damn you. We need to discuss what the hell you’re doing.”

It wasn’t obvious how this guy knew him. A simple case of mistaken identity or had Emmy been setup? He contemplated calling for help, but in this covered, sound-deadened wilderness it was pointless. When the runner hammered the bark from a branchless dead tree, it exploded in half. Pieces of rotten wood, worms, and insects feasting on the wooden carcass rained down in his wake. Then Emmy ran.

He struggled through overgrown brambles and branches spread across his path, not able to sprint. Slowed further by a deep forest carpet of decaying timber and years of discarded brown autumn leaves. Nature didn’t grow in the straight lines for getaways, and his route zigzagged around trees and shrubs.

The curious electric object came to mind. Why was a powered-up, working tech gadget lying in this ancient woodland? Then, distracted by his own panting and puffing, and low-hanging boughs, Emmy tripped again. Quicker to scramble to his knees on this occasion. An alien race’s computer terminal poking from dead flora.

“Stay there, you,” the guy’s voice bellowed.

Emmy glanced further down the freshly flattened track he’d made in the undergrowth and saw an angry red face. The man was close, kicking up debris and uprooting saplings in his wake. Yet, it was a flashing light which caught Emmy’s eye on the device, which pulsed from a button-shaped disc.

What harm could it do?

He reached over and pressed.

A flash, a jolt, and Emmy jumped from the thundering bulk chasing him. He squinted against the sun, finding himself in a wide clearing alongside a sturdy fallen tree trunk, a little dizzy. Several squirrels scampered to find the nearest branch for safety, checking over their shoulders.

“Not again. Can you stop doing the time-hopping thing? It’s so unfair.”

The irate man was distant, helpful but confusing, as Emmy had never experienced an instantaneous portal leap before. A perimeter of woods shaped the area full of grasses, wildflowers, and ferns, giving it a manicured appearance. Mature trees were absent, only their stumps remained. Several long-felled trunks littered the spot, rotting, and hollowed out by animals and birds searching for insects.

“Will you stay there? We need words.”

Relentless in his pursuit, the guy roared off-camera in the surrounding woods. 

On hearing the shout, a fallow deer revealed itself from behind a bush within the clearing, chewing fresh greenery. Its ginger-red and white spotted fur shone in the sun. Emmy was aware of his own warmth and itchy sweat from running. The pursuing man cracked and crashed through undergrowth and the animal trotted off, escaping into the darker cover of the tall trees.

Another glint, deep in the green and brown pasture, attracted Emmy’s attention. An identical piece of the fallen spaceship, or whatever these items were. He pushed up from the trunk and leant towards the electrical wizardry. He brushed away long grass and revealed a familiar blinking knob. But before he could reach to press it, a forceful prod jabbed at his back, and a female character cried out.

“Don’t move. Slowly, turn around.”

Involuntarily raising his hands, Emmy twisted to see three young women fronted by one pointing a double-barrelled shotgun at him. They were extremely attractive. Full lips, great locks of flowing dark hair, deep wide eyes, fully formed but ragged tee shirts, slim long legs in tight ripped jeans, and chunky walking boots. Each carried a backpack, several weapons in holsters hanging from their hips at jaunty angles, and a baseball bat caked in a rich crimson deposit. Perfectly dressed for a hike in nature, yet spattered in varying degrees of red paint. No. Blood! He wondered what hunting games they’d been playing in the woods. Another woman stepped forward.

“No more pressing buttons. Seriously, you’ll unleash multiple problems.”

Her face was perfect. Emmy couldn’t avert his gaze. Large watery blue eyes, tiny dimples on her cheeks; one with a slight scar, and the smallest of crookedness in a front tooth. His glare dropped to her Toblerone tunnel at the top of her thighs, through where, to his surprise, he could see a cheeky squirrel watching, hidden in a bush.

“Don’t let him press the button,” a familiar rasping voice said.

Emmy searched for the source and saw him entering the clearing, walking twenty feet to his side, a wisp of smoke smouldering from his clothes. Burnt stumps of blackened skin rose from behind his shoulders.

“We won’t,” the girls chorused.

“Great. I need answers,” he said.

“So do we.”

“Ask away,” Emmy’s voice croaked.

Unaccustomed to staring inside shiny pump-action shotgun barrels, he kept his hands in the air. The strong women gave an amount of protection from the scorched figure striding towards him. Yet, he couldn’t help but think they weren’t strangers.

“Step aside.” The shotgun woman signalled with her weapon. “So we can discuss these episodes further.”

Her cross, flared-nose expression was enough incentive to do as ordered, without the pointed gun. No matter how satisfied he would feel grabbing the shooter from her to defend himself, Emmy stood and stepped further from the women. A hand grabbed his shoulder, spinning him round, then two large, dirty hands throttled his throat and lifted him from the ground. Choking, with his feet dangling in the air, he held on to the man’s seared wrists. The guy’s skin was rough with burnt scabs and half his face similarly scarred. Clothes ripped and blackened, and the growth on his back oddly covered in scorched feathers. The smoky hulk smelt like a barbecue.

“I can’t. Can’t … breathe.”

“I can still hear you gasping.”

“Gunther, put him down,” the girl with the quirky tooth joined in. “We have him now, and he will help us.”

“I’m not letting go, Crystalina, until I get answers.”

And with a dying breath Emmy thought, wow, what a sexy name.

“We want the same, my friend. This man’s life is precious. Only he can explain why we’re here,” said the third girl, walking forward juggling a coil of rope. “I’ll secure his legs so he can’t run from the scene, and then we’ll interrogate him.”

“Fine, Silvereen.”

The bulk lowered Emmy to his tiptoes, loosening his grip so he could breathe, but not letting go.

Emmy pondered her name, whilst Silvereen effortlessly bound his ankles and wrists with a single length of orange and blue striped nylon rope. Enchanting, but not as pretty sounding. A similar bondage situation with a hot-looking date would be pleasurable. But, stood with an unfamiliar crowd of characters making demands, his face reddened.

The guy pushed Emmy back towards the log when Silvereen finished, and with enough flexibility in the bindings he shuffled backwards and sat with a bump.

“Excellent. Now,” Crystalina said with an accusatory narrowing of her eyebrows. “What’s your story?”

“Story?”

“Yes. You know. Your conflict, the chain of events which bought your here. What do you want?” she said. “I mean, we’re grateful for providing the stash of weapons, but they’ll be useless against the hoards who followed us into the woods. Once they discover how to cross the river, they’ll outnumber our tiny group. So, what’s around the corner? Where are we heading? What future developments are ahead?”

“Subplots and arcs?” Gun-girl said.

“Trysts and twists?” Silvereen wistfully kicking the grass .

“Premise first.” Gunther, his feathers smoking. “We still have no clue about an underlying theme. Where’s our motivation?”

“Good point,” Crystalina said. “What’s your plot?”

“And who’s the real protagonist here?” Gun-girl stared at Emmy. “Are you?”

“Surely, not one of us?” Silvereen said.

“Can’t be. He’s the attraction drawing all the attention.”

“It’s mutual. The mesmerised way he looks at you girls, with his grey eyes. I expect you, Crystalina, could at least be a love interest. No?”

“I wouldn’t mind, to be fair. He is kinda cute.”

“Hello,” Emmy said, waving, a little moody. “I’m here.”

He hadn’t meant to. It was the disbelief of them implying he was in control. And surprise at Crystalina using the third-person to label him.

“Enough of this bullshit.” Gunther prodded Emmy. “Look at me, Man. You burnt my fucking wings off. Why do that? You transformed my life, raised me up, literally, and then destroyed me, just as I was mastering my flying ability. What was the point?”

“Stop!” Emmy said, staring at the rabble of demanding faces. How had his innocent walk in the park metamorphosed into an alternative reality? He wasn’t a dungeon or games master. “What the hell are you talking about? Weapons, wings, and wandering hoards. I have no influence on your problems.”

“Cute when he’s angry, too.”

“I admit you’re super interesting, and I’d love to know you better,” Emmy said, and turned to Gunther. “All of you. But when I entered these woods for my daily stroll, minding my beeswax, it was me who started seeing strange things.”

“Strange to you!” Gun-girl said.

“Tell us about the strangeness?” Silvereen said.

“A wild, smouldering brute chasing me through a peaceful forest. Three hot zombie-killer-babes sticking a shotgun in my face. All bizarre, but weird sci-fi teleporting portals?” Emmy nodded towards the curious doctored vegetation. “And then this.”

They turned to check.

“What?” they all said at once.

“The clearing. Or rather, its very particular shape. Don’t you see?”

The third girl lowered her weapon and stepped forward, examining the distant trees, then spun about and squinted past our little group.

“This guy has a point. It’s circular, and if I guessed, a complete, unbroken circle.”

The gorgeous Crystalina then checked. When she exaggerated a gawp, Emmy nearly came unstuck. Her backside was a perfect peach. She pointed.

“And look there. A round copse of trees dead in the centre.”

“Don’t say dead,” Gunther whispered as he twisted around to examine the boundary and the island in the middle.

“There is unnatural symmetry here,” Silvereen said. “Why? And who would trouble themselves in creating such a specific shape?”

“I think …” Emmy paused, not just for suspense, but he was unsure himself.

“You can’t leave us hanging, dude. What?” Gunther interrupted. “What are you thinking?”

“No, I’m not sure.”

“Don’t be shy,” the triplets said.

“Last chance, storyteller.” Gunther stepped closer, raising his fist. “Talk.”

“Gunther!” The girls came to Emmy’s rescue.

He lowered his hand.

“Excuse Gunther, mister,” Silvereen said. “But if you’ve the slimmest idea in your head, spill.”

“M.E., I call myself.”

“Lovely, M.E.. How typically anonymous. But what you need to comprehend, M.E., is your crazy notions and fun ideas manifest here. Therefore, it’s better to divulge the details now so we can prepare.”

“Manifest?”

“Yes.”

“I’m not … How? … What are you suggesting?”

“Not us. Invariably your suggestions, which you keenly hug to your chest.” Gun-girl raised her shotgun. “Your type are the damn same, forever drip-feeding the juicy bits.”

“Topazara. Enough with the gun-toting bitch act,” Crystalina said. “Can’t you appreciate this is totally abstract to M. E.?”

Emmy didn’t see Topazara’s name coming.

“You’re being too easy on him because you fancy the man.”

“Don’t give me—”

“I think they look like shapes or letters,” Emmy said, keen to interrupt. He was not confident to hear Crystalina’s thoughts, as they might shatter the illusion. “I’ve come across similar clearings walking through the woods.”

“Could they spell a word?” Silvereen said.

“Perhaps.”

The group fell silent, and the rattling caw from a pair of magpies echoed around the peaceful glade. They hopped from stump to branch, and for a moment Emmy thought their squawks sounded like voices. Zees found a bridge. Rattle, rattle. Zees found a bridge. He looked at Gunther. The man was in such a state, burnt, scabbing skin and stumps from wings. Was he a kind of angel? His bloodshot eyes watered as he glanced in Emmy’s direction, but Gunther didn’t acknowledge any voices. Nobody did.

“Okay, people. Time we disappeared?” Gunther stomped off.

“Wait, where are you going?” Emmy said.

“Up the ridge.”

“We can’t,” Silvereen said. “It’s too dangerous. Somebody will spot us.”

“And you reckon standing around chatting is better?” Gunther ignored her. “Up there, we’ll have an advantage and discover what’s unfolding.”

“If M.E.’s telling the truth,” Topazara said. “He could be unreliable.”

“He could,” Crystalina said. “But I believe him.”

“You would.”

“Does his deep, sexy voice not give you a funny spasm inside?”

Gunther snorted, entering the edge of the darker wood.

The two girls scrunched their eyes, pulling pained expressions, and shook their heads, then followed.

“You can’t help yourself,” Silvereen said. “Come on. Let’s hope he’s worth it.”

Crystalina winked at Emmy.

“We must be careful,” he said. “I … I think the hoard might have crossed the river.”

“Don’t worry, darling,” she said and patted the handle of her long, blood-stained bat hanging from her belt. Then stepped into the shade and coolness of the tree canopy, following her friends.

When Emmy pushed himself from the log, they’d blurred beyond the dark perimeter.

“Wait for me!” Emmy hobbled in servitude.

“Sort yourself out, lover,” a weak voice said, dissolving into the sound-deadening woods.

“But I’m tied up.”

“Not now, honey. Press the blah blah.”

Emmy barely heard her words.

“What?” he shouted.

“… button …” a single discernible word reply.

The computer panel; buried in the undergrowth. Emmy glanced over, and it radiated, even in the bright sunshine of the glade. A red push switch. He shuffled towards it with tiny pigeon steps. The rope burned his ankles. He slumped to the grass on his knees between fern fronds. Pressing the damn thing wasn’t as easy as Crystalina claimed. Nudging it with his head was possible. He turned his torso and flopped onto his side, and noticed high above the tree canopy in the lush blue sky two moons. Grey and singular was familiar, but not a junior accessory.

A shotgun blast rang around the clearing. The zees were here. Emmy’s forehead depressed the button, which hurtled him into a void of light full of whooshing sounds. There was a stab of pain. His mind stretched between where he lay watching the heavenly orbs to arriving on a very hard surface, still observing the moons, but from a different angle. They both appeared real, and he wondered if they were a weather anomaly, but the skies were clear bright blue in all directions.

Emmy could hear pistol cracks in the distance and discovered sitting up with wrists bound to ankles wasn’t easy. He rolled onto his side. Flat bare rock with pebbles scattered on the surface lead away to an edge. Distant tiny fluffy clouds were the only other sight. He was lying on a high, barren mountain plateau. In the baking sun, which blazed down making him perspire just lying there. A cool breeze brushed over him as he reflected a while about recent events. Nothing made any sense. They were a jumble, and backwards to frontwards. Sweat tickled his sides. He breathed. Heat prickled his lungs. He swallowed. Dryness pickled his tongue. Time went.

“He’ll be there. Don’t worry,” a girl’s voice travelled on the air. “We all know you fancy him.”

“I do not!” Crystalina’s melodic inflection, slightly ruffled. And disingenuous, he hoped.

“Liar,” Silvereen or Topazara gushed.

“We saw you,” one said, with a laugh. “You couldn’t resist twerking your butt back there.”

“I did not.”

“Keep your voices down you overrated actresses.” Gunther’s deeper husky tone was quieter, but audible. “We don’t know if any zombies can hear. They found a bridge, they could climb rocks. Let’s get topside and hope M.E. isn’t spouting rubbish and reveals the truth.”

Lying there, fettered in the baking sun, with two moons floating overhead, Emmy thought about nothing but the facts; Crystalina. He’d met an attractive and amazing girl, and they connected. His luck, unbelievably changed. Then a sudden tremor made the ground tremble under him, and not metaphorically. The entire mountain shook. Pebbles jiggled. Emmy rolled over and pulled on his knees, crunched his abs, and twisted. The rock shifted beneath him as he sat upright. Treetops in the distance stretched out for miles. The nearest swayed until the shaking stopped. A low rubble echoed away, and the three girls appeared with Gunther.

“There he is, Crystalina,” Silvereen said.

They stepped onto the wide rocky slab towards him, their bats dripping with blood.

“What was that?” he said, his croaky voice dehydrated.

“Oh! You don’t know?” Gunther joined them with his sarcasm. “Another random occurrence you’ve apparently injected.”

“Some good reason, I’m sure,” Topazara said, her shotgun swung over her shoulder.

“Yes, foreshadowing an earthquake, perhaps.” Crystalina removed her backpack and squatted. “Or the return of a giant mystical beast trapped under the mountain?”

“Yeah, yeah. Can we move along?” Gunther said and pulled Emmy to his feet. “Show us what this is about M.E..”

Silvereen dropped her bat. It clattered and spat red blobs on the hard surface. Then draw a shiny blade from a sheath at her side.

“I’ll help,” she said, approaching with her glistening knife. Emmy backed away. “Relax.”

She sliced the rope around his wrists and as he rubbed them; she cut the tether on his ankles. He flexed his legs. Crystalina gave him a water bottle.

“You look parched,” she said.

“I am, thank you,” Emmy said, and swigged back several large gulps. “So, let’s have a peek.”

He hesitantly shuffled towards the edge of the ridge not knowing what he’d find. The others followed. The moons hung high and the mass of woodland trees stretched further the closer they stepped. Considerably taller, Gunther saw it first.

“He’s only bloody right.”

“I knew he would be,” Crystalina said.

And there they were, formed in the vast, ancient forest, a dozen clearings, shaped in a row of capital letters. And confirmed they’d been standing in the letter ‘O’. Natural growth had roughened the outlines a tiny amount, and they weren’t quite in a straight line, but the spelling was clear. A short sentence which blurred away at the end, as trees thinned into distant grass pasture by a glistening stream where a herd of red deer grazed.

O N C E   U P O N   A   T I M E …


Image by Daniela from Pixabay

Flash Fiction Writing: Two Forks. March #2

Another fifty-word flash fiction writing post composed for March. This piece is a brief story about new friendships, shyness, and cake.


Two Forks

She’s here again, drinking coffee with her friends. She gives me a smile, and I nod with a grin.

And as usual, they all laugh, so I walk away.

Lost typing words, someone sits at my table. I glance up from my laptop screen.

It’s her, with cake to share.


Words: 50.

Edited from an original Anonymous Post on:

Litopia March Flash Fiction Competition

Image: 95593357 © creativecommonsstockphotos | Dreamstime.com

Flash Fiction Writing: Borscht. March #1

A fifty-word flash fiction writing post composed for March. This piece is a brief story about war, cold, hunger, renewed friendships, and soup.


Borchst

Cruel weather. Despite modern material ingenuity, once cold seeps in, harder to recede.

Months of stand-off, no washing water, barely to drink. No fuel, ammunition low. She approaches.

Bowl in hand, she smiles. He stares a moment as steam wisps rise.

Enough.

Discards Kalashnikov, takes off helmet, accepts her spoon.


Words: 50.

Edited from an Original Anonymous Post on:

Litopia March Flash Fiction Competition

3496456 © Irminkam | Dreamstime.com

Flash Fiction Writing: Shocking Find. February

Another fifty-word flash fiction writing post composed for February. This piece is a brief story about a murderer, burying a body, and electric shock.


Shocking Find

The mains’ exact position was unknown, but laws dictate electric cables require encasing and protection. The shock punishment nearly killed him.

After the bang and street blackout, a neighbour unearthed him disoriented in the flowerbed.

He scans the view through prison bars and wishes he’d buried her in the woods.


50 Words.

Edited from an Original Post on:

Litopia Website February Flash Fiction Competition

Image by Goumbik from Pixabay

Tarquinius W. Peterson’s Fantastical Guide to the World of Art: The Scream by Edvard Munch

Welcome to Tarquinius W. Peterson’s Fantastical Guide to the World of Art.

This week we are uncovering …

The Scream by Edvard Munch, 1893 - Nasjonalgalleriet
The Scream by Edvard Munch, 1893

Everyone knows this artwork, but that’s not surprising, as several, several copies exist today. By copies, I mean versions. Since version 1.0 Mr Munch endeavoured, over several decades—even centuries—to exploit the world’s art market in producing upgrades and variations. Versions 1.1 to 1.3 exist, along with an offshoot version 2.0 and then moving on to version 3.0, which became, and still is, the most successful icon of modern art ever, period.

How did this Norwegian expressionist son of priest takeover the world? Tarquinius W. will explain.

With a catalogue of versions flooding the market, bent on world domination, we need to examine each on individual terms. But, where to be begin?

Firstly, I apologise to the other artists, sculptors and creators of various art forms whom I have or will put under the Peterson spotlight and magnifying glass, because as a general rule, I scrutinise individual pieces. In greedy Mr Muncher’s abuse of galleries and critics like myself, Tarquinius W. Peterson, he inadvertently, or deliberately as is more likely, created numerous variations—the idea revisited later by American pop artist Andrew Warhola, and manipulated, although not as successful as Ed.

So, we start with versions 1.0 through to 1.3 of The Scream. Or is it The Scream?

Over the years, confusion with reference to the artwork’s title prevails. Those uneducated, refer to this piece as The Cry (an alternate translation from the Norwegian word: shrik, which means scream, or cry), but a handful of lazy critics use the title The Shriek (which comes from not translating the Norwegian word: shrik). It doesn’t stop there! Edvard Munch produced and exhibited most of his work in Germany, and his version 2.0 below carries the words Das Geschrei which, in Deutsche, translates to the above words, and: yell, clamour, wail, shout, or howl! For clarity, Tarquin chooses The Scream.

An observation we note straight away is that Eddie the Artist is a staunch environmentalist. This began when an online purchase of a multipack of canvases arrived from Amazon. Munch, annoyed by the volume of unnecessary packaging material, became infatuated with the texture and colour of the brown corrugated cardboard, so much so, he stored the canvases, kept the packaging and used it as the base substrate for version 1 editions of the artwork, as follows …

 

Version 1.0
Skrik 1893
The Scream [1893]: pastel on cardboard (see).
Very sketchy pastel, although Munch didn’t deviate from this composition to those of his oils, so he must have gone with his first idea—not much development IMHO.
Note: Are the characters in the background impaled in, or on, the railings, producing cause for the scream?

 

Version 1.1
The Scream by Edvard Munch, 1893 - Nasjonalgalleriet
The Scream [1893]: oil, tempera (the technique of mixing paint with egg yolk to form a smelly watery miscible emulsion, yeah, weird) and pastel (again) on cardboard.
Everyone’s seen this popular version which hangs in Oslo’s National Gallery and copied in most reference books.
Note: The head severed from one of the background characters could be a screaming cause.

 

Version 1.2
The Scream Pastel
The Scream [1895]: pastel on cardboard (again, see).
Created two years after 1.1, the only known version outside Norway, and sold at a bigly price in 2012. Near to US$120 million to be inexact and to a private collection, but not that private, a well known rich-guy called Leon Black—’We know where you live, Leon!’
Note: Only a single boat sails on the sea in this version and this could be the catalyst for a scream due to the horror of a sunken vessel.

 

Version 1.3
Edvard Munch - The Scream - Google Art Project
The Scream [1910]: tempera on (more) cardboard.
Yet another one, and probable grounds for exploitation of the market. At this time, it is certain that he couldn’t dislodge the disturbed image from of his head. Also, with only tempera, it’s an eggy version. It is curious that someone liked the oeuffy aroma of this painting: nicked from Munch Museum in 2004 and recovered in 2006 with bite marks.
Note: It is clear in this version that a scream emanated because the screamer lost both his or her eyes.

 

Version 1.4—A T.W.P. Exclusive

Rumoured to exist, is a version 1.4, but the whereabouts unknown. This is because during WW2 the then owner, a clever German Jewish gentleman, hide it from the scumbag Nazi’s and Hitler—who once said of Munch and his arty pals: “… (they) art-stutterers can return to the caves of their ancestors and there can apply their primitive international scratching.”—fascist.

It is within the bounds of practicability therefore, that hidden away in a forgotten dark, damp cave at the edge of a Norwegian fjord, a missing 1.4 lives disguised in discarded cardboard packaging washed-up on the beach.

 

Version 2.0
"The scream". Wellcome L0011212

The Scream [1895]: lithograph.
So, following on the great success of his return to pastel in version 1.2, Edvard turned thoughts to “limited edition” print runs on litho. 45 rare prints, made before the printer rejigged the stone plate, are catching huge sums on eBay. The most sort after are the ultra-rare hand-coloured editions by Eddie, I recommend checking-out the local Oslo car-boots when visiting.
Note: The screaming person in this work exhibits a sideways glance to an action the other figures may have done.

 

Version 3.0

Edvard Munchenbaby decided he’d had enough of producing rarities for rich art collectors, so in answer to increasing globalisation he worked on a cheaper mass-market edition: his “Face Screaming in Fear” emoji.

Designed to resemble a digital version of The Scream and available world-wide as Unicode emoji rendering U+1F631:

 ?

Disguised as a piddly commission of US$0.005 for each use, this product placement has grown to multi-million dollar royalties for Munch’s estate, and still grows. The fee generates every time someone sends a Screaming Face text, or email, or renders this blog page to read it—which comes to at least a US$0.015 commission alone.

 

Influence

Money aside, a few questions that come to mind—other than, was Eddivard Munch a globalisation fundamentalist, or just a cool brand icon builder?

What influenced The Scream?

Who was the Screamer?

Why, in his return to the pastel colours in version 1.2, does the unobserved figure on the left appear to be throwing-up over the handrail? Is it a shock reaction inline with the screamer’s scream, or just more realism than shown in the kiddy-style faces and silly hats in version 1.0?

Tarquinius, author of the Fantastical Guide, can let you in on a recent discovery with regarding the composition, and to the fellow in the foreground who influenced this great representation of expressionism. After a long, long, and extensive research of waterways, lakes and oceans in and around Scandinavia, Tarquinius can reveal that a relevant event occurred at the Munch’s mansion in the city of Christiania (now named Oslo), not long after moving to their new house. The Munch’s didn’t have much, the house was a step-up from the farmhouse where they lived before—the birth place of Munch—and his father’s pious Lutheran ways lead to a simple life.

So, The Incident!

When he was only four-years-old Edvard’s mother, suffering the onset of TB, crashed their horse-drawn buggy into a tree trying to negotiate through their garden gate. Edvard, thrown from the horsey jalopy into the tree, suffered head trauma. His father went ballistic with rage, although abstained from blasphemous comments, berating mother and son. Edvard’s Pops was not the influence for screamer. Edvard, the self-diagnosed madman, blamed his father for his insane inheritance.

The shock of the buggy incident effected his mother and hastened her consumption. Although, combined effects of pain, shock and horsey embarrassment on his mother’s face did not coerce Munch’s artistic talent in determining The Scream‘s facial expression either. Neither, while he enjoyed self-portraiture, did Eddie’s own saddened reflection following the death of his mother help with the haunting shrieking cryer.

T.W. Peterson deduces that no single human emotion, or mixture of emotions foretold in individual family faces aided the painting’s grimace. Instead, Eddie Munchie—not to be confused with the original 1957 Munchie sweets, produced by English company Macintosh (not the Swiss Nestlé copies)—was himself possessed my the local vicinity where the accident took place.

In a timeline, far into the future, one copy of the The Scream, pursued by timelord, Sylvester McCoy, hangs on a dust planet called Duchamp 331. And yes, the famous Frenchman manufactured the Art Gallery and Showroom planet, but we’ll cover Marcel Duchamp, his impromptu meeting with our Eddy Munchy, and his planet building abilities in another post.

When Mrs Munch crashed into the tree, Edvard inhaled dust from under the tree’s bark, which transformed in the young child’s brain to the Warp Core: an alien fighting force; and only defeater of the unstoppable, biologically-engineered killers: the Krill (ask a Whovian for further information).

The route of Munch’s mental energy and tormented psychological thoughts, according to the seventh Doctor, lay within this Warp Core and exerted a powerful influence on the artist. Driven by decade-long battles with his brain, Munch sort to exorcise the alien into The Scream pastel dust, and bound it to the cardboard’s corrugation behind the howling screamer.

This alternate Munchian-influenced timeframe and sequence of spacial events must not be confused with the The Silence; another alien race, whom resemble incarnations of Edvard’s screaming creature. These aliens only look similar and, as their name suggests, they don’t yell or howl. Their bizarre characteristic is humans are not conscious of their existence, only a “subconscious awareness”, the moment a Silent turns their back humans completely forget them. In the future, the eleventh doctor, Matt Smith, is foreseen dying by a Silent, further into the future. To expand more on this, I need a study course on quantum physics, plus Dr Who’s not human, and I can’t get my head around such a scenario; I’m an art critic not a rocket-scientist.

So, the real concept for The Scream was not weird looking aliens or the artist’s mind-blowing mental disorder, but a beech tree. This Warp-Core-alien-thing tried to transmogrify Mrs Munch, causing her to crash the family cart, but then changed its mind when Edvard bumped into the tree trunk releasing bark and the dust.

On my visit to Oslo, investigating those pertinent and connected events that took place at end of the nineteenth century, I, Tarquinius W. Peterson found the source. The Screaming Tree!

The Screaming tree in Oslo, source of The Scream by Edvard Munch.

 

More

Another semi-interesting development of The Scream—although not very interesting—was an upload by a teenage hacker to the graphics server of US Government Department of Energy, which appeared as a background-image on every webpage.

The unknown hacker stated his growing concern with an increasing existence of radioactive waste, turning up as utilitarian barbecue stands at highway rest stops and countryside picnic areas. Tarquinius W. Peterson chooses not to show the non-language-specific image, because, well, frankly it’s rubbish, but if you are interested, it’s <here>.

Tarquinius W. Peterson’s Fantastical Guide to the World of Art

Tarquinius W. Peterson, the renowned creative commentator and art historian, is a university educated and well-read critic of art and accruer of arty pictures and sculptured objets.

T.W.P. 2018

Awarded a government maintenance grant, I studied at the Berkshire College of Art and Design, in Maidenhead, UK. Not too far from Prime Minister Teresa May’s house, but I can’t tell you where that is obv’s. It is regretful the fine educational establishment of BCAD is no longer with us. Glorious college buildings long demolished and replaced with inglorious non-carbon-neutral-copy developer properties. Dull red brick housing with stick-on timber details. An estate of two-hundred pea houses in a freezer compartment, erected around minimum pea turning circles. Mrs May will tell you why they did that I’m sure!

I digress, people.

Aside from that grievous occurrence, in its prime the college schooled a varied repertoire. High profile and industry favoured artists, fashion & interior designers, critics, and researchers, like … like T.W. Peterson.

Tarquinius W. Peterson & Friends, Raymond Road, Maidenhead, Circa 1987

During a four-year study period at the renowned, now defunct (thanks to the PM), school of art, Tarquinius W. Peterson (that’s me) studied loads. Voluminous volumes read on art history, art theory, and art direction. Theorised art on a shoestring, art by numbers and Art Garfunkel. Discussions concerned with art debate and the art establishment (wherein I now take a place, a deserved place earned through toil and dedication).

Countless tomes of literature and art picture books, examined, studied, reexamined and restudied. In the showers of colour reproductions of the great master artist’s work, I found solace. Not in comic art of Jamie Hewlett or Peter Gross, that came later.

My paperback copy of E.H. Gombrich’s (1972: 1982 fourth impression, 13th edition) The Story of Art, a great foundational book covering art from its beginnings to present day. Present day being 1982 mind you, but sufficed for my needs. Plus, Dr Ernst’s title is smart too, a blatant play on words “The Story (of Art)” vs. “History (of Art)“, brilliant, huh!

Harold Osbourne’s (1970: 1981 Book Club Associates edition) “The Oxford Companion to Art“, is snug in my possession. This hardback is a dictionary-slash-encyclopaedic book. Harold didn’t write every individual word, but he was the editor chap. Such an important and prestigious position allowed last dibs on what did or didn’t go in the final published edition. In my book, excuse the pun, that’s tantamount to writing the entries himself.

The companion existed before the Gombrich, printed in 1981, but if I’m honest, I could update both these literary works with flare. My personal savoir faire from early eighties to present day transposed in the manner and eloquence of both aforementioned authors, can solve the trick. (Note to self, get my agent, Vincent, to poke around at Phaidon and OUP, proposal for writing updated versions of the discussed.)

With successful collation of unknown, but researched facts, vast comprehension in art-world-ways, and legit insider dealing, I seek to combine fine literary collections of the world. Such as auction house archives, art dealers’ back catalogues, Blue Peter annuals, art & history museum pamphlets, and completed school discovery quiz sheets.

My aim: to offer a loquacious, flowing blog of art knowledge to the web readers of the world and collective art-spiders thereabouts!

If the watery blue pictures of Hockney’s, or the darker canvases of that Rothko guy, hang on your wall. Or you enjoy those textured frames with curvy twiddles, hand-finished in real gold-leaf. With portraits of royals, or landscapes and scenery in them, a Turner or that policeman fella, Constable, that’s it. Then join with us, me! Join me on a journey through Tarquinius W. Peterson’s Fantastical Guide to the World of Art.

Every week I’ll be introducing you to a new piece of art and giving in-depth analysis. Showing who, what, when, where, why and who, I mean how (I always get those spellings mixed up), how these creations befell formulation and realisation, both in construct and construction.

Join me then, Tarquinius W. Peterson, on my colourful voyage into, umm, colours and reasons … reasons and wherefores of artisticular enjoyment in art and sculptor. Sculptor the 3D branch of art utilising different mediums (and I don’t mean clairvoyants, or, between bigs and smalls). Medium choices are materials or forms used by an artist, composer, or writer, but I’ve no interest in writing, because that’s pencilling articles and not arting pencilicles, right!

It’s a core attribute of an artist to compose successful compositions, or arrange balanced arrangements. Although, when composers compose and arrangers arrange, whilst noting musical notes with pencils on rules pencilled with rulers, is too an art form.

Art, music, and literature are affiliates of “The Arts” (along with dance … and film … oh, and computer games), but only art is art for art’s sake. Getting it “down” on paper or canvas with crayons or paint, or by utilising other artistic ingredients (but not those in the art of cooking) is art (or maybe those too). So, it’s unlikely that I’ll blog music, books or dance in my weekly art-bloggings because they are not the pure form. Unless I want to explore Performance Art, which I may undertake one week, because that’s the crazy blogger T.W. Peterson is, full of surprise!

By now you’re no doubt foaming at the tonsils with thoughts of Tarquinius W. Peterson’s Fantastical Guide to the World of Art, awesome, but wait! In one week I unleash the first edition of the Guide on the public. The reason for delay isn’t that it’s not written yet, nor that I’m organised beyond promotion having written, collated, and backed-up the entire guide somewhere in Russia. Whereupon a computer programme will submit at regular intervals. No! Neither of the above is true. You are in total suspense!

Remember those long awaited fifteen-second countdowns on Netflix between episodes of Breaking Bad or GoT when you binge-watched mid-week, well, it’s a similar proposal. Instead of seconds it will be one whole week, or thereabouts, or less, or to keep you chewing your top lip in anticipation, it will be longer.

Three words spell art, they are:

  • Anticipation
  • Resuscitation
  • Tantalisation

You might not agree in that order, however, T.W.P. knows the order, because other spellings are sticky tar or dirty rat, or rta, and being initials similar to NRA, we don’t want to get sticky or dirty, do we?

We’ll discuss more A.R.T. later.

Don’t know Degas’ Sunflowers from Van Gogh’s? Get aroused with Lucas’s Fried Eggs (no relation), or unclear as to Hirst’s Formaldehydes? Then stop-off at this WordPress. Educate your inner innovative side with artistic enlightenment, guaranteed for every persuasion of art-loving being.

Our first exploration into the art mart is this little beauty …

Nighthawks

Nighthawks by Dennis Hopper 1942

Next week, we will explore more of this piece. A right moody canvas painted by American actor Dennis Hopper in 1942. I know, I didn’t realise he painted either, and this artwork is old so he must be knocking on a smidge by now. We’ll ask questions. Who are these people? Why is there no door? This level of detail, and answers, are the usual in-depth and extraordinary knowledge you’ll receive from Mr Peterson’s Guide. Be sure to drop in soon.

Bookmark, or follow me, and let’s get arted!

Tarquinius W. Peterson’s Fantastical Guide to the World of Art, coming soon to a touch screen near you!

The Plank

A flash poetry writing post composed for February, inspired by the photo prompt; above.


The Plank

‘Neh, sire, tis you, sire,
‘tis you who has to walk,
For ‘tis you, sire, the liar,
With one leg, the stork.’

‘Shiver mi wotsits, capt’n,
I’m innocent of that crime,
No idea how it happen,
That musket weren’t mine.’

A sharp stick pokes in his back,
Further he hops over the plank,
Timber squeaks, doesn’t crack,
Swordsman pushes, hand on flank.

‘This, sire, is my brig,
You’re nothing but a marauder,
A one-legged pirate pig,
Only fit for slaughter.’

‘Capt’n please, I beg of ya,
Mi leg is made o’ cast-iron,
I’ll sink down even faster,
‘an a fully laden gallyon.’

Feet an’ peg scuffle along,
Further, further to the end,
Who’s right? Who’s wrong?
Creaking wood starts to bend.

A loud crack and crunching splinter,
Capt’n and Pirate drop, voices shrill,
They land on grass in fits of laughter,
And two boys roll down grassy hill.


150 Words.

Edited from an Original Post on:

Scribblers Forum Thread – Flash Poesy 114 – Photo Prompt

This Word

A flash fiction entry for the Reflex Fiction Website.


The Word

Another sip of freshly-pressed coffee, as feet pace around the kitchen and into the study. There’s a chill underfoot when emigrating from warm under-floor ceramic heat to room temperature carpet. A fragrant woollen floor covering scented from a rolling, scratching, chewing, dribbling canine partner in procrastination.

Ergonomic seat placed at a cluttered desk, a mismanaged surface of distraction. Computer screen echoes the randomness of clutter in assorted browser tabs. Social media videos and emojis convert to the equivalent first primal attention given to flickering flames of fire. A stare, as distant, as it is close.

Again, up from chair to stand, itching a single shoulder, hoping, as left hand brings money, so may the shoulder bring decision. Or was that the right? A scratch of the right then, which could chase away any resolve. Back and forth, one side to next from shoulder, to neck, to head.

The body is covered in self-doubt. The stronger the scratch, the greater dulling of indecision. But it’s a lie no less, a conversion of mind-fog to red-raw skin. The problem remains unresolved.

Steps retrace to the kitchen, to procure tea, with a snack. A sweet diversion, not needed nor desired, but fulfilling absent headspace. Only, it falls straight through the abyss that is the anxious confused mind, there is no fulfilment.

Again from warm to cool, out from culinary to digital temptation. To the seat, place the cup, hold that thought, tap the keyboard, start on the page, type the first letter, and then the next. A word, there is a word, a fine word. A word of meaning, portrayed from notion, of outstanding literary merit.

It’s there.

Alone.

Drowning in a sea of emptiness. Surmounting pressure from the depth of blank emittance.

Backspace … backspace … backspace, backspace, backspace.

Overwhelming is the strength of doubt.


307 Words.

Edited from an Original Entry on:

Reflex Fiction Web Site – Autumn 2017

Just Another Conversation

A flash fiction writing post composed for December, from the prompt “The End and the Beginning”.


Just Another Conversation

The weather Gods are frantic with their hailstorm task. The bouncy-ball-sized ice smash downwards through the flashing clouds. It’s a surprise they don’t crash into each other. I guess that’s why they are the Gods.

D.Q. Parker-Braithwaite Jr is deep in conversation, I expect he hasn’t even noticed the prostrate pedestrians in the street below his window, hands and heads bloodied and bruised from large frozen water droplets.

‘Oh, go on then, have your say mister bossy-pantaloons-ideas-man!’ He says.

‘You can’t do that, you know you can’t,’ comes the reply.

‘Will you stop being so bossy.’

‘You’re starting it at the end!’

‘Yyyyes,’ he breathes, ‘at the end. What’s your point?’

‘What do you mean at the end exactly?’

‘You know?’

‘No! I don’t think I do.’

‘It’s a time frame thing,’ he starts to explain, ‘a reminder of what’s to come. A snap shot of action to pique the interest the reader.’

‘Well, it could be action from any decent part of the story. So, why end it before you’ve started?’

It was an honest enough question. And D.Q. has an answer, he’d researched the structure.

‘Wwwwell,’ more lengthiness, ‘you introduce all the characters at a really interesting climax.’

‘Then you’ve nowhere to go?’

‘But you have to explain how you got there.’

‘Who cares, the reader now knows what’s going to happen.’

‘The reader will care, and no, you forget that bit anyways.’

‘So, why add it, if you forget about it.’

‘No, no, you don’t completely forget, only your recent memory, it becomes ingrained into your subconscious, and then at the end of the novel all re-revealed, your head pops and thinks Woah, what the hell! I remember this now, that’s amazing! And you suddenly realise what’s happened, and how it happened, and why it happened, and who it happened to, and when—’

‘That’s a lot of happening.’

‘Yeah, that’s the best part, it all comes crashing back to the readers memory, conscious and subconscious mind collide in a planet sized imaginational vortex of—‘

‘If … you can pull it off.’

‘If I can pull it off?’

‘Yeah, if!’

‘Oh man, don’t bring me down, I had this. All meticulously planned, interweaving the back story of my MC, his family, ex-lover, current love interest, the protagonist ulterior motive, and the—‘

‘Yap, yap, yap, too much woof of back story blunders. Action! That’s what you need, action, more action, platefuls of … restaurants full of … shopping malls full of, no, city centres exploding with action.’

‘Literally?’

‘If it works, big bangs, shards of sugar glass, why not?’

‘I don’t have a mall in this WIP.’

‘Then put one in.’

‘Really?’

D.Q. ponders the inclusion of a high street shopping mall, the plush new finishes, free WiFi, ice-cream counter, could it work with the antagonists sweet tooth?

‘No, you plonker, I was being metaphorical. Just get with the action ASAP.’

‘Which is the end bit, at the start in this case.’

‘Umm …’

‘And! The best part is I can use a great piece of writing twice; at the start and then splice it in at the end.’

‘Copy!’

‘Splice!’

‘You really think so?’

‘Sure, dude, why the hell not?’

‘Because readers aren’t morons, some are pretty intelligent, and reading the same thing twice will feel odd, especially if you made them forget it by stuffing it into the old subconsciousness.’

He has a point, D.Q. thinks. He reaches out for his drink of half-drunk coffee in his favourite Hogwarts auto-stirring magic mug. He takes a long gulp of cold coffee until his cheeks are full, swallows, and gasps for air.

‘It’ll be ok,’ he says after inhaling enough oxygen to get his brain in gear.

‘It won’t, there’ll be queries.’

‘Such as?’

‘Such as, ‘… I’m having a Neo two glitching cats moment …’ or ‘… did the author write this bit twice? That’s a bit cheap …’ or ‘… I’m sure I’ve read this before, what a waste of my precious reading time …’ then they’ll close it and bin it, just paragraphs from the end. Chastising it as plagiarism!’

‘Don’t exaggerate.’

‘Well, your it’s your decision I suppose.’

‘It is my decision, thanks, and I’ll thank you not to interfere.’

‘Interfering now, am I? Well there’s gratitude for you, interfering indeed.’

‘You know what I mean.’

‘Yeah, you’re the boss and if I don’t like it then …’

‘Oh, don’t start that again.’

‘Again?’

‘Yes, again, you always start with the boss nonsense.’

‘You mean the bit I started with.’

‘Yes, you started, you know, you where moaning at the start, telling me how to plan this novel, telling me I’m being bossy, when it’s you who are the bossy one, and now we’ve gone full donut back to the start-line again.’

‘Back to the beginning, huh?’

‘Yes!’

‘Like your story!’

‘Like my, no, you cheeky sod, not like my—‘

‘Yes, like your start stop end beginning twisty turny finish ending tale of repetition.’

‘Ah …’

‘You see, or rather you didn’t see it coming. And now it’s here it’s a bit of a—‘ there’s silence as D.Q. makes a movement behind his writing desk. ‘What are you doing with that large jewel encrusted dwarves sword?’

‘Changing direction.’

‘Changing what?’

‘Direction. Wait it’s too damn heavy. Ahhhh, this is a much better description.’

‘What the, where did you get that from?’

‘It’s an old one of yours, don’t you remember?’

‘Wait! Yes, let me see, of course. Ultra-pulse photon-clasp automatic firearm with omni-rotator and eyeball recog. That was a while ago. Let me just—‘

‘No! Oh, ho, ho, no you don’t, not this time. Prepare to meet your make, er, your imaginator!’

He points his weapon and the gun lets out a loud Zzzzongping, quickly followed by a ftomb!

‘Bet you didn’t see that coming did you, mate? Change in the plot, see. Little twist. Playing on the end-beginning-end-beginning-end sequence with a drop of sufficient darkness to make the reader—‘

D.Q. peers over the top of his glasses. Then stands and gazes down from his messy paper covered work surface, to the unfolding scene on the shaggy carpet.

‘Are you alright?’

There is no answer.

‘Muse?’


1,044 Words.

Edited from an Original Post on:

Scribblers Forum Thread – Flash Fiction 345 – The End of the Beginning

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