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Abby grabbed the pile of mail from the passenger seat and climbed out. As she circled around the front of the car, she leafed through the bills, flyers and notes of sympathy. An unfamiliar postage stamp caught her attention. France? Who did she know in France? When she looked at the handwriting on the front she froze. It wasn't possible. It wasn't.
Hands trembling, Abby tore open the envelope. In her haste, she ripped it too fast and the contents flew out. A postcard sailed to the ground.
'No,' Abby said. 'No!'
Dea
Dea
Dea
Dea
She let the lighthouse charm fall from her fingers. That had been her lucky charm that night, when the unexpected fog rolled in. She'd followed its beam back to shore. Then, before she'd left town, she'd returned to the lighthouse one last time, to leave something for Abby. On the postcard, she written only one line, instructing Abby to look for further 'correspondence' at the 'charmed' place. There, in the very spot where she'd deceived her lover, Abby would find detailed instructions on how to make her penance, on the exact penalty she must pay. The demand was fair. Not enough to send Abby into bankruptcy, just enough to hurt. For every action, there is a price to be paid. Dea
Dea
THE INKPOT MONKEY by John Co
Mr Edgerton was suffering from writer's block; it was, he quickly grew to realize, a most distressing complaint. A touch of influenza might lay a man up for a day or two, yet still his mind could continue its ruminations. Gout might leave him racked with pain, yet still his fingers could grasp a pen and turn pain to pe
Mr Edgerton made his modest living from writing by the yard, based on the unstated belief that if he produced a sufficient quantity of material then something of quality was bound to creep in, if only in accordance with the law of averages. Journalism, ghostwriting, versifying, editorializing; nothing was beneath his limited capabilities.
Yet, for the past three months the closest he had come to a writing project was the construction of his weekly grocery list. A veritable tundra of empty white pages stretched before him, the gleaming nib of his pen poised above them like a reluctant explorer. His mind was a blank, the creative juices sapped from it, leaving behind only a dried husk of frustration and bewilderment. He began to fear his writing desk, once his beloved companion but now reduced to the status of a faithless lover, and it pained him to look upon it. Paper, ink, desk, imagination, all had betrayed him, leaving him lost and alone.
To further complicate matters, Mr Edgerton's wallet had begun to feel decidedly lightweight of late, and nothing will dampen a man's ardour for life more than an empty pocket. Like a rodent gripped in the coils of a great constricting snake, he found that the more he struggled against his situation, the tighter the pressure upon him grew. Necessity, wrote Ovid, is the mother of invention. For Mr Edgerton, desperation was proving to be the father of despair.
And so, once again, Mr Edgerton found himself wandering the streets of the city, vainly hunting for inspiration like a hungry leech seeking blood. In time, he came to Charing Cross Road, but the miles of shelved books only depressed him further, especially since he could find none of his own among their number. Head down, he cut through Cecil Court and made his way into Covent Garden in the faint hope that the vibrancy of the markets might spur his sluggish subconscious into action. He was almost at the Magistrates' Court when something caught his eye in the window of a small antique shop. There, partially hidden behind a framed portrait of General Gordon and a stuffed magpie, was a most remarkable inkpot.
It was silver, and about four inches tall, with a lacquered base adorned by Chinese characters. But what was most striking about it was the small, mummified monkey that perched upon its lid, its clawed toes clasped upon the rim and its dark eyes gleaming in the summer sunlight. It was obviously an infant of its species, perhaps even a foetus of some kind, for it was no more than three inches in height, and predominantly grey in colour, except for its face, which was blackened round the mouth as if the monkey had been sipping from its own inkpot. It really was a most ghastly creature, but Mr Edgerton had acquired the civilized man's taste for the grotesque and he quickly made his way into the darkened shop to enquire about the nature of the item in question.
The owner of the business proved to be almost as distasteful in appearance as the creature that had attracted Mr Edgerton's attention, as though the man were somehow father to the monkey. His teeth were too numerous for his mouth, his mouth too large for his face, and his head too great for his body. Combined with a pronounced stoop to his back, his aspect was that of one constantly on the verge of toppling over. He also smelled decidedly odd, and Mr Edgerton quickly concluded that he was probably in the habit of sleeping in his clothes, a deduction that briefly led the afflicted writer to an unwelcome speculation upon the nature of the body that lay concealed beneath the layers of unwashed clothing.
Nevertheless, the proprietor proved to be a veritable font of knowledge about the items in his possession, including the article that had brought Mr Edgerton into his presence. The mummified primate was, he informed the writer, an inkpot monkey, a creature of Chinese mythology. According to the myth, the monkey provided artistic inspiration in return for the residues of ink left in the bottom of the inkwell.