I love monster movies. I’ll watch just about anything if it features an alien, a magical beast, a monster or a supernatural being, creatures that both frighten and attract by virtue of their strange and terrifying natures. I tend to root for them, which can be frustrating because the writers usually kill them off with some heroic bluster bent on saving the world or something. If only my personal demons were so easily vanquished! In a mere two hours, at that.
I see fantasy beings in stories as real in their own right, metaphors for the forces of the psyche, personal or collective. The attraction comes by seeing some part of myself in living color that I thought was safely banished to the hinterlands of my darker side. But it’s never a good idea to banish a shadow. Such a lonely thing. So I write; it’s the ultimate way to lure out the monsters and talk to them.
Book Three in the Chronicles of Ealiron began as a story about gardening. Well, not just any gardening, but wild, magical gardening, the sort of thing a wizard or a priestess would know about. But like all natural things, gardens have a dark side, and this one holds a spooky secret bound up in a young woman’s innocence. Born of wizards and yet sheltered from them, Tansel of Loralin reaches womanhood with little more conscious awareness than a flowering rose. Her instincts know more, however, and when a mysterious old wizard takes her away from her isolated existence to live in his castle and tend his garden, the cracks begin to show.
Enter the beastie. The locals call him crowharrow; and wizards call him sioros, one of their odd, multidimensional words for things like him. Immortal, utterly beautiful and fell, he is an expression of the Destroyer, the darkest aspect of the primordial Feminine. He does not appreciate mortal sentiments. He cannot be dismissed or bargained with—and Mother help any woman who falls in love with him. He is pure male in its darkest form: the edge of a sword, the devastation of fire, the blood of maidens. His appearance is never random or arbitrary, but has its roots in the shadows cast by gods.
Conveniently, Tansel believes the crowharrow is just a legend. But innocence crafts its own demise. A mortal cannot remain in that state. In the powerful, such as a child of wizards, innocence is perilous. When the crowharrow awakens her, Tansel floats like a butterfly under his thrall, instinctively knowing what he wants from her but not really understanding it. The wizards do. So do the ghosts of her ancestors.
This is not a monster that can be killed. He is more akin to treacherous seas: either you learn his nature through becoming aware of your own, or you die. He exists beyond the mortal will to control. He does not care. The beauty of such forces is that they affect everything they touch at the deepest levels. Drawn in by his power are not only Tansel but also those who would protect her: a powerful wizard with a wound involving the sexual initiation of a maiden; the old, broken wizard who attempts to shelter Tansel from a curse he laid on his own bloodline for want of a woman’s love; and a master shapeshiftress steeped in bitterness over what she cannot change. The crowharrow has his fangs in every pie, stripping off scabs and exposing each character’s ugly secrets to the light of day. Through interacting with him, these mortals are systematically dashed upon the rocks of their lost powers in a spiraling crescendo of lust, heartbreak, desperation and mishap that rocks the roots of the mountains. Only then can the immortal predator return appeased to the Otherworld, leaving renewal and healing in his wake.
Monsters create heroes. What dies is not always the beast, but those things that hold us from our greatest potential. Still, best to keep an eye on the trees….
The Winged Hunter, Book Three in the Chronicles of Ealiron.
Tansel is a gardener with a healer’s hand. Fey, they call her.
Her aunt, a dabbler in hedge witchery, calls her cursed.
To the most powerful wizards in the land, she is an enigma.
© F.T. McKinstry 2012. All Rights Reserved.