Eurasian Monsters, coming soon.

Table of Contents – Eurasian Monsters

We are proud to reveal the table of contents for our last volume in Fox Spirit Books of Monsters: Eurasian Monsters!

The series, edited by Margrét Helgadóttir, has dark fiction and art about scary monsters and dark creatures from around the world, seven volumes between 2014 and 2020. The series is our grand world tour and we have so far been to Europe, Africa, Asia, the Pacific region, and Central, South and North America. 

A number of the stories have been award winners individually across the series, many more have picked up nominations, and our editor won the  very first Brave New Words award for her work on Pacific Monsters. These are beautiful books full of incredible tales and monstrous images.

It’s been a hell of journey so far. Sadly, all travels must have an end, and now this series will close with Eurasian Monsters. This December we bring you 17 dark tales from the vast region stretching from the Chinese border (but not including China) to Eastern parts of East Europe. We are proud to tell that we have stories from all over Russia, from Ukraine, Georgia, Kazakhstan, Moldova, Poland, Hungary, and Bulgaria.

We have as many as seven translated stories, six are translated exclusively for this book. You will not want to miss this – we have stories from authors who’s never been translated to English before!

 Table of Contents:

  1. K.A. Teryna: Morpheus
  2. Marta Magdalena Lasik: Daemons of their time
  3. Yevhen Lyr: Sleepless in Enerhodar
  4. Karina Shainyan: Bagatazh
  5. Vlad Arenev: Rapunzel
  6. Haralambi Markov: Nine Tongues Tell Of
  7. Maria Galina: The Visit
  8. Alex Shvartsman: A Thousand Cuts
  9. Daryna Stremetska: The Whitest Linen
  10. Shawn Basey: Lysa Hora
  11. Karolina Fedyk: Our Lady of Carrion Crows
  12. Bogi Takács: Veruska and the Lúdvérc
  13. Eldar Sattarov: Mountain Maid
  14. Kat Hutchson: The Housekeeper
  15. Natalia Osoianu: The Serpent
  16. Alexander Bachilo: This is Moscow, Old Man!
  17. Ekaterina Sedia: Sleeping Beauty of Elista

 

The stories will be illustrated by K. A. Teryna, Kieran Walsh, Elzbieta Glowacka, Nata Friden and Vincent Holland Keen.

Daniele Serra is once again providing cover art, which we will be revealing soon.

Editor is once again Margrét Helgadóttir.

Translation by Mike Olivson, Maksym Bakalov, Piotr Swietlik, and Alex Shvartsman

New Release, These Foolish and Harmful Delights by Cate Gardner

I first came across Cate’s work as a BFS judge reading The Theatre of Curious Acts. It was dark, visceral horror that still creeps into my head from time to time and gives me shudders. When the opportunity came up to work with Cate I was delighted and this collection is a pure joy.

A collection by Cate Gardner
Cover by Daniele Serra

A Punch and Judy escape from a hell of discarded body parts and captive puppets.

A girl escapes her birdcage through a mirror where a Perfume Thief lies waiting.

A boy with a lost heart, a girl with a stopped heart, and Ghoate, the man who collects hearts.

THIS FOOLISH & HARMFUL DELIGHT
A BLEEDING OF INK
WHEN THE MOON MAN KNOCKS
THE DEATH MOTH’S WEIGHTED WINGS 
FOR THOSE WHO DANCE BY ROPE OR DREAM 
IN THE BROKEN BIRDCAGE OF KATHLEEN FAIR
DAISY DEARHEART
BARBED WIRE HEARTS

Opening Paragraphs

Stijn understood how a man could be alone when surrounded
by others. He sat on a swell of limbs, torsos and dentures, his
sausage-like fingers attempting to attach a knee to a thigh. A
long shadow stretched from the entranceway of the cavern,
lengthened by the orange flames that spat from the impossibly
high walls. Stijn buried his head in his work. If only one
of the disembodied heads would talk to him, would wink and
acknowledge he existed. He knew it was in his fingers to resurrect
them. If they were many, perhaps they could bust their
way out of Hell or at least tear apart his tormentors–Judy and
Punch.
At the entrance to the cavern, Judy bent to scratch the
stubble that peppered her shins. The sound echoed, reverberating
around the damp walls and spiralling up to god knew
where. Stijn leaned back. Sometimes he thought he saw a
wink of blue sky or a sliver of moonlight. Sometimes he knew
he was going mad. There was no escape from here. No matter
how high the bodies piled-up, he’d never reach the top and
if he did the top would prove feet of thick rock, impenetrable.
Pneumatic drills never landed in Hell. Plus, there was no
electricity supply. Eventually, he would sink to the bottom of
the pile of limbs, torsos and heads. Be buried amongst the
stink and the rot.
Not content with scratching her shins, Judy set to work
on scratching her head. She shook her long, red curls releasing
fingers and toes and bits of ears that had become trapped
within her hair. The falling weight of digits caused a seismic
wave to ripple through the mass of bodies. It unsteadied
Stijn’s balance. He slipped towards the stream of blood that
drained through grate and sewer pipe to the River Styx.
Although Stijn hadn’t seen the Styx, he’d heard it wash
against the cavern walls and he’d heard the cries of those who
drowned within its current. Stijn clung to the nearest torso,
its breasts ravaged by rot. He should drop into the stream and
allow it to carry him to the Styx; at least he’d find company
amongst the tormented.

American Monsters 2 – Editors Post

American Monsters Part Two is here!

by Margret Helgadottir, editor

Another year has passed, and I am so happy to say that another monster book is born. In American Monsters Part Two we present you tales of beasties and monstrous terror from the North American countries of Canada, United States, Mexico, and a few of the Caribbean Islands, told by seventeen authors who are either from, have lived in, or have another strong connection to this region.

This is the sixth volume of the annually published Fox Spirit Books of Monsters. The book series is like a grand world tour exploring old myths, folklore and monster tales continent by continent. The journey started in Europe in 2014 before it continued to Africa, Asia, the Pacific region, and last year Central- and South America. I am currently working on the seventh and last volume in the series, Eurasian Monsters.

Six years ago, we demanded that something had to be done. We strongly felt that the monsters of this world are watered down and overused in the popular media and that only a few of them dominate the scene—vampires, werewolves, ghouls, demons, zombies—all from Western popular culture. We wanted to give the monsters a renaissance as real and scary monsters, a comeback so to speak, and we wanted to bring all the world’s glorious and terrifying creatures out in the open.

I feel very honoured – I have edited monster tales for several years now. It’s been an adventure. Not only have I had the opportunity to become acquainted with monsters and dark culture from all around the world, but I have met so many lovely people! It is a true blessing to be able to work with authors, artists, and translators from all kinds of cultures and backgrounds. I feel I have learned so enormously much when working on these books. Thanks so much to all for being part of this crazy but fun project. And thanks so much to Adele Wearing at Fox Spirit Books and her crew, for believing in this project and doing the magical work so the books look like the wonderful coffee table books they are to be.

You would think it should be easy to cover the North American part of the world and its culture—after all it consists only of a few countries. You’re wrong. I will mention three things that’s made this book a challenging editor task:

First, this region is not rich with cultures, it’s a cultural multimillionaire. Here you’ll find First Nation heritages stretching far back. There are the vast multitude of beliefs and ways of living brought from the other side of the Atlantic Ocean over several centuries by settlers seeking a new life in the New World, or refugees from wars or injustice, not to mention the languages and cuisine from immigrants from Central and South America, or the great history the slaves from Africa brought with them.

Secondly, what makes it even more complex, is not this enormous multitude of cultures but the way most of them have mixed and blended with each other throughout generations, creating new hybrids of cultures. There is also a huge span between the everyday life experienced in the far north near the Arctic, in Alaska or northern Canada, and the way of life south in Florida, California or Mexico, not to mention if you cross the sea to the Caribbean Islands.

One could of course argument that this is the case with many parts of the world, but I felt it was particularly challenging when putting together this book—there was no way I could include it all. Hopefully you’ll still find that the voices and stories I have selected, gives a cultural insight of this part of the world. You’ll see that several of the stories in this book portrait not only one monster but several, something I interpret as a result of the overwhelmingly cultural mix and diversity.

Thirdly, I am very proud to have so many different author voices in the monster books. Not only do I wish to scare people with monsters they probably have never heard about. I also want the books to give the readers a realistic insight into the continents and cultures we cover—it is a journey after all. I support strongly “own voices” in this kind of projects. So, one of the things I do, as anthology editor, is to actively seek out authors with an indigenous and First Nations background to contribute to the books. I think it’s important because I feel their folklore and history is a major part of a continent’s cultural history, but their voices are often neglected.

When I started working with American Monsters Part Two, it was obvious that I should spend time seeking out authors with such background. But several I contacted were sceptical. I could be wrong of course but I think that some felt that their culture has been misused, stolen and wrongly presented too much in popular culture, and that they perhaps felt that this was another attempt of this. I also think that the concept “monster” did not resonate with all. I have pondered much about this while editing this book and I am wondering if there are things I could have done differently. Hopefully I will figure it out for future projects. I did manage to include stories by authors with indigenous background, something I am very grateful for and something I think enriches this book.

Even though it feels like I have barely scratched the surface, I’m increasingly struck by how important monsters are. Humans of all times, regardless of geography, culture or demography, have created stories and myths about beasts, dark creatures, and monsters. The tales serve not only as entertainment, but often teach a lesson as well. Some monsters are universal. You will always find the shapeshifters, the flesh-eating walking dead and the great monsters of the lakes and sea. But what is important to one culture might not be so vital to another.

This is often something I don’t see until I have finished a book. I am not going to explain why, just observe that in American Monsters Part Two we have several vampiric creatures. There are many beasts and some spirits too. What is special in this book, however, is the amount of humanmade monsters, some hoaxes and cryptids, several with human-like attributes. As one of the authors says: “monsters can look like any man.”

Many of the stories question who really is the monster. In this volume you’ll find tales about loneliness, everyday struggle, and living in a harsh climate. You’ll find morality tales and/or stories with underlying critic of aspects of society, be it colonization and stolen cultures, gender roles, illicit activity, border conflict, indigenous issues, or the relationship between humans and the wilderness. All in all, I hope these tales will give you some new thoughts and insights about life in Northern America.

I hope you will like this volume as much as I have while working on it. Enjoy!

 

Waiting for more monsters?

We have an update! 

We are running a little behind so won’t make our end of November launch on this one, but these books are always complex and it’s better to give them a little more time than push them out more unfinished. We are expecting it to launch by mid December so you can grab it for Christmas still. 

We have exciting news though! Cover art by the fabulous Dani Serra is in and we can’t wait to share it. See!

Isn’t it fabulous! We love it. We are so excited about this book. 

Here be Monsters!

They lurk and crawl and fly in the shadows of our mind. We know them from ancient legends and tales whispered by the campfire. They hide under the dark bridge, in the deep woods or out on the great plains, in the drizzling rain forest or out on the foggy moor, beneath the surface, under your bed. They don’t sparkle or have any interest in us except to tear us apart. They are the monsters! Forgotten, unknown, misunderstood, overused, watered down. We adore them still. We want to give them a renaissance, to reestablish their dark reputation, to give them a comeback, let the world know of their real terror.

American Monsters pt 2 is the sixth volume in a coffee table book series from Fox Spirit Books with dark fiction and art about monsters from around the world, and the second of the two volumes covering the American continent.

“American Monsters 2 ranges far and wide to bring together a stunning collection of stories, from the haunted, frozen woods of Northern Quebec, to the islands of the Caribbean. Drawing on a wide variety of traditions, these stories explore monstrosity in its many guises, including its human face. These stories hold up a mirror, delving into realms of fear, loss, grief, hope, love, and compassion, and showing that it is what we do when faced with the monstrous that counts.”

A.C.Wise, reviewer for Apex Magazine and The Book Smugglers, author of numerous speculative short stories and the recently-published Catfish Lullaby. Winner of Sunburst Award for Excellence in Canadian Literature of the Fantastic.

 

Girls and Ghosts, Release Day!

It’s that time of year, Halloween just past and in the UK Bonfire Night is upon us. It’s a time when ghosts may wander abroad and fires offer more than a place to burn the unfortunate Mr Fawkes, they give us safety against the drawing dark and the things that move within it.

So it’s the perfect time to release the Ghosts volume of Anne Michaud’s trilogy of short story collections.

Five Girls, Five Ghosts. Five Tales of hauntings and secrets. In this collection Anne Michaud brings us empathy and horror. Never underestimate the anger of the dead or the resilience of the living.

‘Anne Michaud’s writing is haunting, powerful and often beautiful’ – Amanda Rutter

Get it now
Amazon Canada
Amazon UK
Amazon US
Fox Spirit E store

American Monsters Part 2 – TOC

It is time for the big reveal or our penultimate monsters book. It’s been a hell of journey so far and we aren’t letting up!! Keep in mind particularly with the America books, we are dealing with Continents not countries in these volumes. We will close out the series next year with Eurasia. 

American Monsters Part Two – Table of Contents

Fox Spirit Books of Monsters, edited by Margrét Helgadóttir, has dark fiction and art about monsters and dark creatures from around the world, seven volumes between 2014 and 2020. The series is like a grand world tour and we have so far been to Europe, Africa, Asia, the Pacific region, and Central and South America. The series end next year with Eurasia (including Russia, Eastern Europe and the Balkan).

This November we bring you 17 dark tales about scary beasties and Monsters from North America, including Canada, USA, Mexico and the Caribbean Islands.

TABLE OF CONTENTS:

Cory Doctorow: Return to Pleasure Island
Kelly Sandoval: It’ll Be Fine
R.S.A. Garcia: Douen Mother
Ernest Hogan: Cuca
Anne Michaud: The River Song
Tobias S. Buckell: Trinkets
Pepe Rojo: On Desire and its Cure
Catherine Lundoff: Hunger
Carmelo Rafala: What Happened to Mrs  Eleonora  Valdemar
Krista Walsh: Not for Amateurs
Tonya Liburd: Mimosa Versus The  Soucouyant
Federico Schaffler: The Fifth Hand of The Ahuizotl
Pedro Cabiya: Lay of The Land, Law of The Land
Charles Payseur: Stitched Together
Mathew Scaletta: The Sound a Raven Makes
Darcie Little Badger: The Whalebone Parrot
Lewis Shiner: Lizard Men of Los Angeles

We will have one translated story in this volume, with translation help from Fabio Fernandes.

Illustrations will be by the artists Kieran Walsh, Lynda Bruce, Soussherpa, S.L. Johnson, Vincent Holland-Keen and Andrea González.

Daniele Serra is once again providing cover art, which we will launch later this autumn.
Margrét Helgadóttir as editor.

Fox Spirit is Seven! #skulkisseven

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Fox Spirit is Seven! How did that happen?!

Did you know there’s an ebook store right here? And that you can use coupon code ‘skulkis7‘ to celebrate our 7th birthday with 25% off throughout June!! What are you waiting for?

It’s a milestone that makes you thoughtful. Shakespeare talked about the ‘seven ages’ of human life in his ‘All the world’s a stage’ speech. The first is birth which he describes as

At first, the infant,
Mewling and puking in the nurse’s arms.

Fox Spirit managed to avoid that unpleasantry: it was born with a song in its heart, a laugh in its mouth and a pub on  its mind — the Nun & Dragon. It was meant to be a one off, but here we are seven years later! Which in Bill’s words means:

Then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school.

I suppose we can see a little bit of that: hands up skulk members who would rather be writing/drawing/plotting than creeping to our jobs and other duties? Yes, you can put your hands down now. We itch to have the luxury of time, but there are always new responsibilities. In the mean time we can remember that we are yet young and have so many ways to grow.

What will the next anniversary bring? More books? More multimedia efforts? Games? Skulk Island? World Domination?

Time alone will tell — but the skulk has ambitions, you can bet your floof on that. All kudos to our fearless leader Adele!

The Eligability Post

Well, with Hugo noms open, it was inevitable.

Our eligibility for 2018 titles

Novel
Starfang 2 : Rise of the Clan by Joyce Chng
Starfang 3 : Will of the Clan by Joyce Chng
Children of Artifice by Danie Ware

Novella
Petra MacDonald and the Queen of the Fae by Shona Kinsella

Anthology 
American Monsters part 1

Short Fiction
Contents of American Monsters
Santiago Santos: «A Carpet Sewn With Skeletons»
Sabrina Vourvoulias: «Time’s Up, Cerotes»
Ramiro Sanchiz: «The Pearl»
Paula Andrade: «Almamula»
Mariela Pappas: «The Eyes of a Wolf»
Solange Rodriguez Pappe: «The Entangler»
Daniel Salvo: «Jaar, Jaar, Jaar»
Flavia Rizental: «My Name is Iara»
Gustavo Bondoni: «Vulnerable Populations»
Fabio Fernandes: «The Emptiness in the Heart of All Things»
Teresa Mira de Echeverria: «Lakuma»

The Judgement Call (7506 words) by Simon Bestwick
Along the Long Road (5500 words) by Penny Jones

Graphic Stories
Cesar Alcázar and Eduardo Monteiro (art): «Cerro Bravo» – American Monsters
Paula Andrade: «La Perla del Plata» – American Monsters 

Artists 
Paula Andrade, Lynda Bruce, and Kieran Walsh – American Monsters internal art
Daniele Serra – American Monsters cover
Neil Williams – Judgement Call/Along the long road cover
Tabatha Stirling – Petra MacDonald cover
Sarah Anne Langton – Children of Artifice cover
Rhiannon Rasmussen-SIlverstein – Starfang 2 & 3 covers

Editor (short form) 
Margrét Helgadóttir

A P.S. Our period columnist for Not the Fox News, Alasdair Stuart is eligible as fan writer and probably some other stuff, you should get on that. 😉

Monster Blog – by Teresa P. Mira de Echeverría

SOUTHERN MONSTERS

by Teresa P. Mira de Echeverría

About fifteen years ago, a group of paleontologists made a discovery (just one of many that often take place in Argentine territory) that caught my attention. It was the fossil of a mosasaur, a marine animal that lived on this planet seventy million years ago. The name that the Argentine paleontologists gave to that fossil and the place where they’d found it really impressed me.

It is common that the denomination of a dinosaur or other prehistoric animal is based on the name of the region where it was discovered or after its discoverer. However, this mosasaur, this particular species, received a different name: Lakumasaurus antarcticus.

Yes, the specimen had been discovered in the southernmost place on Earth and bore the name of a mythological animal.

I loved the idea of a dinosaur with the name of a mythical spirit belonging to the Yámana culture, the original inhabitants of Tierra del Fuego and a large number of islands that mark the end of the American continent. “The end of the world”, as Jules Verne called that region … except for Antarctica.

That animal had lived on a very different Earth. What today is composed entirely of perennial ice at that time was a tropical, fertile and warm land. A landscape gone millions of years ago that could well have been another world.

When I was still studying astrophysics (later I decided to change my career and got my PhD in philosophy), I used to spend many hours at the Museum of Natural Sciences of La Plata (which is inside the campus). And every day I used to admire the replicas of the prehistoric animals that had lived on a planet very different from mine and, even so, the same one.

When I heard the news of the discovery of Lakumasaurus antarcticus I was already studying philosophy, in Buenos Aires. I could not help but to join the memories of my hours with those ancestral and gigantic bones with the myths that I was investigating at the time for my thesis. Yámana myths among many others. And the myth of Lakuma, the Spirit of the Waters, especially.

I felt that many things in my life were being reconnected by de magic of a very distant creature and place.

When, a few months ago, I was asked to write a story about a South American monster, I had no doubt about what it would be. It would have been impossible to speak of another monster that was not Lakuma: a “monster” that, at the same time, is mythical and scientific (indirectly, of course). And a monster that, far from being “terrible” to me, is deeply evocative.

After years of studying astrophysics and visiting the dinosaur room of the museum, after a PhD in philosophy and research, one day I decided to dedicate myself completely to my passion: writing. It seemed that I had always been jumping from one island of reality to another, just as the Yámanas had lived moving from one south island to another in search of food and dreams.

As a writer, Lakuma became a symbol of my life, of what it was and what it is, of worlds as different as the Cretaceous Earth and the Earth of the present … or as Mars, Jupiter or the space between asteroids. A symbol of the possibility of living completely different experiences and, from a certain point of view, all of them “in solidarity” with each other.

Thus my story was born, one that unites very different times, that interweaves mythical and factual realities, and that ultimately seeks to portray the importance of dreaming and creating “better worlds” (as the writer or the artist does) in the midst of a society that constantly attacks human dignity (a society that often considers its members an statistic).

There was a time when there were not in the South Pole, as there are today, miles and miles of ice as vast and deep as the geological abysses. A time where those lands exuded a green and exuberant vegetation. Days in which immense fusiform reptiles dominated the life and death of its warm seas, as if they were the spirit of its waters.

For millions of years, day after day, this was so. And if there had been humans at that time, they would never have hesitated to consider those landscapes and that life as “inevitable” or “eternal”. But now we know that was not the case.

Probably (hopefully) there will be a future in which humans will populate the Solar System and beyond as if we had always belonged to space. And surely there will also be those who will think of that reality as something “eternal” and “immutable”.

If science fiction is the literary form that announces change (all change), it is also the literary form par excellence that announces the possibility of the different, of the other. The non-immutability.

In our human history, monsters have always been “the Others”, the different ones, those who do not conform, those who demand to be respected for who they are.

Science fiction talks about monsters to be able to talk about the different in a symbolic way and show the need for that difference. The beauty of the monster.

Society loves the status quo, of course, but life shouts with all its strength that change is not only necessary but inevitable. The “monsters” exist, but they are not what people should fear.

We are all monsters as we seek our originality and we separate ourselves from “the establishment”.

Lakuma is my monster, the symbol of what adapts to the sway of the times (just like its body adapts to the waves of the sea), but also of what is capable of anchoring itself to the ideals of a better world (ideals dreamed and put into practice, like those of the Yámana shamans).

And what are those dreams that give me roots but also wings? Those that imply that everything can and should change, but that it is necessary to work so that this change is for the better. Those of a world in which we see the end of inequality between genders, the freedom to be what we are and want to be (and yes, I speak of the right to be LGBTIQ +), and where there is a true human brotherhood (beyond of cultures, socioeconomical differences, skin colors, countries of origin, capacities, etc.).

The Lakumasaurus antarcticus teaches us that nothing is permanent. That the kings of the sea, like the retrograde and inhuman ideas that are dominant in an era, must evolve or perish within the framework of the long marathon of time.

Lakuma, the mythological being of a vanished people, teaches us that the best of a human group, the noblest of what the human being can be, remains beyond themselves in those ideas that prove to be “monsters” before the dead and cold eyes of ossified prejudices.

In my case, these monsters allowed me to see myself (accepting myself as the “good monster” I want to be, without the fear of being different), and to think, to dream and to create worlds where the landscape is wide enough to shelter each and every one of the people (wonderfully different from each other, as we are all) who want to read my stories.

Monster Blog – Gustavo Bondoni

The Story Behind My Choice of Gualicho

A quick google search will inform anyone interested that a Gualicho (or Gualichu) is a spirit from the mythology of the original people of Patagonia.  It’s the kind of evil spirit that every mythology has, and was often used to explain away every misfortune that befell the tribe. 

Now, I’ll be honest: I knew very little about the Mapuche people—the native population of parts of Patagonia—until very recently.  Argentina is a mainly European country and native populations represent a tiny percentage of the overall population.  The history and traditions of the original inhabitants of the country are only superficially studied in school.  When one encounters a person of evident native ethnicity, most assume that they are more recent immigrants from Bolivia or Paraguay.

These attitudes are the result of initial wars of conquest followed by a few centuries of assimilation—unlike in other areas, the original sparse native populations succumbed mainly to intermarriage with the much more numerous Europeans.

 Nevertheless, I’ve heard the word “gualicho” countless times in everyday conversation.  It has lost its original meaning to become synonymous of any kind of magic spell cast by a witch or shaman.

But it survived.

Somewhere in the wars of subjugation of a people who were far from most centers of commerce and population, one concept burned so strongly that not only was it understood by the conquerors, but it survived and entered the dominant Spanish language to live on in the vernacular.

Two hundred years later, an Argentine writer of mainly Italian ancestry (only a quarter of my forebears were from Spain) sat down to choose a traditional monster from South America. 

My research identified dozens of candidates, from legendary monsters to native gods and from spirits only a handful of indigenous people ever believed in to entities that frightened the superstitious colonists hundreds of years later.

The process ended as soon as I found the Gualicho.  I became fascinated with the fact that a word could morph and survive one of history’s truly definitive wars of annihilation.  It must have had some powerful mojo.

As a term that reaches us through an essentially oral evolution, the etymology is pretty confused, but in my imagination, I can see the Mapuches repeating it again and again every time they came into contact with those Europeans who, through firearms or disease, had become so intimately connected to the unimaginable evil befalling their people.

There was nothing else you could call them, was there?  Those pale-faced interlopers must have seemed to be perfect stand-ins for the evil spirit that haunted their people.

It must have been a powerful spirit indeed, powerful enough to find a way to survive.  But surely a spirit strong enough to be familiar to someone unconnected to the history of the region two hundred years after the people whose legends it had sprung from were gone would find a way to abide, to plan for the time when it could vanquish not only its original victims but also the new interlopers…

But who would it fight?  Would it attempt to ally itself with the Mapuche against the new enemy?  Would it continue to torment the Mapuche’s descendants? 

The answer, once I understood the spirit, was obvious.  This thing would fight agains everyone.

But how?

Well, to get that answer, you’ll have to read the story.