dolls

Doll has always hated the subway. Each time she descends into those fetid, intestinal depths her skin prickles and her stomach roils; something deep in her unbeating heart recoils from the trains' steady rhythm.

But it's raining today, so she has to.

"Stop touching that!"

"But missssss, it's so much fun, all nice and smooth with those jagged edges, and it's oozing! Look at it ooze!"

"That's fucking gross."

"You're just jealous that no one wants to break your arm!"

"Why would I—ugh, dolls …"

Doll rinses and spits just like she's always been told to. Not too aggressively, not enough to drain her mouth of the taste of cold mint; just enough for comfort. Comfortingly routine.

But (of course there's a but) the sink growls at her as she spits.

For a long moment she doesn't realize that she's heard it. Her mind is so far away, yet not far enough to catch her eyes and hold them fast; her gaze sinks down as inevitably as any sunset.

Doll stumbles as she rushes home, one fine little foot caught in the cracked sidewalk, stone-teeth gnawing at protective leather. Her bag's too heavy today, rattling and clanking against her bruised hip; each step brings a fresh gasp of pain to her tightly sealed lips. Oh, if only she didn't have to hurry, if only she could take her time—!

But the sun's grasping rim is already teasing against the horizon, so far off across the sea that Doll's eyes can barely see the superheated steam which always veils those nightly indulgences; the sea is reaching up towards it and every clock in the city is about to chime out out the 19th hour's song and there's no time held in wait for her belated need.

When doll slips from the confines of her bed-box and stumbles downstairs, there's an odd rectangle waiting at the table: a folded sheet of thick, creamy paper. It's for her, obviously—why else would her miss have put it there, next to her oatmeal and tea?

But doll isn't sure.

"Miss, what's this?"

⌈Cartɘr & Abɘl—ruining witchɘs' days sincɘ 629⌋

It's a cute sign. Done in marker on cardboard, sure, rather than paint on wood, but there's something almost charming about that to Arlene's weary eyes.

Pity that building it's affixed to is such a disaster.

Inside the building reeks of fresh death and fresher growth.

As Arlene creeps through it, guiding herself by apartment numbers and the scant surviving signage, she passes by windows dilated into misshapen staircases and beneath twitching masses of blue-white growths, dangling down from the high ceiling like tangled threads and greasy hair.

Every so often a fuss is made about folk dolls, those odd little half-living homunculi; beings of distilled purpose and steady decay, straw and sticks and hollow gourds.

People rediscover them, and wonder why they're not in wider use.

Listen for a moment and I'll tell you 🧵

The willows' leaves hang heavy and low, a cascade of crimson tears soaking up the lake's polluted water, planted by some long-ago witch to decorate a pathway through her estate; but she is long gone now, and her gardens have dwindled to be nothing more than a park.

It is a good park, mind, sometimes called one of the city's shining jewels (though only by poets and brochures); on most days it's full of picnickers and joggers, stray students playing games on the lawns and witchlings praying for luck at the tomb hidden on the north bank.

This week the witch is living in a half-destroyed warehouse right on the edge of one of the impact craters, close enough that your phone won't stop interrupting your conversation with alerts about impending exposure. She says it's fine, though, so you just swipe them away.

The city is always a bit too aggressive about geofencing their alerts, so it's not like you're unused to being told to ignore them by people who really should know.

Besides, it's nice here. It feels abandoned. Hardly like part of the city at all. It's just comfortable.