(This story is also featured in my collection Joyous/Decay) The doll shivers in your arms, trembling like a candleflame in the wind, like you used to shake and shudder when you knew you had sinned, when you could feel rejection’s creeping despair just around the corner. Her big button eyes stare up at you, pleading, blue thread fraying from the knotted mass at the center of those dark disks; her mouth moves in soundless whispers, the same words over and over again– ...
The two of them are hanging out in an alley amidst tangled vines and crumbling walls and ancient trash almost become soil; the tiny doll leaning against a shotgun twice her size, soaking up the heat that always seems to radiate from its long and unadorned barrel, and the full-sized doll clutching its all-too-ornamental knife in hands that might almost seem human if not for their porcelain perfection, if not for those brilliant fingernails being so obviously painted just beneath the surface. ...
(This story is also featured in my collection Joyous/Decay. It is a sequel to Chalk, and might make a bit more sense if you’ve read that.) The teacup trembles for a moment as it tips, your hand shaking beneath the intensity of her gaze, the milky liquid inside pausing at the rim—and then it starts to pour, it spills, a cascade of still-warm tea racing down to stain her patched fabric skin. ...
The doll, returning to her first witch’s home, finds it barren and empty; the sprawling gardens overgrown, elegant flowers choked out by thorny weeds, junk littering the gate and the path beyond it—the great fountain, once golden with angelblood, now full of stinking trashbags. The doll picks her way up along the path, looking around in wonder at the changes decay has wrought; at the places where she once sat and played, at the broken trees and sculptures—tools of discipline which she once shivered to see, now nothing more than rubble and ash. ...
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 🧵 No self-respecting witch would let herself be seen to use one instead of a proper doll, and it’s easy to suppose that that’s the reason. It’s a class signifier, right? A power thing. ...
(this story hurt to write; I cannot say whether it will hurt to read, but please don’t force yourself to.) The witch treasured her dolls more than anything else, more than all her wealth and power. She crafted them from the finest components, beautiful souls carefully freed from failing flesh and woven through with threads of memory and love; each one a testament to her devotion. For a time this love was even reflected in the title the world gave her, that welled up from the strength of her workings and the marks she left around her. ...
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. ...
The doll kneels, moonlight glimmering across her waxy body, glinting off the many winding wires inlaid just below her skin. For a moment all is quiet and serene, the only noise the gentle padding of her witch’s feet on the cool tile floor. Then, the click of a lighter. The doll does not see her witch approach, her closed eyes buried far too deep beneath waxy godblood to even begin to open, but she hears—the hissing static of the flame, her feet on the ground, the strange little gap as the flame touches her wick, as she begins to burn— ...
The city is full of ruins, though few last long—waves of construction, of revitalization, flow through it like water, like the flexing of some unseen beast. The city’s blood flows in cranes and trucks and trains, in the brutality of gentrification and the decay that follows. Trash dolls and harpies run before the wave, and feral angels slide through the cracks; but witches always find a way to protect their places, all those strangely preserved houses scattered through the hills, those otherworldly relics. Even after their deaths, they remain. ...