New story in Liminal 3. It’s about logging, the economic downturn of the early 1980s, and the Cowichan Valley. And the smell of Grand Fir. And a family with a peculiar relationship to the woods.

Like a lot of kids, I grew reading legends and myths. The ones I loved best were about encounters with gods and strangers (the not-quite-human kind):

…Baucis and Philemon meet two strangers and share their meager supper.

…The villagers of Woolpit meet two green children, who say they have come from a world underground and who speak no familiar human language.

…A human midwife attends a fairy birth, and accidentally touches an ointment that allows her to see through fairy charms. This ends badly for her eyes.

…Mark Antony hears an invisible procession leaving the city of Alexandria, and knows that Dionysos has abandoned him to his fate.

When you encounter these narratives in the stripped-down language of a legend, they are often a little disjointed. They lack the final revelation of what’s really been going on that we seem to require in fiction, but which is absent from the urban myth or the weird anecdote.

I like these stories best when they’re bare and conversational, the kind of story someone might tell you at a bus stop, or in a bar… one time, I met this guy who… Something weird happens, but the story ends before the weirdness resolves into something we can properly grasp, leaving us– the listener– unsettled not only by the events described, but by their incomprehensibility. The best versions of these stories provide no explanation but accident and the arbitrary rules of a universe we don’t actually understand. In the world of these stories, you might do nothing wrong and still end up transformed forever. You might just be walking in the woods at twilight, and find yourself making a life-or-death decision as you meet a fairy host. You might catch the eye of a god or a monster and be punished for your presence in no way you could ever plan.

I learned two things from these stories: first, that it’s not a good thing to be noticed by powerful, inhuman creatures, no matter what CS Lewis and Tolkien might tell me; second, that stories can give the reader an unsettled feeling by what they leave out. Most often, the why of an encounter. At their very best, M.R. James, Daphne Du Maurier, and Robert Aickman write about that place between revelation and mystery, where no human knowledge is complete, and all one can do is observe the strange encounter and hope to survive it.

I’ve been trying to write in this mode for a while—much of The Paradise Engine was driven by my love for those unsettling, incomplete tales. “Lares Familiares, 1981” is from my latest experiments in capturing that texture of unknowing. I also have a story forthcoming in The Magazine of Fantasy and Science Fiction that fits the genre, too.

These stories are about that strange sense of a dislocation on an otherwise ordinary day. An encounter for which one cannot prepare, and which might  redirect one’s life entirely by accident.