A tale of Shamass as told by Miss Verity Hawkins

The following tale was related to me in a dream. Its source is indisputable, as too its author. It first appeared as A Christmas tale in Julius of H. H. B. Shamass, as told to Miss Verity Hawkins, 104 O.P. More Shamass available here.


fig. 1. A broken gadget.

He told me of a dream, or was it the memory of a voyage? He found himself in a far country. Alone on a dark plain he was seized by a great birdlike creature that blotted out what little remained of the pitiful sky. Caught up in its talons and their dread passage, he was unsure for a time if he was the bird or the disquiet of the air.

                Soon, he was rudely deposited at the gates of a metropolis. He drifted into the sprawling city. Beneath the dismal sun, its citizens existed in a perpetual twilight. They called the city Izdubal—or possibly Gilgitron. Its drab streets and ravaged buildings and towers were encircled by an immense putrid river that beat upon its crumbling shores. Here, life was just so much rot in a universe of decay.

                Though rank and festering, the blight of the city was far from the strangest sight. He noted that all the people he came across—all but one as he was to discover—had encumbered themselves with a most puzzling contraption. Carried upon their chests a device was slung that contained in its centre a small, polished screen. Across the surface images flittered that bore a striking resemblance to the bearer. He stopped, fascinated by these stuttering forms, and soon realised that they were moving at a slightly faster rate than the lives so represented. “My future,” one of the city-folk whispered. “All of our futures,” another mumbled, whose screen was dark—or rather, a clutter of static. He pondered these words and realised that for many, indeed for all these people in the fullness of time, their screen life outpaced their actual. He soon saw many more of them, young, old and the barely living, whose screens were dead. Indeed, it seemed to him that no one here was fully alive or dead, and time itself was neither overripe nor completely barren—just uniformly dull. Screen life as bare recompense for something lost; a burden disguised as an apt distraction. All waiting for their dead life to catch up with its representation.

                On the outskirts, across the raging river and past the ruins of the old city of the sun god Shamm, he found a refugee from Izdubal. She, like he, wore a helmet to guard against the foul air that some called atmosphere. On a mound, near a lone tree whose roots broke through a nearby burial chamber of a long-forgotten priest of the sun, she stood bereft of screen and so too her double life. At her feet, the gadget lay broken. There, with neither concern nor the complications of abstraction, she sung the day into being:

                I believe in the gods. There are good reasons. They dress only in feathers. Eat and in turn are eaten. They are the vaults of heaven. I know this. I have heard these things. For I am their scribe. The suffering of their transcendence. In truth I am only a leaf. The entropy of contentment. Mark these words. Be their filth. Anticipate the transition between one sound and the next. Find necessity, never freedom, in these gaps. And as penance, dwell there. For they are divine in all but name . . .

                He tried to join her upon the mound, but was never able to gain a sure footing. She smiled, wiped the tears from her face and continued to sing.

fig. 2. In the ruins of the old city of the sun god Shamm