The Mystic Capture of the Unicorn

The legendary unicorn is too fierce to suffer defeat from mere huntsmen and hounds.

When they find him, he runs at a speed hard to match. When they bring him to bay, he fights and prevails.

Only the magic of a maiden can subdue him.

But how does this mystic capture transpire? Does the beast grow docile in the presence of a maiden and lay its head in her lap or upon her breast as the medieval bestiaries assert?

The tapestry in the unicorn cycle that depicted this mystic moment was damaged, and only two fragments remain.

In the fragment with the maiden, we also see a hound lunging for the unicorn’s back, or perhaps for its flank, where blood is visible. The unicorn may be docile, but its capture seems likely to be violent.

My own story, The Hunt of the Unicorn, diverges from the medieval legend at several points, but it does have one supremely peaceful vignette. My unicorn remembers his first moments of life after his birth.

He is ever so weak and wobbly when he tries to stand. But before he makes that effort, he knows contentment and security in the warm presence of his mother.

I imagine unicorns as possessing many of the attributes of horses. One of the equine characteristics I remember reading about is the difference between how humans relate to touch and how horses relate to it.

We humans are very cuddly, by and large. We hug, we pat each other, we hold one another, we stroke the head, and so on.

Horses aren’t cuddly. As herd animals, they take great comfort in the presence of their herd mates. (A lone horse is a horse vulnerable to predators.) They also literally throw their weight around to communicate. The nudge their foals. They hip check or shoulder check one another to assert dominance.

So when my unicorn was born, his mother nuzzled him and nudged him. But it was her quiet presence that he found most comforting.

I discovered a video of a newborn foal and its mother that captured perfectly the interval after my unicorn’s birth.

For more about the Hunt of the Unicorn, see:
The Hunters Enter the Woods
The Unicorn Is Found
The Unicorn Is Attacked
The Unicorn Defends Itself
The Unicorn Is Killed
The Unicorn Lives
Unicorn’s Lullaby

 

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Here Be Merfolk

My novel, Fate’s Door, is one of ten stories in a new bundle focusing on mermaids, sea people, and life under the waves.

The bundle includes some big names—Kristine Kathryn Rusch, Alan Dean Foster—along with some newer writers creating yet-to-be-discovered gems.

The first two stories, which I’ve read, are intense and powerful. I’m eager to read onward for the rest of the bundle!

If you enjoy fantasy featuring people of the sea and the shore, or if you’ve not yet read my own Fate’s Door, check out Here Be Merfolk.
 

Whale Rock’s sheriff, Dan Retsler, considers himself a practical man. But he has no explanation for the horrible deaths that take place on his beach. Nor does he know why so many locals fear the sea. The answer lies in legends of mermaids—not the pretty kind, but the kind that lure sailors to their deaths. Retsler doesn’t believe in them, but nothing quite explains the women he sees near the beach, when he investigates a friend’s sudden and tragic death.

“Like early Ray Bradbury, Rusch has the ability to switch on a universal dark.”  —The Times (London)

 
 

When Thalassa’s Children—the mer-like, genderless protectors of the ocean—experience the trapped and suffocating death of one of their own, a single member chooses to take action. Against the wishes of the collective mind.

But can a lone mer ever hope to convince the humans of what they have done to the ocean, in a language they will understand?

And will it be worth losing everything?

“[One of] the kind of stories anyone who reads them will remember forever…inventive, heartbreaking, and wholly original.”
    —Kristine Kathryn Rusch, Hugo award-winning author and editor

 

Best friends Chachel and Glint, a merson and a cuttlefish, are returning from a shark hunt when they stumble upon an unconscious female demon. Taking her back to their reef to recover, they fall into a unique friendship, one which will change their lives and community forever.

In this undersea adventure, New York Times Bestselling author Alan Dean Foster uses his extensive knowledge and experience from diving and traveling to bring to life the mysterious world of reef dwellers under the ocean.

 
 
 

Secrets, like troubles, come in threes. When you possess one of either, two more arrive to keep it company.

Nerine, a sea nymph of the ancient world, knows too much about both.

Each morning, in the chill before the sun’s rising, Nerine and the three Fates stand under the mighty branches of the World Tree, gazing into the depths of the Well of Destiny to master the dooms they must bring to life that day.

When the dawn’s visions show Nerine’s lover—shipwrecked and drowning—all her renounced yearning for him rises anew.

Surely, as handmaiden to the Fates themselves, she might tilt the odds to give her beloved a chance.

Somehow—this day, this morning, this time—Nerine must subvert destiny or lose the companion of her heart forever.

 

Setnya spies on her enemies, the land people. Humans engineered the sea people before the first world war between those of land and sea.

Once again, humans threaten to take over the sea.

Will Setnya’s choices move her people closer or farther from another war?

A thought-provoking story on the nature of humanity.

 
 
 
 

The call of the deep rings ever in our ears, from myth and legend to crime and mystery. Sea-people, mer and monster, immortals and reluctant heroes feature in this sea-worthy bundle.

“The Women of Whale Rock” by Kristine Kathryn Rusch
“We, the Ocean” by Alexandra Brandt
Oshenerth by Alan Dean Foster
“Deep Dreaming” by Debbie Mumford
Dolphin Knight by Robert Jeschonek
“On Desperate Seas” by Kate MacLeod
Fate’s Door by J.M. Ney-Grimm
“The Murky Depths” by Linda Jordan
“Dark, From the Sea” by Linda Maye Adams
“Ondine” by Brenda Carre

The Here Be Merfolk bundle is available at Amazon, Barnes & Noble, Kobo, iTunes, or direct from the BundleRabbit site.

For more bundles with my stories in them, see:
Eclectica
Here Be Unicorns
Here Be Dragons
Here Be Fairies
Immortals

 

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The Unicorn Defends Itself

The huntsmen in the medieval tapestries depicting the unicorn hunt are clearly hunting par force or by coursing. Meaning that they use sighthounds, not only scent hounds, to pursue the prey.

In the fourth tapestry of the unicorn cycle, the dogs and the huntsman have caught up with the unicorn, but to little avail. The beast is fierce and fights off its attackers successfully. Its horn pierces one hound’s breast, likely killing it. Who knows what further wounds the unicorn inflicts before it charges away through the forest?

In order to write my short story, The Hunt of the Unicorn, I needed to learn more about coursing as it was done in medieval times.

Fortunately, there are several books from the time period detailing exactly how the hunt proceeded. And I found a modern-day enthusiast who devotes a website to the topic.

The “Great Hunt” of the Middle Ages was an elaborate affair with distinct and multiple stages.

The Preparation

The day before the hunt, the huntmaster sallies forth to talk with foresters and woodsmen.

From them he learns what game is available and where each beast lay overnight. He hears accounts of what the foresters know regarding the probable size of the animal. The noblemen participating in the hunt want a large, strong adversary.

The Gathering

The whole of the hunting party sets out the next day: noblemen, huntmaster, huntsmen, dog handlers (berners), mews boys, etc.

While the noblemen enjoy an al fresco meal, the huntmaster sends his huntsmen out to the lays he learned of the day before. There each huntsman records the size of the animal’s hoofprint by breaking a small stick and collects the fumes (droppings).

The huntsmen bring their sticks and fumes back to the huntmaster, who evaluates them to determine the potential prey, one that is large and ‘in fat.’

The huntmaster chooses which beast they will hunt, and that focuses their attention. They will not break off from pursuit of that animal to chase another.

Placing the Sighthounds

Once the prey is chosen, three relays of three sighthounds, each relay accompanied by a berner, are placed along the probable route that the pursuit will take.

Then a special tracking dog called a lymer is set to work. (He is a scent hound, not a sighthound.) It is his job to find and move the prey animal. He works on a leash or ‘line’ held by his keeper.

Once the prey has been located and moved to the start of the planned route, the hunt proper begins.

Loose the Raches

Twelve or twenty-four scent hounds called raches are loosed to chase the prey, exhausting it both through the length of its running flight and through the fear induced by the baying of the dogs.

The noblemen follow on horseback, at times wounding the prey animal with their swords or spears. Bows and arrows are not used.

If the raches lose the scent, the lymer is brought forward again to locate and move the prey.

Loose the Sighthounds

As the hunt draws past the first relay of sighthounds, these dogs are released. They are very fast, very strong, and fierce fighters. They sprint to bring the prey animal down.

But, often, the prey is equally fast, equally strong, and equally fierce. It escapes. Or it fights successfully and then escapes.

(This is the moment depicted in the fourth tapestry shown at the beginning of this post.)

So the hunt goes onward in pursuit. And when they pass the next relay of sighthounds, this second relay is loosed.

The End of the Hunt

In the medieval myth about the unicorn, the huntsmen and their hounds cannot succeed. The unicorn is too fierce for them. It is only by the involvement of a maiden that the fabulous beast can be subdued.

But most hunts of hares, deer, or even boar could succeed. If the first relay of sighthounds did not pull the prey down, then the second or third would.

The dogs were not allowed to kill the animal. They were pulled off, and one of the noblemen would slay the beast with his sword, dagger, or spear.

The animal would be skinned and disemboweled, the dogs given their share, and the remainder sent to the castle kitchens to be made into dishes for feasting.

Modern-day Ethics

All of the above likely seems brutal to our modern sensibilities. We can imagine rather vividly what it might be like to be the prey animal suffering a chase to its death.

But the medieval hunters were the culmination of a long history of hunting and coursing—millennia—to provide for the table. Without hunting, there was not enough food for them or their families. And like humans will in every time and place when a job has to be done, they made it serve as entertainment as well.

Many nations in our modern world have outlawed coursing, deeming it cruel and inhumane.

Lure coursing, in which a mechanically operated artificial lure is ‘hunted,’ keeps alive some of the pageantry and tradition of the medieval hunt, and the specially bred skills of the magnificent sighthounds, without putting an innocent prey animal through torture.

For more about the Hunt of the Unicorn, see:
The Hunters Enter the Woods
The Unicorn Is Found
The Unicorn Is Attacked
The Mystic Capture of the Unicorn
The Unicorn Is Killed
The Unicorn Lives
Unicorn’s Lullaby

 

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New Book and New Cover!

I have a new book releasing soon! I’m really excited about it, can hardly wait to share it with my readers. I suspect I could burble on happily for paragraphs. But I won’t.

Instead I’ll cut right to the chase and do what I intended for this post. Share the cover! 😀

For images and curious facts from the world of A Talisman Arcane, see:
Tour Nileau
The Historical Tour Nileau
The Living Tour Nileau
The Dreaming Tour Nileau

 

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The Unicorn Is Attacked

The third tapestry in The Hunt of the Unicorn cycle depicts the murderous attack initiated by the royal huntsmen upon the unicorn when they bring him to bay in the forest.

I found it interesting that five of the six spears wielded have the metal crosspiece of a boar spear. That crosspiece is present because wild boar were incredibly dangerous beasts. Even with a spearhead jammed down their throats and lodged there, they were known to slam themselves up the spear with sufficient ferocity that the spearsman might die of their attack. The metal crosspiece impeded such a charge.

Evidently the ferocity of a unicorn was deemed equal to that of a wild boar!

As I wrote my own version of The Hunt of the Unicorn, I found the story told by the tapestries of that name becoming a central element in my narrative.

The unicorn of the tapestries is sought in the woods, located by the royal huntsmen, pursued, and challenged with spears. Mine is also.

But while the characters of the tapestries are archetypal, representing our collective human experience of Maiden, Fabulous Beast, and Nobleman, mine are specific individuals with their own quirks, personalities, and names.

Nor do the events of my story dovetail exactly with those depicted in the tapestries.

Yes, my huntsmen go into the forest to find the unicorn, but their reason for doing so is all their own. And when they find the beast . . . well, let’s just say that a spiritual battle takes place alongside the physical one.

Despite these differences and others, I drew heavily on the tapestries for my world building.

I had taken the hounds in the tapestries to be deerhounds, but those boar spears gave me pause, as did the unicorn’s reputation for fighting prowess. I eventually decided that Irish wolfhounds would be required!

As I read about Irish wolfhounds, I learned that their origins go back to the prehistoric Celts, when the hounds fought alongside their masters as war dogs in battles against their enemies. In later centuries, they did indeed hunt wolves.

They are very large, very strong, and very fierce in a fight. Despite their effectiveness in the hunt (or in battle, during ancient times), their disposition is mild, peaceable, reserved, and easygoing. They get very attached to their owners and any dogs they are raised with, and become morose if separated from them.

The hounds in my story are definitely wolfhounds!

For more about the Hunt of the Unicorn, see:
The Hunters Enter the Woods
The Unicorn Is Found
The Unicorn Defends Itself
The Mystic Capture of the Unicorn
The Unicorn Is Killed
The Unicorn Lives
Unicorn’s Lullaby

 

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The Unicorn Is Found

By 1728, the tapestries depicting the royal hunt of the unicorn were hanging in the Château de Verteuil, a property of the Lord of La Rochefoucauld located along the river Charente.

Two of the tapestries were placed in a hall adjacent to a chapel. The other five adorned a bedroom. The smallest may have served as a bed canopy. The larger pieces would have required a wide stretch of wall to accommodate them.

During the French Revolution, the tapestries were looted and used to cover potatoes. When recovered from a barn many years later, they proved to have sustained damage, although they retained their vibrant colors. One, in fragments, was repurposed to serve as bed curtains.

The second of the seven tapestries depicts the unicorn dipping his horn in a stream of water flowing from a fountain. The horn purifies the water for a variety of animals to drink from it.

In medieval Christian allegory, the lion represents Christ because of the beast’s “three natures.”

When the lion walks in the high mountains, he erases his tracks with his tail, exemplifying the way Jesus’ divinity was in repose during his earthly ministry. When the lion sleeps with his eyes open, he symbolizes Jesus physically dead upon the cross, but spiritually alive. And when the lion roars over his cubs (born dead) to bring them to life, he represents Jesus’ resurrection.

(To medieval scholars, the lion was a beast every bit as fabulous as a unicorn, a griffon, or a pegasus. Their understanding of leonine habits was lacking, to put it mildly!)

The other beasts possess symbolism as well.

The panther is Christ again, the ultimate enemy of the devil, much as the panther is the enemy of the dragon, ultimate serpent. The stag, too, is Christ, who tramples and destroys Satan.

The leopard is valiant and sweet-breathed, but a signifier of bastardy. The rabbit represents the modest, retiring soul who trusts fully in God. The hyena stands for greed, hypocrisy, and the temptations of the devil, sins to be resisted.

Just at the moment when the unicorn dips his horn in the fountain’s waters, the hunters discover him. In the tapestry, they all point. “See! There he is!”

For more about the Hunt of the Unicorn, see:
The Hunters Enter the Woods
The Unicorn Is Attacked
The Unicorn Defends Itself
The Mystic Capture of the Unicorn
The Unicorn Is Killed
The Unicorn Lives
Unicorn’s Lullaby

 

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The Hunters Enter the Woods

I’m in the midst of writing a short story inspired by seven tapestries created in the late 1400s to depict the royal hunt of the unicorn.

The tapestries are gorgeous, although historians have thus far proven unable to identify the original patron and tapestry workshop from which they came. The first recorded mention of them has the works hanging in the Paris home of the de la Rochefoucauld family in 1680.

Nor is there agreement on the symbolism of the story told. Perhaps the hunt depicts two beguiled lovers, the knight represented by the unicorn, the lady by the maiden. Perhaps the hunt is an allegory for the Passion of Christ. Or perhaps both stories are present, each enriched by the presence of the other.

The first of the seven tapestries depicts the start of the hunt, when the hunters and their hunting dogs are ranging through the forest, hoping to catch sight of the mythical beast they will pursue.

So…how did I come to be writing a unicorn tale?

It all started with story bundles. A number of my stories have been included in a series of bundles entitled Here Be…

“Crossing the Naiad” appeared in Here Be Ghosts. The Troll’s Belt is part of Here Be Fairies. And all three of my dragon stories feature in Here Be Dragons.

Alex Butcher curates these fine collections, and she has several new ones planned for 2019. Here Be Unicorns will release in March or April. When she asked me if I had a story that would fit its theme, I had to confess that I did not.

But her query got me thinking. Why didn’t I have a unicorn story? I should! I couldn’t stop thinking about it, and soon an idea bloomed. After I’d scribbled four different outlines in my journal (three of which were too long), I realized I needed to take my longing to write about a unicorn seriously.

I started writing this week. 😀

Update on The Sovereign’s Labyrinth

For those of you who have been watching the progress bar on my website…

The second of the Gael & Keir Adventures is in good shape. In fact, it is in the hands of my first reader. She’s read the first few pages, reported that she was gripped by the opening, and is eager to read more. I like hearing that!

It’s time for me to reserve a cover for the book from Deranged Doctor Design.

I’ve already been thinking about the next adventure. I’ve actually written the opening scene, and I have a tentative title. Deepearth Rising. I’m just as excited about it as I was about Sovereign.

I’m not quite ready to post a progress bar for Deepearth Rising, because I need to transform the mass of ideas I have for it into a coherent outline. Usually I do this before I write the first scene. But the first scene was just here in my head, and I wanted to write it while it was fresh. So I did!

But I plan to finish my unicorn story before I do more work on Gael & Keir Adventure 3. I’ll tell you more about it as I make progress! 😀

For more about the Hunt of the Unicorn, see:
The Unicorn Is Found
The Unicorn Is Attacked
The Unicorn Defends Itself
The Mystic Capture of the Unicorn
The Unicorn Is Killed
The Unicorn Lives
Unicorn’s Lullaby

 

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That Sudden Leap

I researched and planned for The Sovereign’s Labyrinth for nearly two months. As the story grew in my mind, I found myself often murmuring, “Oh! That’s so cool! I can’t wait to write that!”

Concept for the bridges into Hantida’s Glorious Citadel

I finally did start writing on November 9, and the actuality not only lived up to my expectations; it surpassed them. How often does that happen? But it really did happen with this novel.

Each scene had me rubbing my hands in anticipation as I prepared to write it, and gasping at the end, “Oh, that was cool!”

I suspect that is why my word count mounted up so quickly. I was writing as though I were a reader, saying, “Just one scene more,” and staying up too late at night for it!

But that’s not why the progress bar in the side bar of my website leapt abruptly ahead.

Concept for the moat surrounding Hantida’s Glorious Citadel

If you’ve been watching it, you’ll have seen the word count increasing from between 1,000 to 2,000 words most days, while the blue stripe moved steadily rightward.

Then, yesterday, as it was crossing the 50% mark, it jumped past the 90% mark. What’s up with that? Did I do a spot of time traveling, so that I could write 50,000 words one night between dusk and dawn?

Well, no.

Whenever I start a book, I’m essentially guessing about how long I think it will be. The Sovereign’s Labyrinth was definitely going to be a full novel. But was it going to be a doorstopper novel of 160,000 words? I didn’t think so. As cool as it seemed, it didn’t feel l-o-n-g.

Concept for an interior garden within Hantida’s Glorious Citadel

So I estimated that maybe it would be 130,000 words, and that is what I used to calculate the percentages on the progress bar.

Once I was well into the writing of the novel, I began to suspect that it might be 100,000 words. But would it really?

I don’t like to monkey around with a gazillion different estimates while I’m writing a book. It would just distract me, when I want to reserve my brainpower for storytelling.

So I left that 130K alone, figuring I’d adjust it when I got closer to the end.

Of course, you know what happened with that! The closer I was to the end, the more exciting the events in my story became. I was writing late into the night, sometimes past midnight. Yikes!

Which meant that I was too sleepy at night to bother with the progress bar, and too excited about jumping into writing in the morning to do it then.

But today (Thursday, January 31, as I write this—or was it yesterday? bad memory!) I said, “C’mon, Jessica! Time to get that progress bar within striking distance of a reasonable total. You’ve got 71,000 words written and another four or five big scenes to go. Call it 80,000 and adjust that bar.”

So I did!

I have to catch up on sleep, so I am forcing myself not to start the next scene (I already wrote two today), even though I really, really want to. But, tomorrow? I am so going to dive on it!

I found the photos accompanying this post during the research I did for building the world of Hantida, the city in which The Sovereign’s Labyrinth takes place.

If you’d like to see more of such world building, check out:
A Townhouse in Hantida
Quarters in the Glorious Citadel
A Library in the Glorious Citadel

 

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Last Day of Kobo’s Start a New Series Sale

Kobo has been running a special promotion for first books of series.

The Tally Master is in it!

If you buy ebooks from Kobo, now is your chance to pick up The Tally Master at a discount.

Since I’ll be releasing the second Gael & Keir Adventure later this year, it’s a great time to start the series. 😀

Here’s the link to The Tally Master on Kobo. (Or click the image below.)

Today is the last day of the sale, so don’t wait!

Update: The sale is now over. I hope that those who took advantage of the deal (and there were a number of you) are now happily reading! 😀

 

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A Library in the Glorious Citadel

Just this week (as I wrote The Sovereign’s Labyrinth), Gael and Keir decided on a late-night excursion through the Glorious Citadel and found themselves scrounging around its library. Which meant that I needed to know how my Hantidans make books.

I tend to borrow very freely from real world history as I build my North-lands, and I already knew that I wanted to borrow from ancient China for my Hantidans’ books. But I didn’t know a lot about bookbinding in the ancient east, so I had to read up.

I learned that the earliest writings in significant numbers were found on oracle bones used in divination.

The diviner would submit a question to a deity by carving the inquiry into an ox scapula or a turtle plastron. Then intense heat would be applied via a metal rod, until the bone (or plastron) cracked. The pattern of cracks would be interpreted by the diviner, and his interpretation would be engraved beside the carved question.

A millennium later, the Chinese were writing on bamboo slips which were tied together with silken cords or leather thongs when the text was long and required more space than a single slip could provide. These early books were essentially bundles.

The next innovation was the use of silk made into near-paper for writing. The silk was formed into scrolls, and the writing implement changed from a bamboo stylus to a hair brush.

The transition from bamboo bundles to silk scrolls was not instantaneous, and for a long time both formats remained in use.

Because silk paper was expensive, when a paper made from tree bark, hemp, rags, and fishing nets was invented, it became very popular. It, too, was formatted into scrolls.

The transition from scrolls to codices began when the long paper of a scroll was folded in wide accordion pleats. Eventually these pleats were cut into separate pages and bound together in a style called butterfly binding. Again, the two forms (scrolls and codices) coexisted for quite some time.

I decided that my Hantidans were in the midst of their own transition from scroll to codex. Scrolls are by far more numerous, but the new codex form is catching on fast!

But what was the nature of their inks and brushes? Not the traditional quill and ink pot that comes to mind from medieval Europe!

The brushes are ornate and possess caps to protect the bristles during storage.

The inks are made from soot—lacquer soot, pine soot, or oil soot—mixed with glue and aromatic spices, then pressed into shape and allowed to dry to become an inkstck.

When the scribe wishes to write, he grinds the inkstick against an inkstone, pouring water over the ground ink and mixing the two together in the reservoir of the inkstone. The scribe dips his brush into the liquid and then draws on his paper.

Other tools involved in the process of writing are brush holders, brush hangers, paper weights, a rinsing pot, a seal, and seal paste.

This was far more than I needed to know for Gael’s and Keir’s secret visit to the library, but I found it fascinating. Gael and Keir do pass by a desk set with writing implements, but the main action of the scene occurs when another pair of surreptitious night visitors also come to the library!

I won’t say more, lest I stray into spoiler territory. 😉

For more about The Sovereign’s Labyrinth, see:
A Townhouse in Hantida
Quarters in the Glorious Citadel
That Sudden Leap

 

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