Merkabah Rider 3: Have Glyphs Will Travel Notes

Before I jump into this post, Chag Urim Sameach/Happy Hanukkah.

My gift to you is, first three readers to send an email to emerdelac (AT) gmail.com get a free e-copy of Merkabah Rider 3: Have Glyphs Will Travel in .epub, .mobi, or .pdf.  Just state which you prefer. I’ll post on here when I get enough responses. (GIVEAWAY’S OVER, FOLKS. Thanks for looking – hope it was a happy holiday.)

Now on with the rest of the shew….

I like reading the thought processes and inspirations behind stuff I read by other authors. Joe R. Lansdale did this for his High Cotton collection, prefacing each story with a short bit about how it came to be. When I wrote for Star Wars I did something like this on the official blog, a sort of key to the easter eggs and references I put in the story for fans, something guys like Dan Wallace and Jason Fry still do on there.

Anyway, I’ve done one for each of the Merkabah Rider books, and it being Hankukah, felt like time to sit down and whip up one for the latest installment, Have Glyphs Will Travel, which came out at the beginning of December.

These might be partly spoiler-ific, so if you haven’t read the book yet, you might hold off and come back later.

Still here?

OK.

In Episode 9, The Long Sabbath –

Really not too much homaging in this one. The critters the turncoat riders put in the hapless adjutant and his scout are meant to be Mythos spawned of course, but they’re my own creation, sprung from me reading about the phenomenon of kamikaze ants and their last ditch method of defending their colony from invaders.

Exploding ant traps an enemy worker

Cattle stampedes are the most harrowing, violent danger I can think of for an old-time cattleman, from what I’ve read and seen. The stampede scenes in Lonesome Dove and Red River have always stuck with me. The only thing I could think of worse than being in one was being immobilized in the middle of one.

There is one extra-Rider allusion. Abe Lillard, the Rider’s best friend from San Francisco, is meant to be the half-Jewish son of Tommy Lillard, a character portrayed by Harrison Ford in a western that was a huge inspiration for The Merkabah Rider series. I would assume Abe was named for Tommy’s best friend.

Avram Belinski (L) and Tommy Lillard (R)

In Episode 10, The War Shaman –

Lots of history easter eggs in this one. It’s actually my favorite of the book as it was clearest in my head from start to finish and includes a cameo by some of the greatest of the Chiricahua Apache warriors, a people whom I have an unadulterated admiration for.

Goyaala is Geronimo of course, and stuttering Juh (pronounced ‘whoa’ if you were wondering), Vittorio and the warrior woman Lozen are all real individuals. Lozen’s purported seeing Power and the chant she uses to activate it was documented as well. As a matter of fact, all the named Apache are taken from historical record, even the outlaw Bedonkohe, Inya.

Faustus’ extra-dimensional origins have been delved into by me in an earlier post here….https://emerdelac.wordpress.com/2010/12/23/merkabah-rider-author-notes/

Of the various stories he mentions as being real, of course the whaler with the Indian figurehead is the Pequod of Moby Dick, the boy with the sword from the stone is intended to be Arthur, and the thirteen heroes with two hearts between them, well, you don’t need a ‘doctorate’ to know ‘who’ that is.

Thirteen heroes (eleven pictured) with two hearts between them.

The company of cavalry Faustus, the Rider, Belden and Kabede meet on the road are commanded by Adna Chaffee, who was an actual Civil War veteran and later became a General, seeing action in the Chinese Boxer Rebellion and the Phillipine Insurrection.

Tom Horn

Riding along with him is the famous German scout Al Seiber, who was General George Crook’s chief civilian scout during the Geronimo campaign. Tom, the boy accompanying him, is Tom Horn, the infamous range detective later hung for murder in Cheyenne,Wyoming (perhaps unjustly) and portrayed by Steve McQueen in the titular movie. Togo-de-chuz and his ‘kid’, the Apache scouts Seiber mentions as his preferred companions, were real Apache scouts, the ‘kid’ being Has-kay-bay-nay-ntayl, later known as ‘The Apache Kid.’

The Apache Kid was an interesting character who was a longtime friend (and very nearly a surrogate son) of Seiber. When a drunken scout killed his father, the Kid retaliated and became an outlaw.  He surrendered to the Army and was sentenced to a year in Alcatraz and later Yuma Territorial Prison, the latter of which he is one of the only known escapees from. He and three others overpowered some guards and fled into a snowstorm, never to be seen again. One of his pursuers was future author Edgar Rice Burroughs, then a member of the seventh cavalry!

The Apache Kid

Nacozari and the Moctezume Mining Company are both real, but the existence of the Apache stronghold of Pa Gotzin Kay is debatable. It’s tangled up with the story of the Lost Adams Diggings, a legendary gold vein, also the inspiration for MacKenna’s Gold. I’ve moved it from the traditional location of New Mexico.

Oh there’s lots of Lovecraftian stuff in this one as well. Misquamicus of course, also the subject of Graham Masterton’s great Manitou series of novels. I’ve made him a sort of endless being, on par with his brother, and tied him into most of the major Native American doings from the dawn of recorded history and on that I could find, from the early treacheries of Cortes to the Maroon rebellion in Jamaica, where I had read some of the captive Indians involved in the burning of Providence, Rhode Island had been shipped off as slaves, and I imagined Misquamacus would have found work to his liking. The Sand Creek Massacre was one of the worst acts of genocide enacted by the United States against the native populace. It was actually the basis for the original weird western stories I wrote in high school, some of which evolved into Merkabah Rider.

A deformed Misquamacus in the future, from 'The Manitou'

Misquamacus’ dealings with the Billington clan of New England are documented in Lovecraft’s The Lurker At The Threshold, where his devotion to Nyarlathotep and conjuring of Ossodagowah are both mentioned.

 The supernatural aspects of the bad guys who side with Misquamacus are mostly my own invention of course, though the Pawnee did at one time practice a somewhat infamous human sacrifice ritual, and the Tonkawas did believe they were descended from wolves. Any misrepresentations are of course my own fault, but I make no apologies portraying skinwalkers in a negative light.  I don’t think any Navajo would take issue with it.

 The Rider’s likening his claustrophobia to the various mental afflictions of an old friend from his yeshiva in San Francisco named Aloysius Monkowitz is a shameless (or perhaps shameful) allusion to a probable ancestor of a certain neurotic modern day San Francisco detective with a similar name of whom I’m a fan.

Aloysius Monkowitz's famous descendant.

In Episode 11, The Mules of The Mazzikim

This is another one short on easter eggs, but there are a couple.

The scalp the Kwtsan Indian tries to sell the Rider on the bridge going into Yuma is the scalp of Joe (John Joel) Glanton, the leader of the band of vicious scalphunters hired by the Mexican government to collect bounties on Apache Indian scalps in the 1840’s and vividly portrayed in one my favorite novels, Cormac McCarthy’s Blood Meridian or, An Evening’s Redness In The West. Glanton and his gang took over the ferry over the Gila River at Yuma and regularly robbed and extorted crossers. They were later slaughtered by the Kwtsans on that spot.

The Rabbi Belinski the Rider mentions as having overseen his bar mitzvah was the aforementioned Tommy Lillard’s best friend, a rabbi who once undertook an amazing journey across the west to deliver a Torah scroll to San Francisco.

The lawman, Marshal Books, who arrests the Rider is the same ailing Books (or perhaps the brother of) who years later has it out on his birthday in an El Paso(or perhaps Carson City) saloon with several of his nemeses.

Happy birthday, Books

In Episode 12, The Man Called Other

Every aspect of Yuma Prison I could realistically portray I did, from the color of the cots to the processing of prisoners, to the rings in the floor and The Dark Cell. I visited what’s left of the place last year and the museum that sits on the site. Judge Berry was real, and the warden of the time was the real guy, Captain C.V. Meder (though not the acting warden, obviously).

In Episode Thirteen, The Fire King Triumphant

The title of The Fire King Triumphant is paraphrased from the headline of the Tombstone Epitaph (‘The Fire King Reaps A Harvest’) about the May 1882 fire that actually swept through the town of Tombstone. It really did start in the outhouse behind Tivoli’s as depicted. If you get yourself a street map from the time, I’ve done my best to keep the layout of the story true to the town.

W.W. Spates appeared in the last book, and I talked about the inspiration for him. His colleague, the linguistic expert Warren Rice is intended to be a younger version of the silver haired linguist who accompanied Harry Armitage in The Dunwich Horror.

 China Mary, the shrewd entrepreneur with ties to the Chinese Benevolence Society (or tong) in Tombstone, was a real lady, as was her Can Can Chop House. The word her man uses to describe the amorphous beasties in Lepsy’s barrels is hundun, which does mean dumpling, or wonton, but also refers to a legendary faceless, formless beast from Chinese folklore. The hundun is primordial chaos, a lump of flesh or thunder egg from which creatures of reality are born, or a featureless creature lacking the seven openings which mark humanity.

hundun

The villain of this story Lepsy himself is a reference to a ghost story from Dudleyville or Pinal, Arizona. Lepsy supposedly did hire Chinese workers and burn them as remuneration. When a sheriff and his posse went after them, Lepsy did the same for him. In the canyon where these crimes supposedly occurred, you can see scorch marks and smell burnt flesh.

Camillus Sydney and Mollie Fly did own the photography studio in Tombstone at 312 Fremont Street. On October 26 1881 the Gunfight at the OK Corral took place in the alley between his boarding house out back and the next house over, and it was inside his place that Ike Clanton and Sheriff Johnny Behan took cover.

Fly and Mollie both took photographs in their studio and abroad, Mollie being one of the most prominent female photographers of her time. Fly took the famous photos of the Billy Clanton and the McClaurys in their caskets. Fly also accompanied Crook to Canyon de Los Embudos in 1886 and took pictures of Geronimo in the field – the only photographs of Native Americans actively engaged in resisting the US government.

Mollie Fly took this picture of the CS Fly studio as it burned for the second time in 1912.

Finally, Moon Fugate and his peculiar pigmentation condition are a reference to the famous Blue Fugates a hill clan from Hazard, Kentucky, born with methemoglobinemia or met-H, a genetic blood disorder which results in blue skin.

The Blue Fugates of Kentucky

That’s about all this time out, kiddies. Whew!

Soon, news about the final chapter in the Merkabah Rider saga. It’ll be something special.

Don’t forget the giveaway.

Happy holidays, whichever holiday it may be, and good new year on you.

-Hasta pronto,

EME

To Hell And Back: Yuma, AZ And Beyond The Infinite

 Well True Believers, I’ve returned from my research excursion into sunny Yuma, AZ and the old Territorial Prison.

Yuma Territorial Prison. A nice place to visit....

Getting a jump on the perennial LA traffic my intrepid partners and I sallied forth in the early hours, talking shop most of the ride. Somewhere at the edge of the San Diego County Line I watched one of those birds that divebombs in front of cars speeding down highway smack into the windshield of the SUV in front, blooming from a dingy brown into a puff of white down feathers, as if it had been some kind of ethereal creme-filled confection blown apart by a gust of wind.

Ploughing through the feathers and ignoring the bad omen, we continued on to Yuma, AZ, called ‘The It Town’ by the Arizona Star, according to a billboard.

Had a great lunch at the historic Yuma Landing Bar and Grill, named not after the steamship landing as I’d thought, but actually the first airplane landing in all of Arizona, around 1911 or so. Pictures of antique aircraft decorated the walls, along with some very interesting photographs of old Yuma itself, even a few sketches of the old, old days (1880’s). The house speakers were cycling through some classic country – Merle Haggard, Tammy Wynette, Charley Pride, Kitty Wells, Dolly Parton. Plus they made a great burger. It was a pleasant dining experience made all the more pleasant by its affordability.

Yuma prison in its heyday.

Afterwards we headed over to the prison itself. Situated on one of two rocky hills which flank the Colorado River, the prison was erected in 1876 as the brainchild of a pair of local entrepreneurs seeking to draw revenue to the area. The place was planned out not by an architect, but a local contest winner, who got a $150.00 prize for his efforts. The laborers weren’t contractors, but the inaugural seven inmates, who were put to work building a plank wall on the north and east sides of the site to contain them, and some adobe cells. The iron doors were shipped in later via steamboat and unloaded by the growing prison population, who also hauled the sternwheelers into drydock, built the stone water reservoir and guard towers, and dug the stone and clay building materials out of Prison Hill itself. Initial temporary buildings notwithstanding, security was never a problem for Yuma (dubbed the Hell-Hole by its inhabitants) Prison. If one managed to escape the guards and scale the walls, there just wasn’t anywhere to go. The closest town was miles across the surrounding desert, much of it trackless Sahara-style dunes, and a group of local Quechan Indian line riders were kept on retainer to chase down escapees. 

In its 35 years of operation only 26 prisoners ever escaped, most of them during the supervised work details. 111 died of various causes, from tuberculosis (the most common way out of Yuma) to gunshots.  While there were no executions, punishments (other than daily sharing a cell in 110 degree heat with five other prisoners who only washed one day a week) occured, both confirmed and legendary. Would-be escapees were fitted with ball and chain, ‘incorrigibles’ were chained to an iron link in the floor of their cell, or flung into the Dark Cell, a black-as-the-pit stone room with a single narrow pipe in the ceiling for ventilation and light and an iron cage in the center.

Looking up the pipe and possible snake entry of the Dark Cell

Rumored punitive measures include tales of guards dropping rattlesnakes down that pipe, or filling the cemetary of stone pile unmarked graves outside the east wall.

I brave the Dark Cell.

The inmates of the prison varied in their criminal activity, from the man convicted of  ‘seduction under the pretense of marriage (which moral grounds aside, also translated to a concrete theft of property if you think about the dowries young women brought with them into matrimony in those days), to gunman Buckskin Frank Leslie, who rode with Wyatt Earp. In later years, female prisoners were incarcerated at Yuma, like would-be stagecoach robber Pearl Hart, and Elena Estrada, who, spurned by her lover, cut out his heart and flung the bloody thing in his face.

Prisoner's eye view out the Dark Cell

The prison population represented an interesting cross-section of America. Though the majority of inmates were white (and Catholic), the prison housed Mexican, Apache (including at one point Haskay-bay-nay-ntayl, the infamous Apache Kid – who coincidentally enough also spent time at Alcatraz, and was one of the aforementioned succesful 26 escapees, overpowering three guards and disappearing into a snowstorm with two other prisoners), Chinese, European, African American, and even African individuals. A placard at the prison breaking down the demographics of its some 3,000 inmates even claims to have included a single Buddhist.

The Sallyport: Main entrance to the old prison.

As stated, only a fraction of the original structures remain. The adobe wall is mostly gone, though the imposing Sallyport which served as the main entrance remains. Pieces of the wall are devoid of plaster and have been melted down by years of weather, though its a bit of thrill to see the bits of straw and stone in the old mud bricks which must have been packed by the prisoners’ own hands. You can walk in one of the cells, though the roof of the main cell block (atop which a hospital sat at one point) is now open air. The original guard tower over the stone water tower remains, and you can still walk into the Dark Cell and see the banded iron in the floor. Spiders are the only inhabitants now, and birds nest in the crumbling padlocked cells, the walls of which are scrawled with grafitti dating back to 1929.

Looking west at the prison from amid the unmarked prisoners' graves.

A very interesting excursion, which should prove fruitful in the Yuma-centered segment of the forthcoming Merkabah Rider installment, ‘Have Glyphs Will Travel.’

From the prison we attempted to find a series of old petroglyphs to the east of town, using only my buddy’s internet phone (I am in no way a technophile -I’m sure there’s a proper term and I’m probably mucking it up) as a guide. That proved fruitless, so we headed back to Yuma and took in the site of historic Main Street while we waited for the six ‘o clock showing of Thor.

I’ve walked through a lot of offbeat towns, but even the weirdness of Quartzsite did not compare to the strange feeling one gets walking a mostly deserted business district at four in the afternoon. Shop after shop was boarded up or closed early, with some signs proclaiming ‘Be Back Next Week,’ and one memorable and somehow slightly disquieting bit of signage declaring ‘Gone Fishing For Souls.’

Gone Fishing....

 

Walking Main Street, Yuma I felt like I was passing through a Lovecraft story. Three quarters of the closed shops were hawking dusty, strange antiques. We saw a moldy quilt patterened with Egyptian hieroglyphs. There was a turnstyle display with little plastic/rubber demon headed puppets hanging limply on the pegs. Peering through one dusty glass door at a Zoltar fortune telling machine (yeah, like the one in ‘Big’ with Tom  Hanks), we saw a seven foot tall chicken statue.  Faces peered back at us from behind cracked and dusty glass frames, antique photos of people I didn’t recognize, except for one of Annie Oakley. We passed an art gallery which had a cheery ‘Grand Opening’ sign in the empty window, the curling purple and pink balloon ribbons still hanging from the corners, and I smoothed back the eviction notice taped outside. Very depressing.

The most impressive structure on the street was a high brownstone and pillared affair. It too was closed. The faded United State Post Office letters across the top could still be seen. They’d been replaced by a set of austere stone letters which gave the name of some company I’d never heard of. Inside everything was taken care of, but again, they were all long gone by four. Looking up the company name on my buddy’s phone, we read a vague, impressive sounding list of the company’s purpose. Whoever there were, they were big enough to buy out the Post Office. The high iron spiked fence protected a well-kept lawn (which as anyone who’s been through that part of Arizona knows is no light endeavor) and two plain sandstone dais (es?), on which I imagined some Innsmouth-like employees of this shadowy corporation enacting God knows what in the dead of night during the vernal equinox or some such (worshiping the giant chicken from the antique store maybe?). Chuckling about it all away (but I think, dreading to see what this area was like when the sun went down), we scooted off to a showing of Thor at the amazingly reasonable price of $6.50, my companions whispering that the price was probably so good so as to entice people in. Then the screen would start flashing a dancing silver pumpkin head or something. 

Something wierd about the theater too….in a case in the lobby, dozens of coffee mugs and tea cups, all of them different colors, shapes and styles, each and every one personalized ‘to Cassandra’ by Hollywood celebrities, ranging from Jerry O’Connel and the gal with the eye makeup on the Drew Carey show to A-listers like Clint Eastwood, George Clooney, Julia Roberts, and a big old green teapot inscribed by John Travolta.

Odd.

Well, Thor was alright. A great big beautiful FX show with some amazing art design, charismatic actors, and neat-o little asides to us Marvel-lites, but not much in the way of a coherent or engaging story (surprising considering J. Michael Straszynski’s name was on it). Oh and spolier,  to those who haven’t sat past the end credits (and you ought to know better by now), looks like The Avengers will be puzzling over The Cosmic Cube in their much-anticipated team-up movie.

We purchased a ticket for the last showing of Priest (because at 6.50 a ticket how could you not?) and headed over first to the Coolest Bar Downtown (that was the name I think) for beers, and then an impromptu excursion to a local Italian eatery (and more beers).

Night on Main Street and there were no dark tendrils reaching at us out of the sidestreets, nor fish-eyed pale skinned residents rising out of the broken old shops to snatch us off to be giant chicken feed at the big corporate bash. Not entirely complete turnaround, but it was lively. The clubs and bars opened up, spewing out endless monotonous loops of Hispanic dance music, and a crowd of teenagers dressed to the nines for the local promp diddy-bopped up and down the ave.

Once we were full of beer and calzones we’d seen all there was to see and returned in time for the start of Priest. I was engaged even in my stupor for the first ten or fifteen minutes. As soon as the hordes of vampires attacked the homestead, killing off ma and pa and spriting off the daughter, inducing the enmity of the girl’s uncle, Paul Bettany, I recognized the plot as being ‘The Searchers,’ which I thought would be interesting. Also the opening info-dump set protrayed in kinetic Gennedy Tarktakovsky (the man responsible for the REAL Clone Wars cartoon) animation had me going. But pretty soon the needlessly digitial vampires started showing up (a la the needlessly digital plague victims in I Am Legend) and it turned into a literal snore-fest for me. The last movie I fell asleep in the theater to was Patriot Games.

Well, we spent the night at a Travel Lodge and departed in the morning. The boys returned to Yuma Landing and I tried out a Mexican lunch counter serving Chivo Birria (Goat Stew). A little bit too boney.

We headed west and decided to pull over and take a look at the amazing dunes that comprise the north edge of the Sonoran desert.

Waiting for Shai-Hulud

We scaled a couple big ones, cracking wise about Arrakis and Lawrence of Arabia. I took a brief call from the wife atop a sandpile and that short exposure to the blowing grit filled my phone with so much Mexico it still grinds everytime I open it. The blow is pretty harsh, and literally gets into everything. I don’t know how the Bedou do it without goggles, but I could barely see when I got back in the driver’s seat, and had to flush out my eyes with Evian (which is all I’d use Evian for anyhow).

We drove on, and passing through the rockpile mountains outside of Jacumba on I-8, I spotted a stone tower high up overlooking the winding pass, so we decided to make another impromptu stop.

Resting on the road to Alpha Centauri.

Stopping only once more on the road up to see a Gray slumped over the wheel of his flying saucer, we stepped out of the car in front of the Desert View Tower into a bracing cold we hadn’t expected after all our time in Yuma.

The three story turret is actually a reconstruction of a similar building erected in the 1870’s to assist in ox-hauling freight. The current one was apparently constructed in the 1920’s.

Vaughn's Desert Tower

The caretaker got me with the rattlesnake eggs in an envelope gag, which was apparently an old one (but obviously not to me, because it scared the crap outta me). He then proceded to do the same to one of my companions and a boy who came in after us with his father.

Barbed wire skull on the wall

We scaled the winding staircase, observing various displays of folk art and taxidermy, cultural history, and gay love (yeah, it was some weird ascendancy thing. We went from mole skeletons and roaring boar heads, to celebrations of African and Indian Women In The West, to a pair of contruction workers suspended high over a concrete canyon deep mouth kissing), finally emerging to poke our heads out of the roof and be buffeted by hurricane force winds that swept over the rocky tops and down into the pass. It was like sticking your head out of a Southwest airlines flight.

After the tower, we explored the adjoining Boulder Park, with footpaths winding to heights higher than the tower and creeping underneath massive boulders, a good many of them handcarved and painted as if from sugar into whimsical animal shapes by artist W.T. Ratcliffe in the Depression.

Whimsy swiftly turned to horror.

We made our way up the switchback until we were overlooking the old tower, and spent a good forty minutes clowning in the buffeting wind, which you could literally lean against during the big blows.

"Be ye dumb rock or demon-born, I'll not be thy repast!"

It was a visceral, amazing sensation standing at those heights ‘surfing’ on a boulder, the wind flattening your clothes against your chest and legs, ballooning your jacket and trying to push you to your death.

Jeff lost his hat. A big surprise gust came and took the thing off and sent it turning into the wind, sailing down the mountainside. It was like one of those scenes in adventure movies, where they want you to get a sense of the danger by whipping a hat away and letting the camera follow it as it dwindled into the abyss.

Before The Hat Incident. We were innocent then.

We descended in a search pattern, building up the lost cap (a beige one at that) in each of our minds, thinking maybe if one of us actually found the thing we would be granted some unquantifiable boon for the remainder of the adventure, as if we’d pulled the sword from the stone or plucked up the Holy Grail or something.

But nada.

Lunch in Cardiff By The Sea at a beach cafe. I had fish tacos.

Then home.

Hasta pronto.

These guys were set up around the mouth of this drainage tunnel, but we dared not ascertain why.

 

Portrait of the artist as a hood.