Every time I looked at Hieronymus Bosch’s triptych, “The Garden of Earthly Delights,” I noticed something new. The detail is incredible. The imagery is gleefully bizarre. It’s utterly bonkers, and I love it. So I couldn’t pass up writing a story in that world when I saw the call for submissions for the Honey & Sulfur anthology.
This one’s a love story. (Then again, aren’t they all?) But it’s a love story set in Hieronymus Bosch’s Hell, which has its own set of unique challenges. Most importantly, you have to watch out for those Birds.
Please enjoy “Why Do Birds Suddenly Appear?” in the Honey & Sulfur anthology, available at Amazon.
It is also reprinted in Year’s Best Hardcore Horror Volume 5.
I’m now providing it free to read on this very blog.
For inspiration, I stared at the painting even more, zooming in on the details. There’s a magnificent online tour of the triptych, with a haunting ambient soundtrack as you move from scene to scene. There are hundreds of stories hidden in the three panels. Once you get past the most obvious and famous ones, you start to notice the quieter, less salient parts, and when you’re looking with an eye for narrative, they become full of mystery. In the middle of Hell, for example, amidst the demons and torture, there’s a dark courtyard by a garden wall. There’s an open gateway arch in that wall, and through it pours a golden radiance. The pale figures in the courtyard stand just at the edge of the light, afraid, yet drawn to it. What else could such a light be in Hell, but a promise of salvation? And why would sinners cluster in the shadows if not out of fear that they were perhaps unworthy? Clearly this was a Hell that had emotional drama, not just the dull routine of bizarre torments–for on the scale of eternity, any torment becomes a dull routine. Drama in eternal torment required some kind of hope, and the ability to exercise agency on behalf of that hope. That meant that Hell had rules of its own, even if they were only there to prolong the suffering. What were they?
When writing this story, I had just quit a job that was a sort of Hell for me, and I didn’t have anything to immediately replace it. The best I could hope for was to find just another flavor of Hell. But in between, I took some time to write, to think, to regain my strength. This liminal space between Hells was wonderful, even joyful. But I knew it couldn’t last. Anxiety circled, ready to swoop. It started eating away at that joy. I needed to find a way to hold on to that joy, to insulate and nurture it from the grind of the obligations to which I needed to return. There must be a way to endure what was demanded, while in my heart of hearts living in my hidden sanctuary of joy. There must be a way.
At that point, the story wrote itself.