The sun is sunny—not thoroughly unpleasant—but not a sun for picnics with Mary Lou down on the Potomac. Mary Lou is dead and buried by some Godless creek in Kansas. Her cross will rot away. A weak hastily made thing of silver birch branches and binder twine. In a year, a month, a week? She will have no marker unless I can find it again. Find her under the creeks torrents of land-grabbing muddy currents and sulking floods. Find her under the black silt and plants rotting white and stinking. Carp flopping on her grave. Then the water washes over again- recedes- and pulls the entire bank and her into it. Best to leave the past in the past.
I told the blacksmith Barker it was too damn close to the creek to bury someone, but the other two, the worthless coachmen drunk on Rye whiskey and power, and unwilling to shovel. Put a stop to it. Garland said, “Dig right there tenderfoot, or we’ll leave ya.”
Barker’s wife, Beth a Christian lady, hastily said the Lord’s prayer through tears over Mary Lou’s grave. Then Brandt, the other coachman, smashed an empty whiskey bottle on a big rock. Smashing glass in the air—gnashing of teeth—to come.
Barker’s wife Beth was killed when the drunken coachman Garland wrecked us on the only boulder in sight on the sweeping prairie. The coach door with its faulty latch opened like a saloon’s bat-wings and sprung Beth out head first in the stiff grass and hard scrabble. She apparently had no ability to tumbleweed. No acrobatic prowess at all and snapped her fragile long white church lady’s neck. The silver cross glimmering like something a crow would pick. The other coachman Brandt also died after the coach landed on the coachman. Both horses ended up with broken front legs like Siamese twins entwined in the dig of leather rigging, lying on their sides screaming. Horse screams are something you don’t want to hear. You may never un-hear them.
Barker went to Beth and saw she was dead, and without a tear went to the horses and saw their condition. His hand went to the Navy Colt dragoon in its holster. Only a blacksmith could wield such a massive weapon in such an effortless way. He cocked the single-action gun. Something in this made me think of medieval catapults. Before I could say goodbye to the big gray, Flowers. The shot rang out then another. He turned the gun on the negligent Mr. Garland. Who hadn’t a scratch from his drunken horse driving—without a word Barker blew the instantly sobered Garland off his feet landing somewhere in hell! This I liked.
When I found a moment in the aftermath that lasted all day whatever day it was. I wrote in my journal. Excuse the prose. It is sun-drenched and thirsty, perhaps insane:
Two of us left, out four passengers and two worthless coachmen. The blacksmith Barker, and me Josiah Greene. Don’t I sound like a puritan—well I’m not—but I’m not Barker either. My hands are used for digging. I’m the excavator of the earth. I buried my wife in a low spot along a nameless creek. Now I dig more with an executioner at my hip.
There are horses, and then there are no horses. There is the sky forever and a vast green void of waving grass. People died. A stagecoach with a broken axle. It still offers a dry place—sheltering rain. The rain has stopped for a long while now. The water hole we found is drying. Summer has come. Smells of dusty soapy pollen send me into a constant sneezing fits, weeping eyes and a runny nose. The wildflowers are wilting and curling like singed eyelashes. The prairie grass is long and yellowing. Hell’s door has flung open Its fiery girth and squatted its red coals upon us. Barker has a crazy look in his faded blue eyes.
“I’m gettin tired of horse meat. What say, sum-bitch? Let’s find some shade?” said Barker, the loud-mouthed Hoosier.
The horses were picked clean by a thousand vultures. Their bones waited to be scattered and made into the savage’s tomahawk handle or a bone knife. We walked for three days. We’re walking the horse fat off our bodies. The last of the water skins fell behind us. A stand of trees over the rise. We have reached a wood. Not that it helped us much.
Walking through the weary woods like a couple of starving troubadours. Fore we had walked for another two days getting lost and with no food for the last five days. We both wished for horse meat. We discovered in the leafy darkness impaled in the flicks of light, a corruption beyond the sweet sickening senses.
The obscenity came from the entangled gloom to gloat and eat up our last reserves of sanity. The putrid wetlands beyond were also no comfort to our disintegrating selves of stark rib cages, and protruding eyes, in the long mossy shadows came ratcheting bugs of the black and green scum of an endless swamp, full of vipers.
To see such a sight was like the horses screaming. The corpse was nailed to a tree. His hands were stretched out on branches going east and west. The more I looked I realized the obvious. They had crucified him.
The head looked upward with a dying wish on his face in the halo of light that even now was pulling back and the shroud of darkness was falling. The long straight slice up the corpse’s middle left no doubt of its evisceration, blushing bluish intestines crawling with flies.
Gleaning from the ebb and flow of the trickling light pushed us to a different course. To get on with our bony freight. Perhaps a murderer ran the ridge-line of the wood. Is there any doubt!
As if to mock this thought amongst the corpse and sallow eyeless crawl of the white worms, teaming with a loud industrious buzz of black and green blow flies, swarming the pale bloat, came an unearthed cry of lunacy! As if it were yanked from the roots of the forest.
Pierced to flee but not to the swamp or the screaming ridge-line. Flat-footed backward steps incarcerated by fear but found fleet. We ran hiccuping over the sticks and leaping over dead logs like frail deer. The maudlin and garrets of terror warbled and waned from the bloated surprise, and the screaming wilderness. I thought, “Why us?” Answered with a “Why not you,” scream by our murderous tracker, scales dropping from its nocturnal eyes adjusting perfectly to the darkness.
If open fields of prairie grass were approaching, they hid their emptiness for all we saw was fewer shafts of light and deeper divisions of the trees. The pace ensued and thirst increased and my troubadour of somewhat loose companionship unraveled with angry protestations of, “No this way, Greene!”
As I left the commission of this loose friendship, I hoped in the leer of the now moonless black smears of vision perhaps he would be less fleet than I. This Emmett Barker the boasting blacksmith of blood.
Barker crashed somewhere through the meander of brush, and I thought, good, be the noisemaker, be the peace-breaker, and I heard the splash of feet. Then more commotions of turbulence as if alligators flopped and wrestled, from a swamp that I thought was back but was now forward.
My companion in the loose bounds of affiliation as only travelers find in the confines of stagecoaches that break down and horses die on the frontier, seemed doomed to the inexplicable approach of our bloodthirsty pursuer. His black powdered monster had gotten wet and there was no clothesline to hang it.
The corpse again crucified like a topographical marker of a hellish map still looking up. The gloom greets me as if to aspire to the nighthawk and cross the sky, or to ridicule. Small animals, some bigger than I care to imagine, dissembled off the ravaged bloat and dragged full stomachs to the brush and waited. Then came the piercing scream of my affiliate, perhaps once a friend, ole Barker, drinking cowboy coffee on the prairie singing Christian hymns with a foul mouth, but now surely dead.
I had no time to intervene or mourn. I, the storekeeper and the dude from the east, as the rough coachmen, spat. Vowed to outlive them all and had thus far. To walk a straight line became my covenant with myself and God, over the decayed leaves and black silted roots, teeming with white grubs, and bisect the wilderness in a perpendicular course, straight as a sales ledger to the prairie. Where in the green grass I will lie down this skin full of sweaty dirt, thirst, starvation, and exhaustion, and snooze into the other side. And meet Mary Lou on the Potomac.
After an endless slog, with the welts of the mosquitoes, like a new bumpy derma, I came to realize. My linear course must lay not in the straight geometrical proof, but proven to be circuitous.
The crucified figure no longer looked up at the stars. He looked at me and smiled.
Image by Jevgeni Fil from Pixabay – A couple of really scary looking vultures. Brown feathers, grey powerful hooked beaks and beady beady eyes.

Hi Christopher,
You are an honest, realistic and fearless writer.
This could be off-putting to those that like happy in the clouds stories but you don’t shy away from brutal honesty. That is a huge talent. To have the balls to go where the story or situation takes you, is something that so many writers won’t or can’t do.
This was grim. But I reckon it was more realistic than most of this type.
I think this has now become my favourite story of yours that I’ve read…But I’m sure that could change.
Check out Alex Sinclair on the site. You’r brutal honesty reminds me of his work.
All the very best.
Hugh
Oh – I think those vultures look stunning!
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Hi Hugh
Thanks so much! Glad you liked the story!
Yes, indeed I’ll check out Alex’s work.
Christopher
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Absolutely enthralling and chilling. I loved the tone of this and the lyrical vocabulary. It’s a brutal, horrible story but you just can’t look away. Brilliant. dd
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Hi Diane
Thanks for your kind words! Glad it came across like that. I was hoping the language might add something.
Thanks
Christopher
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Christopher
I have a strong feeling that you caught the spirit of the time and place much much more accurately than, say, Wagon Train did. Maybe even better than The Hateful Eight.
The obsession is the driving force. Brilliantly done.
Leila
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Hi Leila
Wow! Really happy you liked the story! I think this was my first attempt at a sort of Western. Or at least the first one that got accepted. SK’s “The Dark Tower/Gunslinger” series are a favorite.
Thanks
Christopher
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Diane
Those are intense and scary Birds. The one just keeps looking at you!
Leila
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Christopher
This story veers off from your usual mode and is a rousing success!
The hero of this tale almost seems to be language itself. It has biblical cadences, resonances, and soundings to it, almost like an amalgamation of the Book of Job, Ecclesiastes, and Revelation all rolled into one and brought through the ringer.
I can also see Freud in this. His Interpretation of Dreams, along with Jung’s Red Book where Jung wrote about his beatific visions and his horrible nightmares, both seem to weigh in on the meaning of this tale.
This is like a Clint Eastwood movie with all the usual Hollywood trappings turned upside down. It also has resonances with Hemingway’s war stories and the Western novels of Cormac McCarthy.
Yet all is told in an original and unique voice that makes a synthesis of all these potential source materials, not just a regurgitation.
I can also see the influence of Mr. King in this, but your language is more poetic than his is by far.
The way this tale drives forward without ever letting up, and the way it piles one wrong and bad thing on top of another without stopping, is very much like life can be in those phases when everything starts to go wrong and doesn’t stop and doesn’t seem like it will ever stop.
Life has a way of knocking us down and then piling it on, maybe to see how much of it all we can take. And sometimes, life breaks us. It, of course, breaks all of us in the end. (But, as Nietzsche said in Twilight of the Idols, “What doesn’t kill me makes me stronger.”)
This is like a war story but it’s the war of life itself that’s being depicted.
The crucifixion imagery is dealt with in subtle ways. It shocks the reader as imagery, but the real meanings behind your use of this imagery lie buried beneath the surface, where they become that much more powerful for not being overtly spelled out for the reader. It’s a case of letting, or asking, the reader to do the real work him- or herself. That is the best kind of writing. It is the kind of writing that’s not made for distraction or only entertainment, but as a form of inner exploration and imaginative definition.
Like Guy de Maupassant, the great French story-writer who created tales in many modes (and died in an insane asylum), from realism to autobiography to early forms of modern horror and science fiction, this tale shows you to be an author who can and will experiment and take your gifts down new paths.
I very much hope to see many more tales in your other mode where you write about contemporary life so profoundly well, but this new mode also makes a great addition to your corpus and I hope there are more like this too!
Exciting work at all levels!
Dale
PS
Your sentence structure/s (syntax) and diction (word choices) are amazing…
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Hi Dale
I’m glad you liked the detour into the old West or maybe the frontier West.
The story is really two stories that came together when I couldn’t do much with either but they seemed to fit together. Denis Johnson said something like that about his fabulous “Jesus’ Son.”
Jung’s “Red Book” sounds highly interesting. Such a cool dude.
Great analysis of the stacking of problems, and yes life is like this. A lot of survivor stories end with no survivors.
Happy the conflicts with life came through. It seems like this way in ordinary life mode too, with the TV News, dogs barking, and the brakes squeaking…Sometimes it’s just a deep abiding guilt for wasting time. Tension is the pace of this world of strife.
Jesus usually finds his way into my stories… Hope he hasn’t given up on me.
Sometimes the discoveries we make can’t be unmade. Like a girl you liked being in the bedroom of some sordid mobile home, a jackass that you deemed less than yourself, coming down the hall, shirt off, shit smile, zipping up his jeans. All kinds of ugly discoveries are made in this world–along with the beauty and miracles.
Guy de Maupassant, love his work!
Thanks for your kind comments!
Christopher
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CJA
Dostoevsky said, “Even if I found out he was wrong, I would still stay with him” (speaking of Jesus).
The way you handle the religious material in your fiction is masterful. Kind of like Kafka’s The Castle, where he never says what “The Castle” really is but we know what it is all the more BECAUSE he never says it.
The language in “A Thousand Vultures” is on fire!
DWB
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DWB
Dostoevsky was the man!
I sometimes don’t know what’s fully operating in my conscious mind. Jesus is so prevalent not sure how a person cannot believe or not somehow convey in their writing his presence or influence. Not that I write the most righteous things…
Kafka–so great!
Glad the language came through–I originally wrote the last half as a sort of poem/prose. It was fun experimenting with the words and images. Kind of a deviation from Carver and Hemingway. Even though I wouldn’t want to stray too far.
Thanks!
CJA
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…CHILD OF GOD is a great short novel by Cormac McCarthy…about the Ed Gein of Eastern Tennessee…(I think the hills, hollers, and mountaintops of Eastern Tennessee really are haunted or was that the magic mushrooms)…
Great depiction of the Kansas frontier in this story!!!…
It also reminds me of the time John Brown and his sons called the pro-slavery father and brothers out of their cabin in Kansas and slaughtered them with swords…Bleeding Kansas, indeed…
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I would like to read that. Hollers and hills I’m in!
I was just checking out an excerpt from “Blood Meridian.” Dud could lay down the prose.
Damn cut them down with swords! People forget about swords in the old West.
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“To see clearly is poetry, prophecy, and religion – all in one.” – John Ruskin
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Christopher.
I never thought I’d hear echoes of Cormac McCarthy in another writer, but your story surely had it. Nice work! — Gerry
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Hi Gerry
That’s high praise!
Thanks so much!
Christopher
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A frontier gothic with striking imagery. The screaming horses will stick with me. The prose seems purposefully disorienting at times, and it serves the story well.
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Hi David
I read a bit of the prose to my former wife (the part in the woods) and she said, “I hated it.” Glad it connected the way it did.
Thanks
CJA
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