The Mammoth Book of Terror (20 page)

On one such night she saw the bird for the first time. The moon had risen as she watched, its light splashed like a pale and shimmering highway crossing the restless ocean toward Europe. Like a
shadow upon that path, the bird caught her eye, its dark wings limned by silvery radiance. For a moment, it glided over the waves, pinions motionless in the still night air, and then it swooped
upward and vanished in the darkness.

She stood awhile by the shore, straining her eyes for another glimpse of the creature, hoping it would wheel and make a second pass over the glittering water. It was a hawk of some sort, perhaps
even an eagle – size and distance were deceptive out over the ocean, where there were no references to judge by. She wanted it to be an eagle, for they were rare in these parts, and
protected. She had only seen a live eagle here once before, when she was a small child. But though she waited till the moon was high and shrunken, she saw the bird no more, though perhaps she heard
the beat of its wings far above her head. Or perhaps she only heard the cool surf beating at the rocks below her feet. At night, by the sea, time, distance, and direction all seemed to muddle
together, playing tricks on the eyes, the ears, and the mind.

At home, she could not sleep for thinking about the bird, and before dawn she was in the studio by yellow, artificial light, with a fresh canvas and dark acrylic pigments spread over her
palette. Swiftly, she recreated the impression of the scene, the silver moonpath, the dark bird an instantaneous silhouette, and all surrounded by an impenetrable black that seemed to suck light
away from the hard, sharp stars. Blue-black she used, instead of true black – Prussian Blue, that velvety shade so dark that only a careful eye could tell it from black, but warmer somehow,
softer, deeper. The sky and the bird, Prussian Blue. But when dawn added its radiance to her lamps, she saw that she had not captured the mood of that moment. The canvas was dull and dim. Her
dilated pupils had perceived a patch of luminous, ethereal night in a vaster darkness, but the paints had given her only the latter.

Light, she thought, as she cleaned the palette and brushes. Light. But all she could remember was the plumage of the bird, blacker than black under the silver moon.

She slept.

Later in the day, she walked down to the shore, earlier than usual. This time she carried binoculars, hurriedly purchased in town, and she scanned the seaward sky from north to south, searching
for a familiar silhouette. Gulls she saw, gulls in plenty, soaring, swooping for food, perching on rocks. Fat gulls, grey on top and white beneath. But no hawks, no eagles. She turned the
binoculars westward, toward the rooftops of the town, just visible beyond the intervening trees. She saw flecks that might be pigeons, crows, even sparrows, near and far. Ordinary birds. Nowhere
did she see the short head, broad tail, and flared wings that marked her quarry.

She ate a quick dinner and returned to the painting by the waning, rosy glow of dusk. One could not evoke the depths of night, she thought, under a bright sun. She lightened her palette,
reworked the moon and sea and even the dark air between them, trying to capture the radiance against which the bird had seemed so intense a shadow. Past midnight, she realized that there was a
contradiction in her mind, a double image of that instant, in which the sky was bright and dark at the same time. She could feel it, but the painting was only a poor reflection of that feeling, two
dimensional, and – by now – muddy. She cleaned the palette and brushes and set the canvas aside against the wall. Stifling a yawn, she mounted a fresh, blank canvas on the easel.

The bird this time, nothing else. She sketched quickly, placing tail and flared pinions, adding details that she felt rather than remembered. The light was moonlight of course, but there was no
sky, no ocean, only the dark wingspan and the merest suggestion of curved beak and piercing eye. And when she reached the limits of both her recollection and her invention, she went downstairs to
the study and looked eagles up in the encyclopedia. She knew now that it had been an eagle; she wouldn’t allow it to be anything else. The encyclopedia illustrations gave her some inspiration
and corrected a few of her assumptions, and she hurried back upstairs to make adjustments.

By dawnlight again, she viewed her new effort with a critical eye. She had never painted birds before; at most, they had been pieces of background in her few landscapes, a brushstroke or two in
the sky. The black eagle showed her lack of familiarity with his kind; he was naive and awkward, though bold. If she squinted, she could see a family resemblance to the bird on the back of a dollar
bill.

At twilight, she walked by the shore, searching the darkening sky for him, staying on till the moon was high, that night and many after. Night upon night, as the moon waned and the stars
brightened by contrast. Night upon night, in fair weather and foul, when the waves were slick as glass, when the waves were wild things clutching for the sky. She waited for another glimpse,
straining at clouds or a late gull or a speck of flotsam on the water. She waited late, late, and past midnight she returned home and worked on one or the other of the paintings, striving to
recreate the bird.

She had never gone to town much, less since the deaths of her parents. Now she had no use for the place at all; she had her groceries delivered and paid her bills by mail. Every scrap of her
spare time was spoken for, by paint or binoculars, or the sleep that she grudgingly allowed herself. Only the postman saw her, dropping off a few bills, catalogues, advertisements a couple of times
a week. And the people who walked by the sea. But the weather was beginning to grow chilly for both tourists and lovers; soon the moon waxed full again, and only Lydia stood on the shore to watch
it touch the waves with silver.

She heard the bird now, sometimes – she was sure of that, though she never saw his broad, dark wings. She heard him beat the air once, twice, high above her head, and then there was
silence as he soared and she stared upward, trying to pierce the blackness with her human eyes. She thought he could probably see her well enough, eagles’ eyes being so much sharper than
humans’, and she tried to imagine how she must appear to him – her face a pale speck amid the darkness of rocks and scrubby grass. A small thing, earthbound, of no significance to a
creature who sailed the dark ocean of air. What would it be like, she wondered, to have wings and look down upon the creatures who could only walk?

The paintings had proliferated by this time. They lined the studio, view after view of the subject she had seen only once. Yet there was a clear image of him in her mind’s eye, as if she
could reconstruct his whole form from the sound of his wings. His eye, she knew, was golden, like a great amber bead set above the corner of his beak. The beak was dark as his plumage, like
polished jet. And to display their true span, the great black pinions would require a canvas larger than any Lydia had ever worked. She contemplated ordering the proper size from Boston, stretching
it and preparing it herself. She measured the door of the studio, to be sure the finished product could be carried out of the room, and then she made the phone call.

Autumn was waning by the time the painting was well-begun. The sea breeze that washed her studio was chill by day now, and gusty, though she still opened the windows to it, and painted wearing
an old sweater. When she walked by the shore, she could see scarlet leaves floating among the restless waves. The color of the ocean was changing, too, and the color of the sky; the daytime world
was beginning to grey out for winter. Only at night were the changes invisible. At night the buoy still clanged far out on the water, and the moon still splashed its shimmering highway to Europe
almost at Lydia’s feet. At night, ebony wings beat the air, and Lydia strained for a glimpse, just a single brief glimpse, of the bird that glided somewhere, somewhere, in the vast,
unchanging darkness.

The days grew shorter, as the chilling wind ruffled the waves to a restive froth, and the nights were long – long for walking by the choppy water, long for painting by lamplight. Lydia
slept the whole short day through now, seeing the sun only at dawn and dusk. The bird preferred the night hours, and Lydia had begun to understand that preference. Day was jarring, stark, revealing
too much of reality. Night was kind and soothing, hiding the world’s flaws in velvet. At night, Lydia could look into her dimly lit mirror and see the girl she had once been, the girl whose
skin bore no sign of wrinkling, whose hair was yet untouched by grey, whose life still lay ahead of her. That girl could walk on the shore and dream dreams; she could look upon the moonlit highway
to Europe and imagine herself traveling it, light as a feather, eastward, over the horizon.

She finished the painting half a dozen times. At dawn she would step back from it, cock her head to one side, and nod to herself. She would clean the brushes and palette carefully, then, and go
to bed satisfied. But when she woke a dusk, the light of the setting sun showed her flaws, approximations, incompleteness, and she would eat a quick breakfast and go out to the shore again, in
search of her model, and inspiration. Inspiration she would find, in the clang of the buoy or the whisper of the wind, or the faint rustle of wingbeats high, high. But the model would not show
himself, not even his shadow, and she would return home and work determinedly through the dark hours until she laid the brushes aside again, come dawn.

Half a dozen times, she finished, and slept, and then one blustery sunset found her with nothing left to do.

Not that the painting was perfect. She eyed it critically from every angle, brushes poised in her fingers, palette in the crook of her arm. She approached it several times, as if to lay another
stroke upon the canvas, then drew back. The paint was very thick in some places. But she knew another layer would not make it better. The painting was beyond her ability to improve. She set her
brushes aside and went out to walk.

Lydia understood the limits of her skill. She did not expect the canvas to be a photographic reproduction of the image in her mind’s eye. She knew she would have to be satisfied with the
faintest hint of the beauty and grace and power of the original. And down by the shore, in the pale light of the full moon, she had to weep for her own limitations. She wept, and she shivered a
little because the night was very chill, and her coat was not quite heavy enough.

High above her head, she heard his wings.

She knew the sound instantly and looked up, straining to pierce the darkness, her tears a chilly patch upon each eye, blurring her vision for a moment. As a blur, she saw him silhouetted against
the moon, and then she blinked and brought him into sharp focus. He was poised above the shimmering path that the moon laid down on the surface of the sea, his great wings motionless as he glided
lower, lower, almost touching the white-topped waves. An eagle – yes, she had been right all the time, right in every detail, even to the amber eye that glittered with moonlight, glittered as
it regarded her.

He swooped toward her, his great dark wings blotting out the moon, the sky, the world. She gazed at him in wonder, in adoration; the painting had not matched his true size, not remotely. He was
the grandfather of eagles, she thought – the god of eagles. She felt a great gust of air as he hovered over her a moment. And then, as delicately as she might cradle a kitten, his great
talons locked about her waist and hips. Her hair blew wild as his pinions cupped air to rise again, and then her feet floated free of the earth. Upward they soared – upward, and the rushing
wind was a tonic to Lydia’s soul. She felt light, young, and beautiful as the bird himself. Looking down, she could see the silver moonpath flowing far below.

Eastward they flew. Eastward toward Europe.

As the first rays of sunlight spread out over the ocean, Lydia saw the island. The only land visible from horizon, to horizon, it was dominated by a huge mountain, and as they drew closer, she
realized that the summit of that mountain was their destination. This did not surprise her; where else, she reasoned, would an eagle rest?

Closer still, and she saw the nest, big as her parents’ house, built of bushes and driftwood and spars from sailing ships, some with ropes and tattered canvas still clinging to them. And
then, at the last moment, just before her feet touched the soft, shadowed interior of the nest, just before they brushed the lining of feathers torn from the bird’s own downy breast, and his
mate’s, she struggled. Poor dried-up spinster, she struggled – weakly – as she fell toward those small, dark, gaping beaks.

GRAHAM MASTERTON RETURNED TO
Britain in 2002, after living in Cork, Ireland, for four years, where “the silver rain and the golden silence were
highly conducive to writing”. While there, he was honoured for his fund-raising for the Irish Society for the Prevention of Cruelty to Children.

His latest novels include
Swimmer
, the Edgar Award-shortlisted
Trauma, The Hidden World
(which began life as a story he told to Irish Traveller children in his local library),
A
Terrible Beauty
(set in County Cork),
The Doorkeepers, The Devil in Grey
and
Unspeakable.
The author’s 1998 thriller
Genius
(originally published under the pseudonym
“Alan Blackwood”) was reissued in hardcover, and Telos Publishing also issued a special 25th anniversary edition of his debut horror novel,
The Manitou.
He is currently working
on a sequel, which the author describes as “Native American terror with knobs on.”