Interested? I’ll send you the material and details, and you can have a free hand. Let us hear—Scotty
Leverett was delighted. He felt some nostalgia for the pulp days, and he had always admired Allard’s genius in transforming visions of cosmic horror into convincing prose. He wrote Brandon an enthusiastic reply.
He spent hours rereading the stories for inclusion, making notes and preliminary sketches. No squeamish subeditors to offend here; Scotty meant what he said. Leverett bent to his task with maniacal relish.
Something different, Scotty had asked. A free hand. Leverett studied his pencil sketches critically. The figures seemed headed the right direction, but the drawings needed something more—something that would inject the mood of sinister evil that pervaded Allard’s work. Grinning skulls and leathery bats? Trite. Allard demanded more.
The idea had inexorably taken hold of him. Perhaps because Allard’s tales evoked that same sense of horror, perhaps because Allard’s visions of crumbling Yankee farmhouses and their depraved secrets so reminded him of that spring afternoon on Mann Brook…
Although he had refused to look at it since the day he had staggered in, half-dead from terror and exhaustion, Leverett perfectly recalled where he had flung his notebook. He retrieved it from the back of a seldom-used file, thumbed through the wrinkled pages thoughtfully. These hasty sketches reawakened the sense of foreboding evil, the charnel horror of that day. Studying the bizarre lattice patterns, it seemed impossible to Leverett that others would not share the feeling of horror the stick structures evoked in him.
He began to sketch bits of stick latticework into his pencil roughs. The sneering faces of Allard’s degenerate creatures took on an added shadow of menace. Leverett nodded, pleased with the effect.
· iv ·
Some months afterward, a letter from Brandon informed Leverett he had received the last of the Allard drawings and was enormously pleased with the work. Brandon added a postscript:
For God’s sake, Colin—What is it with these insane sticks you’ve got poking up everywhere in the illos! The damn things get really creepy after awhile. How on earth did you get onto this?
Leverett supposed he owed Brandon some explanation. Dutifully he wrote a lengthy letter, setting down the circumstances of his experience on Mann Brook—omitting only the horror that had seized his wrist in the cellar. Let Brandon think him eccentric, but not a madman and murderer.
Brandon’s reply was immediate:
Colin—
Your account of the Mann Brook episode is fascinating—and incredible! It reads like the start of one of Allard’s stories! I have taken liberty of forwarding your letter to Alexander Stefroi in Pelham. Dr. Stefroi is an earnest scholar of this region’s history—as you may already know. I’m certain your account will interest him, and he may have some light to shed on the uncanny affair.
Expect 1st volume, Voices from the Shadow, to be ready from the binder next month. Pages looked great.
Best—Scotty
The following week brought a letter postmarked Pelham, Mass.:
A mutual friend, Prescott Brandon, forwarded your fascinating account of discovering curious sticks and stone artifacts on an abandoned farm in upstate New York. I found this most intriguing, and wonder if you can recall further details? Can you relocate the exact site after 30 years? If possible, I’d like to examine the foundations this spring, as they call to mind similar megalithic sites of this region. Several of us are interested in locating what we believe are remains of megalithic construction dating back to the Bronze Age, and to determine their possible use in rituals of black magic in Colonial days.
Present archeological evidence indicates that ca. 1700–2000 b.c. there was an influx of Bronze Age peoples into the Northeast from Europe. We know that the Bronze Age saw the rise of an extremely advanced culture, and that as seafarers they were to have no peers until the Vikings. Remains of a megalithic culture originating in the Mediterranean can be seen in the Lion Gate in Mycenae, in Stonehenge, and in dolmens, passage graves and barrow mounds throughout Europe. Moreover this seems to have represented far more than a style of architecture peculiar to the era. Rather, it appears to have been a religious cult whose adherents worshipped a sort of earth-mother, served her with fertility rituals and sacrifices, and believed that immortality of the soul could be secured through interment in megalithic tombs.
That this culture came to America cannot be doubted from the hundreds of megalithic remnants—found and now recognized—in our region. The most important site to date is Mystery Hill in N.H., comprising a great many walls and dolmens of megalithic construction—most notably the Y Cavern barrow mound and the Sacrificial Table (see postcard). Less spectacular megalithic sites include the group of cairns and carved stones at Mineral Mt., subterranean chambers with stone passageways such as at Petersham and Shutesbury, and uncounted shaped megaliths and buried “monk’s cells” throughout this region.
Of further interest, these sites seem to have retained their mystic aura for the early Colonials, and numerous megalithic sites show evidence of having been used for sinister purposes by Colonial sorcerers and alchemists. This became particularly true after the witchcraft persecutions drove many practitioners into the western wilderness—explaining why upstate New York and western Mass. have seen the emergence of so many cultist groups in later years.
Of particular interest here is Shadrach Ireland’s “Brethren of the New Light,” who believed that the world was soon to be destroyed by sinister “Powers from Outside” and that they, the elect, would then attain physical immortality. The elect who died beforehand were to have their bodies preserved on tables of stone until the “Old Ones” came forth to return them to life. We have definitely linked the megalithic sites at Shutesbury to later unwholesome practices of the New Light cult. They were absorbed in 1781 by Mother Ann Lee’s Shakers, and Ireland’s putrescent corpse was hauled from the stone table in his cellar and buried.
Thus I think it probable that your farmhouse may have figured in similar hidden practices. At Mystery Hill a farmhouse was built in 1926 that incorporated one dolmen in its foundations. The house burned down ca. 1848–55, and there were some unsavory local stories as to what took place there. My guess is that your farmhouse had been built over or incorporated a similar megalithic site—and that your “sticks” indicate some unknown cult still survived there. I can recall certain vague references to lattice devices figuring in secret ceremonies, but can pinpoint nothing definite. Possibly they represent a development of occult symbols to be used in certain conjurations, but this is just a guess. I suggest you consult Waite’s Ceremonial Magic or such to see if you can recognize similar magical symbols.
Hope this is of some use to you. Please let me hear back.
Sincerely,
Alexander Stefroi
There was a postcard enclosed—a photograph of a four-and-a-half-ton granite slab, ringed by a deep groove with a spout, identified as the Sacrificial Table at Mystery Hill. On the back Stefroi had written:
You must have found something similar to this. They are not rare—we have one in Pelham removed from a site now beneath Quabbin Reservoir. They were used for sacrifice—animal and human—and the groove is to channel blood into a bowl, presumably.