Photo: Tiffany Bessire

Ghosts: A Holiday Haunting

Inspired by The Longest Night

by Serena Alexander 

Inspired by The Longest Night


In many a country’s folklore, the night of the winter solstice is when the barrier between the land of the living and that of the dead is thinnest, notorious in realms of paranormal activity, ghost stories, and myth.

I have had ghosts for as long as I can remember.

Cruel home ghosts with dark eyes and blurred intentions like the edges of their outlines, ghosts of hollowed hallowed ground, black with mind and silt. They slip through me, water over stone, wearing away, and we sit at the kitchen table at midnight while the rest of the world is asleep, the moon a rotted pearl in a shared teacup.

I have never been good at banishing them. Too kind, too soft, too timid.

My ghost of late was unlike the others, though. It lived in me, on my shoulders, in my bones for months on end, a venomous snake just under my pulse, striking silent and deadly each day. An animal, to be sure.

And it was exorcised, finally wrung from me, on the longest night, by another with her runes burned merciless onto my lungs, no crucifix to speak of.

She found me at the witching hour, dawn well over the horizon keeping light smothered and steel to give me my way thread by thread. She’d become a stranger, or at least, no one I would recognize. Not at first. With her lilied lips and narrow hips and fingertips and black jean rips, shredded through with skin and scythe. Her smile twisted between my paper ribs, ink splashed to stain well-kept memories.

She laid beside me among the covers, the bed dipping beneath her like bowed branches while she traced my cheeks in ice. My ghosts were never so heavy.

She unbraided my body.

Muscles, kneecaps, wrists careful and proper, soldiers along the edges of my sheets as she arranged all my pieces, in rows and valleys for her study. She sang while she worked, sewing sweet as spilled sugar. We said nothing as she scrawled poetry in the lines of my arms and wept love into my eyes, clean and crystal.

She did not explain herself, she did not answer my questions. Time to think provided me plenty, but my tongue was too neatly aligned with my radius and tibia for any protest, for any fight.

She leaned over me, and I stared at the ceiling. Unlike the others, her touch was firm where her shape was not. Digging iron into my ditches, her nails sought shells in my chest, and I could not scream.

When everything was stitched, seamed, and mended, my hair woven back, sternum screwed to spine, she held a mass of menace in the shallows of her elbows. Needled teeth stuck in its gaping jaw, dripping tar.

Bad dreams bite, but it didn't phase her. Only when its tentacles wrapped her slender silver throat and dragged her down into its grave did she open her mouth in a silent cry of injustice.


About 
Serena Alexander
Serena Alexander is a junior at Hume-Fogg High School and participant in the HFA Choir and Theatre Department in both performance and production arenas. She’s been writing and reading ravenously from a very young age. Her other passions include visual art, music as a vocalist, pianist, and fledgling guitarist, and activism in politics, particularly feminist and LGBTQ+ issues. She hopes to help those around her exercise empathy in every possible capacity.
OZ Arts Nashville presents Art Wire: an ongoing collaboration between OZ Arts and The Porch in which 10 writers attend the OZ Arts performance season and respond to the presentations through original writing that is personal, playful, and deeply engaged. The OZ Arts 2019-2020 season offers each Art Wire Fellow a diverse array of inspiration, including innovative Japanese dance artist Hiroaki Umeda; a genre-bending presentation of Frankenstein by Chicago-based company Manual Cinema; and two emotionally raw works with Nashville's own professional dance company, New Dialect, just to name a few.

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