The Crone at Sunset
It is an evening burnished by the sun’s slow withdrawal, and the Crone lifts into the air as gently as a bit of ash. It does not surprise her particularly for she has long had little in the way of material conviction, and yet she did not expect to exceed the water oak tonight, as decisive about its solidity as she is ambivalent about hers. As she ascends (or is it descends? It is difficult to be certain the planet bobs in the starry broth of the universe in just the way she imagines, because even the most inconspicuous mote has an underside, does it not, or is it an overside? You see the problem), she imagines the crown of her head being pollarded for fodder to feed the younger Crones, the ones who will not rise for millennia, the rank and file who yet have much work to attend to on the ground. She was once such a Crone herself, freshly wizened, eagerly invisible, ready to stir the cauldron abubble with the day’s gruel, endlessly, endlessly, dressed always in widow’s weeds and ardently awaiting the next mourning, the next object of her studied despair.
As she begins to pass the swaying branches at the top of the tree, the wind unwraps her woollen scarf from her head, and it catches on a branch. Just as she is about to float free of the scarf, she grasps the snapping tail of it, and she undulates there in the evening breeze like a black eel rippling in water.
Above her a murmuration of starlings expands and contracts, a dark lung, the sky gasping then heaving a sigh. She wonders if it might be blood in her eye that has lost its way. A body has its own ideas about how best to arrange its allotment of matter and grows impatient and willful over time.
Tethered to the tree in this manner, she recalls the many Crones she has known who have been beheaded, hung, consumed in flame, infected, or simply stashed at the bottom of a hayrick, for being an old woman is a dangerous affair. And at that moment a tiny javelin of light pierces the Crone’s cloudy eye, traveling clean through the optic nerve and out the back of her skull, and she feels strung like a bead on a string, a bauble dangled round the neck of the coming night. And suddenly a burning, fanned from within, eats through the palms of her hands like a flame boring through parchment, the skin crisping around the center, the sky now visible on the other side, and she watches herself disperse, cell by incendiary cell, ember by ember, into the Mouth of God, which she now sees suspended and gaping before her, lips cracked, teeth smoking, the uvula waiting to be rung, and this is the place she will end, and begin again, inside this holy consumption. The world is weary and full of regret, but the Crone is light as a brittling leaf, light as soot. Take, eat, this is my body, which is broken for you, and she dissolves as she meets the ready tongue, the sun incinerating itself beneath her.
Kellie Wells has published four books, God, the Moon, and Other Megafauna, winner of the Sullivan Prize for Fiction; Compression Scars, winner of the Flannery O’Connor Prize; and two novels: Skin and Fat Girl, Terrestrial. Her story “My Dog Lenny Bruce” won the 2022 Kurt Vonnegut Prize in Speculative Literature. She teaches in the MFA programs at the University of Alabama and Pacific University. Connect with her on her website.