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From the Bram Stoker Awards® nominee Alessandro Manzetti comes a new horror, weird, gory, and dystopian short story collection. “The Massacre of the Mermaids” includes six visionary and disturbing stories set in the future and the past: the apocalyptic and bloody Rome dominated by the first She-Pope who organizes shocking exhibitions in the new Coliseum; the bloody and cannibalistic Jerusalem during the First Crusade with gangs of rapists, criminals, and anthropophagy addicts; the future ultra-violent district Paris Sud 5 with a human landfill; the Nakara, a slaughterhouse-prison dug into the bowels of the moon, the first organized human breeding in history, managed by the diabolic Slicer; and the subterranean rooms of Mictlan, the Aztec hell that destroys Spanish victims, sacrificing them through unthinkable and brutal rites. “The Massacre of the Mermaids” will leave you breathless. The limit has never been so violated.The AuthorAlessandro Manzetti: Horror, science fiction, weird fiction, and dark poetry writer, his published work in Italian includes novels, long fiction, short story collections, and collections of dark poetry, as well as many short stories published in anthologies. English publications include The Shaman and Other Shadows, Venus Intervention with Corrine De Winter as co-author, Dark Gates with Paolo Di Orazio as co-author, and stories and poems that appeared in both print and online USA and UK magazines. His dark poetry collection Venus Intervention was nominated for the Bram Stoker Awards 2014 and the Elgin Award 2015. His poem “The Man Who Saw the World” was nominated for the Rhysling Award 2015 and his poem “Interiora” received the Sinister Poetry Award 2014. He lives in Rome, Italy.
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k_noir n. 4
Aperiodic publication of narrative.
Copyright (edition) © 2015 Kipple Officina Libraria
Copyright (works) The Massacre of the Mermaids, The Rosary, The Slicer, Der Brüter, The God’s Meridian, Mictlan, Blood in Jerusalem © 2015 Alessandro Manzetti
I edition epub/mobipocket: 1.0 april 2015
This edition: 1.3 february 2017
Translation from the Italian by the Author and Sanda Jelcic
Editing: Jodi Renée Lester
Cover: Ben Baldwin
Kipple Officina Libraria
via Ignazio Canale, 5/2
16029 Torriglia (Ge)
The Massacre of the Mermaids
It’s May, time for the Dagonachie of the She-Pope’s new Rome. The massacre of the new mermaids excites the citizens—the brutal Rais with their bloody barges, sons of bitches of all kinds. The Coliseum has been renovated. The arches of the third order have been rebuilt and new travertine rings sparkle like silver teeth in a mouth wide enough to swallow up to seventy-five thousand souls. Concentric canals, like ouroboros, dominate the underground structure of the arena.
The old dust of history is revivified thanks to the grafting of new material to the old. Comfortable syntex armchairs have been installed between steps of fake marble. Blocks of condensed korton removed from the foundations of houses of the poor now support the tonnage of the new Coliseum. Galleries and arcades decorated with fossilized dorsal spines are interspersed with rectangular wells filled with amniotic fluid.
Electromagnetic ramps, adhesive veneers of travertine and brick, statues of goats and mermaids, their genitals adorned with fine grains of selenide, once again fill the empty belly of the amphitheatre, which has been restored to its bloody pagan splendor.
The great Ludo-Displays of the city promote the upcoming extravaganza on the facades of corrupt churches, projecting continuous holographic loops of mermen with fangs and electric tentacles biting and fucking the tails and tits of screaming harpooned mermaids.
Dagonachie is the strategy of the She-Pope, urging citizens to surrender their deepest desires in order to control the overcrowding of female outcasts. Those who still have functioning uteruses in their wombs, reproductive demons who have not yet sacrificed their profane ovaries to the Cathedral of the Black Hen, the symbol of the new Rome, are sequestered and interred in the bowels of the damp catacombs and locked up in steel structures built beneath the old stables of the Quirinale Palace.
Everything has been coordinated: electronic tattooing of prisoners; equipped confessionals; surgeons; and ultimately laser Caesareans (without anesthesia of course) for the removal of their reproductive organs. Those who comply may return to the city above as long as they adhere to the curfew and other restrictions.
Women, think about it!
The Ludo-Displays throughout the city repeat the slogan endlessly. The propaganda is horrendous, showing the dismayed head of Medusa, bitten by her own snakes, followed by the relaxing of her face, its skin tone returned to normal—the before and after images—all thanks to an empty womb.
Women, think about it!
Is this the new Nirvana?
Opening night is always the same—the spectators push and shove, shout and drool, angling for the best seats. The amphitheatre is bursting with activity. The stage reserved for the She-Pope—the bitch queen of Rome—is empty. She will make her triumphant entry during the second act, followed by her cardinals armed with machetes. Then the waters of the artificial lake will become red, casting reflections throughout the Coliseum—red like the faces of the excited pilgrims attending the show. Then the red will deepen and become purple, the color of the bowels of eviscerated victims.
Women destined to become mermaids are prepared with care in the transformation rooms, thanks to advanced technology. Circular saws bisect the bodies, slicing through them just below the navel. The wounds are immediately sutured with injections of plastic cells, then tails of tuna, stored in large containers full of ice, are grafted onto the torsos of the women’s bodies. Their legs, the waste of the new mermaids, are chucked into a large meat grinder and made into meatballs, which will be distributed to the spectators during the show. Pandemic responsibility.
The Dagonachie offers a complete experience, sensory and emotional. The shows is very expensive, but the budget of the Black Hen’s propaganda seems to be infinite. The stages of the T-Girls, the transgender amazons of the new Rome, are placed at the center of the first ring where they enjoy an excellent view of the massacre below.
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