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Haw Par Villa in the rain was a splash of garish color. The dark red footpath, glistening wet. The ornate tiered gate that greeted visitors with a carving of a tiger, etched in gold and blue. The strange and unsettling statues scattered across the park—a woman’s smiling head on the body of a giant crab, a cluster of laughing mermaids with mouths a little too big for their faces.
I wrote this story while reading Terrorist Assemblages by Jasbir Puar, and with some songs on repeat from an Iron & Wine album, The Shepherd’s Dog.
The soldiers start rounding up us factory girls just before sunrise. We smoke cigarettes and stand in a line against the remnants of a brick wall that used to be a bakery, facing the sheer black of the mountains above the town as muted light spills across the fog and folds of the ridgeline. One girl wearing four layers of coats asks if we’re still getting paid, and everyone has a good laugh.
As so many pieces of this length do—and I’m not the only writer who will report this—the idea and storyline for “The Dark Devices” came to me in a very visceral, very disturbing (wait for it) flash. The writing itself? A little research on Pieter’s period and country before that could happen.
I first saw them one evening in May. I couldn’t tell what they were: small, like kids, like me, but they rustled, raffia fronds for skin. My eyes fizzing with dreams, I found Mama cradled on the sofa, hugging herself. She wore that faded floral top she loved so much.
Math has never been my strong suit. Still, I’ve always rather enjoyed logic puzzles (particularly ones like Einstein’s Riddle), and after falling in love with Return of the Obra Dinn last year, I got really into the idea of using puzzles like these to build a narrative—especially a mystery.
There is something uniquely squalid and sad about estate sales. To traipse through a cluttered house, one of a teeming crowd here to bear witness to the end of a life and all that it held, not to pay respect but instead to lunge for whatever goodies you can find.
The opening line is my riff on Bach’s chorale prelude “Come, Sweet Death,” one of his most profound. The foxfur wings I feel come from Well’s “In the Avu Observatory,” a surrealistic short story where an astronomer in the islands of Indonesia is attacked by a large flying bat-creature.
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