“Tloque Nahuaque” (2011) by Nelly Geraldine García-Rosas

Estela explained to me that Tloque Nahuaque, the Lord of the Near and the Nigh, had been to the Aztecs the Master of the Near and the Far, for they believed he is near all things and all things are near him.
—Nelly Geraldine García-Rosas, “Tloque Nahuaque” in Future Lovecraft 128

“Tloque Nahuaque” is an advanced Mythos story. One for initiates. This story requires readers to connect the dots. To understand where it is coming from and what it is saying requires more than a passing familiarity with Lovecraft’s corpus, and recent-ish developments in experimental physics; a passing familiarity with Aztec mythology is helpful, but García-Rosas provides the short version for readers.

It is marvelous to be able to have a story that can invoke a familiar Mythos entity not be attributes, or some purported quotation from the Necronomicon, but by reference to their attributes. To intimate to readers a new angle on an old mystery, a new interpretation on an existing concept, a new (or old) face for a familiar god.

What makes “Tloque Nahuaque” work, fundamentally, is that Lovecraft’s horrors in the 1920s and 30s were essentially contemporary. Pluto was discovered in 1930; Lovecraft casually associated this discovery with Yuggoth in “The Whisperer in Darkness” that was written around the same time. Einstein’s theory of General Relativity was rewriting physics and the universe as people knew it, and for all the grimoires and incantations, “The Dreams in the Witch House” was as much about advanced mathematics as magic.

Lovecraft’s Mythos works, fundamentally, because he tried to ground it in reality. The dividend that pays is that writers like García-Rosas, who are familiar with advances in physics, can extend and revisit those conceptions. It’s okay if a scientific theory is proved wrong; that only provides the basis for further understanding. New ideas are still applicable to old concepts—be they from the Aztec or Lovecraft Mythos.

Azathoth, by whatever name, can still be relevant to a contemporary audience.

“Tloque Nahuaque” is a narrative of mood and idea more than plot, reminiscent in some ways of “Are You Loathsome Tonight?” (1998) by Poppy Z. Brite. It is episodic, jumbled, fragmentary, yet there is a thread of ideas that progresses from piece to piece. A collection of scraps that point toward a bigger picture. For the subject, it works. The mood sustains. There is no conclusion as such, only a culmination of the initial idea…but the vector of the narrative is clear; everything points to a suggestion of an ending that only initiates might fully grasp.

It works well.

“Tloque Nahuaque” was published in Future Lovecraft (2011) and can be read for free at Innsmouth Free Press.  Nelly Geraldine García-Rosas’ other Mythos works include “Ahuizotl” (2011), “Tloque Nahuaque” (2011), “They Came From Carcosa” (2013), “Caza de shoggoths. Colección grotesca” (2013), “In Xochitl in Cuicatl in Shub-Niggurath” (2014), and “The Head of T’la-yub” (2015). Many of these stories have been translated into English by Silvia Moreno-Garcia, author of “Flash Frame” (2010), and editor and publisher of Innsmouth Free Press.


Bobby Derie is the author of Weird Talers: Essays on Robert E. Howard & Others (2019) and Sex and the Cthulhu Mythos (2014).

 

 

“In Xochitl in Cuicatl in Shub-Niggurath” (2014) by Nelly Geraldine García-Rosas

In xochitl in cuicatl, flower and song: This way shall begin the poems that tell the feats of this war. No name shall be forgotten. No drop of blood spilled in vain. No sacrifice ignored.
—Nelly Geraldine García-Rosas, “In Xochitl in Cuicatl in Shub-Niggurath” 
Translated from the Spanish by Silvia Moreno-Garcia

“In Xochitl in Cuicatl in Shub-Niggurath” is a quintessential Mexican Cthulhu Mythos story, where all of the elements of plot, setting, and characterization are told from and within an indigenous perspective—and yet the Mythos is blended in, an essential part of the narrative that reflects on and deepens the themes of the story.

In Nelly Geraldine García-Rosas’ story, an elite warrior of the Mexica travels to the Valley of Toluca: war is imminent, and the Aztec had sent scouts, but none had returned. Now he enters their village, searching for answers…like the unnamed protagonist of “The Shadow over Innsmouth”…and encounters an old, drunken man, a Zadok Allen analog, who points him toward the central temple.

The plot is not a re-hash of “The Shadow over Innsmouth,” despite a few narrative parallels. In the Aztec religion, Huitzilopochtli was worshiped with human sacrifice. The Mexicas spread from the Valley of Mexico, subduing their neighbors, bringing the captured warriors back to their temples. By the shedding of their blood, the sun was was kept from falling, and the world continued. The Matlazinca have an inverse concept: they sacrifice to renew the moon, and so preserve the world. This by itself would be a fascinating inversion, but the god has a wife…

! Shub-Niggurath! ! Shub-Niggurath! The Black Deer of the Woods with a Thousand Young!”

Goats were a European import to the Americas, but why should Shub-Niggurath be tied to any one specific culture? The characterization of the Black Deer and her young here is a subtle but perfect tweak on an old standby; one that complements the story by keeping Shub-Niggurath within the Mesoamerican context of the story. The transformation of the priestess Šuti during the ritual is a nod toward Ramsey Campbell’s “The Moon-Lens”—a nice nod of continuity for Mythos fans, as it was when Valerie Valdes made a similar reference in “Shub-Niggurath’s Witnesses” (2015).

The success of “In Xochitl in Cuicatl in Shub-Niggurath” is more appreciable when it is considered how rare it is to have a Mythos story told outside of a Western/European context—to showcase a native culture and people and their own understanding of the Mythos without recourse to any of the familiar tomes or requiring a European to stumble on things and relay a narrative back, filtering events through their own frame of reference. Nelly Geraldine García-Rosas does this not by recapitulating tired old stories, or by rejecting any of the elements established by Lovecraft, but by focusing on how the individuals in those cultures and in that context would have perceived and responded.

“In Xochitl in Cuicatl in Shub-Niggurath” first appeared in Sword & Mythos (2014), and was made into an audio recording for Far Fetched Fables (2016). Nelly Geraldine García-Rosas’ other Mythos works include “Ahuizotl” (2011), “Tloque Nahuaque” (2011), “They Came From Carcosa” (2013), “Caza de shoggoths. Colección grotesca” (2013), and “The Head of T’la-yub” (2015). Many of these stories have been translated into English by Silvia Moreno-Garcia, author of “Flash Frame” (2010), and editor and publisher of Innsmouth Free Press.


Bobby Derie is the author of Sex and the Cthulhu Mythos (2014)