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The Haunted Traveler Vol. 1 Issue 1

Welcome to the first issue of The Haunted Traveler; a roaming anthology seeking to collect the strange and the wild stories that we all carry. Those words hidden in the deep dark that linger around. Weasel Press is proud to have released this first collection of material and is excited to do more anthologies in the future. The Haunted Traveler is a non-profit, Horror and Science Fiction anthology that accepts a wide variety of art media such as photography, short fiction, creative non-fiction, digital artwork and more. Our anthology publishes twice a year. To find out more information about our submission process, please review our submission guidelines. Our first issue was released on March 28, 2014 and we couldn’t be more excited to feature the explosive talent that has been submitted to us. Our idea is to have an anthology roaming around parts of the world with a collection of frightening and strange stories; a mysterious anthology with a collection of ghosts.

Welcome to the first issue of The Haunted Traveler; a roaming anthology seeking to collect the strange and the wild stories that we all carry. Those words hidden in the deep dark that linger around. Weasel Press is proud to have released this first collection of material and is excited to do more anthologies in the future. The Haunted Traveler is a non-profit, Horror and Science Fiction anthology that accepts a wide variety of art media such as photography, short fiction, creative non-fiction, digital artwork and more. Our anthology publishes twice a year. To find out more information about our submission process, please review our submission guidelines. Our first issue was released on March 28, 2014 and we couldn’t be more excited to feature the explosive talent that has been submitted to us. Our idea is to have an anthology roaming around parts of the world with a collection of frightening and strange stories; a mysterious anthology with a collection of ghosts.

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77<br />

Flesh Color<br />

Ranylt Richildis<br />

She was painting bare-chested when the couple came over<br />

the rise. Perched on her artist's stool, inches from the cemetery<br />

gate, she dabbed at the canvas before her. <strong>The</strong> easel's<br />

legs disappeared into a carpet of green. <strong>The</strong> grass was lush<br />

at the moment. Beyond Yocelin’s promontory, the peaks and<br />

troughs of low mountains were covered in trees that were<br />

sun-limned on their western flanks. <strong>The</strong>y spread a caper of<br />

emeralds that wouldn't still, and their branches tickled the<br />

belly of an enormous blue-and-white August sky.<br />

<strong>The</strong>re were trees at her back, as well, past the graveyard<br />

where the remains of Lester Bowles Pearson counted the<br />

seasons. Some of the tombstones were new and bland, but<br />

many were early nineteenth-century. <strong>The</strong> older ones had<br />

been pocked and tilted by weather, but their designs were<br />

more charming. Yocelin had sketched several of them while<br />

she bided her time, had even amused herself with tombstone<br />

rubbings that charcoaled her fingers and fluttered nearby<br />

birds.<br />

<strong>The</strong>se projects distracted her from harsh hunger, but not<br />

from the strain straining every ion around her—a tension<br />

that threatened to leach all color from her world. That tension<br />

was outside of her, out of her power, about to flex and<br />

suck and whitewash. So she swirled paint about her palette<br />

and canvas. <strong>The</strong> act was anodyne. Her landscape in oils comforted<br />

her and kept the pallor at bay.

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