Ghost Riders

WAYNE HAD DRUNK AND GAMBLED clear through the night. He’d cheated. He’d bullied. He’d left the barmaid in tears, the red imprint of fingers on her arm.

Now he staggered from the saloon, jug of whisky in hand. He ducked his horse’s ill-tempered bite, hauled himself into the saddle, then headed for the road out of town.

On his ride back to the canyon, three times he shook himself awake to find old Coot grazing off the path. Spurs and whip used with abandon got the cowpony moving again, with many snorts and insults on both sides.

No such luck when they came to a stream moseying down from the hills. When Wayne  wouldn’t let the cowpony drink, Coot bucked his rider clean off and refused to budge till he’d gotten his fill of water.

Wayne dusted himself off. Had he forgotten to stop at the watering trough before leaving town? Tough luck.

“You ain’t the only thirsty critter ’round here,” the cowpoke growled as they got back on their way. He started in on his jug. Whiskey would shorten his long trek back to the ranch.

Early 20th century painting
Arizona Cowboy,” 1901, by Frederic Remington (1861-1909)

Once again Wayne roused from torpor to find his cowpony rooted to one spot. Cussing up a blue streak he kicked heels hard, but the horse only backed up a pace. The cowpoke fumbled for his whip, but he must have dropped it along the trail.

His brain cleared enough to notice something off. Coot quivered beneath him. Neck arched. Ears flicking all directions.

“Tarnation!” Wayne yelped when he saw they stood at the brink of a cliff.

Backs to the setting sun, their shadows splashed against another rocky wall — the far side of a draw. The steep-sided gully dropped away into darkness. Ahead of them, leaping up from the tablelands, stood a wall of ragged clouds roiling in purple and gold. A growing wind whisked the tang of sage, the twang of coming rain. Lightning flickered afar off.

19th century painting
Storm in the Rocky Mountains…,” 1869, by Albert Bierstadt (1830-1902)

Coot still wouldn’t budge, even when Wayne urged him to back up. Now the cowpony seemed to gaze up at the clouds. His shiver had turned to shaking.

Wayne gulped. One towering cloud had spilled a streamer that rushed his way, bursting into puffs that reshaped into the form of cattle. A herd thundering straight at him.

Red eyes. Black, shiny horns. Hooves that glinted like steel.

Wayne gasped. Their brands still flickered with flames!

And behind them came gaunt-faced riders, astride horses snorting fire!

The ghostly troop raced past, all but one rider who wheeled about in a tight circle. “If ya want ta save yer soul from hell a-ridin’ on our range, then cowboy, change yer ways this day, or with us you will ride a-tryin’ ta ketch the devil’s herd across these endless skies!” *

The cowpony’s terror broke all bounds. Coot whirled and fled, Wayne clinging to his back for dear life.

Life, dear life. Days, months, years — how long would it take to change his ways truly and deeply?


Based on the country western song “(Ghost) Riders in the Sky.”

* The ghost’s words: from the last verse of the song.

According to songwriter Stan Jones, when he was twelve an old Apache (?) from Cochise County, Arizona, told him of his people’s belief that after death your spirit rides like a ghost in the sky.

Later Stan told this to a young friend, and they sat looking at clouds, finding shapes like ghost riders.

Years later Stan wrote lyrics based on this idea — and echoing old European myths of the Wild Hunt.

“(Ghost) Riders in the Sky” timeline:
– 1926: inspired by a legend heard around this time
– 1948: written
– 1949: first produced, to be performed by many artists including Burl Ives and Bing Crosby
– 1979: Johnny Cash’s release of the song

“Members of the Western Writers of America chose it as the greatest Western song of all time.” (Wikipedia)

text: © 2022 Joyce Holt

artwork: 19th and early 20th century century paintings. Public domain info here.

Bundle of Sticks

KJETIL HAULED BIRCH SAPLINGS down the steep trail to the lake. “You owe me an explanation,” he called to his friend, who bent over another pile of staves, already stripped of twigs and leaves.

Anstein leaped up. “Ah, you got my message. I knew I could count on your help.”

Kjetil dumped his burden, looked from the birch rods to the rowboat drawn up on the shingle, to ominously still water. “What is this? Another crazy scheme to cross the lake? Just saddle your horse and take the trails around.”

“I saddled up this morning all right, but rode into the mountains instead.  All the way to Old Hæge’s hut.”

Kjetil snorted. “Did you tell the wisewoman why you want to cross the lake every other day?”

“Wasn’t going to, but she guessed.” Anstein’s ears turned red.  “She laughed at first, but took pity on me. Said nothing should stand in the way of true love.”

“These birch rods. How are they supposed to save you from the lake serpent?”

“She told me to sharpen both ends and bundle them up loosely. If the serpent comes after us, we cast the bundles out. And then we—”

“We? Us?”

“Then we row like mad for the south shore.”

Kjetil shook his head. “Then you row like mad. I’ll sit here watching, and sing your lament.”

“When has the wisewoman’s advice ever gone wrong?” Whistling a love song Anstein went back to sharpening the rods, ignoring Kjetil’s arguments. “I’m going with or without you. I have full confidence in Old Hæge.”

Kjetil watched, scowling, as Anstein lashed the rods in two loose bundles, stowed them, and dragged the rowboat down the shingle. Kjetil groaned in disgust and went to join him. “I’m going to regret this,” he muttered as he helped shove off. He took an oar.

19th century painting of a rowboat on a Norse lake
Analkande Oväder,” 1871, by Hans Gude (1825-1903)

They rowed as quietly as possible, glancing in all directions. Halfway across the long narrow fjord, Kjetil lurched, staring back north, the way they’d come. A shadow in the water speared toward the boat.  “It’s coming!”

Anstein tossed one rod-bundle into the boat’s wake.

Kjetil threw the other.

They took to the oars and rowed like mad.

Where one rod-bundle floated, the water erupted. Through spray, Kjetil saw the decoy snatched by a saber-jawed snout — followed by an evil-eyed skull — and neck — and long sinuous body, arching from the depths and plunging down again.

Lake water rained all around. Waves heaved like rapids. Gasping, Anstein and Kjetil threw their all into the rowing.

The monster burst from below again, flailing, thrashing, spewing bloody spittle. It snapped in fury at the second rod-bundle as if it was to blame for the agony. It wheeled about and streaked northeastward through the water. It writhed up the shingle, through scrub and thicket, and vanished into a cleft in the cliff opposite.

Anstein grinned as they rowed the last stretch. “Safe across! Come courting with me. Astrid has a lovely sister.”

“Not on your life!” Kjetil took a seat on a boulder and stared across the waters. “I’m watching that cave. When the beast comes out, someone needs to raise the alarm.”

“I can always count on you.” Anstein strode up the steep trail, his whistle pealing a love song over the haunted lake.

19th century art of a reflection in a lake
Aspen Bloer,” by Theodor Severin Kittelsen (1857-1914)

Folktale from Kviteseid, Telemark, Norway, about the serpent in Lake Kviteseidvatn. It is said the serpent (or orm) never emerged from its lair (or far). That hillside has ever since been called Ormfarberg: Serpent-Lair-Mountain.

text: © 2022 Joyce Holt

artwork: 19th century century paintings. Public domain info here.