Rodia placed a cup of warm tonic before her, then measured a small spoonful of bromide powder into it and stirred. He watched the liquid swirl clockwise, until it dissolved completely.
“This tonic will numb the dread and loosen your tongue.”
The candle between them began to dwindle while the last of the evening light crept through the dusty window, mingling with the candle’s soft orange glow. The two lights barely held back the shadows gathering quickly in the barren wooden room. There they sat around an old table.
“I can’t…” she said, shaking her head, fighting back the disgust of conjuring up the memory. Tears had become her constant companion, always waiting behind her eyes—since that night. Her hands trembled as she seemed unsure where to put them.
Rodia slipped two fingers into his waistcoat pocket and drew out his silver pocket watch.
“It will take two minutes before you start to feel it. Close your eyes, and when I tell you to begin, tell me what you see,” Rodia said gently.
A worn leather satchel lay open on the wooden table, filled with charcoal and pencils. Beside it lay a blank sheet of paper. Rodia watched her swallow air, trying to steady the involuntary heaving of her shoulders.
At the top of the page, he wrote:
October 29, 1894
Village of Verkhnyaya Kolva
Summoned by the Administration of Krasnokamsk.
Rodia glanced at his pocket watch. “Two minutes have passed.”
“Sveta… my charcoal and pencils will capture your every word. Just close your eyes. Let your mind walk back to that moment, everything you see, hear, feel. No detail is unimportant.”
He studied her face; the slight sway of her head told him the mixture had taken hold. Her hands, restless moments ago, were now still- gripping the table.
“And his face,” Rodia said softly. “I know that will be the hardest part. Look hard. Look deep.” Her face went pale. Her eyes seemed to say that too much was being asked of her. She breathed in, then out.
“Close your eyes, Sveta…” Rodia reminded her.
Silence settled over the room. The only sounds were the wind outside and the old wooden izba shifting as if it were still settling into the earth.
“My first question is the easiest: what was the address where this took place?”
“45B Gogolov,” Sveta whispered.
“Walk me through the day,” he said.
“It was early morning…” Sveta said. “The light had just climbed over the earth. I was walking my normal route, going home. I had two buckets of water on my koromyslo, drawn from the well along the road.”
Rodia sat listening, his hands still, his pencil poised above the paper.
“The ground…was wet with morning dew. The hem of my dress became soaked on the grass…” She stopped. “This is nonsense. What am I saying?” She wiped tears that had involuntarily made its way down her cheek.
Rodia handed her a white handkerchief, and said “Here... take a little more tonic, if you need it.”
“No… I am okay, my head feels light.” She sighed.
Steadying herself with her arms on her chair, she continued, “The sky burned orange. We always said a red morning sky was a bad omen. I walked into the house. It was quiet. I thought nothing of it. I poured the water into the barrels and hung the yoke outside. The quiet was unnatural… Come to think of it, I had never once heard the floorboards, but that morning they announced my every step.
“The hair on my arms began to stand. I could feel something… wrong. A presence that wasn’t right.”
She clutched her chest for a moment hugging herself tightly.
“The hallway was dark, just the morning glow. And in the corner of my eye, in my brother’s room, I saw a man.”
Rodia’s pencil touched the page.
“His hair was matted. A tangle of gray and brown… mostly brown. Curled and wild, as if he had worn a cap for too long.”
Rodia’s fingers began to move, the charcoal whispering across the page.
“Stay at this moment,” he said. “Keep it still as a day… see it as you would a portrait.”
“There was a nervous excitement about him, as if he wasn’t moving but shaking all over. His lips were moving, saying something yet nothing at all. His face was pale and gaunt, his eyes blue, with eyelashes ladies like us would only dream of—his one redeeming feature.”
She shook her head in disappointment, as if tasting something bitter.
“There is something I left out….”
“What? What did you leave out?” Rodia asked.
Her face showed her revulsion.
“He was on all fours.”
Rodia looked up, saying, “On all fours?”
“Yes, he was crawling across the floor like an animal. His fingers were thin and dirty, his palms black with something. I didn’t understand what he was doing… the blood…”
She closed her eyes tighter, shaking her head as if hating the memory. They sat in silence as her head swayed back and forth.
“Then I saw the flies.”
Rodia’s pencil paused.
“They were everywhere. On the floor. Dead. Hundreds of them. Buzzing even towards me. And he was picking them up.”
She placed her hands over her mouth, then held one hand up, as if picking something invisible off the table.
“One at a time.”
“What was he doing with them?” Rodia asked.
Sveta mimed what she was about to reveal, then faintly whispered.
“He was… he was eating them.”
The charcoal snapped in Rodia’s fingers and he looked up astonished.
“He would pick up a dead fly between his fingers, put it in his mouth, chew it… then reach for another. There was an unsavory smell of unwashed skin. His beard gave him a truly feral appearance, as if he had walked straight out of Preobrazhenskaya psychiatric Hospital.” Her eyes remained closed, her face grimacing at the memory.
“Describe the beard,” Rodia said glad to be back on track.
The pencil scratched against the paper.
“It was long around his chin, wavy and black with some gray. But there was something unwholesome about it. Patchy. Like wild weeds in places, then balding to nothing but sallow skin in others.”
“Hold still,” Rodia said. “Look into that face… what did you see?”
“In his hands… a knife. Something was dripping from it…”
Her shoulders began to shake again.
“Don’t look at the knife,” Rodia said quietly. “Move your eyes from it. Go directly to his face. Only his face. Tell me what his eyes were like.”
“They were angry, with a laughter of mockery within them. No mercy. I saw more humanity in feral cats. Also… seemed like a web of red lines were around his blue eyes.” She adjusted her head-scarf, and one leg started bouncing with nervous energy.
“They were not symmetrical… one larger than the other, sitting slightly lower, as though his face had been pulled crooked. His forehead bore the normal wrinkled lines, but protruded forward, making his eyes look sunken. His nose was normal—thin, nothing defining. And his lips kept moving…”
She opened her eyes. “But now he was speaking.”
The tallow candle almost died. Rodia immediately reached into his satchel, took out several more candles, and lit them one by one, placing them around the table. The room brightened with that orange glow. Sveta closed her eyes again, moving her head back and forth slowly, in deep thought, still under the influence of the tonic.
“Now,” he said, returning his pencil to the page. “Tell me what he said.”
“Not really talk… I misspoke… he began to sing, at first,” Sveta said, looking as if she were about to open her eyes.
“Keep your eyes shut,” Rodia reminded her.
Her closed eyes clamped even tighter. Her face twisted into a scowl.
“He was singing in riddles.”
“Singing?” Rodia asked, unintentionally.
“Yes… It rhymed—something about catching spirits and flies and the taste of earth.”
Her lips trembled and she began to hum the tune.
“I began to back away when he smiled… flies buzzed around me.”
Rodia looked up from his portrait as sweat began to bead on his forehead, and for the first time his palms felt wet as he started shading again with charcoal.
“His face—back to that, please,” Rodia asked.
“His face was shrunken… as if his bones were trying to push through his skin... the look you get from starvation… I’d seen that look before. And one mole on the bottom lip.” She pointed where it was on her face.
“His teeth were mostly rotten or missing, making his lips sag a bit… but I started to back away down the hall. My brother… he was not moving. On the floor, face down.”
"My brother..." Her voice cracked. "My sweet younger brother..." She whispered... "was born in that very room."
Her shoulders began to heave once again, and she rocked back and forth slowly on the chair with her hands covering her face.
Rodia looked up and discerned that her emotions were beginning to rise hotter than the tonic. She removed her hands, then opened her eyes and looked directly at him.
“He sang a familiar tune, of all things… Not correctly, but over and over… ‘Take pity, oh my dear soul, on this young lad’s dear shoulder.’ And then he stood up. He had a knife in his hand.”
“What then?” Rodia asked.
“I ran.”
Rodia kept drawing, asking a few more questions as she supplied details about the man’s face and build. After what could have been an hour, he finally stopped.
“I am done. Can you tell me if this is him?” It was already almost dark, so Rodia positioned the candles to illuminate the paper.
Sveta jumped up and held her mouth as if in horror. “You make their souls appear as they truly are on paper… That… that is him.”
Rodia, taking her reaction as confirmation, said, “You confirm this? Look at his face carefully. Anything missing? Think hard.”
She glanced once again at the portrait, “Yes, that is him. His soul is tethered to that paper.” Sveta looked away, covering her eyes.
“Sign this portrait with your name—it’s for the magistrate. I will need to talk to one other that might have been a witness to this event, your neighbor.”
“Yes, babushka Maria. 52A Gogolov Street.” Sveta wiped at her eyes. “She lives alone, since her husband passed. She might have seen something.”
He handed her the pencil, and Sveta looked at the picture, then turned her face away as she signed it. Rodia placed the paper into his satchel.
“It will take two weeks. You will be contacted if we learn anything. I am sorry for your loss.” Rodia bowed politely, and before he departed, he stopped at the doorframe and glanced back at Sveta. She was staring at the candles with a blank expression on her face.
“Do you need help getting home?”
“No…” Sveta said absently. Then she turned toward him. “Do you believe in demons?”
Rodia studied her for a moment. Her blue eyes still looked soft in the orange glow of the candlelight.
“I am inclined to, at times, based on what I have seen in my work. Sometimes… it’s just insanity.”
He reached for the door, then stopped.
“Is there anything else you wish to tell me, ma’am?”
"Just to see that portrait one more time." Sveta clutched a cross around her neck and then turned back to looking at the candle.
"To make sure... indeed it is him."
Rodia hesitated, then placed it on the table once more.
Sveta didn't reach for it right away. She only looked, much longer than she had the first time, her eyes drifting slowly over the face as if discerning something written beneath the charcoal. She traced her finger along the portrait's face. Then, gradually, her eyebrows drew upward into a V, and she began to sway, as if she'd had more tonic.
"Are you all right?" Rodia asked. "Let me walk you home tonight."
Rodia watched her as she pushed the portrait toward him.
"You want to hear what he sang?"
"If it would make you feel better..."
Six little flies came riding on the Eastern wind,
Six little mouths opened wide,
The swine ran squealing toward the big blue sea,
And something little swam inside of me.
She looked up at Rodia, fighting back something, a struggle showing on her face.
"I told you about the silence, the presence, the flies..." She closed her eyes once again, grimacing.
He looked at the table. The candlelight made the drawn figure seem almost to move. He told himself it was only the flame. Her face had gone terribly still and stern.
"I forgot to mention—they flew inside of me as well."
He stood in silence, the sound of the evening wind hitting the izba.
"What do you mean, Sveta?" Rodia asked.
She didn't answer. She stood, taking her headscarf off and placing it on the table. Her long black hair frizzed around her face.
Rodia stepped back. She began to hum the same tune as before, then blew out the candles, one by one.
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This was wonderfully atmospheric, and wonderfully unsettling (in a good way). I thought the image of this wretched creature crawling around eating flies was the most unsettling part...until I got to Sveta humming the tune and blowing out the candles. Very nice!
Here's a question under the heading "I don't know much of anything about the world:" did you invent that little song, or is it some sort of old folk (or folk-type) song?
Thanks so much for this! Very entertaining.
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Hi Richard!! I’m really glad you liked this story! This one went through some major revisions, so I’m relieved it finally landed. The song the man sings at first is actually based on a real Russian folk tune from the 1860s-- Korobushka-- the same melody that later inspired the Tetris theme. The original line, “Пожалей, душа‑зазнобушка, молодецкого плеча,” translates literally to “Take pity, my sweet beloved soul, on this young man’s shoulder.” I changed it a bit for the story, but decided (just now) to use the literal translation because it becomes so strange and unsettling in this context. The other song, the one about the flies, is completely made up. Thanks for the encouraging words!!!
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Great story! I like the thematic element of using the sketch or portrait to ground the telling of the tale. The reader is unsure what exactly is going on and doesn't know what happened and is pulled in but gradually realizes that the narrator is part of law enforcement--a sketch artist helping to try and catch a killer. Sveta seems to believe he is summoning or trying to catch the man's soul. A couple of thoughts. We don't have much context on the relationship between brother and sister, which would deepen the loss. Also, to me, the most interesting character is Sveta, but I don't know much about his motivations and what he is trying to do here. Part of the allure is the awesome wording and the way you paint the mystery. A wild thought I had while reading was maybe she is dead and he is summoning her to tell about her killer and has some kind of supernatural ability to contact the dead to identify the murderer. But without any supernatural element involved, I think what you have now is two very compelling characters, a provoking narrative that resolves a mystery slowly through skillful narration and a measured revelation. Awesome story!
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Thank you so much for taking the time to read this and for such a thoughtful response!! I’m really glad the slow‑reveal worked for you. I hoped that intrigue would draw people into their world instead of front-loading an exposition of it!! Thanks for confirming my choice
This is actually the second story I’ve written featuring Rodia. The first, The Candlelit Sketch, establishes his character a bit more fully... so if you’re ever interested, I’d love to hear your thoughts on that one too. This piece stands alone, but they share the same world.
I completely agree with you about Sveta; she’s the character I find most compelling here, and you’re right that the sibling relationship deserves more weight. I think I’ll add something specific about what her brother meant to her. Good thing I still have time to do so! I really appreciate the avice love the feedback. :).
Your “wild thought” about a supernatural ability to contact the dead is interesting. I’ve actually always imagined Rodia’s gift for capturing a likeness as almost supernatural in its own right, even without anything explicitly magical happening. Thank you again for such a thoughtful comment!!
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What a rich and vibrant piece! Yes, dark like the others have said, but in a way that is incredibly satisfying. The opening scene was perfect - I could see the Rodia and Sveta there in the shadows with the candlelight between them. And you kept building the suspense. What’s coming next? What next? As someone else said, you created such atmosphere, that I felt like I could almost hear mournful and eerie music as I read. And I loved the title. Such a deeply satisfying read from the first word - thank you!
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Wow!! I really appreciate your encouragement! I was hoping that opening scene would be intriguing enough to keep people reading . I actually wrote most of this story several weeks ago, but it didn’t match the prompt at the time. When the Prompt title “What keeps you up at night” appeared, I thought, well… seeing that man in a darkened room would definitely keep me up! So happy the story worked for you. !! . :)
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This is a dark tale that drew me in - every sound, every image... The technique of getting her to remember was fascinating. The scene with the "fly eating" was repulsive but oh so telling of his feral nature. The end left me with a question, and I'll let it just hang there, unanswered. The story has all the more impact that way. Great work!
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Thanks, Scott!! I’m so happy this dark Siberian tale pulled you in. The fly-eating detail was repulsive for me too, and as the prompt “What keeps you up at night.” That one might just do it :)
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Oooooh. This was such an immersive story. I got completely drawn into its strangeness — in the best possible way. The singing is so haunting and I love the revealing through the portrait. Great storytelling.
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I’m so glad the atmosphere worked for you! This one went through revision after revision while I tried to figure out the right ending. Thank you so much for taking the time to give it such a thoughtful read and comment it really means a lot. :)
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You are welcome. I always enjoy your stories. Also, I don’t think people realise how much goes into a story. We writers put our hearts and souls into them. Our stories express who we are.
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I think this scene works well the atmosphere. It has that cold, isolated, late-1800s Russian feeling to it, and the candlelight, the old wooden room, the wind outside, and Rodia sketching. It feels like the room is closing in on them. What I like most is how the horror builds. It doesn't start with the worst thing. We first get the strange silence in the house, the floorboards, the feeling that something is wrong, and then the man in the room. From there, every new detail makes him worse. He's on all fours, there are dead flies everywhere, he's eating them, there's blood on the knife, he's singing. Each detail takes the scene a little further without giving everything away at once. The fly-eating part is the strongest image in the scene. It's disgusting, but it's also strange enough that you remember it. I also like that Rodia keeps trying to bring Sveta back to the man's face because he's there to make a portrait. She's remembering something much bigger and more horrifying than just what the killer looked like. That gives the whole interview a purpose besides exposition. Rodia also works for me because he's calm without seeming fearless. At first he's professional and focused on his job, but little things start getting to him. The charcoal snapping, the sweat on his forehead, his palms getting wet — those details show that Sveta's story is starting to affect him even though he's trying not to show it. The ending is the best part for me. When Sveta asks to see the portrait again, I feel like something is wrong. Then the song comes back, followed by, "I forgot to mention — they flew inside of me as well." That's a great reveal because it changes what I thought the scene was about. Up until then, I think I'm reading an interview with the traumatized witness to something horrible. I'm wondering whether whatever happened in that house came back with her. Her taking off the headscarf, letting her hair fall around her face, humming the murderer's tune, and blowing out the candles one at a time is creepy without explaining too much. I would keep that ambiguity. I don't need to know yet whether she's possessed, drugged, traumatized, insane, or whether something supernatural has entered her. Not knowing is what makes the ending work. I think the scene has a strong identity. The forensic portrait angle mixed with Russian folk horror is what makes it interesting to me. It doesn't just feel like a murder investigation and it doesn't just feel like a supernatural horror scene. Rodia is trying to use observation and reason to capture a man's face on paper. Sveta is describing something that may not be explainable by reason at all. That's the part I'd lean into the most.
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Wow!!! You really captured the very heart of what I was trying to do with this story.... the tension between Rodia’s rational observation and Sveta’s descent into something reason can never grasp. That was my favorite part to write, and I could easily keep exploring Rodia in more stories. I’m so grateful you pointed out where the focus needs to be highlighted: Sveta describing something beyond logic, while Rodia is trying to capture the man’s face on paper.
I truly appreciate the depth of your insight. This story is still evolving, but your comment helps me see more clearly the “soul” of it. Thank you, thank you, thank you!
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This had a wonderfully unsettling atmosphere, Iz. I especially liked the way the portrait slowly takes shape through Sveta’s memory. It makes the scene feel almost forensic at first, but the further she goes, the more that sense of rational observation starts slipping away. The flies were probably the detail that stayed with me most — grotesque enough on their own, but much more disturbing once the song and that final revelation bring them back in a completely different way.
I also liked that Rodia never quite becomes a passive listener. His insistence on returning to the face gives the scene structure, while Sveta keeps pulling it toward something stranger and less controllable. By the end, I wasn’t entirely sure whether I should trust what she remembered, what the tonic may have altered, or whether there really is something supernatural happening — which, for me, made the ending work even better.
That last image of her blowing out the candles is deliciously creepy.
I’m curious: when you wrote Sveta, did you already know exactly what had happened to her, or did the darker implication at the end emerge while you were writing?
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Thank you for thinking this was 'deliciously creepy' Originally, the story was completely different: Rodia investigated and discovered that the suspect’s mother had locked her son in a basement because of his mental illness, occasionally letting him out “to play.” She was forgetful, so he might have escaped. I scrapped that version because shifting from Sveta’s dread to Rodia’s objectivity made the story feel too sprawling... more like a novel than a short story. Into the digital shredder it went!!
Instead, I leaned into a darker idea: what if Sveta swallowed the flies? That twist felt more unsettling and kept the focus on her trauma and expereince. So in answer to your question...I had no idea until today!!
I really appreciate your thoughtful insight and review!!! It means a lot. And if you get the chance, I know you get this but would you mind giving the story a like :) Again really appreciate your comment !!
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Wow, this was so haunting. Things are not always how they seem. Another heart-pounding adventure for Rodia. Thank you for sharing, Old Izbushka!
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Thanks!! I ended up changing the ending completely. The first half felt strongest to me, while the second half read more like a separate piece... almost like “part one and part two.” To keep the focus tight, I decided to cut the entire latter section that honestly barely squeezed under 3k words.! I may be wrong, and if you have time, do you think this leaner version is better? :)
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Agreed! 3K words is hard to compress so many details. This update focuses more on Rodia's session with Sveta, whereas the original also had the aftermath on Gogolov Street. I loved the original ending as a cliffhanger, though it may come across as a bit rushed because of the word count.
This update builds on the trauma that Sveta experienced. Perhaps express more of the mental overwhelm Sveta goes through while reliving the tragedy. Make the fear palpable. I love the singing at the end and the fly.
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Thank you so much!! I have made a few adjustments as. you suggested, now that I have much more room to work! :)
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Love it!
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Mr. Iz, I'd like to thank you for this reply. For me, THIS is the kind of thing that helps me see how others work through the creative process. I think a "behind the scenes" peek can be really illuminating, and illumination, that light, just might help me write better.
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This story is a standalone tale featuring Rodia, the portraitist first introduced in my story "The Candlelit Sketch." You don't need to have read the first story to follow this one.
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Like the scene setting, the man, woman and the drawing of a picture.
You write well and this scary tale reaches into the soul.
Well done. Thank you for sharing.
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Thanks!! Really appreciate it!!
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