Zealia B. Bishop

Biographical details

Zealia B. Bishop Medusa's coil (1939)

Well, I couldn't do anything but look and shudder, and finally I saw that Marceline was watching me craftily out of those monstrous, dilated eyes on the canvas. It was no mere superstition—Marsh had actually caught something of her horrible vitality in his symphonies of line and color; so that she still brooded and stared and hated, just as if most of her weren't down in the cellar under quicklime. And it was worst of all when some of those Hecate-born snaky strands of hair began to lift themselves up from the surface and grope out into the room toward me!
Source: Gutenberg

Zealia B. Bishop Medusa's coil (1939)

It would be too hideous if they knew that the one-time heiress of Riverside—the accursed gorgon or lamia whose hateful crinkly coil of serpent-hair must even now be brooding and twining vampirically around an artist's skeleton in a lime-packed grave beneath a charred foundation—was faintly, subtly, yet unmistakably the scion of Zimbabwe's most primal grovelers. No wonder she owned a link with the old witchwoman Sophonisba—for, though in deceitfully slight proportion, Marceline was a loathsome, bestial thing, and her forebears had come from Africa.
Source: Gutenberg

Zealia B. Bishop The curse of Yig (1929)

Lafayette Smith, who came from southern Missouri and had a cabin about three miles east of Walker's, was a very passable fiddler; and his tunes did much to make the celebrants forget the monotonous beating of the distant tom-toms. Then Hallowe'en drew near, and the settlers planned another frolic—this time, had they but known it, of a lineage older than even agriculture: the dread Witch-Sabbath of the primal pre-Aryans, kept alive through ages in the midnight blackness of secret woods, and still hinting at vague terrors under its latter-day mask of comedy and lightness.
Source: Gutenberg

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