A Penanggalan in Transylvania- Part 1

Part of the Wheel of the Year Series inspired by Weave by Deirdre Sullivan and Oein de Bhairduin. This story was written for Samhain.

Image shows the Samhain image for the Wheel of the Year, with the Weave book in the foreground, a Death Tarot Card, and Black Obsidian and Mookaite Jasper. In the background is a ghostly typewriter with a skeleton hand a book of spells with a glowing purple eye in the centre. Featured Image above shows Bran Castle, Transylvania, Romania.

A Penanggalan in Transylvania

29th October. Brasov, Transylvania. Left London at 10.30am, on 27th October, arriving at Bucharest late that evening; should have arrived at 5.30pm but the flight was an hour late…

I disproportionately enjoy starting my journal entry for my 35th birthday trip to Transylvania in the same format as Jonathan’s Harker’s in Dracula. I have brought it along with me on the train from Bucharest through the Carpathian mountains, now gloriously dressed in its autumnal gowns. I have never seen such colours on the trees- the gold and ochre of beech and deep carmine-red pine against forest green spruce, and every so often, the rising spire of a diaphanous silver fir. They are plucked from the shadows and glow in spotlit golden swathes like little forest fires. Deep within, bears lumber and wolves prowl, and the Carpathians, like a great, curled, sprawling beast, threaten at any moment to swallow the pretty villages like Brasov which nestle at its feet. 

I am struck by a paragraph on the first page which had never before captured my attention: 

“I read that every known superstition in the world is gathered into the horseshoe of the Carpathians, as if it were the centre of some sort of imaginative whirlpool; if so my stay may be very interesting.” I wonder if such superstitions could extend as far as my own lineage, to my mother’s side in Malaysia or my father’s in India.

I am bound for Brasov to present at a Dracula Conference coinciding with my 35th birthday.

Before leaving, I visited my parents in our family home in Dublin. My mother had been more solemn and emotional than usual. 

“In our family, Chinta, a woman’s 35th birthday is very important,” she said. “Still no man, Isha? No children on the way? What about that nice doctor you were dating?”

My last boyfriend had only a PhD in English Literature but my parents liked to fixate on the technicality of his being a doctor.

“No Ibu, we’re not seeing each other anymore, remember? We wanted different things.”

“And what is it that you want, eh, Chinta? You don’t want a family?” Every year she had grown more distressed as the prospect of my having children grew ever more distant. This year I sensed a change in her- something closer to resignation. 

“I do want a family Ibu, but it’s not my fault if it doesn’t happen for me. Is it so bad if I don’t end up having children? What about Siti Auntie? She’s happy, isn’t she?” Siti Auntie, always glamorous and windswept, would bring us trinkets from her travels around the world and enchant me with bedtime stories of fairy tales and myths she picked up on her adventures. As a teenager she showed me how to wear her signature red lip, and although I shared her silky black hair, my mother would not let me wear it as long as hers, which tumbled all the way down to her hips. 

“Hayo, always you want to be like Siti Auntie. No matter what I tell you.” We were standing alone in the kitchen after dinner, putting away the dishes. “I have something to give you, Chinta. Stay there.” She went upstairs while I stared at my reflection in the window over the kitchen sink. No crow’s feet yet. The marionette lines at the corners of my mouth were deepening. I felt a sense of finality as the axe came down on the first half of my life, and realised that I was really and truly no longer young. 

My mother returned and in her hand was an old, faded green, leather-bound journal. She handed it to me. Its thin tawny leaves were falling out and barely held together, the binding worn, the ink I glimpsed was almost translucent. 

“For over a century, this book has been handed down to the women in our family Chinta, always when they turn 35.” 

“Why wait so long?” I asked. “Isn’t 16 to 21 the usual age for passing on heirlooms and that sort of thing?”

“At 16 or 21 you are still girlish, you think you have the rest of life ahead of you. You are full of youth and beauty. At 35, all that is gone-”

“Hey!”

“But this is when you really have become a woman. Just take it with you on your birthday trip.”

It sits in front of me now, this withered ancestral relic. My mother gave no hints of what it contains, which feels very strange for what I have grown up perceiving our family to be, a typical South and South East Asian family, emotionally open, expressive and unrepressed. There is some generational wound here, something which even my family will not touch and feels the need to push away. Delicately, I open its time-worn pages and begin to read. 

Monday August 30th, 1808. Kampung Gunung, Penang.

Yesterday I made his favourite foods in the hope that it would soften him- ikan bakar in banana leaf, ikan bilis and sago gula melaka. I spent hours making them just right, according to Ibu’s recipes- melting the gula melaka sugar to the perfect consistency on the stove, pounding the chillies for the sambal, picking the fattest fish from the market to steam- but when he came home he complained that the whole house and I were stinking of belachan and that now he would go to work tomorrow stinking of it too. 

And my shame almost swallowed me today when I met Aida, my new bidan midwife. She is young for a bidan, and so she does not have much of a reputation, but she is all I can afford. She is kind and beautiful with dark, clever eyes. She found some of the bruises and wounds that I am normally able to hide as he is careful enough to make sure these are on the private areas of my body. 

She told me that if he continues like this I will lose the baby. I don’t know what to do. 

I wish I could run away to the tops of the mountains. 

Friday September 3rd, 1808 

Allah have mercy on my soul for I have lost my mind! I cannot describe or believe what has happened. It cannot have happened. I must write it down. Perhaps I can make sense of it if I write it down. 

There was so much blood, blood all over the bed. When he saw what was happening he left me and the baby there to die, in agony. I could see the moon through the window and hear the breeze and then through the smell of blood and sweat, the stench of vinegar. I thought I heard a baby crying. When I looked at the window there was a face staring back at me, a woman’s face as white as the moon with long dark hair and eyes rimmed with black. And where her body should have been, there were slick, glistening, bloody organs, a beating heart, two throbbing lungs, tubes of intestines, exposed dangling viscera. 

The next moment she was in the room, her face and her long hair leaning over me. “You will be saved,” she said. 

When I woke up the next morning, all the blood was gone. My nightdress and the bed were clean, white and damp only from sweat. 

I found enough strength to prepare dinner for him, just in case, but he never came. I sat alone at the table and despite everything, for a moment, I enjoyed the warming laksa soup, and slurped my noodles like a schoolgirl. 

That evening I went back to Aida’s house, which like ours was a rumah panggung on stilts, though hers was closer to the wild mountains on the outskirts of the kampung village. The water around the house was still and glittered in the moonlight. Drawing closer, I heard the growling of a tiger or a black bear coming from the forested hills. The lights in the neighbouring stilt-huts were out. 

“Aida,” I called after climbing the steps to her porch. “It’s Maeena. Please let me in.”

She opened the door in her nightdress. Her clever eyes were lit with both concern and curiosity. “Of course Maeena, come in.”

She sat me down on a wooden chair in the corner of the room and brought me a glass of kopi cham. The mild stimulant helped soothe my nerves, but there was something about the house that was making me uneasy. 

“Aida, I think I may have lost my baby.”

“Yes, Maeena. You have.”

I began to wail. “But my cantik,” she said. “You have also gained life.” 

“What do you mean?” 

“Your husband has left you, yes? He has run back to his mother’s village to torment the next woman. And you are still alive.” 

“Yes,” I said looking up at her. “But what if he comes back? What if he doesn’t? I don’t know which is worse. I won’t survive without him- I will starve.” 

“No you won’t, my cantik. I know a way for you to survive, and be happy, and free. Freedom- that is what you want more than anything, isn’t it?”

I nodded. 

“And you shall have it. I will teach you the ways and rites. But I must warn you- this path is not without its own pain.”

I listened carefully. “I am sure it is no more painful than the life that awaits me otherwise.”

She nodded. “I know. It is why I have wanted to show you since the moment I met you. Follow me.” 

I followed her into a back room, through an archway with a curtain of finely painted beads. Before us within the wooden framework was a bathtub surrounded with candles. And that was when I realised what had made me uneasy. It was the smell of vinegar. Under her frangipani perfume, Aida reeked of it. In front of us, the bathtub was full to the brim with it…

“Isha, we’re nearly here, this next stop is for Brasov.” One of my colleagues who was travelling with me was standing in the aisle with his bags, leaning over my shoulder. “Wow, how old is that book?” 

“About two hundred years old,” I said, shutting it and getting my belongings together. 

“What’s it about?”

“It’s an old family heirloom.” I thought back to the stories my aunt had told to me when I was a child. “I think it’s about an old Malaysian myth. Kind of like our version of a vampire. It’s called a Penanggalan.”

2023 Retrospective on Longing for Sunflowers

Image shows a hand holding a brass-gold sunflower locket on a chain in the sun. In the background you can see a beach, blue sky and blue sea

It has been 10 years since I first started a blog, Longing for Sunflowers, as a recent graduate of 24- today, I am 34 years old.

It is fascinating to look back at this time capsule and see how much life has changed- in one post from 2018 I was excited about the potential of a film few had yet heard of called Black Panther– most of the beloved late night cafes that formed an important part of our youth, including Accents, have since closed.

I can see, looking back, the pressure I put on myself to be happy, and to be always “in the light”-something that afflicts us more when we are young. It was a time before Inside Out showed us how unrealistic this pursuit is and the importance of sadness, when mental health was just beginning to be publicly discussed and accepted, and when opening up about it was seen as genuinely courageous at best, or weak, oversharing or attention-seeking at worst. There was no concept of taking “a mental health day,” or the little such things that have now gratefully seeped into our culture.

Some of the posts are hard for me to read, particularly “My Story” and “My Tumultuous Relationship with Public Toilets-” both of which delve into the decade of my youth, from 13 to 23, which was largely lost to major depressive disorder. It is a shock to remember how I used to feel on a daily basis, how much mental energy I used in fighting to stay alive. I have healed so much since those days to the point where I no longer recognise that suffering young girl, and feel nothing but compassion for her. To have come from a place where “I would cry as I pulled at my miserable limbs, throwing my “useless”, disabled body around in anger, ripping up shreds of newspaper in an attempt to calm myself down,” every day when I came home from school, to the woman I am now, so comfortable in my body and proud to be disabled that I am organising and leading Ireland’s first Disability Pride and Power Parade- see here– is hard to believe. The teenager who wrote “Soon you will be free” on the walls of the toilet in secondary school where she used to hide to eat her lunch and cry is indeed free at last, and has lived such a beautiful life since.

Clarissa Pinkola Estés’ feminist classic Women Who Run With the Wolves, offers Jungian interpretations and retellings of myths and folktales. One of these, the Mexican ghost story La Llorona, is reinterpreted to symbolise pollution of the creative stream or flow. La Llorona, the ghost woman of the weeping willow, trails her tendrils and drags her withered knuckles through the waters, wailing for her lost children. Estés’ interprets this as a cautionary tale inviting us to recover from the stream our own lost children, the creative brain-children and dreams which we tossed aside and let drown. Julia Cameron in The Artist’s Way calls these aborted brain-children our “creative U-turns.”

Longing for Sunflowers is one of my lost creative brain-children. I abandoned this child in the stormy waters of 2017, the year I went to study veterinary nursing, only going back to post two more articles in 2018 during my Journalism MA, and nothing in the six years that followed. Part of the reason was that I no longer wanted to be associated with that pain and my old suffering self, to have a constant reminder of the years I had lost, and how much catching up I had to do because of it. I created a new writer’s website here which reflects my growth in other areas.

But recently a friend changed my mind- in the writing group we started with my dear friends from college, including the same Liz who featured in “My Tumultuous Relationship with Public Toilets,” it was our friend Nuala who told me how much she had loved Longing for Sunflowers. She lives in London now, but the last time she visited me in Ireland in our favourite place, Chester Beatty, she gave me the beautiful sunflower pendant you see in the image above. Knowing that someone had deeply connected to it made me return to my neglected creative self, the old wounds, and to see that I had abandoned what was a very raw and worthy piece of my soul.

Estés wrote:

“If we were to abuse our children, Social Services would show up at our doors. If we were to abuse our pets, the Humane Society would come to take us away. But there is no Creativity Patrol or Soul Police to intervene if we insist on starving our own souls.”

And making the necessary time for our creative lives is indeed a soul-saving act. I am learning to say, as Estes says we must: “I love my creative life more than I love cooperating with my own oppression.”

So I have decided to return to water the sunflowers, alongside the pieces of me and my activism that are now flourishing because, alongside aid from the universe and the people who show up along the way, I consistently dedicated thousands of hours to nurturing them.

What creative brain-children have you abused and neglected? Is there a chance for you to save them and in doing so, recover and tend to a lost part of your soul?

Surya Namaskar

Image shows a close-up of praying feet, with brown skin, on a pink yoga mat with a dreamcatcher motif in black

This piece was chosen for the Irish Writer’s Centre’s Breaking Ground Programme and performed in the IWC.

The photo above, “Praying Feet”, shows my own feet and yoga mat

I unfurl the yoga mat for the first time that day. It is soft and spongy and the deep burgundy-pink of beetroot stains. To me it smells faintly of jasmine and petroleum. I lay my hands flat on its slightly sticky surface, fingers widely spaced, and move into cat–cow, Marjaryasana Bidalasana, stretching my neck out high on the cat. Air moves into my lungs, into my very bronchioles, and I feel the muscles of my chest begin to stretch out like the wings of a bird. 

I stumble on the low lunge. I always do. High Lunge, Tree Pose, Vrikshasana, Dancer, Natarajasana –and most of the Standing Warriors – are off-limits to me. But whether alone or on the beach, it does not bother me.

The only times it did were in classes, in Yogahub or the Yoga Studio in Phibsboro. I remember the women with their Lululemon tank tops, the tiny smiles on their faces whenever they saw me stumble, a survival-of-the-fittest pride in themselves as they held their contorted limbs out behind them, wilfully suppressing the alien body’s tremors. These were the same women who could be seen waiting outside for the early morning hot yoga classes, carrying their Chilly’s water bottles, ready to break into a sweat and learn poses to re-enact on the beach the next month in Bali – alongside photos of plant-based smoothie bowls for Insta leverage. 

I struggle to accept that this heavily diluted, white-hybrid thing that has emerged in the West is, in fact, just like me – appreciated by white people for its exoticized appeal, divorced entirely from its root.

So much of myself and my body is uninhabitable, contested territory. On the yoga mat, I am just a soul, muscle, bone and breath.

There are so few spaces in which I can safely exist, away from the transfiguring stares of society. The pain of such compounded Otherness is overwhelming.

I know no language but that of the Coloniser.

Even though I am a singer, I do not have the vocal flexibility to hum my father’s favourite song, ‘Khabi Khabi’, nor any of the songs of my heritage. I cannot evoke an oral historical tradition like the sean-nós singers of Ireland. I have no history.

I have never seen anyone who looks like me, all of me, on television.

*

When I was a child, I refused to wear my splints. I wouldn’t do any of the leg exercises I was told to do by the nice lady at Cerebral Palsy Ireland. I didn’t want to be seen as anything but ‘normal’.

While the other children were doing PE outside in the playground, I preferred to stay alone in the classroom, finding solace in books. In them, I did not have to confront the limitations of clumsy, clunky flesh that would not work to my will. I did not have to face the disappointment of never being able to soar like the wind just by using my legs, to jump or climb a mountain.

I felt that my body was broken, an unfit vehicle for the size of my spirit. It could not possibly carry me through life, so I found my wings within a life of thoughts, rather than of sensations.

And then that, too, failed me. Through adolescence and young adulthood, it was all-too easy to access a fragmented universe of suffering.

Broken body, broken mind, broken spirit, dislocated from existence.

*

Perhaps the thing that started me back to wholeness, to reclaiming my body-being, was the sea.

I approached it first like a timid lover, wary of being annihilated by the power of the Other, swept up and lost in its depths or crushed to powdery shell. It took a while to learn to catch my breath after the shock of slamming into ice but, once immersed, I felt like a new-born baby: weightless, buoyant and effortlessly free. Here, in the water, my body could do whatever I wanted it to; I could walk; I could jump; I could almost run.

After the sea, it was sex. Raw, all-embracing sex that made me feel that my body could indeed climb mountains and fall from the precipice of them, floating back down to the land, thrumming with electricity.

And after sex, it was singing and the voice – roaring myself into being, roaring myself free – whether at protests with disabled and non-disabled comrades; or with my multicultural choir, singing in forty different languages, not truly understanding the words, but understanding everything that mattered.

My body was just a body like all others, unique in form and functionality.

And I practised being one with it every day, every morning, on the yoga mat.

*

Surya namaskar.

She does not understand the word

Will never know its origin

But right now, in this moment,

She is the word,

The whole word

Stretching to heaven