The Babylon Rite by Tom Knox

Steve would ring, or maybe Dan. But naturally there was no signal, not out here in the wilderness. She wouldn’t be disturbed by good or bad news, by any news at all, for the next few hours.
    This was good, maybe. Fewer distractions meant she could concentrate on the task at hand: recording the murals.
    Another scramble, up another flight of mud-brick steps, brought Jess to the Second Enclosure, where another large mural showed the concluding rites of the sacrifice ceremony.
    Finding an angle to best catch the light, she took her photos of the row of prisoners, painted in vivid red. But the sea-wind was brisk up here on the higher levels and it kicked at her hair, which fluttered over the lens. Irritatedly she pushed her hair back, and considered what she was seeing.
    The meaning of this penultimate mural was plain enough: the third stage of the ceremony, the procession to ritualized murder. But why did the prisoners have erections? The murals definitely showed them sexually aroused. Were they really aroused by the proximity of death? Turned on by their own approaching slaughter? It was yet another great puzzle of Moche culture: the sexualization of death; yet here it was, daubed in lurid red on the wall of a temple. Naked men waiting to die – with erections.
    What was that noise?
    That rattling?
    She swivelled, alarmed – but it was just the homeless wind, catching at a flap of canvas.
Flap, flap, flap.
She was very definitely alone, with just the lamenting seagulls for company.
    The final flight of cracked adobe steps brought her to the top of the pyramid, where the breeze was truly stiff, but the view spectacular, straight out to sea, beyond the other huacas. A faint thread of green, to the distant north, showed where the feeble Chicama River reached the Pacific.
    She turned back to her work. And the Final Enclosure. Here the murals were most eroded, yet most unsettling. After being paraded and tortured – stabbed and whipped – the condemned men, still with their inexplicable sexual arousal, were brought into the highest and most sacred patio, quite open to the sky. And there, at last, the prisoners’ throats were cut with the great sacrificial tumi knife, in a complex and stylized interaction. The same figures were always involved in this mass murder: the Warrior Priest, the Bird Priest and the Priestess. It was presumed that these were Moche nobles and priests, wearing special clothes and jewels.
    At the same time as the throats of the victims were cut, the ordinary citizens gathered to watch. And then the people held hands like children, and slowly danced around the dying men, playing ring-a-ring-a-rosy; they sang and chanted and danced as they watched the blood being drained from the men’s deftly-opened throats.
    The blood was probably siphoned through little silver pipes – or toucan bones – and poured into the great chalice. This cup of sacred blood was then given to the Bird Priest, who drank the hot blood of the victims even as they died very slowly in front of him.
    Jess shuddered. It was, frankly, appalling. And yet the sacrifice ceremony was not the end of the Moche terrors. Nor was it the worst.
    Here was an image, often encountered in Moche sites, that no one had entirely deciphered. It was called the Decapitator, and it was thought to be one aspect of the high but unidentified Moche deity. Whoever this god was, here he seemed to be worshipped in the form of a massive tarantula, because tarantulas severed the heads of their victims. This great painted spider, with his lurid bulging eyes and his multiple octopoidal arms, nearly always held a severed head in his hands. And a tumi knife. But here he was lording it over a frieze that stretched right away around a central room, painted on the external wall at about waist height.
    And the frieze showed women coupling with pumas, maybe even being raped by pumas. What the hell did
that
mean? It was truly, and richly, disturbing. It was almost too much.