Guest Post: Victoria Doughtery, author of The Bone Church

Today we are happy to host author Victoria Doughtery, author of The Bone Church.  Victoria is here to tell us about her visit to the Bone Church of Kutna Hora, and the inspiration behind her novel.  Welcome, Victoria!

The Bone Church: Real and Imagined

by Victoria Doughtery

The Ossuary at Sedlec – or Bone Church of Kutna Hora as it’s more commonly known – is a relatively plain church from the exterior. At least as far as Old World European standards go. It sits about an hour outside of Prague in the Czech Republic, and last time I was there, some ten years ago, it was still a dingy mustard color on the outside.

In fairness, most ossuaries are just church basements filled with neatly piled up human bones, so there typically isn’t anything out of the ordinary about the actual structure it’s housed in. There’s no electrically powered Grim Reaper standing with a scythe a chuckling a deep MWAAHHAAHAAA, the way there is at any self-respecting haunted house.

In fact, the only feature that advertised that there just might be more than meets the eye to The Bone Church of Kutna Hora was the skull and crossbones spiked at the top of its spire – right where you’d usually see a crucifix.

Otherwise, the place just sat there like Boris Karloff without make-up.

When I visited on a gloomy October day in 2004, dragging my 20 month-old son and a prehistoric digital camera with me, I thought I would have to muscle my way through a throng of tourists.

But we were alone there.

Suitably, the only sounds we could hear were my own boot heels clicking on the stone tiles as we entered the foyer, the wheels of my son’s dilapidated MacLaren stroller and the whistle of a fall wind – the kind that blows tufts of dead leaves in a swirl. Some of those, mostly a fresh cluster of fiery orange oaks, blew with us into the Bone Church. A young man, very pale and black haired with a warm smile and crooked teeth, greeted us.

It should have been eerie, but it was exquisite.

A short staircase – also stone – led us down into the chamber, where an enormous chandelier lorded over the place. It was fashioned entirely of human bone – utilizing every bone in the human body, the young man told us in his hushed, churchy voice. The skulls would have held candles, I suppose, but the chandelier was unlit. In fact, the only light in the Bone Church came from the outside through a few kidney-shaped Gothic windows.

There were urns made primarily of femurs, a bone Coat of Arms belonging to the Schwarzenberg family, an endless garland (skull-vertebrae-vertebrae-knee cap, skull-tibia-skull-tibia) strung loosely along the trim like it was Christmas and several pyramids constructed of bones – ones that sat in iron-barred enclaves like slayed prisoners.

My son and I stood there absorbing the sheer magnitude of death around us. People who’d died of flu, arsenic poisoning, small pox, swords thrust into their rib cage, a heart-attack, a mallet to the temple, infection, childbirth, trampling, a broken heart.

The bones of some 30,000 Christians beautified this stark, chapel-like holy chamber – prominent and presumably pious Christians who had been promised burial in the Church of All Saints cemetery. But due to a string of plagues and wars, had found themselves without a place to land after they blew their last breath.

It occurred to me this strange permanent installation of sacred art – the devil’s art, some called it – was actually a clever solution to a very sensitive dilemma. Church teachings, after all, forbade cremation. And the poor souls who had counted on burial in the Church of All Saints holy cemetery had paid considerable tithes to earn their way into some kind of dignified and noble entombment.

 

And what could be more noble than the care and inspired vision required to create such a communal, yet deeply personal way to honor the departed? To me, it was the ultimate expression of both grief and hope.

My little son – and my first and most tender reminder of my own mortality – was getting restless and hungry, so I snapped a couple of pictures and we left.

But The Bone Church stayed with me and made its way into a story I’d begun writing.

Summary for The Bone Church:

In the surreal and paranoid underworld of wartime Prague, fugitive lovers Felix Andel and Magdalena Ruza make some dubious alliances – with a mysterious Roman Catholic cardinal, a reckless sculptor intent on making a big political statement, and a gypsy with a risky sex life. As one by one their chances for fleeing the country collapse, the two join a plot to assassinate Hitler’s nefarious Minister of Public Enlightenment and Propaganda, Josef Goebbels.

But the assassination attempt goes wildly wrong, propelling the lovers in separate directions.

Felix’s destiny is sealed at the Bone Church, a mystical pilgrimage site on the outskirts of Prague, while Magdalena is thrust even deeper into the bowels of a city that betrayed her and a homeland soon to be swallowed by the Soviets. As they emerge from the shadowy fog of World War II, and stagger into the foul haze of the Cold War, Felix and Magdalena must confront the past, and a dangerous, uncertain future. 

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About the Author

Victoria Dougherty writes fiction, drama, and essays that often revolve around spies, killers, curses and destinies. Her work has been published or profiled in The New York Times, USA Today, International Herald Tribune and elsewhere. Earlier in her career, while living in Prague, she co-founded Black Box Theater, translating, producing and acting in several Czech plays. She lives with her husband and children in Charlottesville, Virginia.
For more information, please visit Victoria Dougherty’s website. You can also find her on Facebook, Twitter, Goodreads, and Pinterest.