In my novel Daemon Seer, Lu is twenty-five years old before she finally has a pet, her parakeet Foster. When the daemons descend on Lu, Foster can sense them coming.  Lu realizes how much Foster means to her when she finds her front door open and Foster gone. In fact, the daemon Black Claw has stolen the parakeet and Lu must get him back. I wrote the essay below as a tribute to my parakeet Benji. It first appeared on my personal blog, Dreambeast. Although Benji died quite a few years ago, he remains dear to my heart.

Benji and I met at a party given by the fiancée of Joe’s department chairman. I knew only a few people there and soon retreated to a chair beside a bird cage. A parakeet came over, jumped onto the bars and hung by his claws, showing his wide blue belly and snowy vent. He was bigger than average. Later I found out he was half English budgerigar, a larger breed than the American parakeets usually found in pet stores. I moved my face closer and said, “Hey, little guy, you’re a cutie.” I whistled and clicked my tongue. He chirped enthusiastically.

I spent more time with Benji than with any of the party guests. At the end of the evening the hostess offered to give him to me, cage and all. Her soon-to-be husband disliked birds and joked that she might come home one day and find him hanged in his cage, with a little sign around his neck reading Goodbye, Cruel World. Though we’d just met, Benji’s owner trusted me to give him a good home. I did my best to deserve her trust for the nine years he was with me.

His vocabulary included such staples as “Benji is a pretty bird” and “Hey baby, you’re cute.” He might have learned more if I’d had the patience to teach him. But I would have loved him whether he talked or not. Gentle and affectionate, he liked perching on my shoulder and nibbling my ear as I read or watched TV. He soon began joining me at meals where — to Joe’s disgust — he perched on the rim of my plate and nibbled my food. He especially liked spaghetti in tomato sauce.

Benji was a less than athletic bird. When I set him on a parakeet swing, he hunkered down and gripped the bar like an acrophobic old gent trapped on a rollercoaster. He struggled to fly, working his wings frantically to keep his chubby body aloft and occasionally bumping into a wall and fluttering to the floor. He never got up enough momentum to hurt himself in these collisions, but I couldn’t help being scared every time he went down. Joe dubbed him Blue Thunder.

Near the end of his life, Benji became too weak to fly. But he would flutter to the floor and walk through the house until he found me, and I would pick him up and hold him, and pretty soon he would fall asleep.

He never forgot his first owner. He chirped with excitement when she and her husband came for dinner. After we finished dessert, I brought Benji to the table and gushed about how much I loved having him around. He chattered and preened, basking in the attention. His first owner’s husband remarked grudgingly that he was kind of cute. Benji flew from my hand and landed on the head of the man who’d threatened to hang him. Squatting and wiggling his tail, he squeezed out a tiny drop of bird dung. Then, having vented his feelings, he flew to his cage on thunderous wings. Call it coincidence if you want. I call it payback time.

A few reviewers have compared Talion to the novels of Thomas Harris because of its graphic violence. I’m so thrilled and flattered by the comparison I could whoop like Daffy Duck. Harris is a master of his genre, and while his stories are undeniably horrific, the violence is a small part of what makes them awesome.

When readers think of Thomas Harris, they’re haunted by images of savaged bodies with shards of mirror in their eye sockets, skinned bodies with exotic insects jammed down their throats, or a man alive and conscious as Hannibal Lecter slices his brain from his open skull.  But in his earlier work anyway, Harris renders the quieter passages as memorably as the violent scenes. It’s not Lecter’s cannibalism and other gruesome acts that capture my imagination in The Silence of the Lambs, but his creepy conversations with FBI agent-in-training Clarisse Starling. Harris can make even minor characters unforgettable. One of the clearest images I retain from THE SILENCE OF THE LAMBS is the witness who tips her head back so her mascara won’t run as she weeps for her missing friend.

serial killers, Thomas Harris, Hannibal Lector, Red Dragon

In Red Dragon, my favorite Harris novel, I find the narrative of Francis Dolarhyde’s childhood—his cleft palate and sadistic grandmother, the awful logic of what he becomes—as compelling as the descriptions of the ritual murders he commits. Dolarhyde has a brush with redemption when he becomes intimate with a blind coworker and fights the voice of the dragon demanding her blood. I care enough about him to wish he could have been transformed by love. But that kind of magic cannot exist in Harris’s world.

At the conclusion of Red Dragon, the emotionally and physically damaged ex-FBI agent Will Graham lies in the hospital critically wounded after his last encounter with Dolarhyde. His mind drifts in a narcotic haze to a visit he once made to Shiloh and his feeling that the place was haunted by everything that had happened there. He realizes now that, like the rest of nature, Shiloh has no meaning except what human beings project on it: “Beautiful Shiloh could witness anything. Its unforgivable beauty only underscored the indifference of nature, the Green Machine.” Nature is without mercy, Harris tells us. The concept of murder doesn’t exist in nature. “We make murder, and it matters only to us.” This grim determinism adds to the darkness of an already dark story and extinguishes whatever lingering pity I feel for Dolarhyde.

I understand that pity is beside the point.

“Sentimentality is loving something more than God does.”

—Kenneth Meyers

 

My horse, Tucker, lives on a farm forty minutes away from my home. The roads are flat and straight and sometimes so empty I drive for miles without seeing another car. One afternoon while driving out there to ride, I composed the above haiku in my head. (I’m not the sort of driver who wields pen and paper while behind the wheel.) Haiku is a Japanese form consisting of three lines: five syllables, seven syllables, five syllables. A haiku usually presents two images, but they don’t come together to form a metaphor. The reader discovers connections between them while contemplating the poem.

I seldom write poetry—as you can most likely tell from this effort. When I brought the haiku to my critique group, some praised the imagery while others faulted the poem for its sentimentality.

Say what? I thought. People dislike my writing for various reasons, but they seldom find it sentimental.

Sentimentality evokes emotion at the expense of critical thinking. It’s comfortable emotion, epitomized by the verses on certain greeting cards, the kind with rainbows and ribbons and nostalgic country scenes on the front. It horrifies sophisticated readers and most writers. A whiff of sentimentality sends them scurrying to open the windows and run the fans at high speed until the stink is gone. I suspect that readers without training in literary criticism don’t feel this horror. They recognize tearjerkers and sugary writing and accept them for what they are. Most of the time anyway.

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I don’t think my haiku is sentimental. It shows two images of destruction on the highway. To find the poem sentimental, the reader must make a metaphoric connection (the piece of blown tire stands for the death of a human being in a car wreck) and an inference (because the tire claws the sky like a bird, the death of a bird is just as important as the death of a human being). But this line of thought reveals as much about the reader as about the poem.

I hate seeing dead creatures in the road and do what I can to avoid hitting them, but it wasn’t just pity that inspired my haiku. I was struck by how much the wing resembles the blown tire and how common it is to see both things on highways. Nearly everyone drives on highways. We need them. But there’s something inexorable and destructive about the process of hurtling over them at high speed.

Of course we feel worse about car wrecks than we do about roadkill, especially when people are maimed or killed, but ultimately we accept those fatal multi-vehicle highway disasters as facts of life. We accept them as surely as we accept the occasional crushed bird and woodchuck. Grieving when someone we loves dies in a car wreck doesn’t change that.

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It’s gratifying when a reader not only enjoys your book but also understands the story on a level that many other readers overlook. The review below appears on Goodreads. I’m thrilled to bring it to you here with the permission of the reviewer, James Goltz.

Daemon Seer is the second published novel by Mary Maddox and a sequel to Talion which was published in 2012. I noticed immediately upon receiving the book that “daemon” was spelled differently, and presumably had a different meaning from, the more familiar term “demon,” the latter a term familiar to most of us as a malevolent spirit capable of inhabiting and causing serious mischief in the human host. Consider, for example, the Gerasene Demoniac in the Christian New Testament, Mark V, 1-17 who is possessed by a legion of demons, banished from his village, abuses himself with stones, cannot be constrained by chains and wails among the tombs until the demons are exorcised by Jesus. Daemons, on the other hand, are also spiritual beings but, based upon the terms Greek origin and Latin interpretation, can be either malevolent or benevolent beings. They influence human behavior and, more seriously, select some people as on-going hosts and control their behavior. These supernatural beings in their Greek origins are lesser divinities existing somewhere between the gods of the Greek pantheon and humans. But they are definitely more powerful than the humans they inhabit.

The daemons that appear in Mary Maddox novels are both benevolent and malevolent, in some cases; good and evil are embodied in the same daemon. Talion is the daemon prince who inhabits Lu Darlington along with Black Claw, a more sinister companion of Talion. Lu is the main character, a woman of 25 who tries to maintain a normal human existence despite the periodic presence of her daemon companions and who now reemerge after a ten-year period and compel her to have a child, in daemon parlance create a “knot,” so that Talion can be present to influence human events as he sees fit. Lu is a “seer” and continues in a generational line of seers who have kept Talion in the physical world. Talion has some affection for Lu but seeks to dominate and force compliance with his needs which are not necessarily commensurate with those of Lu, his host and seer.

In Maddox’s first novel, Lu is a 15 year-old girl whose parents are abusive and her friend Lisa is pursued by a serial killer. But thanks to Lu, with daemon assistance, the serial killer is dispatched though Lisa is gravely wounded and disfigured. Fast forward 10 years. Lu is working a nowhere job and without warning, Lisa appears still reeling from her near-death encounter with the “Professor of Death” and badly strung-out on pain killers. Once again, she’s fleeing, this time from a sexual predator, a renegade cop with a demon (this one is purely malevolent) of his own. This is a smart and imaginative novel with relentless action. My advice is to read Talion first and you will hit the ground running for Daemon Seer. Like Talion, Daemon Seer is a fast-paced well written thriller—a book that will keep you up late and may invade your dreams.

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Looking for something different?

AIA Publishing has just released its fifth book, and in line with previous fiction titles, the book has a unique voice and a metaphysical bent. Spiderworld by Richard Bunning turns the tables on humans and spiders, and makes you think about humankind’s relationship with animals and with each other.

Not even the time-lord, Orlando Oversight, knows everything. But speculation can turn into a real future, and the Lush Star system, where spider-like beings treat humans as we do animals, isn’t such a distant dream away.

Do Jack Baker, the self-styled ‘Spartacus’, and his followers have a future as more than meat and slaves? Will Athalie have the life she hopes for with her hero? And will the ‘spider’ Boklung hold his business together while funding and organising the Arcraft’s voyage across the Milky Way?

Spiderworld is another of Richard Bunning’s quirky, speculative, science fictions.

Is it any good?

Of course it is. It’s published by AIA Publishing, a selective publisher with high standards in quality control. It’s also Awesome Indies Approved and has been nominated for an Awesome Indies Seal of Excellence in fiction.

Will I like it?

Here’s what the Awesome Indies review says:

This is a unique read in so many ways, and I loved it. Eight-limbed “spiders” rule the Multiverse. Humans (yeng) are an enslaved species, and also provide delicious meat to the Aranians. This was a book that pulled me into its pages. If you love sci-fi, alien worlds, even a bit of romance, then you’re bound to love this book.

Where can I buy it?

Your local Kindle Store

Smashwords.

Who is Richard?

Richard is a citizen of the United Kingdom and New Zealand, but currently resides in Switzerland. He has seven substantive books published, plus one gift-market book written with few words and many short stories appearing in a number of anthologies. His novels are all speculative science fiction while his short pieces cover many genres. He’s also written ‘modern’ English language versions of French neoclassical plays that spouted from some quite different region of his author personality.

Details on all Richard’s writing, including free stories and ‘bloggins’, plus his reviews of many other writers’ works, can be found at:- http://richardbunningbooksandreviews.com

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It’s finally here! Children of Darkness – Book One in The Seekers Series is available NOW. Check it out on Amazon.com. FREE for Kindle Unlimited subscribers. GET YOUR COPY

“A must-read page turner.” Kirkus Review

About the Book:

The Children of Darkness - CoverThe Children of Darkness

The Children of Darkness is about a society devoid of technology, the result of an overreaction to a distant past where progress had overtaken humanity and led to social collapse. The solution—an enforced return to a simpler time. But Children is also a coming of age story, a tale of three friends and their loyalty to each other as they struggle to confront a world gone awry. Each searches for the courage to fight the limits imposed by their leaders, along the way discovering their unique talents and purpose in life.

“If the whole world falls into a Dark Age, which it could plausibly do, who could bring us out of it? According to David Litwack in The Children of Darkness, the only answer is us, now, somehow reaching into the future.” – Kaben Nanlohy for On Starships And Dragonwings

Publication Date: June 22, 2015 from Evolved Publishing
Purchase Link: http://smarturl.it/Seekers1
FREE WITH KINDLE UNLIMITED
Goodreads: https://www.goodreads.com/book/show/23485495-the-children-of-darkness

Speculative Literary Fiction

Someone recently asked me why I use the term “speculative literary fiction” to describe the genre of my novels. While both terms are used frequently on their own, they are not often paired together.

Speculative fiction is a term coined by Margaret Atwood in an effort to avoid the hard-core sci-fi label (she said she needed a category that meant sci-fi without Martians). It has been used to describe a number of sub genres—space opera, techno-thrillers, dystopian, post-apocalyptic, even fantasy—basically anything that is not “real world.” The key to speculative fiction is the what-if aspect. What if the world as we know it was different in one or more ways? While this what-if, alternate history/alternate world approach can be used to explore future technology or just spin a good yarn, it also enables an author to focus on some theme by altering an aspect of the world as we know it.

Literary fiction is usually understood to mean quality writing, deeper characters and an exploration of universal themes.

So why combine the two? The primary purpose of declaring a genre is to set the expectation of the prospective reader.

Using the term speculative fiction by itself can misrepresent a book. Readers might expect Star Wars or the Zombie Apocalypse, or an emphasis on some hypothetical technology such as faster than light spaceships or time travel. Literary fiction tends to imply real world, such as The Help or The Secret Life of Bees.

Many great books have speculative premises, but are literary in nature. Atwood’s The Handmaid’s Tale is a good example, or the works of Usrula LeGuin. Even a novel like Cormac McCarthy’s The Road might fit. While it’s certainly post-apocalyptic–we find out little about the cataclysm that brought about the current state–the author dwells on the relationship between the man and the boy, and the power of love. Another example might be Never Let Me go by Kazuo Ishiguro. While the what-if of this world is the use of cloning to grow organs, it’s told from the viewpoint of the clones, and shows much more about relationships and the human condition than about technology.

I use speculative literary fiction as a term to distinguish alternate history or alternate worlds, where the emphasis is not on whiz-bang technology, aliens, space travel or the like, but more on deeper characters and universal themes, brought to the fore by the unique difference in the imagined society or world.

Get Your Copy of The Children of Darkness Now!

 About the Author:

David Front PageThe urge to write first struck when working on a newsletter at a youth encampment in the woods of northern Maine. It may have been the night when lightning flashed at sunset followed by northern lights rippling after dark. Or maybe it was the newsletter’s editor, a girl with eyes the color of the ocean. But he was inspired to write about the blurry line between reality and the fantastic.

Using two fingers and lots of white-out, he religiously typed five pages a day throughout college and well into his twenties. Then life intervened. He paused to raise two sons and pursue a career, in the process becoming a well-known entrepreneur in the software industry, founding several successful companies. When he found time again to daydream, the urge to write returned.

After publishing two award winning novels, Along the Watchtower and The Daughter of the Sea and the Sky, he’s hard at work on the dystopian trilogy, The Seekers.

David and his wife split their time between Cape Cod, Florida and anywhere else that catches their fancy. He no longer limits himself to five pages a day and is thankful every keystroke for the invention of the word processor.

Website: www.davidlitwack.com
Facebook: David Litwack – Author
Twitter: @DavidLitwack

Giveaway

 

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More Reviews!

“Litwack’s storytelling painted a world of both light and darkness–and the truth that would mix the two.” Fiction Fervor

The Children of Darkness is a dystopian novel that will stay with you long after you finish reading it.” C.P. Bialois

“This is a satisfying exploration of three teens’ journey into the unknown, and the struggles faced by all who seek true emancipation – both for themselves, and for the people they love.” Suzy Wilson

“Litwack’s writing is fresh, and Nathaniel, Orah and Thomas come to life in your imagination as you frantically flip (or click) the pages of this book.” Anna Tan

“…many profound themes, lovely characterizations and relationships” R. Campbell

“I was enthralled and intrigued by the authors creation of this society… David Litwack has an enjoyable and captivating writing style.” Jill Marie

“…a perfect story for young adult readers, but its underlying theme and character development will keep any adult engaged.” Kathleen Sullivan

The epistolary novel (a novel written in the form of journals or letters) has a long history going back to the 17th Century. It’s uncommon these days, but Brian Sfinas has adopted it to write an imaginative and sometimes brilliant work of science fiction.

The Darkest of Suns Will Rise consists of a series of official reports and the journals and letters of principal characters. From these Sfinas constructs a terrifying and only too credible world of the future in which much of humanity lives and dies on space stations without ever setting foot on Earth. With its population at a sustainable level, the planet’s ecosystem is healthy once more. Macaws have been genetically modified to be as intelligent as humans. Nano robots clean up messes, from smudged walls to demolished space ships, by deconstructing them at the molecular level. They heal injuries and disease, doubling the human lifespan. Super intelligent and benign aliens known as the Pronogsticate monitor the governance of human beings.

Sound like paradise?

Not exactly. Human nature hasn’t changed.

A secretive group called the Orphanage range through space, plotting the overthrow of the Prognosticate and the rule of reason. The Orphans are the few remaining believers in God. The military commander Aiden DeCaro is their chief enemy. He detests their destructiveness, irrationality, and rebellion, but he harbors the same traits in himself and works to conceal them from the probing of the Prognosticate.

Aiden also keeps Clarissa, his lover, hidden in his cabin on board the ship he commands. Their relationship is sadomasocistic in the extreme. He kills a man who accidentally sees Clarissa and feels little remorse for doing so. The love affair between Aiden and Clarissa forms the emotional core of the story. His political struggles and fight against the Orphanage unfold around it.

Despite the brilliant conception and fully imagined world, the writing occasionally falls short. In a novel like this, errors in grammar or usage can be a way of creating a distinct narrative voice, but not when they contradict the character’s intellect and education, as happens two or three times with Aiden.

In the middle of the story, Aiden spends time on Earth writing in his journal. He ruminates at length about economic and political conditions in the early 21st Century. Although many of the author’s observations are astute, they seem extrinsic to the story and slow it further at a point where it’s already dragging.

Finally, there is little or no foreshadowing of the abrupt ending. I anticipated it a few pages ahead because I saw nowhere else for the story to go.

Overall, the novel’s many strengths outweigh its few weaknesses. The Darkest of Suns Will Rise is a haunting novel, remarkable for its complex characters and intelligent vision of the future.

 

The second chapter of Talion includes a flashback of Lisa and her brother  visiting their father in Chicago. She receives a locket that becomes significant later. For readers wanting an entirely plot-driven story, the flashback might be an annoyance, but unless they understand who Lisa is, how will they care what happens to her?

Flying Spiders

He was nowhere in the crowd of faces at the airport gate. The other passengers swept her and Randy forward like a powerful river. A crash of voices and distant music echoed from the cavernous airport walls. Lisa searched the endless stream of faces. She desperately had to pee. They passed restrooms, but she couldn’t ask Randy to stop. He grabbed her wrist so hard she yelped in pain. “Stay with me!”

He dragged her through a huge terminal building to the United Airlines counter. They waited in a long line. When their turn finally came, the uniformed woman behind the counter was writing something. Randy drummed his fingers until she said, “May I help you?” Her eyelids drooped as she listened to him, then she lifted a phone and punched some buttons. “I got two kids here’s supposed to meet their daddy.” She pronounced the name, Murray Duncan, so precisely that it sounded like contempt. She hung up and started checking suitcases as if Randy and Lisa weren’t there anymore. Another uniformed woman told them to step aside so the line could keep moving. Squeezed between the ticket line and the baggage line, they got jostled and drew curious stares.

Randy’s face turned red and knotty, like when he lifted his stupid barbells. What if he started a fight and ruined their vacation?

“Dad probably just went to the wrong place,” Lisa said.

“Well, they’re paging him right now.”

A loudspeaker drifted above the noise in the terminal: Murray Duncan, please come to the United Airlines ticket counter. Murray Duncan. . . Something about the sound, hollow and distorted, made Lisa feel the awful moment would keep happening forever. Dad would always forget to meet them, and his name would drift through the airport terminal like a ghost.

Lisa saw the girl coming. She hurried along in snake-skin pumps with ticking steps that made her boobs jiggle. Lisa might have laughed except the girl was gorgeous. She looked like a model with perfect hair and makeup and a flashbulb smile.

“You’re Randy, right? You’ve got your dad’s sexy eyes.”

The swollen anger drained from his face like air from a popped balloon. The girl tossed a conspiring smile over her shoulder. That’s how you handle men, it said. She introduced herself as Angelina and apologized for not meeting them at the gate. The traffic on the expressway had been insane.

Randy carried their suitcases out to the car and stowed them in the trunk, putting lots of effort into lifting so Angelina could see his biceps. Lisa snickered but kept her mouth shut. She wanted his good mood to hold. Breathing the grit and fumes of the airport, she felt excited and a little queasy. Her whole life would change from this vacation, she just knew. It didn’t even matter that Randy took the front seat and stuck her with sitting in back.

“Where’s our dad?” Randy asked once they were on the expressway.

“In a meeting.”

They waited for Angelina to explain further as hundreds of cars spun past, the people inside glowering or desperate or laughing wildly. Compared to them she seemed cool and perfect. Her hands rested easily on the steering wheel, the car just another accessory like her gold bracelet and pink nails.

“Are you his girlfriend?”

“Yes. And I work for him as well. I’ll be staying with you while he’s at the office.”

“So he’s paying you to stay with us?”

“Should he be?”

Randy scowled. Though he teased Lisa without mercy, he hated being teased himself.

The condo, in a high-rise by the lake, was like a picture in a magazine. Everything down to the empty flower vase fit the decorating scheme, but nothing reminded Lisa of Dad. It felt like a hotel. She and Randy watched TV and drank bottle after bottle of orange and lemon Pellegrino.

She felt bloated and grouchy by the time Angelina drove them to a restaurant with pastel tablecloths and napkins spread like fans. Dad sat alone at a table drinking a foreign beer and reading a newspaper. He looked different than she remembered. Didn’t he used to have a tan? Now his skin reminded her of mushrooms. It was stretched too tight over his cheekbones, but under his eyes the wrinkles gathered like cobwebs.

Then he hugged her and said, “How’s my beautiful girl,” and Lisa told herself everything would be OK.

The next day Angelina took them shopping. In a jewelry store Lisa found the locket. She knew right away it was what she wanted — a smooth hunk of 14-carat gold with a thick chain. Inside, Dad’s picture would fit beneath a crystal. Angelina slapped down a credit card without asking the price.

That evening they had dinner at an Italian restaurant too fancy to serve pizza, and Lisa asked Dad for a picture of himself.

“You don’t need my picture.”

Lisa was too surprised to answer.

“Can’t you give a picture to your own daughter?” Angelina said, careful not to presume. She was just asking.

“I don’t have one.”

“I’ll take one,” Randy said.

“No. If there has to be a photograph, I’ll get it done professionally.”

At the end of their visit, he’d given each of them a photograph that looked like it came from his driver’s license.

On the plane home Randy said, “What an asshole. He’s paranoid of his own kids.”

“What do you mean?”

“He doesn’t want pictures of himself floating around for the cops to get a hold of. He scams people. He talks them into phony investments and steals their money.”

“He does not.” Lisa yelled so loud the flight attendant frowned a warning at her.

“Ask Mom if you don’t believe me.”

“Mom hates him.”

“Because he’s an asshole. He spent more time with Angelina than us.”

On a bright Sunday afternoon, Dad and Angelina had taken them to the John Hancock Center. They rode an elevator at breakneck speed to the observatory on top. It was swarming with tourists. Everyone jockeyed for a spot at the windows. Luckily Randy was big enough to elbow past the adults, and Lisa was small enough to stand in front of him without blocking his view.

Sailboats drifted across the lake in dreamlike silence. Lisa imagined sailing out there, the sun on her shoulders, the waves lifting her with the promise of excitement. She imagined diving into the jeweled water of the pool on the roof of an apartment tower. Knowing her father lived in just such a building, she felt like a princess. When she was older and ready, he would bring her into his world. She would dedicate herself to preparing for that time.

She realized Dad and Angelina were gone. They had to be somewhere in the observatory, but she felt anxious. She turned to Randy. He was staring, not at the lake or buildings but into the vacant sky.

“What’s up there?”

“Spiders. On the outside of the window.” He pointed to some darkish specks Lisa had dismissed as dirt. But they were spiders. “I wonder how they get up here. And what do they eat? Probably insects that come flying along. And if the wind blows them off, they’re so light they float along on air currents to another skyscraper.”

“You can see spiders anywhere,” she said. “Where’s Dad?”

“Who cares.” His eyes never left the spiders. “You go find them.”

The observatory’s corridor followed the outer windows to form a big square. On the opposite side she found Dad and Angelina. They were each leaning a shoulder against the inner wall, touching foreheads as if sharing secrets through telepathy. His arms circled her waist. Lisa knew then he wanted to be with Angelina. His kids coming to visit was a pain, and he could hardly wait for them to leave.

They never heard from him anymore. The child-support checks were signed by his lawyer. The birthday and Christmas presents were certificates from upscale catalogs, but Mom still made them send thank-you notes. “Your actions show who you are,” she said. “And if he’s got any shame he’ll help pay for your college.”

 

You could write a book on why readers dislike ambiguity in fiction. Someone probably has. It might seem arrogant (or at least reductive) to address the question in 500 words or less, but I’m going to try.

The answer comes down to what a reader wants — challenge or comfort.

Ambiguity is a lack of clarity or certainty in a situation. In fiction, it’s found in open endings, unsolved disappearances, characters whose nature remains mysterious, events that may or may not be real. For me, ambiguity enriches a story and keeps me thinking long after I put the book aside. It makes the story more real. More like life.

We live with ambiguity every day. Someone texts a friend several times and gets no reply. An insecure person thinks, “I did something to make her hate me.” A fearful person thinks, “Maybe she’s in trouble.” An optimistic person thinks, “She’s having too much fun to check her messages.” The point is, people feel the need to come up with an explanation.

Oftentimes more is at stake. You interview for a job. The interviewer promises to get back to you, but doesn’t. Maybe you should call and ask whether you’re still in the running. But what if your call annoys the interviewer?

You meet someone and want to start dating. But maybe he’s a con artist with a string of ex-wives. You run an online search and hope it uncovers the truth. Some of the truth anyway.

The uncertainty of life can be exhausting and anxiety provoking. What a comfort to escape into a story where the mystery is solved, the lovers are united, and both characters and reader stand on solid fictional ground.

The trouble is, the real complexity of experience is missing from those stories.

Margaret Atwood’s “Death By Landscape” is a short story built on ambiguity. The protagonist, Lois, goes to summer camp and meets Lucy. The two girls become friends over several summers together at camp. One day while they’re alone on a hike, Lucy goes off to pee and never comes back. A search of the surrounding countryside turns up nothing. The owner of the summer camp blames Lois.

For the rest of her life, Lois carries the guilt and perplexity of not knowing what happened to her friend. She collects paintings of wilderness landscapes but otherwise pushes the experience to the back of her mind — until she gets old. With her husband dead and her children gone, the mystery of Lucy’s disappearance reemerges. Lois spends her days gazing at the landscape paintings in search of Lucy.

“Death By Landscape” illustrates how devastating lack of closure can be. Lois seeks closure in her collection of landscapes. They are attempts to recapture Lucy by placing borders around the uncharted territory that swallowed her up.

Many readers seek closure in fiction and abhor the holes where certainty and clarity disappear. I can’t really blame them.

A coming-of-age novel set in America in the late 70s, Sandra Hutchinson’s The Ribs and Thigh Bones of Desire centers on the relationship between David, a physics professor in his 30s, and Molly, the teenage girl who used to babysit his daughter. Molly doesn’t babysit for David anymore because his wife and daughter recently perished in a plane crash. He is too overwhelmed by grief to take care of himself, so his estranged sister hires Molly to keep house for him.

Molly has problems of her own. Her parents are divorced. Her father loves her but now has another wife and children, a family where she has a marginal place. She mostly lives with her mother, a notorious and uninhibited artist who commemorates Molly’s first period by constructing the figure of a girl with tampons and, of course, exhibiting it publicly. Molly’s schoolmates call her Tampon Girl.

The physics professor doesn’t seduce or become obsessed with the teenager, nor does she have a girlish crush on him. While David struggles with grief and survivor’s guilt and Molly negotiates the minefield of adolescence in the 70s, they develop a friendship that’s hard to categorize but easy for people in their small town to misinterpret and condemn.

Sandra Hutchinson writes beautifully transparent and unpretentious prose. She creates complex characters and a vivid sense of place. Most of all, she tells a compelling story full of sorrow and humor with a benign detachment that leaves room for readers to draw their own conclusions. In other words, she’s a first-rate writer.

Some readers might be offended by Hutchinson’s frank depiction of sexual situations and nonjudgmental treatment of behavior that is usually condemned. They may dislike the somewhat open ending. But if you don’t read fiction to find emotional security and have your beliefs validated, if you’re just looking for an excellent book, I strongly recommend The Ribs and Thigh Bones of Desire.

Also by Sandra Hutchison:

 

romance, literary fiction

Read my review of The Awful Mess here.

Some time ago I redeemed the points from one of my credit cards and treated myself to a book. Not an ebook. An actual book that you can hold and touch. For sheer beauty it’s hard to beat Robert Bringhurst’s The Elements of Typographic Style. The eye glides over the creamy pages, the balanced blocks of text elegantly buttressed with marginalia. Bringhurst brings poetry to his subject. When he declares that “the heartwood [of typography] is calligraphy—the dance, on a tiny stage, of the living, speaking hand,” I get shivers.

Bringhurst writes lucidly on the history and aesthetics of typography, technical aspects such as kerning, and the mathematics underlying the design of fonts and pages. I haven’t digested the whole book. Even if I finally do, I won’t be an expert in typography. As with any art, mastery takes years of practice.

Years I don’t have.

Spoof Book CoverAll the reading I’ve done about fonts stresses basic principles: Fonts communicate a message. They should reinforce the meaning of the words. They should be compatible with other fonts in the design. Take the fun book cover to your right. The fonts don’t exactly reinforce the atmosphere of menace, and the two calligraphic fonts together are a bit much.

I had some knowledge of and appreciation for fonts by the time I received four mockups of the interior of Daemon Seer, each with a distinctive page design and font combination. They were created by Morgana Galloway of the Editorial Department. The one that immediately caught my eye paired the workhorse Minion Pro for body text with Akura Popo for chapter titles and headers (or in this design footers). I love Akura. It’s bold, Gothic, and unusual, just like Daemon Seer.

Chapter Title from Daemon SeerMorgana did a fantastic job on the print and ebook editions, both of which have chapter titles in Akura  I checked out Akura online and discovered that its maker, TwicoLabs, offers it for free.

Yes, free!

It will come as no surprise to most readers that hundreds of fonts can be downloaded for free, and hundreds more purchased at a reasonable price. But when I began working with typography, it was a revelation to me. During a shopping binge at MyFonts, I found  Crypton, a sanserif font with edges so sharp they look dangerous, for a fraction of its retail price. I had no immediate use for Crypton but bought it anyway. I can’t resist a sale.

Months later, Cantraip Press, Ltd. (my corporate persona) contracted to publish Letitia L. Moffitt’s paranormal mystery, Trace. I did the interior of the print edition myself, using a purchased template, but Letitia disliked the font used in the headers and titles. “It would be fine for another novel,” she said, “but not this one.” She was right. I searched for an alternative and found . . . Crypton. It captures perfectly the edginess and razor wit of Trace.

Title Page Trace

Is that serendipity or what?

Today’s featured guests, seven prominent indie writers, are here to discuss what ought to change in mainstream publishing. Their limited edition box set—Outside the Box: Women Writing Women—will be available in e-book format beginning February 20 for just 90 days. The set may be pre-ordered now.

The project is the brainchild of Jessica Bell, an Australian writer living in Athens, Greece. A literary author and the Founder/Publishing Editor of Vine Leaves literary journal, Jessica wanted to showcase the most exciting fiction being released by authors who are in full charge of their own creative decisions. “I couldn’t imagine collaborating with a finer group of writers,” Jessica said. “The authors in this box set are at the very top of their game.”

 

The compilation of novels introduces a diverse cast of characters: A woman accused of killing her tyrannical father who is determined to reveal the truth. A bookish and freshly orphaned young woman seeks to escape the shadow of her infamous mother—a radical lesbian poet—by fleeing her hometown. A bereaved biographer who travels to war-ravaged Croatia to research the life of a celebrity artist. A gifted musician who is forced by injury to stop playing the piano and fears her life may be over. An undercover journalist after a by-line, not a boyfriend, who unexpectedly has to choose between her comfortable life and a bumpy road that could lead to happiness. A former ballerina who turns to prostitution to support her daughter, and the wife of a drug lord who attempts to relinquish her lust for sharp objects and blood to raise a respectable son.

Jane Davis said, “This set of thought-provoking novels showcases genre-busting fiction across the full spectrum from light (although never frothy) to darker, more haunting reads that delve into deeper psychological territory.”

But regardless of setting, regardless of whether the women are mothers, daughters, friends or lovers, the themes are universal: euthanasia, prostitution, gender anomalies, regression therapy, obesity, drug abuse, revenge, betrayal, sex, lust, suicide and murder. Their authors have not shied away from the big issues. Some have asked big questions.

 

Orna Ross (founder-director of The Alliance of Independent Authors, named by The Bookseller as one of the 100 most influential people in publishing) selected Blue Mercy, a complex tale of betrayal, revenge, suspense, murder mystery – and surprise.

Joni Rodgers (NYT bestselling author) returned to her debut Crazy for Trying, a Barnes & Noble Discover Great New Writers selection and a Discover Award finalist.

Roz Morris (ghost writer and teacher of creative writing master classes for the Guardian newspaper in London) presented My Memories of a Future Life, the haunting story of how one lost soul searches for where she now belongs.

Kathleen Jones, best-selling award winning author, Royal Literary Fund Fellow, whose work has been broadcast by the BBC, contributed The Centauress, a compelling tale of family conflict over a disputed inheritance.

Jane Davis (a British writer whose debut won the Daily Mail First Novel Award) nominated An Unchoreographed Life, an unflinching and painfully honest portrayal of flawed humanity.

Carol Cooper (author, doctor, British journalist and president of the Guild of Health Writers) provided One Night at the Jacaranda, a gripping story about a group of people searching for love, sex and everything in between.

For Jessica Bell (Australian novelist, singer/songwriter, Publishing Editor of Vine Leaves Literary Journal and whose award-winning poetry has been broadcast on ABC National Radio), her latest novel White Lady was the obvious choice, an intense, suspenseful ride rife with mystery.

Each of the authors addresses this question:

If you were Queen of Publishing for a day, what’s one thing you’d change about the industry as a whole?

Orna: The reason I love self-publishing so much is that it’s democratising and it encourages diversity. Readers and writers together are now creating new genres and books that London and Manhattan would never have published. If I were Queen of Publishing for a day, I’d make it much more diverse. I’d love to see a greater variety of voices at every level of the industry.

Jessica: That’s a tough one. Can it stop being such a popularity contest and get back to its roots? Focus on the writing, not how many followers the author has on Twitter? In an ideal world…

Roz: I would ask for more literary awards to open up to new writers. Not just to indies, but to all the new talent that comes along. Too many literary awards are given on the basis of pre-existing fame. If those authors genuinely wrote the best book of the year, then they deserve the prize, but otherwise we should give awards to the genuinely surprising, interesting and wonderful – not the usual suspects. Sometimes the best book has been written by Hilary Mantel, Julian Barnes or Neil Gaiman – but sometimes it’s been written by someone relatively unknown. And those are the books that awards should be finding for us.

Carol: Although it should be obvious that there’s more than one way to publish quality books, some people in both camps sadly take up entrenched positions. Those in traditional publishing especially tend to snipe at the other side, and the antagonism does nobody any favours. We shouldn’t be at war, because in the end it’s all about the reader. I’d like to bring in a lot more enlightenment and a bit more peace, but I may need more than a day to achieve it.

Kathleen: I’d ban accountants from the commissioning meeting! Books should be accepted on literary value alone; it’s the only way to get a quality product. Readers quickly tire of being sold ‘the next best thing’. They want variety, good stories, original, surprising prose – they deserve the best, not some publicist’s idea of what they can be conned into thinking is the best. Not only that, but many of the books they buy purporting to be written by celebrities are in fact written by someone else – usually a professional writer whose own work has been rejected but who needs the money. To pass off a book in that way is fraudulent – at best a con trick. We need to take the fake out of the fiction industry and writers need to be free to write the books they want to write and readers want to read.

Jane: The options for those wishing to publish are now wider than ever before, so I don’t think it’s the publishing industry I would change. It is the perception of publishing and the value that we place on books and art that I’d like to target. This year, I’ve been out speaking to librarians and booksellers trying to encourage them to stock – and read – more indie titles. If Andrew Lownie’s prediction is right, over 75% of books will be self-published by the year 2020. Any outlet that refuses to stock indie titles will be doing readers an enormous disservice by restricting choice. The other thing I’d like to be able to do is to get out there and sell my books for the listed price. I hear parents talk about spending £120 on trainers for their children – something that will be outgrown in 6 months. People will fork out over £50 to see a band play, they’ll happily pay £2.45 for a coffee or £3.60 for a pint of beer, and yet they throw up their hands in horror at the idea of paying £8.99 for a paperback. Is the real issue that readers’ needs are not being catered for? £8.99 may seem a lot of money for something you don’t enjoy. I found the results that Kobo have collated about books readers give up on half way through very telling, with The Goldfinch and Twelve Years a Slave topping the list (the books readers were told they should be reading), whilst the book they were most likely to finish? Casey Kelleher’s self-published thriller Rotten to the Core.

Joni: Oh, Lord, I’d tell everyone to take the day off and read a book. That’s the single most important thing writers can do—for ourselves and for the book culture at large—but we leave ourselves so little time for it.