Author Archives: Literary_Titan
Open the Mind of Some Poor “Nitwit”
Revolutionary Women A Little Left of Center, weaves together your personal history with your artistic, and ideological journey, starting with your early life in Toronto to your awakening as a gay artist and the experiences that shaped your identity and worldview. Why was this an important book for you to write?
“The book, Revolutionary Women, a Little Left of Center, is meant to be a work of revolution and revolt. Rejecting stale outdated notions and inspire people to think and see things differently.”
“The old dysfunctional thinking wasn’t working and needed to be laid bare. I wanted to create humorous imagery for all people, who were craving “phycological relief” and “counter-balance,” to the endless outpouring of “agony” and “hate” from the “extreme right.” I wanted to lift up the “left” and show it too, was an important human ingredient.”
“Women, more often than not, embody the left; more subtle in tone, soft, gentle, caring, uncanny intuition, creative and intelligent. These are the same characteristics shared by artists, musicians, gay people and any intelligent free-thinking person. What’s needed is real acceptance by society at large of people who are different. The standing order from idiotic religious & xenophobic ideologies is…. “You’re different and our leaders are telling us who to hate & to join-in their agenda of taking power by suppression and annihilation of others.”
“Let’s look at it from a gay women’s point of view and learn to lean a little to the “left.”
Your book expertly blends memoir with satire, offering readers a dash of humor alongside serious topics that impact modern day women. What is one thing that you hope readers take away from your story?
“What’s happening in the United States right now, sickens and horrifies me. It is my heart felt wish to connect and ease the hearts that ache for the planet and all its living creatures.”
“The “Left” is often attacked, and certainly regarded as less important than the ideas associated with extreme masculine notions of the “Right.” The extreme right rigid binary people are stuck in their own conflict of what is right and what is wrong. Unfortunately, they’ve been misinformed.”
“So, let’s laugh in the face of the ridiculous societal norms. Lay bare the faulty logic in religious beliefs and open the mind of some poor “nitwit” saturated in bigotry and speak out for those who cannot!”
What part of the book did you have the most fun illustrating? Was there one particularly hard section?
“I had the most fun actually drawing all the illustrations. The first four illustrations really set the tone. Firstly, imagine a fantasy of women cleaning up a war scene in WOMEN DO ETHNIC CLEANSING. Or next, envision a 3,000-year-old scene, at the ancient monument STONEHENGE, where women are included in the construction and joke about a huge fear known to all mankind.”
“Thirdly, a reenactment of the famous first moon landing, with women astronauts in MOONWALK. And fourthly, I introduce the character of Mother Nature in the illustration called GOD AND MOTHER NATURE DO THE REVIEW.”
“I suppose THE PHOBE FAMILY was a particularly hard section to finish, as it took me 10 years to resolve the problem presented in THE PHOBE FAMILY and answer it in WHY MAKE IT LEGAL? In the “Phobe Family,” I wanted to hi-light the fear, isolation & denial families go through, when it turns out they have a Gay child. It’s funny but hints of dark undercurrents.”
What is the next book that you are working on, and when can your fans expect it to be out?
Work in progress.
Step into a world where sharp wit meets unapologetic truth. A collection of full color illustrations/cartoons delivers a fierce and funny feminist punch, from the absurdity of gender roles to the hypocrisy of historical myths. With a clever commentary of edgy humor, and a wink into gay culture. These pages don’t just make you laugh; they make you think. Whether poking holes in patriarchy, challenging religious relics or spotlighting modern day madness, these cartoons are radical in the best way. Some are satirical, some are heart felt and sincere. All of them are drawn with a love for justice a questioning spirit and a mischievous pen. Perfect for anyone who’s ever rolled their eyes at the status quo or laughed in its face..
Laura M. Duthie was born in Toronto. Attended the Ontario College of Art from 1976 to 1980. Studied Fine Art. Worked in Real Estate Graphics, Woodworking and Carpentry. Also worked in property management and Security. Recently retired to become a full-time artist.
About the Author:Laura M. Duthie was born in Toronto and studied Fine Art at the Ontario College of Art (1976–1980). Her diverse background spans real estate graphics, woodworking, carpentry, security, and property management. Now retired, she has returned to her true passion as a full-time artist—using her art to speak truth with humor and heart.
What Happens Next?
The Countess and the Spatula follows a disheveled noblewoman who finds solace in baking after her husband’s death until her peaceful life of flour and philosophy is upended by a melodramatic opera singer. What was the inspiration for the setup of your story?
The Spatula of Power came first. The characters of the countess; Claudio, the Man with the Black Mustache; and Isabella of Alberthane followed.
What inspired your characters’ interactions and backstories?
Once you know the characters, their interactions follow more or less logically.
I found this novel to be a cutting piece of satire. What is one thing that you hope readers take away from your novel?
I hope readers take away the desire to read the sequel and find out what happens to the countess next.
What is the next book that you are working on, and when can your fans expect it to be out?
The sequel to THE COUNTESS AND THE SPATULA is called NOBODY EXPECTS THE SPANISH INQUISITION. It’s about an inquisition that is also a soap opera.
Author Links: X
We Are All Travelers
The Hundred Lives of Ashfern the Fox follows the journey of a wise fox from an enchanted forest who, from the moment of his birth, is marked by innate wisdom and an awareness of the past lives he has lived.
The writing in your story is very artful and creative. Was it a conscious effort to create a story in this fashion, or is this style of writing reflective of your writing style in general?
Though The Hundred Lives of Ashfern the Fox is only my twelfth publication, my path has already wandered through many genres. For years I have been drawn toward a more lyrical, breath-like style of writing—words that move with the quiet rhythm of wind through leaves. This book felt like a natural deepening of that evolution.
So yes, the artistry was intentional, but it was also instinctive—my prose simply following the currents it was always meant to follow.
Was it important for you to deliver a moral to readers, or was it circumstantial to deliver an effective novel?
My intention was to illuminate the gentle spirit of animism—the understanding that every stone, river, creature, and tree carries its own life and dignity. I hoped readers might feel a tender reverence for the world around them.
Additionally, the deeper messaging of The Hundred Lives of Ashfern the Fox rose from a very personal place: I wanted to write the book I have needed to read my entire life. I have died a thousand deaths in my own ego, heart, and mind to bring this story into the world, fully illustrated and fully alive.
Beyond its lessons, the book is meant as a lantern for the wandering heart: a source of quiet comfort, a glimmer of hope, and a reminder that we are all travelers in this strange, marvelous, ever-unfolding world.
What is the next book that you are working on, and when can your fans expect it to be out?
My next children’s book, Delilah’s Dreamlight Candles, will arrive on December 1st—a small offering of light for the winter season. Alongside it, I am shaping Books Two and Three of my Godslayer Trilogy, both set to be released in 2026.
The first book, The Infinydon, was my debut novel and was honored with the Literary Titan Silver Award in 2022, a milestone that still fills me with quiet gratitude.
Author Links: GoodReads | Facebook | Website
“IN A FOREST older than thunder and younger than sleep, where moss whispered secrets and the stars forgot to wink, a silver-furred fox was born beneath a lunar eclipse…”
So begins the unforgettable journey of Ashfern the Fox, a creature both wild and wise, born of starlight in a lush, enchanted forest. In this luminous, thought-provoking tale, award-winning author and artist MC Lorbiecke invites readers of all ages into a world where every river stone, fern, and fallen feather holds a spirit of its own.
Told in lyrical, poetic prose and brought to life with rich, fantastical illustrations, The Hundred Lives of Ashfern the Fox gently explores the beauty of impermanence and the eternal rhythm of life, death, and renewal. Rooted in the indigenous concept of animism, the story reminds us that nature is not a backdrop but a living, breathing presence, one that sees, remembers, and loves.
As Ashfern moves through a hundred quiet lifetimes , forgetting, remembering, and becoming, readers are offered a comforting vision of a world where loss is not an ending, but a transformation. This book speaks softly to those carrying grief, reminding them that nothing is ever truly lost; it is only changed.
A perfect companion for quiet moments, thoughtful hearts, and curious minds, The Hundred Lives of Ashfern the Fox is a timeless fable for anyone learning how to let go while holding on to wonder.
The Spiral Can Be Reversed
The Path from Hell to Heaven is a philosophical and psychological map of the ego, tracing how people spiral downward into “Hell” through fear, shame, and denial, and upward toward “Heaven” through trust, openness, and renewal. Why was this an important book for you to write?
Because ego explains nearly every human collapse and ascent, yet most people never receive a practical map for it. I wanted to translate psychological chaos—fear, shame, denial—into a recognizable model anyone could use, the same way we map complex systems in software or business architecture. This book is that missing human blueprint: a self-debugging framework that moves readers forward instead of leaving them looping in abstraction.
How did you come up with the concept of the two-sided spiral of the ego and develop this into a process that readers can implement into their own lives to find clarity and understanding of themselves?
I analyzed patterns before individuals. Ego contracts or expands; there’s no true neutral. Avoiding truth descends, openness creates lift. The spiral metaphor stuck because it captures momentum and acceleration.
To make it implementable, I structured it as an RPM self-awareness loop:
- R – Recognize the ego state you’re operating in
- P – Pause the automatic reaction loop
- M – Move with intentional correction or openness
It’s diagnostic and reversible, giving readers a clear exit path whether they’re descending or rebuilding upward.
I found the ideas presented in your book relatable and appreciated the actionable steps that readers can take to find their own clarity. What were some ideas that were important for you to share in this book?
The concepts that mattered most to me were:
- Ego itself isn’t the problem → closed ego is
- Narcissism is often unprocessed fear wearing armor
- Pain isn’t identity, it’s a turning point
- Ambition without self-awareness becomes self-sabotage
- Recognition of the loop always comes before the escape
And above all—I wanted a book that doesn’t just sound smart, but gets applied and changes outcomes.
What is one thing that you hope readers take away from The Path from Hell to Heaven?
That their ego has directions, and so do they. If they feel stuck, defensive, ashamed, or overwhelmed—it’s a state, not a life sentence. The spiral can always be reversed, rebooted, and climbed. The only real trap is believing the descent is normal and permanent.
This book is a Map of the Ego’s Double Spiral — a journey every individual, family, and society travels between Hell (closed ego) and Heaven (open ego).
Through vivid metaphors and grounded psychological insight, LANOU unveils how pain becomes protection, how protection turns to illusion, and how awakening begins when trust cracks the shell.
You’ll see yourself, groups, and even nations in these patterns:
The wound that starts the descent.
The mask that hides pain through control.
The collapse that breaks illusion.
The trust that starts renewal.
The open ego that frees love and truth.
Structured as a fractal spiral, the book reveals six repeating steps across all scales — from individuals to groups to the world itself. It blends the clarity of psychology with the simplicity of spiritual truth: hell is repetition; heaven is renewal.
Once you see the map, you cannot unsee it.
Accidental Book
Killing Brumbies is a strange and moving book that weaves fact and fiction with art into a story that roams from love and art to politics and moral outrage. This is an intriguing setup to a novel that is high in social commentary. What was your moral goal when writing this novel, and do you feel you’ve achieved it?
My novel ‘killing brumbies’ could just as easily be named ‘accidental book’. In 2009 After my last major art shows in Melbourne and in Cairns at the James Cook University about global warming species extinction, I was offered an undergrad position in fine art to ‘catch up. The library staff (God bless them) taught me how to turn the computer on and what an email is. Up to that point I wrote letters and shopping lists by hand or used a quaint old Remington typewriter. The kind where your fingers get stuck between the keys. After a semester of ‘art techniques up to impressionism’, there were no other art subjects on offer, incredible to think art as being cancelled at university level. I changed to Literature, did a semester of ‘writing a play’.
When starting a new body of art, it’s like being taken over by an external force, not a sinister poltergeist, an unstoppable force that until that body of work is all out and finished there is nothing else you can do. The writing happened the same way. It was raw and powerful and in many ways better dialogue than in the book. At first the university was thrilled to have writing talent in the class, even put me on a writer’s program with the local theatre company.
At the first reading of the play the supervising person proclaimed the work banned as too controversial, I refused to stop writing it and was kicked out of university.
It’s not a book I wanted to write; you’d be crazy to want to write a book like this.
I rewrote it as a play, that was banned. I went into a creative coma hiatus for a few years and played with my dog and my horse and did a series of work about Barbie caught in a cave unable to get out. Then I saw a Utube video of someone claiming to have painted my side of the tram, sent him a solicitor’s letter which he laughed at, his response, ‘You don’t exist’.
I got angry, bought my first laptop and began the five-year anguish of writing my book.
‘killing brumbies’ is the statement of my existence. I hope through all the dirt and grime of the storm shines a hopeful message, ‘Horses are sacred and Dogs are Angels’.
What were some themes that were important for you to explore in this book?
I could say something lofty, hopefully witty or tell you the truth. After laying out the plan of the book from the play. I engaged a dramaturg to help me learn to tell a story. It was worse than marriage, I bled on the pages, he criticised everything stabbing into my soft underbelly. Finally, he said I would be jailed when the Aboriginal arts council (which he worked for) got hold of this. It is a fictionalised true story to overcome over 300 hundred pages of censorship imposed by the Australian government on non – indigenous writers.
I started again on my own, realized, I had not gone deep enough into my memory, I needed to see the characters from all angles to understand them. I bought a very large bag of marijuana (illegal in Australia) and spent six months getting in as deep as I could to memories lost or deliberately forgotten.
I ran out of the nice drugs and on the third day of being clean, I experienced symptoms of a heart attack, the ambulance rushed me to emergency, hooked up to life saving equipment, tested for everything… well almost everything. After four hours the doctor came in and asked if I had ‘smoked’, I nodded, THC withdrawals he said. He unhooked me and quietly sent me home, don’t come back he said.
What was one scene in the novel that you felt captured the morals and message you were trying to deliver to readers?
Now that I live the clean saintly life, I can say the chapter I like most is No. 9 City Dingo.
I’d like to think it is that satisfying moment when another wild creature recognizes, accepts and invites you into the pack. The deep primal need to see the stripes of another zebra or hear the call of another wolf. For me as an artist I found a home, another artist, a gentle pure place for a little while. I still howl at the moon calling for him.
What is the next book that you are working on, and when can your fans expect it to be out?
Next underway now, is the Catalogue book of all exhibitions over a 35-year time span. Including short stories, photographs and new work. ‘killing brumbies’ includes a selection of work. The Catalogue book is the complete sequence of paintings so far.
Also, next. I’m mapping out a children’s book with new illustrations.
Freddie the horse and two dogs, something dogs and horses and trails, roads, pathways leading somewhere. People and situations that are not what they seem. I like the original Star Trek episodes of a situation, problem and unlikely resolution.
Having learnt how to write it’s irresistible to keep going, im looking forward to getting into the studio and see what happens, where the story goes…next.
A fictionalised novel by Sue Andrews
Two artists. One love story. A thousand wild horses. And a nation divided by who tells the story.
killing brumbies is a haunting, illustrated fable that explores the collision between creativity and identity, politics and love. Set against the brutal reality of Australia’s wild brumby cull, it asks: Who owns culture? Who speaks for the land? And can we ever separate art from the bloodlines beneath it?
Through raw prose, original artwork, and satirical lyricism, this novel traces the author’s own evolution—from innocent maker to politicised creator—while inviting readers into a deeply personal journey of love, land, and loss.
At once a political allegory and a spiritual reckoning, Killing Brumbies is for anyone brave enough to ask what is art actually worth—and what will we destroy to protect it?
Exploring Fear
Fear Struck follows a crime writer who, while writing his latest murder mystery, has his door broken down by police and is arrested for a murder that looks like one of the scenes in his book. What was the inspiration for the setup of your story?
As a writer, I often feel like a conduit for someone else’s ideas, with words flowing so quickly that I sometimes wonder where they are coming from. This experience sparked a question for me: what if a writer suddenly became the instrument for someone else’s story in a very real and dangerous way? This personal connection to the story became the seed for Fear-Struck and its psychological thriller setup.
The truth is, many of my novels begin with a simple “what if.” Whispering Lessons is a good example. I asked myself, what if someone had secretly followed Jesse James and his gang, watched them bury their stolen treasure, and then dug it up after they rode away? Could that be why so many of those legendary treasures have never been found? Those two words, “what if,” open the door to endless possibilities, and they are often the starting point for my strongest storylines.
What are some things that you find interesting about the human condition that you think make for great fiction?
There are so many layers to the human condition that writers need to pay attention to, because those layers are what make fiction feel real. In Fear-Struck, I delved deep into the debilitating impact fear can have on a person. It doesn’t just consume the main character. The suspect gets overwhelmed by it, too. Even the people in the prison around him react out of fear.
Fear is universal. It shapes decisions, drives behavior, and sometimes clouds judgment. Our minds are incredibly powerful, and our thoughts can either protect us or harm us. In this story, fear becomes almost a character in its own right, influencing everyone in its path. That kind of emotional truth, rooted in what people really experience, is what makes fiction resonate.
When you first sat down to write this story, did you know where you were going, or did the twists come as you were writing?
For Fear-Struck, I actually did know the storyline before I began writing. That is unusual for me, as I am not usually a plotter, but in this case, I could clearly see the characters and the journey ahead of them. I knew the ending, and I knew how I wanted to move from the moment of the arrest all the way to the final reveal.
What mattered most to me was exploring fear, not just telling a crime story. I wanted to look at how fear shapes people from the inside out. The reviews have been incredible, and many readers mention how closely they connect with the characters and their reactions. I think that connection exists because fear is something we all face in one way or another. It is a profound human experience, and that truth comes through in the story.
What is the next book that you are working on, and when can your fans expect it to be out?
I am currently writing Book Two in the series. It starts as Kutter is still dealing with the emotional aftermath of what happened in Book One, where he was arrested for a murder that resembled a scene in his own book. These lingering effects push him into a situation unlike anything he has ever faced before. This new challenge forces him to grow in unexpected ways.
In this next installment, Kutter, the main character from Fear-Struck, finds himself sitting across from an unapologetic and prideful serial killer. His personal revulsion toward this man directly clashes with his responsibility to uncover the names of the victims. That internal battle is something many of us understand, because we all face moments where our emotions collide with what we know we must do.
I am thrilled to share that I am aiming to have the next book ready for readers in early 2026. I cannot wait to continue Kutter’s journey and share the next chapter with you all.
Author Interview: GoodReads | BlueSky | Facebook | Pinterest | Website
Detective Tweed believes Kutter’s pages hold the truth. Kutter swears he’s innocent. Yet with each revelation, a darker reality emerges—one bound to him by blood.
Relentless and chilling, Fear Struck will keep you guessing until the final, shocking twist.
Suspension of Disbelief
Auberon Manor follows a rich paranormal skeptic who is drawn into the mystery of Auberon Manor, an estate with a long, dark reputation, where he discovers something more frightening than a ghost. What was the inspiration for the setup of your story?
Many people will tell you they do not subscribe to the notion that ghosts or other supernatural entities are real. If you were to drop one of these non-believers into an old, isolated, creepy house, I’m willing to wager they’d feel some level of anxiety. Introduce a few odd, not easily explained noises, and even the fiercest skeptic might be tested. What interested me the most in writing this book was the characters’ reaction to discovering a supernatural entity. That’s hardly an everyday occurrence, and I’m sure it would test most people to their limit. I created a group of characters and threw them into that frightening scenario to see what they would do. I admit, I would have fled on day one. Thankfully, my characters are far braver than I would have been. Suspension of disbelief.
Your novel features some very interesting characters with flaws, but who are still likable. How do you go about creating characters for your story?
My preference is for strong, capable characters. The kind of people you can count on when the going gets tough, who run towards a problem instead of away from it. Having said that, not every person is skilled, capable of courage when called upon, nor are they dependable when you’re forced to rely on them. I’m fascinated by human behaviour in all of its forms. Too often, a protagonist has to go out of his or her way to navigate around another person’s shortcomings to reach a goal. That’s life. That’s real. No story proceeds in a flawless straight line. Humans are sometimes bumps in the road that need to be navigated. I want the reader to share that frustration.
What intrigues you about the horror and paranormal genres that led you to write this book?
This genre has no limits. If you can imagine it, you can put it on the page and not be criticized for breaking the rules of physics or angering a reader for forcing them to suspend their disbelief. They want to suspend their belief for a story like this. The author and the readers are all on the same page.
What is the next book that you are working on, and when can your fans expect it to be out?
In addition to writing in this genre, I also write action-adventure, legal thrillers, and tech thrillers. My next book is titled ‘Legacy of a Silent Man.’ This is an action book. Work is underway, and the publication is expected in the first quarter of 2026.
Author Website
For the curious and adventurous, the stories read on the website inspire them to make the journey to Pennsylvania and see the manor for themselves. Over time, the stories about the house grow darker with reports of visitors suffering injuries. When an amateur group of investigators conducts a scientific examination of the house, disaster strikes. Members of the investigative team suffer broken arms, a broken rib, and a near-fatal concussion. This compels the owner to prohibit any further visits.
When the story of the Auberon haunting reaches a bored and wealthy young man named Dane Ledger, he’s encouraged by a friend to take a ghost-hunting road trip. To Dane, who doesn’t believe in ghosts, it presents an opportunity to debunk the ridiculous notion that this house, or any house, is haunted. He and his friend arrive at the manor to discover recently erected fencing and a guard who refuses them entry. All of this security makes Dane and his friend even more curious about the house. They approach the homeowner for permission to inspect the property, but are firmly denied. After money is exchanged and Dane agrees to assemble a team of professional paranormal investigators to inspect, identify, and exterminate the entity from the manor, permission is finally granted.
With the team assembled, they enter Auberon Manor and discover its frightening occupant. Terrified by what they’ve discovered, and too frightened to go back into the house, they struggle to find a way forward. Letting the entity remain in the home is not an acceptable option, as it would imperil every future visitor. They don’t know what they’re battling, but it’s not a ghost. It’s something much worse.
Grow, Evolve, and Blossom
Garden Quartz and Paper Flowers is a collection of stories and poems centered around a girl navigating the trauma of abuse and the healing process. Why was this an important book for you to write?
It was important for me to write, Garden Quartz and Paper Flowers as a way to finally close a chapter of my own life. I’ve been writing for as long as I can remember: poetry, music, and short stories but I lost all my original works in a very traumatic incident. That use to haunt me, endlessly.
I don’t know of many stories that tell the tale of resilience, that transcends through time with authentic but healthy coping mechanisms. In this story, the main character Calla recognizes that self-work was required to set her free. For you never have to be your childhood or adulthood circumstances. Those moments will shape you but you should not allow them to break you.
My fondness for precious gemstones and flowers with inspirational meaning were the metaphorical tools necessary to breathe life into this piece. Stones are shaped by their environment. Flowers can weather the storm. Both survive under tough pressure.
What was the biggest challenge you faced in putting together this collection?
My biggest challenge was simply starting. For years, I dwelled on it subconsciously, should I pick up my pen again and recreate what was destroyed. Eventually, I got to a place where I said this is going to be therapeutic for you and it’s time to get it done. My second challenge was struggling with remembering much of what I originally wrote, but once I started to complete the individual pieces one by one, I was able to weave them together into one fluid story. You can delay the inevitable but it’s still has to get done, even when it’s overdue. I also needed to live a little bit longer, to complete this work of art in full circle.
Have you received any feedback from readers that surprised or moved you?
I’ve received a lot of positive feedback on this piece of art. I’m honestly VERY surprised. I didn’t think it would move so many people to connect with it so deeply, especially since it’s a fiction. I know Art imitates life, and I know that some of the things I wrote could align as a lived experience rather than a collection of different occurrences. I just didn’t know it would resonate with some many people.
“Not for the faint of heart,” was the common themed remark. Which to me, shows I planted a seed and I hope it grows. Uncomfort as it relates to knowledge, has always been a sign that I’m headed in the proper direction. I remind myself every day, learn something new, try something different and feel something real.
What is one thing you hope readers take away from Garden Quartz and Paper Flowers?
I want readers to know that it’s okay to feel every emotion in the moment—but it’s not okay to live in the negative ones. We have to find the strength to rise, overcome pain, and to keep pushing forward. It’s not easy, but NOTHING in life is simple. After the all hard work, aches and pains, I promise greatness is waiting on the other side, ready to greet you.
You’re not your past. You’re not even your present. And you’re not even alone. Continue to actively grow, evolve, and blossom into who you’re meant to be. It’s time to do your due diligence. It’s time to rediscover your resilience. It’s time to heal. Let’s do this!
Pain has Transformed me. . .
Step into this immersive garden of ruin and bloom— a memoir told in fragments of memory, poetry, and survival.
This is the story of a girl named Calla, rooted in silence, shaped by shadow, and determined to rise.
Because not all wounds bleed. Not all truths are spoken.
And you never have to become what tried to break you.
LITERARY TITAN 