Crimes of Rumba discusses and dissects the crimes behind the worst corporate malpractice in US cultural history. Why was this an important book for you to write?
From 1983 to 1995, it took us almost fifteen years of commitment, sacrifice and know-how to build up awareness about the greatness of Congo music’s modernity in American pop culture. Credits should be given to promoters such as Victor Kibunja, Verna Gillis, Paul Trautman and my company’s tour with Tabu Ley Rochereau-Alive and Well in North-America in 1992, which made Congo music a runaway hit in North America until 1995.
Unfortunately, with little to no precision, 22 years after the Congolese government and musicians’ outright rejection of Fonior’s crimes of rumba, handful writers went off the script and managed to inadvertently slip in Fonior’s fraud of Cuban music. It was disheartening to realize that even few colleagues in the media were still living in the clouds of Fonior’s crimes of rumba. As promoters, time was more of the essence to promoting tours than pressing the matter further why it was a horrific danger to associate Franco Luambo and Tabu Ley Rochereau with Fonior’s post-colonial fraud for America, in the lens of the Congo’s politics from the 1970s to 1990s.This brought up the above headliners’ urgency and request to me to educating their consumers with the absolute truth beyond the fraud of rumba.
Moreover, as journalist and promoter, this is book is mostly important because it connects the dots between King Leopold’s atrocities of red rubber to the crimes of rumba for America by his very own international conglomerate, Societe Generale. Simply put, the fraud of rumba music is the universal and everlasting legacy from King Leopold’s politics and economics in music for America, first, and the world later. It’s never been about the presence of Cuban music in the midst of the state administration’s classified South American music’s mandatory production. But it is all about how, wanton malice, Fonior abused and misused Cuban music to commit fraud and defraud Congolese musicians’ copyrights and consumers’ human rights in America.
You cover a number of topics in this book, but the one that stuck out to me was rumba music. How do you feel music affects the political landscape?
Human life is rhythm. Rhythm is music. And music also controls mankind’s political landscape from singing Nero setting Rome on fire, Herod decapitating John the Baptist in Israel to any election campaign chanting of USA, USA, USA.
In Belgian Congo, for instance, the rhythm of atrocity behind the harvest of red rubber to the germination and criminalization of the state administration’s legal diversity of South American music, in the late 1950s, was controlled by King Leopold’s politics for Societe Generale’s monopoly. The politics behind the abrogation of Copami’s mission to legalize the harvest of “music cash crops” for export created a super culture of dichotomy for the equal production of Congo music and South American music under the law. And this colonial autocracy paved the way for Congolese musicians’ resistance and sabotage, which empowered Patrice Lumumba to ascend to the highest sky of the Belgian Congo’s nascent political parties.
In 1948 president Rafael Trujillo made Merengue the official music of Dominican Republic, while in 1959, Fidel Castro nationalized Rumba as the official music of Cuba for all music of African descent. In 1965, after his coup d’etat, president Mobutu rode the wave of Congo music to install his dictatorship in the Congo DRC. Francois Duvalier used Kompa music to numb the mass’s brain for his dictatorship in Haiti. Bob Marley performed his One Love Concert to defuse the brutal turf war among political nemesis in Jamaica. Bill Clinton’s campaign in the 1990s banked on the success of Macarena to promote his progressive agenda for America’s cultural diversity. And that is the same spirit of music in the politics of King Leopold’s international conglomerate that still captures rumba operatives’ politics for Fonior’s crimes of rumba that have been debunked and rebuked in the Congo DRC and exposed in this book.
What kind of research did you undertake to ensure the book was accurate and detailed?
First, as American of Congolese origin, I have lived Congo music my entire life. As a professional journalist, I covered the Congo DRC’s national rebuke of Fonior’s crimes of rumba for the national radio and television until I migrated to the USA. As co-host of the most famous Congo music radio and television shows, I humbly confessed that my expertise in Congo music is second to none because of my personal and business ties with Congolese musicians. As a young record producer, I have also rubbed elbows with all the who’s who in the music industry. My coverage of Samuco and Umuza, Congolese musicians’ union, are the most inside information that the average journalist has never searched before. From 1983 to 2000, as a promoter and consultant, I have closely worked with all Congolese musicians who have come on tour in North America for others as well as for my own company.
Second, to ensure that the book was accurate and detailed, my documented evidence are based on Belgian Congo’s laws, policies, institutions and corroborated by Congolese musicians’ personal testimonies throughout colonialism and their outright rejection and class action lawsuit against Fonior. The restrictive provision and scope of laws and policies from Belgian Congo to the Congo DRC’s national rebuke of Fonior’s crimes of rumba certify the accuracy of the Royal Decree of 1925 behind the Copami’s mission and its related institutions, coupled with the Royal Decree of 1952 aborting the old mission and its institutions under Societe Generale’s mission. These irrefutable evidence within La Territoriale provide all material facts and detailed events. And this exclusivity makes Crimes of Rumba the best encyclopedia of Congo music ever in terms of chronology of specifics in laws, policies, institutions and events from 1925 to September 1960.
I thought this book was informative and engaging. What do you hope readers take away from this book?
Readers’ takeaway is to know that Fonior’s crimes of rumba are real. Consumers have the right to know that they have been defrauded for decades. Even though, this crime spree was launched from America, in September 1960, its universality has outreached the world. It is based on Fonior’s violation of Congolese musicians’ copyrights. That’s why, as early as 1970s, president Mobutu stood up shoulder to shoulder with them to nationally reject, debunk and rebuke Fonior’s fraud. Unfortunately, after 47 years, the coverage of the Congo DRC’s rebuke has been blocked by King Leopold’s rumba operatives through fake movies, books and theories, who have turned a blind eye to telling the truth for the sole purpose to monetize on it. Not only consumers have the right to be set free from the bondage of Fonior’s crimes of rumba, they have the right to know that rumba operatives still provide a fraudulent, safe home for re-litigation and revisionism of Belgian Congo’s laws, policies, institutions, and against the Congo DRC’s national rebuke of Fonior’s fraud.
This book simply certifies that one can’t explain the complexity of the state administration’s legal diversity and production of South American music under the law, in the Belgian Congo, in complicity with Fonior’s fraud and based on the simplicity of its crime of opportunity on Cuban music for America, first. The engraved musical evidence of South American music’s legal diversity in Fonior’s Congolese re-editions represent self-incriminating evidence, among many others, against its crimes of rumba. One can’t celebrate Congo Rumba’s illegality by hiding Congo Latino from the same Fonior’s fake-outs spree. This case is all about King Leopold’s international monopoly misused Cuban music to commit fraud. Simply put, the fraud of rumba music has been the universal and everlasting legacy from King Leopold’s politics and economics in music for America, first, and the world later. Thanks to Crimes of Rumba the era of defrauding musicians and consumers’ human rights is over now.
Crimes of Rumba is the hottest, epic combination of business, politics, music, and of course, crimes behind the predatory conduct culture that has glamorized the worst corporate malpractice in US cultural history. As a matter of law, order, and economy, the state administrations intolerance and crackdown on musicians dissent and opposition to the colonial music cash crops production is authoritarianism at best and without precedent in the worlds history of colonization and music. This legal truth and material facts-checkings operation is the blunt, exclusive disclosure of the sources and methods used for the cultivation and autocratic harvest of music cash crops in the Belgian Congo, which were economically engineered from and back to America for its consumption through misinformation, disinformation, deceit, and fraud. Not only is this the tale of the utmost scam that has been very fully funded to defraud the worlds collective memory of rumba, it is the hefty price that our humanity has dearly paid for without consent for Foniors crimes of rumba for decades. Silence has been complicity at worst from the people with knowledge of the case against rumba. Not only are the material facts and consumers rights violated and suppressed, along with musicians copyrights for decades, the morally repulsive glamorization of the fraud has brought creative freedom in the worlds music into disrepute. A lot of readers will discover Thierry Antha with the publication of Crimes of Rumba, Volume I of Congo Music. But this international journalist carried decades of excellence in covering the Congo and Haitis politics, business, and entertainment. His professional and personal ties with all the most famous Congolese musicians in advocacy, promotion, and production of their musical works have crowned him the best authority with respect to the Congo musics history. Contrary to all the spinning, posturing, and work of fiction for rumba, Thierry Anthas expertise and dedication to exposing the truth behind material facts and laws related to Congo music from the Belgian Congo to the Congo is second to none. Embark in this riveting literary journey to discover how Socit Gnrales authoritarian harvest of music cash crops has shattered and destroyed lives and careers for its economic gain in the Americas. Without censorship, Crimes of Rumba, Volume I of Congo Music exposes Foniors victims long overdue rebuttal, which is long way apart from the reality of its predatory conduct culture and its propaganda of rumbas fake-outs.
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The Zimbabwean War of Independence is a vivid account of the country’s struggle for independence told through your personal experiences. Why was this an important book for you to write?
It, like most, if not all war situations has a lifelong impact on those affected and mine was an experience which I felt had to be told.
You used many of your own experiences when writing this book, but did you undertake any research to ensure you had a holistic view of events?
This book causes one to reflect on their own life journey. What do you hope readers take away from this book?
The main aim is for the reader to try and understand what it was like for the people affected. Just as I have read numerous accounts of the first and second world wars, I wanted the reader to be able to feel the trauma of a war situation which should be avoided by all and any means, where possible.
What is the next book that you are writing and when will it be available?
It is on political events, power struggles, and corruption on the newly independent countries of Zimbabwe and South Africa – the contrast and similarities.
A personal experience of the Zimbabwean war of independence as it happened and culminated in the country’s independence in 1980. The account is of events that took place almost four decades ago but the memory is still so vivid in my mind as if they had just occurred. I believe this is the case with any profound experiences that one goes through in one’s life’s journey.
I had always felt I had to tell the story some day especially soon after our abduction from school, but have only managed now to sit down and give the compelling story of the war as it was fought and escalated.
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Georgina Kemm is a woman driven to rediscover herself and heal the deep-seated wounds from her past. Her journey of self-examination leads her to Peru and to the somewhat beguiling arms of one shaman named Puma. After enduring the contemptuous complacency of her husband and battling the demons continuing to rise within her own psyche, Georgina finds herself almost inexplicably drawn to return to Peru following her best friend’s final fall from grace and admission of a friend’s ultimate betrayal. Her connection to Puma and the rituals in which she participates while visiting Peru haunt her and, in the end, pull her back to the place where her life actually began.
The Spell: The Shaman’s Lover Trilogy Book I is an autobiographical account by author Georgina Kemm. Georgina lays out her experiences in a simple but spellbinding manner. As she retraces her steps during the most painful years of her adult life using first person point of view, the reader is slowly absorbed into the events of those weeks in Peru and feels present in each of the mind-bending ceremonies.
Georgina weaves the most intricate details into her descriptions of the ceremonies and the intense and overpowering sensations she feels during each session with the shaman who seems to see right into her very soul. At times, I was left wondering how Georgina was able to survive her time in the wilderness of Peru, and I was always amazed as each new day began and she was still alive to tell about it. Though her tale is one of self-discovery, it is also one of endurance and immense amounts of physical and emotional strength.
One of the most effective portions of Georgina’s story is tucked neatly within the descriptions of her apologies to her husband and the inner battle she wages when she faces her own infidelity. Though she is angry with herself, she can’t seem to understand why. Georgina has communicated her own self doubt and feelings of inadequacies eloquently and powerfully for her readers.
Another powerful aspect of her tale is the relationship she has with her best friend, Sandy. As the weeks in Peru progress, Sandy and Georgina find themselves bouncing back and forth between confidantes and strangers. I was amazed at the way the two could seem to distance themselves from one another in the jungle thousands of miles from home. It is a true testament to the spell placed on both of them as the weeks went by. After seeing the way Book I ends, I fully expect to hear more of the strained relationship between the two women in subsequent installments.
Not often enough do we find individuals willing to come forward and bare their souls and show their battle wounds the way Kemm has done with this first in a trilogy. For her eloquent self-expression and her bravery, she is to be commended.
Pages: 308 | ASIN: B07D2N66WM
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Jonathan Hatendi weaves a tale of abduction, terror, and young lives forever changed. The most frightening aspect of Hatendi’s writing lies buried deep in the fact that his words are true and lay before the reader the events of his own life prior to Zimbabwe’s successful acquisition of independence in 1980. As a civilian surrounded by guerillas and day-to-day routines fraught with danger and the ever-present element of the fear of the unknown, Hatendi survived to tell a tale like no other. The fact that Hatendi is here today to share his story is a testament to his strength and the determination of the people of his country.
Hatendi’s account of his life during secondary school and the torment he endured is titled The Zimbabwean War of Independence. Hatendi jumps right into the striking events and leaves the reader no time to breathe. While trying to process the fear and overwhelming barrage of emotions he and the other young people may have felt on the night of their abduction, I was left wondering how he and his classmates were able to psychologically survive in the months and years that followed. The author’s style of writing and plainspoken manner translates well into text and helps readers visualize the blatant abuse and the true horrors of the times.
The abduction itself is, by far, not the only striking aspect of Hatendi’s story. He relates several events prior to his abduction and following his return. Hatendi writes openly of the way children were forced to witness death and destruction and describes both the realization for the need of counseling and psychological help and the lack thereof. He shares the atrocities page by page as they relate to the young men and women forced to endure lives of fear always questioning their next move.
Hatendi provides little in the way of dialogue as his book is written in first person and reads similarly to a journal account citing events and detailing remembrances of his journey to adulthood. The manner in which Hatendi records his memories is unique and provides readers, as much as is possible, with a relatable account of his experiences. I was, at times, shocked at how easily he seemed to be able to express some of the most horrifying scenes in such basic terms.
Hatendi has given the world a unique and private account of a life lived under duress and a life survived despite insurmountable obstacles. To have made it through a war for independence as a child and be willing to share the story of that fight with the world is admirable and, quite frankly, nothing short of amazing. Hatendi is to be commended for the unique eloquence of his writing and his willingness to share with the world his life as one of Zimbabwe’s survivors.
Pages: 110 | ASIN: B07F1XHN5J
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The book starts with a little history of the Congo under Belgium rule during the colonial days. This gives the reader an insight into how things were in Belgian Congo, and how ‘La Territoriale’ was made to get rid of King Leopold’s cruelty and brutality in the CFS regime. The first chapter gives a lot of information about Belgian Congo and all that happened. I had the impression that I was attending a history class, as the author wrote about events I had never heard of. It was agonizing to read about King Leopold, as his inhuman acts against the Congo people led to a lot of loss.
Politics in Congo, the formation of political parties, King Leopold’s atrocities and the influence of Rumba are all covered in the book. Reading about natives who were killed as directed by King Leopold in the harvest of red rubber in the era of CFS regime was one of the moments I almost broke down. Natives’ hands were chopped and others left with permanent wounds and under the CFS regime. Just how cruel could one man be? The worst thing was that even as he committed all these crimes, King Leopold received backing from his country, and even had support from his followers.
The author covered a number of themes in the book. Politics, music, law, human rights violation, business, and trade were all covered. This book highlights the use and impact of Congo music in Africa and other continents like America and Europe. Thierry Antha extensively writes about the brand associated with Congo Rumba and Rumba Lingala, Congo music that is known by just a few, how the Flemish administrators took Rumba, the industrialization of Congo music during the colonial days and much more.
Thierry Antha extensively writes about the brand associated with Congo Rumba and Rumba Lingala, Congo music that is known by just a few, how the Flemish administrators protected Congo music’s exceptionalism, while Walloons industrialized it with the addition of the legal diversity of South American music for export in the late 1950s and much more. And mostly how Fonior, the Belgian company, misused its monopoly to commit fraud and defraud Congolese musicians’ copyrights and consumers’ human rights in America, first, after the colony’s independence.
Rumba music, as allegedly sold in the West, is beautiful to the Soul. When played in clubs, the radio, and other public media, one can feel how passionately the artists feel the music they create. As you enjoy “Rumba” music, do you know a little history about Fonior’s fake-outs and how the genres were born? Do you know the challenges they faced and how the music they made affected them and the people around? If not, then you need to read this book. It has all the good, bad, fantastic and ugly stories about Belgian Congo, the natives, Congolese musicians and the exploitation of Congo music.
Pages: 598 | ASIN: B07CH9M9BR
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Seven Beyond follows Dr. Meenins as he goes on an adventure spurred by wild dreams and helped along by unlikely friends. What was the inspiration for the setup to this thrilling novel?
I was first attracted to the idea of writing about people with long life and how a century can be devoted to a specific study of music or warfare without loss. Also a woman can enter business without feeling the pressure to give birth to all her children within a single decade. As my father aged, I wondered how very old people cope with loss of friends, loss of a homeland, or a faulty memory without companions to reinforce the old heroic tales. The storyline grew from there.
Dr. Meenins is a well developed character that I enjoyed reading about. What were some obstacles that you felt were important to his character’s development?
Dr. Meenins is troubled by dreams that are his memory turning. The character has lived for 800 years and traveled to other worlds. He started a blood feud by killing another Longist, his great friend Frum from the Soldier caste. The relatives of Frum cannot with honor allow Chris Meenins, who they know as Clem from the House of Past Promise, to live. He must side-step assassins in each situation on each planet that he visits.
When our story opens, Dr. Meenins is channeled and believes that he’s an aging temporal earthling. He enters resurgence where he accepts that his knowledge is greater than he could attain over a temporal’s lifetime – human anatomy, advanced weapons, the relative positions of the stars. As a Longist, he must face his past guilty acts that perpetuated the blood feud. Only in full memory can he lead the colony to the new homeland.
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?
The Longists maintain group identity with social castes and old stories and ancient books of wisdom. To match those, I used Christian beliefs and stories from the Bible as the source of strength for Lady Drasher and other traveling companions.
The traveling group starts in old Russia, travels through the Caucuses, and across the Mediterranean to the northern coast of Africa, before they visit England and fly to NYC. They are piercing time from the 18th into the 20th century. They also test many philosophical theories that groups used to justify political movements.
What is the next book that you are working on and when will it be available?
The Backside of Beyond is a companion book to Seven Beyond that opens a generation later with a few characters the reader will recognize. Dr. Meenins’ daughter lives as Yolanda Santiago in fragmented America and volunteers for a brain implant experiment that is a corporate and military partnership. She gains core programming, making her independent and lethal, and goes rogue with a traveling group who are on the provinces’ most-wanted list. Her Longist friends who integrate with society in the USA have spiritual questions and join a tent revival movement to heal America and bring down the bisecting fence.
The Backside of Beyond is in beta now and may be released in 2019.
Dr. Meenins has recurring dreams that are his memory turning. He resists facing his guilty acts from eight centuries ago. Linda Deemer of his race of Longists is sent to help him step through painful memories of lost companions.
Travel companions help Dr. Meenins confront his dreams while haunted by wispy memories of faraway places and alien races. The reader is treated to his past adventures on other worlds where Christopher Meenins escapes assassins of a blood feud and gathers followers to find the new homeworld.
A quest novel that, in broader terms, is a cautionary tale with many tongue-in-cheek references to true human nature and injustices of contemporary society. Similar to Cloud Atlas or Sense 8.
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Burned in Stone continues the story of three archaeologists as they now set out to find the Ark of the Covenant. Where did you want to take this book that was different from The Lost Photographs and what were some things you felt had to stay the same.
The original characters remained the same, and Stephanie was added. I worried about having my story enter the realm of science fiction in the sign from God, but I have learned that many of my readers believe we would have a much better world to live in if it really happened.
I chose Ann Tyler to be the one who died instead of my new character, Stephanie. That was a shock and very sad. I was hoping it would be a story my readers would not quickly forget. I am still not sure I made the best choice. Matt found how deeply he loved her. That may be too much for Stephanie to overcome.
Stephanie’s tragic childhood and her unfortunate upbringing make for fascinating reading. What traits were important for you to develop and explore in her character?
I wanted to bring out the vulnerability of a child and the emotional devastation caused by abuse and lack of love as depicted by Stephanie’s childhood and early years. However, she “pulled herself up by the boot straps” and discovers love is not selfish but is caring about others. She develops a successful career and does not use her childhood trials as a crutch to flounder in pity.
I enjoy how you explore ancient artifacts and ruins to bring new life to old stories. Did you always have an interest in archaeology or is this an idea developed just for your novels?
From an early age, I have been fascinated by bible stories and archaeological finds. After retirement I was able to travel extensively visiting many countries and ruins–Africa, Israel, Egypt, Saudi Arabia, Jordan, Thailand, Mexico, Australia, New Zealand, many countries of the Far East to name a few. I try to incorporate the sights, sounds, and smells of those many places into my stories to enhance the importance of exploring the past and its influence on the future.
Do you plan to continue Matt, Ann, and Jim characters in other novels, possibly a series? If so, what will the next book be about?
I plan to continue with most of the same characters. Unfortunately, one of my favorite characters, Ann Tyler, was brutally murdered in Burned in Stone, but Matt, Jim, and Stephanie still need to pursue at least one more biblical artifact.
My wife and I love to travel to places we have not yet seen in the world. I believe we will take a few trips and as we travel I will be putting my pen back to the paper.
BURNED IN STONE A Novel by Richard Ira Carroll You won’t be able to put down “Burned in Stone”, a page-turning adventure with twists and turns that keeps you guessing at what happens next. You’ll have to stay up an extra hour. You’ll want to see how they get out of this one. Steam was shooting out everywhere from the ancient ore-hauling steam engine. If I give it full throttle now, would it go around the curve too fast and tip over? I had no choice. It was now or never! “Burned in Stone” is a novel of epic proportions, a story the reader will not easily forget. A thoroughly researched and well-written prologue sets the stage for this slam-bang novel. Dr. Mathew Lane, Ann Tyler, and Jim Morgan, the three archaeologists who discovered Noah’s Ark on Mount Ararat, are on another dangerous undertaking as they search for the crown jewel of biblical artifacts, the real Ark of the Covenant! Love, jealousy and heart-wrenching tragedy enter the story when Stephanie, a stunning beauty who possesses an ancient parchment map, agrees to join them in the search. Every area our adventurers search reveals another clue leading to another place or another country. This fast-paced journey takes them from Thailand, to the depths of the Mediterranean Sea, to Jerusalem and finally to Mount Sinai in Egypt. Here they discover something so totally unbelievable. . . something so phenomenal. . . it will have a profound effect on every man, woman, and child on the face of the earth! “Burned in Stone” is the sequel to an equally exciting novel, “The Lost Photographs”, also available at your favorite book store.
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Explosions and mayhem make up the introduction to Lucas Sterling’s debut novel, Srepska, immediately throwing the reader into the after effects of a massive cyber attack in Kenya. Personal, business, and federal accounts have been digitally looted leading to a state of emergency. Fearing repeat on a larger scale, Agent Frederic Ulrich is tasked with seeking out those responsible, though the feared group ‘Srepska’ is immediately suspect. The scant bread crumb trail points to the U.S. as the next target, but a possible mole leaves Agent Ulrich unsure of friend or foe. With the aid of Lars Christopherson, he must find a way to inform and prevent the next attack.
Srepska is definitely deserving of it’s place in the action genre. Lucas Sterling brings to the table an adrenaline packed story that is made all the more intense by it’s relatability. Set in modern day, the Information Age as we like to call it, Srepska is a story you could very well see taking place in our own reality, the focus being a cyber attack. The suspense is therefore intensified given the fact that such attacks in the long scheme of things are still fairly new, meaning effective defenses are still being regularly updated and changed. This is felt throughout the book by many of the characters, with concern on how to combat such a threat that initially seems faceless.
We follow Frederic Ulrich and Lars Christopherson through the story as they team up to put a stop to things. Sterling presents us with two characters very strong in their trade. We are treated to an inside look to their jobs, but the characters themselves lack some dimension. This could be due to how fast paced the story is, moving from action to suspense and back again in quick succession, leaving little room for character development.
Following the bread crumb trail of clues is exciting given how so many countries have been after this group for so long. Things just seemed to fall in to place too easily in some respects. And I felt that there were some sections where settings were over explained, when all I wanted to do was to get back to what this novel does best, the action!
All in all, Lucas Sterling’s Srepska is quite the page turner. The fast pacing keeps the reader engaged and the highly relatable and believable content adds to the feeling of suspense, leaving the reader all the more eager to see the success of the main characters in their goals. A very exciting read!
Pages: 239 | ASIN: B075V8C8HL
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Treasure on the Southern Moor is set in the eighteenth century, during the golden age of sail, and shows how gentlemen sailed the raging seas. Written by Joshua A. Reynolds, this historical fiction novel takes the faithful crew from Plymouth, to West Africa, and back to Plymouth, with only the guidance of an old map that was given to the captain by an old sea friend.
Back Description: The thrill of the sea – the song of the ocean winds – out sails and up anchor! – guided by the compass and stars – as a poet once said, “to the lonely sea and sky”. It is the eighteenth century, and the sailing vessel is the only way to travel the raging seas. The Southern Moor sets sails from England to Africa with a crew of forty-two persons, guided by a captain with his son and daughter, where those of the trusted crew hope to find treasure with only the guidance of a map an old friend of the captain’s had given him and a handful of the treasure itself, brought back from the African shoreline. With the smell of cooking from the galley, you may find them about on the weather decks reefing the sails or lashing down the ship’s boats, or listen to the captain play on his fipple flute with the accompaniment of the cello and violin. Hear the ocean waves lap against the bows, or have cataracts of sea water come flooding over the main deck in the midst of a raging storm.
In Plymouth, England, there are those few friends of the captain who wonder if he will ever return. Is the Southern Moor, newly finished vessel and never before tested in the ocean waters, strong enough to sail through storms and cannon fire to reach the warm lands of the African shoreline and make the same journey back? With all of its rectangular sails billowing in the wind, bowsprit brass tip of heather shining in the sunlight, and the polish of the wood shining without a fingerprint to be seen, the Southern Moor leaves the harbor of Sutton Pool to test itself in the ocean and plough the stormy seas. . .
Treasure on the Southern Moor is expected to be in print within two weeks’ time! Check out his website for purchases and updates.
Recommended for family reading. They were specially written for children but have something that all ages can enjoy.
Joshua A. Reynolds writes to restore Christian virtues and family values back into society. He is a member of the Orthodox Presbyterian Church and holds to the reformed faith of Christendom. Russell Kirk’s conservatism most closely aligns with his political views, and his desire is to redeem the innocence of the “permanent things” in literature. One of his main goals in storytelling is to allow the reader to understand better theology, history, and more wholesome ways of living in a simple imaginative way. Some of the authors that have inspired his imagination are C. S. Lewis, Edith Nesbit, Frances Burnett, Mary Dodge, Beatrix Potter, Kenneth Grahame, and Lewis Carroll.
To find out more about Joshua A. Reynolds, please visit his website at www.conservativecornerstones.wordpress.com.
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