Blog Archives
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 Rejecting stale outdated notions and inspire people to think and see things differently.”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.
Revolutionary Women a Little Left of Center
Laura M. Duthie’s Revolutionary Women: A Little Left of Center is part memoir, part feminist manifesto, and part visual commentary. The book weaves together Duthie’s personal history with her artistic and ideological journey. From her early life in Toronto to her awakening as a gay artist, Duthie recounts experiences that shaped her identity and worldview. Alongside her autobiographical reflections, she presents a series of feminist cartoons and essays that tackle themes like religion, patriarchy, sexuality, and society’s deeply ingrained biases. The work feels like both a confession and a call to action, a deeply personal yet universal exploration of what it means to claim one’s voice in a world that often silences women.
Reading this book felt like sitting down with someone who’s lived through several lifetimes of rebellion. Duthie’s tone is sharp and funny and sometimes achingly vulnerable. She doesn’t sugarcoat the pain of growing up under misogyny or the confusion of coming into her sexuality in an unwelcoming world. What struck me most was how her humor doesn’t dull her anger, it sharpens it.
The cartoon’s artwork is executed in a clear, traditional comic-strip style defined by bold outlines and a flat, simple color palette. This accessible visual style serves its purpose effectively, ensuring that the viewer’s attention is drawn immediately to the characters’ actions and the text in the speech bubbles. My favorite was the “Moon Walk.” The cartoon provides a sharp, satirical commentary on contemporary social polarization. It cleverly transports a modern “culture war” debate to a history-making moment, the first landing on another world, signified by the “APHRODITE I” lander. The humor stems from the juxtaposition of this grand achievement with petty ideological infighting.
There’s also something raw in how she talks about art and identity. When Duthie describes art school and the chaos of creative discovery, it’s electric. She paints the world of artists, the lost, the brilliant, the broken, with an honesty that’s both funny and sad. I felt her frustration with the hypocrisy of society, and I admired her courage to turn that frustration into something that challenges and provokes. Some parts run on, sure, but that’s part of the charm. It feels real. It feels like someone thinking out loud, refusing to polish herself for anyone’s comfort. Her take on Freud made me laugh. It’s the kind of commentary you wish you’d said yourself but never found the guts to.
This book left me thinking about what it really means to be revolutionary. Not in the sense of shouting the loudest, but in daring to be honest. Revolutionary Women is alive and full of heart and bite. I’d recommend it to anyone who loves art that has something to say, especially women and gay readers who’ve had to fight for their place in the world.
Pages: 67 | ASIN : B0FFZT3611
An Indoctrinated Horror Enthusiast
Witches and Pumpkins, Fur and Fangs is a collection of twenty short stories surrounding Halloween, bringing together tales of monsters, goblins, ghosts, witches, and everything scary. What was the inspiration for creating this collection of stories?
I got the idea for this collection after I saw the movie Trick ‘r Treat. I first watched that movie in 2009, which also happened to be the year I started writing for the first time. I remember thinking how amazing it was that the movie (almost) had a little bit of everything in it, and how it all took place in the same town on the same night. I thought to myself how cool it would be if a book or movie literally had EVERYTHING in it. Something like that movie, but on a grander scale. A year later, I wrote Jack of the Lantern. After that, I kept adding stories, always making sure they stood alone on their own, but secretly including Easter eggs that connected them to the others. I took the secondary characters from previous stories and threw them into the spotlight for their own stories. I made sure each one either addressed a different type of monster, or revolved around a different Halloween tradition or legend. Almost every character in the book appears multiple times. ‘Science Make Me Mad’ and ‘Can You See Me’ feature the same mad scientist antagonist. The librarian from ‘Hob Gob’ is a main character in ‘Incorporeal Beings’. Things like that. I encourage anybody reading to try to pay attention to the characters and all the connections, because there’s a lot of them.
What intrigues you about the horror and paranormal genres that led you to write this book?
I became an indoctrinated horror enthusiast since I was eleven. I was a child of the 90’s and grew up on late night television specials like Joe Bob Brigg’s Monstervision every Friday and Saturday night. I would catch Sunday afternoon showings of American Werewolf in London and Children of the Corn, complete with commercial breaks, just to find out later that the only parts they really cut out when editing for television was the nudity and cursing. All the scary parts were mostly still intact. I became fascinated with all things scary, and as a teenager I began reading Stephen King and Dean Koontz. I write other stories in the realm of science fiction or fantasy, but I always end up leaning towards the darker sides of things.
Do you have a favorite story in this collection, and if so, what makes it so appealing to you?
I have a couple. ‘Jack of the Lantern’ has always held a special place in my heart. Not only was it my first to write, it was also my first short story to ever get published. When I was reading these stories again for this collection, I stopped at ‘Incorporeal Beings’. I remember telling myself, “Wow I actually wrote this. This is pretty damn good.” I like a good ghost story, especially when it becomes clear that the ghosts are a real threat and can actually kill you. That story was a lot of fun to write.
What is the next book that you are working on, and when can your fans expect it to be out?
I am actively working on a novel entitled I Don’t Want to be a Monster. Imagine if Dexter was the Wolfman; that’s the basic concept. It’s about a werewolf who targets serial killers, rapists, child molesters, etc. I currently have several interested parties requesting the manuscript, and I’ve been given an early December deadline to complete (it’s almost done!). Hopefully you’ll be seeing that one soon.
Author Links: Facebook | Instagram | TikTok | Threads | YouTube
Witches and Pumpkins, Fur and Fangs
The book is a collection of eerie short stories that all orbit around Halloween, monsters, and the uncanny. From haunted pumpkins to mischievous goblins, from restless spirits to twisted killers, each tale drops the reader into a familiar world that quickly spirals into the unsettling. What makes the book stand out is how it taps into both folklore and modern horror, shifting easily between campfire-style legends and grittier contemporary scares. Every story feels like it belongs to the same haunted neighborhood, and that gives the collection a strong, cohesive flavor.
This is a very entertaining collection. I was caught up in the thrill of the scares, the build-up of tension, and the shocking payoffs. I found myself grinning at the way the author played with tropes I thought I knew inside out. Some of the stories reminded me of watching late-night horror movies as a kid, the kind where you want to cover your eyes but never actually do. The writing doesn’t waste time. It dives headfirst into dread, yet still leaves room for atmosphere, the kind that makes you glance at the shadows in your own room.
Some stories hit harder than others. A few felt predictable, but even then, I didn’t mind, because the fun was in the ride, not just the destination. When the author’s imagination really kicked in, though, the stories burned bright. “Jack of the Lantern” and “Hob Gob” stuck with me the most. They had this creeping inevitability that made me uneasy in the best way. I also liked how the collection never tried to be highbrow. It doesn’t put on airs or dress itself up. It just tells spooky stories the way they’re meant to be told, direct, raw, and with a wicked grin.
I’d say this book is perfect for readers who want to get lost in Halloween vibes any time of the year. If you like scary stories that mix folklore with fresh, gory twists, this is for you. If you want a jolt, a chill, or that delicious sense of dread before bed, you’ll enjoy this ride. I’d recommend it to horror fans, casual readers looking for a scare, and anyone who still feels that spark of excitement when the October moon rises.
Pages: 189 | ASIN : B0FM335L3H
Compassion and Vulnerability
Dark District Primer: Duology on the Lore and Lure of the Dark District combines two novellas, Sojourn and Take Me Now, weaving personal identity with fantasy, Filipino folklore with urban life, and spiritual questions with surreal encounters. What was the inspiration for these stories?
For Sojourn, I wrote it in a time of grief when my father passed away. And so most of the things that I wanted to say and wanted to do were all poured into that novella as well as the emotions involved in such a given circumstance. Writing it was both an affirmation for me in being the son that I am and the son that he wanted. He was the first one to acknowledge my writing growing up. Perhaps he already knew something even before I knew who I was.
For Take Me Now, I wanted to incorporate the world that I have established and expound on it and give it more spice and relationship-driven. While Sojourn was written first, it was Take Me Now that was first published and I had to go back and tweak Sojourn in order that it would mirror the world that I wanted to establish.
What are some things that you find interesting about the human condition that you think make for great fiction?
I love it when we show our humanity both through compassion and vulnerability. Compassion when we are able to put ourselves in the shoes of others to either feel their weakness in order to give them a little bit of our strength so that we help sustain them and what they need to do and vulnerability when it is our time to be on the receiving end of the help and empathy we give to others.
What were some themes that were important for you to explore in this book?
As my father’s passing was the catalyst for me to be more introspective and re-examine my writing, it was both my feelings of grief, honesty and self-identity that I wanted to explore more in Sojourn while framing it within a created universe that has touchpoints in Philippine Folklore. In any relationship, being true and comfortable with oneself is one of the pillars in making it work. Lose that or postpone that form of self-affirmation then the foundation to establishing a relationship with another falls apart.
What is the next book that you are working on, and when can your fans expect it to be out?
My next book is the next installment of the Tales from the Dark District series, entitled Take My Heart, and is being targeted for a FALL 2026 release. Along with that I shall also resume work on my New Adult series, which will also be set within the Dark District Universe.
Author Links: GoodReads | X | Instagram | Facebook | Website
By C.J. Edmunds
Welcome to the Dark District. A place where magic hides in plain sight, and desire leads you deeper into the unknown.
In this atmospheric duology by C.J. Edmunds, two queer protagonists are drawn into the same hidden world—but under very different circumstances.
🌀 In Sojourn, David Lansing, a half-Filipino call center trainer, suddenly begins seeing visions and a mysterious spirit guide. Haunted by creatures from Philippine folklore—Tikbalang, Aswang, and the White Lady of Balete Drive—he embarks on a magical and existential journey that becomes one of purpose, ancestry, and an invitation to a place where people like him finally belong.
✅ Recommended for ages 16+ due to complex parental and identity themes and supernatural tension.
🔥 In Take Me Now, Alvin is tired of the wrong men, wrong choices, and wrong timing. Until the Dark District opens its doors and gives him more than he bargained for. Steamy encounters, eerie magic, and dark truths collide in this sensual tale of love and self-worth.
⚠️ Recommended for ages 17+ for sensual scenes and mature emotional content.
Whether you crave introspection or intensity, Dark District Primer invites you to step through the veil—and explore what’s waiting on the other side.
This lush and haunting collection explores:
Filipino urban legends reimagined
Queer identity and transformation
Steamy encounters and emotional awakenings
A universe where fantasy, myth, and reality blur
Welcome to the Dark District. You might not want to leave.
Perfect for fans of Neil Gaiman’s The Sandman, Philippine mythology, and magical realism with queer narratives.
📘 Includes the complete novellas “Sojourn” and “Take Me Now.”
The Dark District Primer: Duology on the Lore and Lure of the Dark District
C.J. Edmunds’ Dark District Primer is a strange, soulful, and genre-bending exploration of myth, memory, and magic rooted in the Philippines. It combines two novellas, Sojourn and Take Me Now, weaving personal identity with fantasy, Filipino folklore with urban life, and spiritual questions with surreal encounters. The main narrator, David Lansing, acts as our curious guide, relaying his disorienting journey through magical encounters, visions of cultural archetypes, and confrontations with hidden truths. These experiences are framed through a personal, at times confessional, lens as he is summoned by a supernatural Council to explain his strange awakening in the Dark District.
Reading this felt like peeling through layers of memory, myth, and grief. The writing style is introspective and poetic at times, with bursts of long, flowing paragraphs that spill over with emotion and insight. Edmunds has a real knack for setting scenes that feel alive. The haunting streets of Manila, the hidden halls of the Council, even the surreal blankness of the otherworldly realms. At its heart, though, what struck me most was how much Dark District Primer is about identity, especially queer identity, cultural identity, and spiritual reckoning. I could feel the author writing through pain and purpose, and while some parts meandered or repeated themselves, the raw honesty kept me hooked. The lore is fascinating, especially the blending of Filipino myths like the Tikbalang and Manananggal with modern, urban queer life.
The ending of Take Me Now leaves just enough unanswered that I found myself eager to dive into the next chapter of the story. That brings me to Take My Hand, the upcoming installment teased at the end of the book. The preview promises bigger stakes and deeper dives into the lore. Take My Hand promises to have more world-building and capitalize on the lore in the introspective tone that I enjoyed.
There were times when whole pages spiraled into inner monologue, and the pacing slowed in the second half of Sojourn, where narrative momentum gave way to philosophical reflection. Edmunds isn’t just telling a story, he’s sharing something personal and vulnerable. You can feel the care and love he has for the lore, the community, and the craft.
I’d recommend this book to readers who want something different. If you like urban fantasy with depth, or if you’re curious about queer stories grounded in Southeast Asian myth, this will hit home. It’s not a quick read, but it rewards with a haunting and heartfelt experience. Especially for queer readers, Filipino readers, or anyone feeling caught between two worlds.
Pages: 298 | ASIN : B0FDGS86JT
Side Quest: Stories
Jalyn Renae Fiske’s Side Quest is a spellbinding short story collection that threads together the fantastical, the bizarre, the sorrowful, and the hopeful into a vivid tapestry of speculative fiction. Each tale feels like its own little world, yet they all orbit the same sun. Stories about transformation, identity, and the human ache to find meaning in magic, or at least something just beyond reach. From haunted boxes that hold hearts to candy that can bend reality, Fiske’s writing thrives in liminal spaces where myth rubs up against memory and childhood wonder is soaked through with grown-up grief.
Fiske writes like she’s pulling you by the hand into each scene, whispering truths you’re not sure you’re supposed to know. The imagery is lush and often strange in the best way. Raw, dreamlike, sometimes grotesque, but always beautiful. Her story “Soul Candy” was one of my favorites. It dances between sci-fi satire and horror with a slow burn that leaves a pit in your stomach. It’s not just about mood-altering sweets; it’s about how easy it is to surrender yourself to illusion when reality offers so little warmth. And then there are stories like “Heart Box” that broke me open quietly, like a poem with a knife tucked between the lines. Fiske writes grief with a tenderness that hurts. She captures children in these moments of impossible emotion and makes them feel completely real. And she never talks down to her characters or her readers.
A couple of the stories leaned into allegory or felt like exercises in style rather than fully lived-in worlds. But even then, the writing kept me in it. Fiske knows her craft. She’s playful, she’s weird, and she’s sharp. I also loved the way she framed the whole collection as her “side quests,” which made me think differently about short stories, not as detours but as power-ups, each one leveling up the voice of a writer who’s still growing and pushing herself.
I’d recommend Side Quest to anyone who loves speculative fiction with a soft heart and a sharp edge. Fans of Kelly Link or Carmen Maria Machado stories will feel right at home here. If you’ve ever wanted to disappear into a story that feels like it a dream, this collection is a must.
Pages: 227 | ASIN : B0DKCYY7LG
Real Aussies: John’s Heartbreak
At its heart, Real Aussies: John’s Heartbreak is a raw and emotionally intense dive into the life of John, a 24-year-old car salesman hustling through Sydney’s sun-soaked grit of the late ’70s. The story kicks off with John chasing the Australian dream—buying out the dealership he works for and giving his family a better future. But things unravel fast. There’s infidelity, identity struggles, explosive family drama, a deeply repressed past, and an unexpected romantic connection that challenges everything John thought he knew about himself. It’s set against a vivid Aussie backdrop of drag queens, classic Holdens, meat pies, and church pews. It’s heavy, hilarious, heartbreaking, and, at times, unhinged.
The dialogue snaps with authenticity, the slang hits just right, and the pacing is mad. One minute you’re laughing at a wild Monaro test drive, and the next you’re cringing through John’s brutal Sunday family lunch, dripping with micro-aggressions, classism, and suppressed rage. The scenes with his mum and Beergut Barry was spot on. Horribly accurate. You can feel the suffocation. That kitchen table tension isn’t just writing, it’s lived experience on the page.
But the emotional gut-punches land hard. The twist about John’s biological son genuinely winded me. And then, Jezbon goes further. That deeply disturbing assault scene with Peter was unexpected and so painfully real. It’s handled with unflinching honesty. It doesn’t glorify or overexplain, it just lets you sit in the horror of it. It messed me up a little. That’s powerful storytelling. Still, it’s not for the faint of heart. You have to be ready for it. But it shines a light on the complexity of male trauma, especially in a world that doesn’t give men like John the language or space to process it.
John is messy. He lashes out. He hits. He breaks. But Jezbon doesn’t romanticize it. He forces you to reckon with the choices people make when their lives implode. There’s nuance. There’s shame. There’s that desperate grasping for control when everything’s slipping. And then there’s hope, like a tiny stubborn weed growing through concrete. John’s care for his sons—especially Jason, his “little champ”—grounds all the chaos. The emotional rollercoaster is real, and I didn’t wanna get off.
If you like your stories emotionally charged, a little chaotic, and rough around the edges—this one’s for you. Especially if you’re into queer themes wrapped in raw masculinity, generational trauma, and the realest kind of love—the kind that’s flawed but refuses to give up. It’s not tidy. It’s not polished. It’s real. And that’s exactly what makes John’s Heartbreak stick. Jezbon wrote something that lingers.
Pages: 398 | ASIN : B0F3KDHH9R
LITERARY TITAN 