A dream. A memory. That’s all Brij remembers of her past – as well as the fact that she was abandoned by a dirt road at the age of three. After getting picked up by a passing stranger who seemed to know everything about her, she lives the next fourteen years of her life in an enormous nuclear power plant, performing high-intensity sports games inside the plant’s five-mile reactor for spectators – people who keep the plant operating. Most days, she doesn’t mind. Then again, she doesn’t have a choice – if she refuses to perform, she’s at risk of being abandoned all over again. When mysterious images start haunting Brij during the performances, she begins to wonder if her life in the plant is real. No matter how much she tries to ignore them, they keep coming back. A series of strange events start to unfold that ultimately leads her to make a choice – whether to live a lie, or face the truth of what she really is, and why she’s here.
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Icarus details the captivating account of P.I. Brinkman’s investigation into the disappearance of young Jane Emmett. What was your inspiration behind this story?
I’ve suffered from night terrors since I was a child, and sometimes the dreams can get pretty intense. Over time, I’ve learned how to use this to my advantage, and I keep a notepad and pen on my nightstand to scribble down as much as I can remember. The first seeds of Icarus began there, and then I started to fill in the rest over the next couple of months. I’d say the concept is a hybrid of influences: the TV series Lost, the video game series BioShock, and the movie Battle Royale. It’s a strange combination of things that really shouldn’t fit together, but I still somehow felt they could.
This story is set in West Virginia in 1947. Why did you choose this time and place as the backdrop?
I wanted the story to take place in a fictitious location, but still feel believable. I love it when people tell me they’ve googled Ashley Falls trying to find it on a map. 😊 I guess I’ve always been drawn to small towns. I love the sense of community, and the whole “everyone knows everybody” atmosphere. Ashley Falls is a sleepy little town nestled away in the woods, but close enough to big cities so that it’s not completely cut off from the rest of the world. I ultimately chose West Virginia because of its proximity to key places I thought would make for a great setting.
As for the decade, it was the perfect fit for what I was trying to accomplish. I’m fascinated with urban legends and conspiracy theories, and some of my favorites are from the ‘50s and ‘60s. I thought it would be fun to pull some of that mid-century paranoia into a post-WWII world and see what it might’ve looked like. I mean, if people reported seeing men in black in the ‘60s, how much earlier were they in existence before they were actually noticed?
One thing I found exceptional in this novel was the characters, especially Miller Brinkman. What were some themes you wanted to capture while creating his character?
Thank you! I really appreciate that. What I ultimately wanted for Miller was to be relatable. When you look at some of the most famous detectives in literature, you start to see a lot of the same characteristics. I wanted to create a character who was different. He’s not a big city P.I., and he doesn’t have much experience dealing with things like kidnapping and murder. Although he’s a logical and capable sleuth, Miller’s still sort of getting his feet wet and learning on the job. I wanted readers to come along on his journey and hopefully be invested in his growth.
It was also important to me to find the right balance in his character. He’s not Superman, but he’s not bumbling either. No answer comes to him easily. I wanted him to work hard for every inch he advances in the case.
Icarus is the first book in the Noble Trilogy. What can readers expect from book 2 in the series, The Invisible War?
The Invisible War is a bit of a departure from Icarus. It had to be. Miller couldn’t have gone through the events of the first book and come out the same man, so I really wanted to explore his mental state, and what that meant for his future. He made some powerful allies in Icarus, and those relationships open the door for him to explore a new opportunity working with the F.B.I.
In Icarus, we see Miller working somewhat in a silo. In The Invisible War, he’s handed a rather sinister case that’s going to require more help, and he’s put in charge of a special task force. Miller’s never had to lead before, so this is an opportunity for him to evolve even further.
However, something else is changing inside Miller at the same time. He’s becoming stronger. Faster. Bloodthirsty. Something dormant inside of him is beginning to bloom.
It’s the winter of 1947 in Ashley Falls, West Virginia, and a teenage girl has gone missing. Local private detective Miller Brinkman takes the case, quickly uncovering a string of bizarre clues. A hidden diary, cryptic riddles, and buried secrets all pique Miller’s interest, but one key detail gives him pause: the girl’s parents haven’t reported her disappearance to the authorities. As the case deepens, Miller’s investigation begins to poke holes in the idyllic picture of his beloved hometown. No longer certain whether anyone in his community can be trusted, Miller dives headfirst into a desperate search for the truth that extends far beyond the borders of Ashley Falls. He soon discovers that his missing persons case is not an isolated incident, but part of an otherworldly mystery—one that, if confronted, may threaten the very future of humanity.
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Epiphany, written by Sonya Deanna Terry, is a two-part novel that explores the beginnings of currency through a magical adventure where the forgotten past collides with the future.
Book One: The Golding, introduces us to Rosetta, a woman of many talents, ranging from tarot reading to organizing book clubs and being a mother to a sultry teenage girl. The past is then uncovered through a novel Rosetta reads, bringing to life a world of elves, faerie clans, body kings, and potions. Soon it becomes evident that the elves have a message for the people of the future and from here begins an epic adventure where love, life, and fantasy come together for a modern day fairy tale.
Book Two: The Silvering, explores The Global Financial Crisis and the impact it has on the people of the future. Rosetta and her book club friends stumble into a quest for “The Silvering” where letters from the past give clues of the future. What is the Currency of Kindness and will it return in the lifetime of Rosetta and her friends?
Epiphany is a novel with an epic story line involving financial struggles, intimate relationships and a book filled with elves and mystery by a mysterious Lillibridge.
The book alternates between Rosetta’s current life and the novel she is reading, weaving the two stories together in a package of magic, elves, and fantasy. As you enter the world of prehistoric Norway, you can’t help but be entranced by the magical world portrayed through vibrant colours, beautiful oaked woods and most importantly, elves who are between reality and the Dream Sphere. The switch to the modern day brings about relatable issues such as family problems, relationship woes, and moody teenagers. The two worlds then collide, creating a modern-day fairy tale, filled with magic and consequence.
There are also letters which help establish clues and meaning to some of the characters. These letters are vital to the story line and give us an insight into people’s personalities and real-life problems. Some of the problems are eerily relatable, from financial stresses and relationship woes, leaving the plot line feeling almost as if it could genuinely be real life.
Pieter of the Brumlynds is an elf who ventures into the Dream Sphere to help someone in the future. Pieter is a deep thinker, analyzing his destiny while also getting frustrated at the simplicity of humans. Malieka, Pieters mother, ventures into the Dream Sphere, sometimes meeting strange and beautiful creatures who are determined to pass on important messages. Throughout the novel we watch the characters grow in both strength and courage, as they venture into the unknown world.
The imagery conjured by the author is both beautiful and enchanting. The colours, descriptions of nature and the Dream Sphere leave the reader imagining their world with a tinge of fairy dust and sparkle. Phrases such as “emerald tinged blackness” or “hair like lava, eyes of black stone” are just a few examples of the magic the words bring to life on the page.
I would recommend this to anyone who enjoys a fantasy novel with a dash of romance, magic and a modern-day twist.
Pages: 1095 | ASIN: B01NCNFS6F
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A coming-of-age tale set in 1975 New York during Tom Wolfe’s “Me Decade”, Stainer follows the misadventures of a naïve Jewish Columbia University student named Benjamin Steiner, who, on the night of his 21st birthday, meets not only the sweet girl of his dreams, a lovely young lady named Rebecca Glaser, but also an unprincipled drug-loving rogue from Princeton called P. T. Deighland. As the days pass, Ben’s immature inability to resist temptation and an overwhelming need to be “cool” gradually cause him to fall under Deighland’s malign influence until, at an impossibly glitzy Princeton party, he encounters and becomes spellbound by a ravishing but predatory high-fashion model named Anthea Montague.
When Rebecca returns from an unexpected overseas trip, Benjamin’s unreasoning jealousy over her friendship with another boy casts a shadow on their budding relationship. A series of rashly imprudent decisions abetted by Deighland and the model leave Ben feeling guilty and angry. At an ill-fated summer barbeque, he wrongly explodes at Rebecca and soon plunges headlong into a reckless self-destructive downward spiral, culminating in a horrific confrontation with Anthea Montague that brings his life crashing down in ruins.
Against the background of a vanished period in American history, Stainer offers a bittersweet nostalgic trip back to a less complex world, during a time of incautious excesses that, while deceptively fun and carefree, in due course forced many unwary youngsters like Benjamin Steiner to learn some necessary – but terribly painful – lessons about growing up.
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The Secrets of all Secrets follows Zane who receives a USB from a stranger that contains a message that promises the Secret of All Secrets. What was the inspiration for the setup to this fun novel?
I wanted the premise of the story to be wacky and like a fairy tale with epistemological overtones. Many of us grew up with fairy tales of one sort or another, so the concept is recognizable. The USB is Jack’s bean stalk. Once it’s there, he has to climb it. The USB idea occurred to me because I use them in my work as a college professor. I wondered what would happen if all knowledge, the meaning of life, etc. were on one? The next question: What parties would want to pursue The Secrets and to what lengths will they go to get them?
In this story you combine irony with wry humor and manage to keep it all topical. What themes did you want to explore when you started this book?
The overarching theme is illustrated by Shakespeare’s line from The Tempest: “The stuff that dreams are made on,” which is what The Secrets represent. What would be the government’s dream for getting The Secrets? Probably something to do with gaining ultimate power. Corporate America’s dream? Wasn’t there someone who said there’s no such thing as making too much money? The two crazy extremists’ dream is to create an Anti-Amerika, “Amerika with a k.” That the representatives of these entities are comical bunglers illustrates the way in which human beings can wreck any mission. As for the two main characters, Zane and Dali—Everyman and Everywoman—the dream is more about self discovery. It’s a classic conflict: individuals versus institutions and malevolent factions. Jack versus the Giant.
Zane and Dali are both enthralling characters. How did you set about creating their dynamic relationship?
What’s kind of funny is that when I started the novel, there was no Dali. Once I got to the point in the story where Zane begins his quest, I knew he needed a partner, someone equally smart, resilient, and resourceful but with a different sensibility. Zane is an intellectual. Dali is more pragmatic. There is tension between them, but there’s also balance. “Two peas in a pod,” as is stated ironically early in the book. It doesn’t hurt that they are attracted to each from the start without admitting it to themselves.
What is the next book that you are working on and when will it be available?
I’m working on a satire of political correctness. I’m hoping to finish it and have it published in a year or two. Some of this is dictated by my teaching schedule, but if you know any publishers willing to give me a triple figure advance, I think I could work a little faster.
Zane, a seminary and grad school dropout, obtains a USB drive left by a cloaked figure on a bridge in the middle of the night. The drive’s content offers Zane “The Secrets of All Secrets”—a tantalizing proposal for someone who has nothing left to lose.
Following the drive’s directions, Zane heads to Florida where he encounters Dali, a poor waitress who received an identical USB. Initially clashing, they band together, taking a chance that The Secrets are genuine as they receive more instructions from their USBs.
Four conflicted government operatives; an extremely tall corporate executive with an extremely short, scholarly hit man in tow; and two crackbrained, fringe-element, anti-government separatists are after The Secrets—and are all willing to kill to get them.
Zane, Dali, and their pursuers encounter an armadillo festival, visit a nudist resort, and hang out with a presumed dead ’60s rocker. Pandemonium occurs at each venue with Zane and Dali one step ahead of everyone… that is, until all parties convene for a climactic confrontation over The Secrets.
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J A C S
A BOOK OF SHORT STORIES
GEORGE J. MARDO
JACS places people in hard or surprising situations and challenges the reader to accept when the characters do not follow a traditional arc. George Mardo writes in such a way that seeks to subvert the easy plot points and story lines most readers have been familiar with in most recent years. Typical of a short story collection JACS contains a variety of stories.
The first story, Jackpot, follows two older men who have a racehorse bestowed on them. The catch is that the horse has never entered a race and both men play the part but are surprised to find themselves happy when things do not go their way. The next is, Amy, where the reader follows a girl who has strange dreams and holds onto them. The story really gets underway when she tells her grandfather about them and he confesses to having the same dreams. Candera is a hard story to read, since it follows a nun that was sent to the Congo and her tribulations of being captured by terrorists, raped, and becoming pregnant. When forced to try, and send the child away to be adopted, Sister Candera refuses. The last, Sorrow Has No Opposite, is more of a short, fictional biography that follows a Iraqi boy named Boutros Suffady, who undergoes a horrific tragedy and eventually finds happiness in life that he thought he lost.
Mardo has a talent for needling into a character’s perspective and teasing out what emotional heart strings should be pulled for the reader. These stories on their face may sound overwrought or framed in such a way to be emotionally manipulative, as it would be usually expected but Mardo avoids this with clear heartfelt authenticity. If nothing else, the author captures the “slices of life” that some may take particular pleasure in.
Some of the stories tend to be stronger than others and that will depend on the reader who wishes to give this collection a chance. The stories would be considered more literary based on the more character focused stories and lack of any real genre conventions. These small narratives are not adrenaline bouncing thrillers, nor are they dark and mysterious mysteries or horrors. What these stories do capture is the grounded reality that all of us abide in and these experiences all these characters’ share are to enlarge our scope.
JACS is recommended to more mature readers who are seeking different experiences on the page. The stories provide a unique lens that the reader only dons for a short time but will be left wondering long after reaching the end.
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Room 11 is a genre-crossing novel with elements of a suspense, thriller, and medical drama as well. Did you start writing with this in mind, or did this happen organically as you were writing?
I must admit that Room 11 came to life in a strange way. The wife’s chapters, a mixture of yearning dreams and angry nightmare-like rants, were written separately, in an attempt to record the disparate strong emotions I felt during the few days just after I miscarried my third child, but which I had to put away at the time as I was attending a family wedding. On their own, though, these chapters were not enough for a novel, and they were almost impossible to fit in any larger narrative because they felt so mad and enraged. This is when, watching one of my favourite movies ‘Talk to Her’ (by Almodovar), I thought of putting the wife in a coma. I had also recently finished reading ‘A Kind of Intimacy’ (Jenn Ashworth), which gave me further ideas for the nurse, a character coming from a very different place to the wife, tender deep inside, but who would allow me to explore a parallel take on obsession and delusion growing in a pained soul.
Room 11 gives two women’s accounts of the same events via their own dreamlike states; a comatose woman and an increasingly stalker-ish nurse. Why did you choose to tell the story through a dreamlike filter?
I think of my characters as icebergs, living only ten percent of what they dream underwater, which to them feels more real than their everyday lives. My nurse may not get up to much in my novel, neither my wife; but their inner worlds hope to reveal humanity at its most extraordinary.
The characters in this novel, I felt, were intriguing and well developed. Who was your favorite character to write for?
Most readers abhor the wife, but she was definitely my favourite character because of all her viciousness and flaws, and the easiest to write for. I liked the nurse too but found her much more demanding to get right, as if she was flitting between my fingers resisting to be nailed down.
Room 11 is a fantastic suspense novel. Was there anything that happened organically in the story while you were writing? Did it surprise you?
All along I knew how the wife had ended up in a coma and that she would reveal that by then end of the book. But what would the nurse do? I wanted the wife killed … I wanted to pretend that her cynicism could be silenced and her man could have a new start alongside the other woman. But in the end… I just couldn’t. I wonder why…
After an accident leaves a woman in a coma, her husband sits on a hospital chair day-in day-out singing to her. Nobody can pull him away from her as she threads through the dreams that could save her. Meanwhile, a delusional nurse grows her admiration for him into obsessive desire.
‘I am fascinated by the way mari delves so deeply into the personality of the nurse, showing how she gradually comes to believe the man in Room 11 is in love with her, seeing all sort of small indications that may or may not be real,’ A Woman’s Write.
ROOM 11 is a dual narrative by strong, cynical, broken heroines (the nurse and the wife) winding passionately through hope, anger, delusion, obsession, guilt, sacrifice, resignation and eventually forgiveness, to help them re-emerge from their separate tragedies.
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Black Inked Pearl follows Kate, a young Irish girl, as she searches for her lost lover. What was the initial idea behind this story and how did that transform as you were writing the novel?
It began in a dream when I was in New Zealand visiting my daughter and granddaughter who live there. This was, essentially, the first page (and chapter) of the novel when Kate, panicked and feeling she was too young for love runs away desperately as her best childhood friend (I never learn his name) tries for the first time, a teenager to kiss her. That scene, that act, is the foundation for the story as she years later discovers that she as frantically and desperately loves him as she had frantically fled from him years before
I say ‘dream’ as that is the nearest word I can get, vision perhaps they would have called in in the middle Ages. But that word’s a bit misleading. In two ways.
First, it wasn’t exactly a dream in the sense of being, asleep more an experience in that liminal in-between state of being neither awake nor asleep but somehow fully both – the whole novel came in that somehow enchanted enspelled state ( I suppose you might call it ‘inspiration’). I planned nothing, but it was still a chapter a night, written down effortlessly (I don’t even remember doing it! or, by now, what the words were. it surprises me every time – so many times – I reread the book now).
Second, ‘dream’ suggests something visual, But it was more a kind of very intense node of emotion, something very personal to me (in a metaphorical sort of way the whole book is kind of autobiographical – what serious novel is not? – and the second chapter about a small girl experiencing the magical world of Donegal – is directly so.
Then the novel – and Kate – just grew. I came to know the hero well, but wish that my ‘dreams’ had given me his name
Black Inked Pearl is told in a dreamlike, almost stream of consciousness, style of writing. Why did you want to tell the story in this style and what were the challenges?
Well, it arose in dreams and the writing essential came from, and took place in, my unconscious – at least that is the only way I can understand and it. So the style is scarcely surprising, it was little under my deliberate control and almost not at all revised later.
I didn’t know in what style I was writing – the process was almost unconscious – but when it was finished I saw (or rather heard when I read it aloud ih my inner ear as I always do with my writing)that it had the rhythms and sonorities of African and Irish story-telling (my mother was a wondrous story-binder) and that some literary giants (Joyce, Fulkner, Hopkins … many others) had written in similar styles. Poetry is mixed with prose – well in a way, as with its oral resonances (a subject on which I have written in academic contexts, in Oral Poetry for example), it is all poetry, some fully, some ore in a kind of blank verse: all unexpected by me!
Also, the content. Part of what I learned as the story revealed itself to me was that the division between dream and reality is an elusive and perhaps non–existent one.
Problems – well some of my readers have problems with it! Some object because they cannot abide what they see as ‘incorrect’ grammar orthography words, not what they learned in the first form at school – I appreciate that they have tried but think they miss the point (how do they cope with Shakespeare?).
Others including my deeply wise best friend, get a bit lost in the plot from time to time, too full of Celtic mists said one. It’s too late now to amend that (and maybe it is just a necessary feature of the novel – mystic, mysterious – anyway) but I have tried to make things clearer, while not abandoning what has now has now become my signature style, in the related ‘Pearl of the Seas’ and, on the way, The helix pearl’ (the latter the same story but this time as told by the garrulouos ever-sprarklng laughing sea (a very different perspective but equally born in dreams). I wonder what is coming next ..
Oh yes, the unusual spellings were loved by the Garn Press, the lovely publishers, but at the same time gave the copy-editor real problems. Microsoft, can yoy believe it (the cheeky thing) kept automatically ‘correcting’ the ‘wrong’ spellings. In the end they got me to send a special list to add to their ‘glossary’ of all my new spellings and word and abbreviations etc. I thought that would be quick and easy – about fifty cases? Whew, no! They tell me, incredibly, that it was nearly two thousand! Don’t believe it! Ut they ear that’s true. Anyway, hey did a great job whatever.
Kate is an enthralling and curious character. What were the driving ideals behind her characters development throughout the story?
As I say it wasn’t conscious since it all came in dreams. So in a way no ‘driving ideas’.
Still I have noticed some abiding themes , detected, later, in the text, as if looking at someone else’s writing (well in way it’s NOT exactly mine, not t=in the normal way anyway – not of the deliberate, conscious careful academically trained me). /tow especially, the ones `I swoudl like to think readers will take form the novel (and from the movie if it gets made a I hope it one day will)
First as I said earlier is the understanding , that we may pretend or think we do, but that actually we do not really know the difference between reality and dreams. Given the way we have been brought up as children of the scientific revolution, this is an exceedingly difficult idea, is it not – but so important to try to accept, specially now as we become more aware of the lives, and, in a way, precious value of those with dementia. Perhaps it is only through literature and metaphor that we can eventually begin to grasp this.
Second is the thought, revealed near the end, that it is and was indeed right as Kate did, to search for others and try to help them carry their burdens. But that in the end it isourselves we are responsible for, it is our own souls for which we have to answer before (whatever metaphor we prefer here) the last judgement throne. As Kate in the final chapters had to do.
Also, after I had finished the book, I was inspired by the little butterfly that, unknown to me, the publishers had put, with the pearl and the jagged black, on the beautiful cover. ‘Butterfly’ in Greek –elsewhere too I think – is the same word and concept as for the soul, breath, spiritus, life: psyche (as in ‘psychology’, ‘psychiatry’). So the soul – figured as Kate, as every man – flies through the black ink print of the story and at the end settles down on the back cover, life fulfilled story told, with her wings folded.
Kate’s discovery of herself at the end was also, I now see, a kind of discovery of myself as person, as soul.
What are some of your inspirations as a writer that helped shape Black Inked Pearl?
Again, ‘dreams’, my unconscious I suppose. But, as one perceptive reviewer put it, only someone with my background and personality would have had those dreams. So – my life, my loves, my experiences of the resonances and styles and images of great literature, above all Shakespeare, Rumi, Homer and the Bible.
An epic romance about the naive Irish girl Kate and her mysterious lover, whom she rejects in panic and then spends her life seeking. After the opening rejection, Kate recalls her Irish upbringing, her convent education, and her coolly-controlled professional success, before her tsunami-like realisation beside an African river of the emotions she had concealed from herself and that she passionately and consumingly loved the man she had rejected.
Searching for him she visits the kingdom of beasts, a London restaurant, an old people’s home, back to the misty Donegal Sea, the heavenly archives, Eden, and hell, where at agonising cost she saves her dying love. They walk together toward heaven, but at the gates he walks past leaving her behind in the dust. The gates close behind him. He in turn searches for her and at last finds her in the dust, but to his fury (and renewed hurt) he is not ecstatically recognised and thanked. And the gates are still shut.
On a secret back way to heaven guided by a little beetle, Kate repeatedly saves her still scornful love, but at the very last, despite Kate’s fatal inability with numbers and through an ultimate sacrifice, he saves her from the precipice and they reach heaven. Kate finally realises that although her quest for her love was not in vain, in the end she had to find herself – the unexpected pearl.
The novel, born in dreams, is interlaced with the ambiguity between this world and another, and increasingly becomes more poetic, riddling and dreamlike as the story unfolds. The epilogue alludes to the key themes of the novel – the eternity of love and the ambiguity between dream and reality.
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Entrancement is a collection of essays from educated professionals with different viewpoints on the topics of dreaming, trancing and the collective unconscious. What inspired you to write this book and bring all these different fields together?
Two things I suppose.
First of all, my own extended experiences over several years of a kind of heightened consciousness in dreaming, ‘musicking’ and of, somehow, communicating with others both near and far away outside time and space. This is described in the first chapter (my own) of the book: ‘There’ (an essay which earned an award from New Millennium writing).
Second I was further inspired by following this up in wider reading and discovering that not only in anthropology (my own discipline) are such things starting to be seriously studied as something of here and now, not just of supposedly strange folk far away or long ago, but also in innovative, if as yet unconventional, scientific thinking. Remarkable. There are now huge numbers of best-selling books by hard-nosed scientists inspired by Einsteinian thinking and, for example, quark theory on, for example, telepathy, dreaming, the consciousness of the universe, life after death and communication – long known and accepted – between dead and living.
The book begins with your own experience on trancing. What is ‘trancing’ and how did that experience happen?
Too long to answer properly here – read the account in the first chapter.
‘Trancing’ is a good concept and nearest to what I and others have experienced. It does however give a somewhat too explicit and, as it were, contrived and deliberate impression. Better to say the experience of somehow being outside time and space and seeing more clearly than in ordinary life’ (though it is there too, hidden).
One major problem indeed (discussed in the concluding chapter) is the absence of an accepted terminology to describe such things.
You bring together experts from many different fields in this book. Were they as enthusiastic about this book as you are?
YES. Both in taking up my initial invitation, in responding to it in their own terms, in the writing and, now, in receiving the finished volume.
What do you hope readers will take away from this book?
Look for the hidden in your own everyday life, find the extraordinary in the ordinary and vice versa: in music, in dreaming, in the miraculous workings of the great world around us. Open your mind – so easily closed by the undoubted but limited insights of the scientific revolution – to what is beyond.
This powerful, ground-breaking study of dreaming, death, music, and shared consciousness brings together a staggering number of fields to explore what we know about dreaming and its interactions with other forms of consciousness. Setting a humanistic, evidence-based context, Ruth Finnegan engages with anthropology, ethnomusicology, sociology, psychology, parapsychology, cognitive science, and more, building a strikingly diverse base of evidence and analysis with which to treat a subject that is all too often taken lightly. Entrancement will quickly prove indispensable for anyone studying these altered states of consciousness and what we can know about how they work and what they do for our minds, bodies, and selves.
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An epic tale spun from erratic thoughts placed into text and delivered to the world. That is the sense that readers will get from Black Inked Pearl A Girl’s Quest by Ruth Finnegan. Our protagonist, Kate, is searching for something. She is on a journey through years and lifetimes as she seeks out this piece that is required to complete her. We see this world through her eyes, her thoughts and her experiences. The tale is epic not only in page count, but in content as well. We know that Kate has lost something, that she is searching for this thing, but we don’t know exactly what it is. We are left with speculation and can only turn the next page to find out if she has achieved her goal. With songs, poetry and influences of dreams long past, this tale is one that is begging to be heard.
The way this book is written, with its dream-like prose and fractured sentences, allows this epic fantasy novel to be told in a stream of consciousness style of writing. The thoughts are thrown at the reader: fast and unforgiving. At first glance, the reader may think that our protagonist, Kate, has simply gone mad and the first chapters are from her point of view. However, the entire book reads that way and, if you are not paying close attention, you may get lost. Readers are quickly taken from scene to scene and thought to thought with barely a lull. Perfect for readers who like to be fully engaged in a story.
The words are very beautiful. The poetry both original and borrowed lends a mystical air to the story. If you view the entire book as a sort of waking-dream, it begins to make sense. This writing style is wonderful for conveying emotions and we can get a better sense of how Kate is feeling as she continues her search. The blending of a warped reality with a warped sense of fantasy lends well to the thought of this being a dream-like state that Kate has found herself in.
A whirlwind of a read is what you’ll find between the covers of Black Inked Pearl A Girl’s Quest by Ruth Finnegan. The mystical sense of the book is intriguing. This is a book recommended to be finished in one sitting as you may find it hard to pull away. The dream-like madness that seems to grip the pages make for an exciting read, but this can also be overwhelming. This may be a book suited to seasoned readers who are looking for a dreamlike story of epic proportions.
Pages: 286 | ASIN: B0158VRF26
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