Author Ruth Finnegan is a finalist in the Authors show 2017/18 ’50 Great Writers You Should Be Reading’. Show your support by casting your vote.
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A wonderful prize winning inspirational story and now a prize winning screenplay – who will leap to produce into film for the world? But ah how can they without the funds? The world will surely help …
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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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Love can be a complicated emotion. While a person may want to love, they may not be ready to love. And those who want nothing more than to be loved may have the hardest time accepting that others aren’t ready. Black Ink Pearl by Ruth Finnegan explores these ideas of love and connection. Our protagonist, Kate, has been connected to a young man since her youth. He wants nothing more than to love her. She is not ready to love him in return. So begins their rift and the frantic journey to reconnect. They’ve got obstacles ahead of them, of course, thanks in part to the godly beings who observe our daily lives. The question becomes then, if Kate will ever be ready to love Christy. The question is not, ‘will she finally be ready’, but ‘will he still be waiting for her’.
This is a screenplay of the fantastic novel, Black Inked Pearl A Girl’s Quest. The synopsis at the beginning does a wonderful job clarifying the content of the novel.
Like a novel, the screenplay does a good job of conveying the emotions that the characters are supposed to be feeling. By having those few cues give context, it makes it easier to get absorbed in the passion and the panic that this story evokes. Kate is our leading lady and her emotions are powerful, if not overwhelming. There are even cues for which music is desired to accompany the scene. You may find yourself hearing some in your mind as you read along. There is a heavy reliance on the supernatural as the story nears the middle and the ending. It’s alluded to and briefly exposed in what some would consider the first act, but it comes on much thicker closer to the end.
Reading a screenplay is very different from reading a novel. Black Ink Pearl by Ruth Finnegan is based on her novel, Black Inked Pearl A Girl’s Quest so some readers may think that it is just a rehashing of the novel. While there are parts that are like that, having reviewed both pieces I can confirm that the screenplay does a better job at getting the story across. The text is not as fragmented and dream-like as it is in the novel, so the screenplay is much easier to read and digest the content. This fantastical journey is for those who are suckers for a love story.
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Mindfulness and mediation are creeping into more parts of society. Things that were once meant for children are evolving for adults to enjoy as well. One of these is colouring books. No longer is this pastime reserved strictly for young children. There is a soothing sense that one can derive from colouring an image. It does not require much artistic talent either. Along with this shift to the adult mindset comes The Contemporary Christian Colouring Book by Rev. Ernesto Lozada-Uzuriada. Coupling the peaceful activity with biblical themes and images this book is a perfect gift for the devout. Each image evokes the idea of a stained-glass window one might see inside a church depicting various scenes from the bible. There is some melding of these scenes with modern technology which just serves to remind us that Christ is still present today.
The book begins with a lovely forward from Ruth Finnegan, operator of Living Tree Publishers that has produced this colouring book. In it, she seeks to remind us why we are drawn to art and why we colour. It is the marriage of that simple meditation with something tangible. A brief biography is also given of the artist who designed the pictures, Lozada-Uzuriada himself. The images are carefully crafted to convey the message of a particular scene or passage from the bible in a format that is easily understood. Titles are given to each piece to help the user remember which part of the bible and which story the scene belongs to. The line work is heavy and dark; much like stained glass itself. This is useful for those who colour because it easily defines which sections are contained.
Given that the images impress upon this writer scenes in stained glass windows, it serves to mention that the content of this colouring book is better suited for adults. The expressions of various people within the scenes could be taken as angry, frightening or scary. Young children need to have faith in the beauty and gentleness of the Bible and exposing them to this colouring book without proper context might serve to scare them, rather than inspire them. That aside, this book is a wonderful compilation of some of the more memorable pieces of scripture that one might want to colour and perhaps display in their home. Christ is a central figure in most of the pieces of this book.
With the world’s attention focusing more on mindfulness and meditation for the adults in the world, colouring has become a de-stressor for many. The Contemporary Christian Colouring Book by Rev. Ernesto Lozada-Usuriada is a must-have piece for those of the Christian faith who would like to colour while they meditate. Being able to add a personal touch to such moving and important points of Christian faith allows those who use this book to come closer to the inner workings of their faith. It is nice to see how something as traditional and sacred as someone’s faith can mix and meld with the current needs.
Pages: 46 | ISBN: 1326968165
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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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In this delightfully imaginative tale, two children, Chris and Kate, find a log of driftwood on the beach. They decide to build a boat and sail across the ocean. Whether by magic or imagination, the two friends and their little dog Holly build their ship, name it the Pearl of the Seas, and begin their journey. Like any fairy tale, there are obstacles to overcome, dangers to face, and kind strangers to help them along their way. They rely on friendship, faith, and kindness to see them home to a happy ending.
Intended as a prequel to Black Inked Pearl, a romance novel, this story is dedicated to young teens. I believe it would also appeal to middle-grade youth as well. There’s a real sense of youth-centered discovery and the freedom to let creative fancies bloom into epic adventures. And I don’t use ‘epic’ lightly; the author weaves in themes, events, and allusions borrowed from the Bible, the original Greek epics, tales of Aladdin and Orpheus, and classic narrative poetry. Indeed, poetry is the heart of the tale, and to me, it read less like a novel and more like a prose poem:
“All things stayed silent. Harkening. The gulls sat in white lines along the rocks; on the beach, great seals lay basking and kept time with lazy heads; while silver shoals of fish came up to hearken, and whispered as they broke the shining calm.”
Poems in traditional form are often combined with the prose. Finnegan creates a language that can take some time to get used to the unusual sentence structure and sing-song pattern of the words. In some passages, the child-like way of chaining words together lends an air of playfulness. Since readers (especially young readers) may be inspired to learn more about the poetry and prose of the book, the author includes a section of notes at the end. She offers more information about key phrases and events, poetic references, and the inspiration for some of the key events in the story. I found this to be a big help in deciphering some of the words and concepts of the book.
The characters are charming. Kate and Chris have their own problems in the real world. Kate is perplexed by math and the nuns who teach her; Chris has lost his mother and is being raised by a foster father. Holly, the dog, finds every opportunity for danger and gives both children a chance to play hero and rescue her. Once they’re sailing the sea of dreams, they meet Yahwiel with his riddles, as well as the benevolent King and Queen who live on an Eden-like island. These characters all have an air of the divine, and the lessons they teach are steeped in the Christian faith.
If you’re looking for a unique book for a young reader or a short chapter book to read to very young children, Pearl of the Seas is a unique story that goes beyond mere entertainment. It’s an excellent introduction to poetry, classic literature, and imagination.
Pages: 138 | ISBN: 1625902557
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Black Inked Pearl is a romance story following a young woman who falls in love with a mysterious man and then must search for him through Heaven and Hell. I found Kate to be a very well written and in depth character. What was your inspiration for her and her emotional turmoil through the story?
My reading: above all (as you’ll see from the similes) Homer and the mystic love poetry of Shakespeare, Blake and Rumi. Music – the dreams in which the book was given to me (from where?), one dream / one chapter a night for about two months, were interlaced with my hearing classical music through the night, most poignantly Bach, slow Mozart piano and John Rutter’s ‘Blessing’. But most of all my life, living through it:, I think no serious novelist can write of love or emotion of searching unless she has experienced it herself, at least in imagination (what else?): as the agreed poet Aeschylus rightly summed it up ‘learning through suffering … ‘
Within this book you flawlessly blend poetry with prose that brings beauty and intrigue to the story. It takes exceptional talent to blend the two genres together. How did you go about blending the two genres without disrupting the story?
I don’t think they’re essentially so very different, in fact some of the ‘poetry’ could equally well be set as rhythmic prose (my publisher – lovely Garn Press – had quite a discussion about which should be which, we changed our minds several times), and ‘prose passages’ could equally appear as poetry (actually, some of the ‘prose’ similes are now set as verse in my Poems from Black Inked Pearl: after all many of them came directly from, or were inspired, by Homer, the great arch poet). Also as I learned when I was writing my book Oral Poetry it’s really only a fairly recent typographical western convention that makes prose ‘look’ different from poetry. Ultimately it’s the SOUND and the INTENSITY OF EMOTION – or so I think -that are fundamental to poetry, and that, for me anyway, runs all through the book. So in a way it’s all poetry and I couldn’t feel any break between them. That said, interestingly, the poems came separately, also in dreams (each one already made, complete, perfect – well as perfect as it was ever going to get anyway) over the months BEFORE the novel started, mysteriously, to arrive. I thought they were independent poems. But when the novel chapters were written I saw that, all the time, they were part of the story and needed to be there. So now, there they are.
I felt that Black Inked Pearl is about love, romance, and life experiences that shape the person we become. Is there any moral or idea that you hope readers take away from the story?
I think – as in The Alchemist (a kind of soulmate book with mine) follow your dream, whatever anyone else says – and maybe at the end of that rainbow what you will find will be the pearl, yourself. Love is all, even if unrequited – that has its deep treasures too. The ‘new’ words (the Garn Press copy editor said there were hundreds!!) just came to me; they were just standing there already in my mind (like the poems were), complete, ready to be written. When I looked back (having forgotten…) I saw that they were (almost) all because they made the line SOUND better, more rhythmic. Roll on the audio, oral, version for its full realization, much influenced by my experience of African (and Irish) oral story telling. Oh and often it turned out to be sense too – some subtle change from the meaning conveyed by the ‘ordinary’ form – didn’t James Joyce and Homer and even Shakespeare sometimes find they had to do the same? (sorry, what a comparison….)
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.
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