At the age of eight, Norma Stone Walker has to leave the cocoon of safety of her family, the close-knit community she has known, and embark on life’s journey.
Throughout her whirlwind journey of joy and sorrow, she watches, learns, and grows. She observed the desperation of some women to get married, and the lengths they will go to achieve it.
The importance of roots: Drink in the Jamaican culture.
The role of the “warner woman” and the law-and-order policeman.
This story evokes sadness and sparks joy and humor at the same time. It relays the message throughout: “It’s not where you are coming from in life, but where you are going that matters.”
2019 Independent Press Award Winner in “FANTASY.”
Nathan Andrews was a good man. It came as quite a surprise to him that he wanted to die.
The mysterious image of a woman haunts Nathan during a Near Death Experience. She was “perfect” and everything a man would seek within a life partner. With the simple utterance “Go back!” she forever conquered his heart.
Leaving a mental hospital after that, Nathan runs into an odd woman named Amanda. She barely knows English, doesn’t recognize the simple things, and finally confesses an all-important truth to him: She…is GOD!
After some subtle convincing of the claim, and confronted by a winged man named “Gabriel,” Nathan accepts this fantastic reality. A reality that will change his world, and the world of Mankind… FOREVER!
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“Powderfinger” is a present-day scary horror story set mainly on the decrepit, abandoned but soon to be redeveloped, bank of an old canal between two towns. It centres on an old tar works known as Raven’s Gate. Nick Swann is a world weary mid-forties widower and Assistant Probation Warden at St Joseph’s Hostel for young male criminals, situated overlooking the canal and Raven’s Gate. A woman is brutally killed on the bank opposite the Hostel on a night when Nick is on duty. Nick believes his lads had nothing to do with it, though consequently Nick is suspended for issuing too many late passes at once. Then another woman is killed and Nick becomes drawn into discovering the culprit. He works with DCI Findlay and DS Deacon as the murder toll rises. Together with help from his old friends Alan and Hugo, Nick’s research uncovers a long series of similar murders in the same area, stretching back through the centuries. “Powderfinger” as the killer is dubbed, appears to be some kind of ancient mellifluous, malevolent, murderous being that attacks anyone it considers to be disturbing its peace and quiet. Eventually, as the story climaxes, Findlay, Deacon, Nick and Alan set a trap to lure “Powderfinger” to his doom and rid the area of this beast once and for all. Yet, traps can swing both ways.
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The Rabbit Hole Experience reads like a fireside chat between two paranormal field investigators—one specializing in spirit activity, the other in Sasquatches. They’re friends who sometimes work together and always trade notes.
In the book they explore the ways eyewitnesses react to encountering something they believed to be impossible.
One person may have a spiritual awakening. Another may have a psychological breakdown and live in fear. Yet another denies anything happened.
The two investigators wanted to know, why?
So they open their case files of fascinating, real-life stories, look for patterns, create theories, and pioneer an area not often addressed in the paranormal world.
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The Infinity series follows star crossed lovers through the ages and combines fantasy and historical fiction to breathtaking effect. What served as your inspiration while writing this series?
Most authors will say that their books can be read in any order but they are lying through their teeth. You’ll pick up one book and read 75 spoilers for another. I really hate that. You’ll select a later book and be completely lost while reading as if you’re in a convoluted fog until you eventually give up. My goal with the Infinity series was to create a set of books that could truly stand alone. Every book takes place in an entirely different lifetime. Readers can choose the setting and plot that seems interesting and jump right in without having to work their way down a reading list. You can start the series where ever you want, read just one book or the whole set, and no story will ever spoil another.
Sarah is an amazing and strong character that continued to develop throughout the series. What were some driving ideals behind her character’s development?
The fantasy genre has a serious deficit of characters of color. Growing up, I was a huge Fear Street fan. I must have read at least forty of these young adult novels. I found one black character out of all the stories and she wasn’t even the main character. She was merely a side note featured in just one book. There were no black people in Middle Earth, no Hispanic archeologists raiding tombs like Indiana Jones, and there were no Asian teens living on Fear Street. I love a badass white man with a sword adventure as much as anyone else and I don’t mind reading my hundredth reluctant to marry white princess story. But there are no words to express how it feels to NEVER be able to read about a character who looks like you. This is especially important for children and young adults who are still unsure of themselves and not quite comfortable in their own skin. Authors should not be sending a message that white is the default setting (nor should we be sending the message that one body type is the default setting). I will never understand how the most imaginative of all the book genres could be so utterly closedminded in regard to the way characters look. Fantasy authors can envision elves, fairies, goblins, and orcs but characters of color are not in the realm of possibilities. I intend to change this with Sarah’s character and many others.
Although the settings changed in each book, you were still able to deliver some outstanding backdrops and characters. What were some themes you wanted to capture while writing this series?
The main theme I wanted to express was that love is never easy. While doing research for my Civil War era series I stumbled upon the most stunning love stories I’d ever read and they were all true life events. The one that touched me most was about a former slave man, who I’ll call Jim. His wife and children were still slaves, though he was working tirelessly to earn the money to free them. The plantation master had gotten behind on his taxes and the government was going to seize his property (including slaves) and auction off everything (and everyone) to cover his debts. Jim’s wife wrote him letters in regard to this pending catastrophe. It soon became clear that no matter how hard Jim worked he would never have enough money in time to free them all. He would never see his wife again, they would never see their children again because being sold often meant sold separately. Jim did the only thing he could to save his family. He met with a group of abolitionists and they planned a rescue mission. The mission was foiled by a snitch and Jim died. They found his body with love letters from his wife still in his pocket. His story was no exception. There were many like it. Why are these tragedies relevant? Because love like this is rare in our day and age. Absentee parents have to be forced to pay child support, forced to even visit their kids, while Jim sacrificed everything for his kids. Couples divorce for trivial and absurd reasons, while Jim died with his wife’s letters in his pocket during a battle to the death to save her. I wanted to write a series that reminds my generation that love is never easy but people used to fight for it anyway. Why can’t we?
What is a Medium Adult novel?
Medium Adult Literature is a term I use for books that are more mature and complex than Young Adult novels but not as daunting as a 400-page Adult story. My Medium Adult books are written for people who’ve outgrown Harry Potter and Goosebumps but aren’t ready to dive into Stephen King and Game of Thrones. The romances in my medium adult series are more passionate and involved than a teen book but not as smutty as an adult romance. Sexuality, bad language, and graphic descriptions of violence are dialed back in my medium adult books without making the plot childish and unrelatable. I keep these books short and fun, usually 150-200 pages, an adventure that a busy college student can squeeze into his/her schedule without having to read a children’s book.
With that said… I must warn that the Infinity books are the only ones I’ve written with such restraint. My full adult novels are raw and uncensored beware.
What is one thing you felt the fantasy genre was missing that you wanted to introduce in your series?
PASSION!! I’ve always loved fantasy stories. I am swept off my feet by all the chivalry, action, and supernatural mystique. But the romance in fantasy books leaves me disappointed at worst and underwhelmed at best. The lead characters either can’t stand one another or completely ignore one another for over half the book. When they finally acknowledge their feelings you spend the entire second half of the book waiting for them to act. After reading 400 pages and wasting a week of your life you are rewarded with one measly kiss on the very last page. In traditional fantasy, the action moves fast but the romance moves sloooooooow. My desires for passion, drama, and love led me to historical romance. This turned out to be a mistake. While historical romance books were chock full of passion, drama, and love, I found the plots predictable, unimaginative, and incredibly slow moving. To this day I have never finished a traditional romance novel. I wrote the Infinity series as a hybrid of fantasy and historical romance so readers can enjoy the best of both worlds.
What is the next book that you are working on and when will it be available?
Infinity: Transylvania will be the next installment in print. Matthew and Sarah, are plunged into a world of darkness. Immortal beings with an insatiable hunger for blood rule the night. As a ruthless foreign army threatens to conquer Transylvania, Matthew is forced to choose between watching his kingdom fall, or joining forces with the vampires…
I hope to have it written and submitted for review in December. I can’t give an exact release date because the review process can take weeks or even months but I aim to have Transylvania available for purchase mid-March of 2019. Every book I create endures a rigorous screening process. Only books that receive EXCELLENT reviews from at least three different companies are marked as fit for readers. Novels are judged on many elements, such as plot, characters, dialogue, scenery and accuracy of setting. The purpose of all this reviewing is to provide high-quality stories for an enjoyable reading experience. For a complete list of five-star ratings refer to the Banner of Excellence on each cover.
Literary Titan is always my first stop on the road to a great novel because of the phenomenal work they do. I have trusted them with all my books and it’s been an enjoyable and rewarding experience.
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Clare Dupres, ambitious young Huguenot midwife living in turbulent 17th century France, struggles to save her family and career from the terrors of tyrannical King Louis XIV.
On the brink of womanhood, she records in her journal the grand plan for her perfect life–marriage to the man she loves, renovation of mysterious Maison Dupres as her home, and a rewarding profession. The key to her plan lies in “the magic elixir,” her ancestors’ secret formula for pain-free childbirth, which she offers solely to wealthy aristocratic women.
But King Louis’ increasing pressure on Huguenots to convert to Catholicism shatters Clare’s dreams. Her lover forced to flee France, she is compelled to marry his boring brother. Then she is banned from practicing midwifery. Yearning to continue her profession coupled with fear that her children will be kidnapped by Papists, Clare tries to convince her stubborn husband to move to England, but he is blind to the growing menace. When danger lurks in the form of the King’s dreaded Dragonnade soldiers, she must summon all her strength and determination to save her family.
Can Clare succeed in getting her family safely out of France before it is too late?
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Jagdlied is a genre-crossing novel with elements of a satire, drama, and erotica as well. Did you start writing with this in mind, or did this happen organically as you were writing?
I began this project in 1991 with no intention other than to sketch out a salacious five- or six-page short story as a brief diversion from other more ambitious musical projects I was engaged in at the time. It grew into a twenty-page story, at which point I decided to set it aside as a “completed” work, even going so far as to affix an opus number to it in my otherwise (mostly) musical oeuvre. I moved on to other projects. When I returned to the story about eleven years later, I was dissatisfied with what I had written. I felt the characterizations were flat and the use of language too bland and conventional to suit my tastes, so I performed some deeper edits and revisions until the piece transmogrified into a novella of approximately 60 pages. Vaguely satisfied with what I had done, I set the text aside for another eight years or so and when I returned to it I thought it might need a few additional minor edits. Little did I know then that I would be embarking upon the creation of a 230,000-word magnum opus containing 290 graphic scores, an elaborate system by which musicians could extemporize against the text while it’s being narrated, as well as 108 Youtube links to performances of my musical compositions to enrich the piece even more. To answer your question: I never know in advance exactly how a work (whether literary or musical) will turn out. It happens, as you say, organically while it’s being created. I learn more and more about the characters of a novel as the situations and dialogues are interpolated into its structure. My own life experiences inform the transformation of a work’s gestalt to a certain degree. There are many creative people who plan their pieces meticulously in advance of writing anything down. Such an approach has seldom (if ever) been my mode of operation.
The characters in this novel, I felt, were intriguing and well developed. Who was your favorite character to write for?
Thank you. My favorite, perhaps, is one of the more unmitigatedly evil characters in the novel: Chief Justice Dizzy O’Nance. He oversees a kangaroo court in the “Hall of Injustice,” where the questionable protagonist Melody is put on trial without any form of due process. He is a veritable Dr. Crucifer, Judge Holden, and Iago compounded into one.
This book was a collective effort between you, Dolly Gray Landon, and Lon Gaylord Dylan. What was the collaboration process like?
Were we actually three separate entities, the collaboration would have been a much happier one. I think your question tongue-in-cheekly references the anagrams I devised as the two separate pen names I employ for the author and illustrator (I go my own name as the composer). It is difficult to compartmentalize writing text, composing and performing music, drawing graphic scores, and even making original films of one-man performances of this piece. I am now very much in a temper to collaborate with other performers (perhaps a narrator other than yours truly) and a variety of instrumentalists. I enjoy participating as both narrator and pianist simultaneously but I don’t mind engaging (read: luxuriating) in only one of these roles. Pantomimists, dancers, and culinary artists are an extravagance that would require a massive budget. Intimate chamber groups of, say, three or four musicians, are far more practical.
What is the next book that you are working on and when will it be published?
I have another magnum opus that has been on and off the burners for upwards of 24 years. It is entitled Venge Art, and is, in certain respects, even more megalomaniacal than Jagdlied insomuch as the improvisational cues are interpolated within—as opposed to being separated from—the text, as are the conventionally notated scores, some of which require super-virtuosic skill on the part of their executants. I am hoping to return to Venge Art to revise and round it off some more. It is a text piece of approximately 300,000 words and 500 pages of notated music (including a 2-hour long string quartet that was my Harvard dissertation back in 1989). A book on my idiosyncratic harmonic method is also in the works. At this point in time, however, I am more interested in tying up some loose ends: various chamber works awaiting completion, a couple of plays in verse, and numerous other projects. It is, unfortunately, impossible for me to give you a precise timeline.
Jagdlied officially goes on sale August 30th, 2018 and will become available in several printed versions. One should be able to pre-order it by August 15th, if not sooner.
This musically and graphically enriched chamber novel is an over-the-top black and blue comic extravaganza about the conspiratorial undoing of a teenage entitlement princess. The story throbs throughout with an undercurrent of apocalyptic motifs related to the extinction of art, fall of empire, and coming of the Antichrist. It is an epic farce that reads like an erotically supercharged psychological suspense thriller. The narrative takes the reader/audient on a veritable boomerang roller-coaster ride (with multiple inversions) through a reputational strip-and-whiptease of the novel’s malignantly artful (albeit ingenuously doe-eyed) protagonist: a wealthy young heiress and socialite who boasts an exclusive claim to her progenitors’ munificent estate. Her inheritance comprises an immense fortune amassed through shareholder investments in the world’s largest employment recruiter: the multi-national temp agency behemoth known as the Pleasant Peasant Corporation.
The character-driven narrative of Jagdlied explores themes of jilted love, misinterpreted motives, paranoid ideations, bombastic egos, ghoulish envy, smoldering jealousy, unconscionable revenge ploys, extravagant public humiliations, ruthless power games, insatiable greed, pernicious corruption, feigned moral outrage from all sides, and even (Heaven forfend!) coldblooded murder—all the type of stuff pre-calculated to magnetize your run-of-the-thrill-seeking bookworms and bibliophiles.
A rich repository of tongue-in-cheek nonce words, malapropisms, neologisms, archaisms, spoonerisms, slanguage, and whole swaths of unintelligible nonsense, the text of Jagdlied is also replete with irreverently lurid, salacious, and scatologic elements, which serve to set it in motion as a formidable contender for the distinctive cachet of being regarded (by cultivated aesthetes of omnifarious persuasions) as a momentously serious dirty book. It is targeted towards percipient readers and audients in possession of a well-seasoned sick and—dare it be said—cruel batch of funny bones inflected with a gallows-cum-smoking-room bent.
Whilst the plot of this story (grotesquely absurd as it will undoubtedly be esteemed) embraces reflexively cringeworthy sadomasochistic motifs, its author would hesitate to instyle it as porn, yet he would not be wholly disinclined to characterize it as a farcical parody thereof. And whilst at the same time its author is admittedly predisposed to eschew ascribing labels of any kind to this opus (especially seeing as what he has concocted is so rarefied in its formal structure that it cannot be facilely pigeonholed), it may not be altogether off the mark to view it as a form of literary neurotica (if, indeed, there is such a genre) as opposed to the more boilerplate literotica—or what in sex nazi circles is dysphemistically adverted to (in no uncertain squirms) as “filth.”
Whilst the text of Jagdlied may be read in silence as a novel in the traditional sense, it is ultimately written for the purpose of being recited by a skilled elocutionist to the accompaniment of extemporized music by ad hoc variable ensembles in relatively brief, self-contained or—depending on how one looks at it—semi self-contained episodes with the aid of a do-it-yourself improvisation kit provided in its appendix. This “kit” is likenable to a Baroque-style table of ornaments, albeit comprehending specific sets of chance operations for each and every participant involved in renditions of individual fascicles of this work. Aside from entailing a professional narrator and musical extemporizers, the score discretionarily calls for pantomime actors, dancers (hence choreographers), set designers, culinary artists, and even members of the audience itself.
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She traveled to a new world to find her sister. She left her whole life behind. Now, to keep Emily safe, Alicina must pose as a wealthy aristocrat. Plunged into a royal court steeped in intrigue, she is forced to do battle with someone she once called a friend. Will her belief in herself and the magical powers she has found be enough to save them all?
Welcome to Telidore.
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