Showing posts with label cross-genre. Show all posts
Showing posts with label cross-genre. Show all posts

Wednesday, September 18, 2024

Of Sands and Tides: The Chronicles of Captain Georgianna Forsythe by Jan Edwards

 


Release date 19th September 2024
Sub-genres: Cosmic Horror/Fantasy/Occult Detective


About Of Sands and Tides:


When the old god Nyarlathotep lures Captain ‘Georgi’ Forsythe – special agent for the Ministry of the Arcane -- to the Valley of the Kings, the battle for her place in this world begins. Eight thrilling adventures packed into one volume, taking us from ancient Luxor to the Loch Ness of 1932. Conflicting pantheons of myth and legend plunge Captain Georgi into cosmic battles beyond wildest imagining. Will she remain a force for good or be lured into the world of chaos? The choice is hers!


Excerpt:


Entering the domed southern entrance of the Greenwich foot tunnel she hurried down fifty feet of spiralling stairwell and traversed the four hundred yards beneath the Thames at a clipped pace. She paused at the north end and peered back along the arched tunnel, wrinkling her nose at the rank, fishy stink of the river. Her hand had begun to itch, that branded third digit twitching maniacally. She had not seen a soul, though the floor glistened with wet prints merged into one sodden trail. Something was out there, and it was not human. Noden’s gift never lied.

Georgi was not a nervous type but since the submarine debacle she had found confined spaces somewhat unnerving. She took the stairs at a trot, bursting out of the roundhouse on the north entrance and distancing herself by several paces before stopping to draw breath. She coughed, the thick air tearing at her throat and nose, making her gasp all the harder.

Through drifting fug she could still make out the glow of the dome’s glazed roof. To her left a smaller, diffuse pulse indicated what might be a streetlamp. Conditions made it difficult to see clearly any further than a handspan from her face. It at least explained why nobody was coming in from the northern end. Even those who knew the place well would have been disorientated. That coupled with the eye-stinging, lung scouring, coal-tainted air would keep all but the most determined safe at home behind closed doors.

Only the thought of old Nellie, alone and waiting. prevented her taking the saner course and heading home. A promise is an officer’s sacred bond and Captain Georgianna Forsythe would not let an old friend down. She pulled up the collar of the greatcoat she had worn in favour of her usual flying jacket and struck out across the street until she found the paving edge of Doug’s Path. She deduced rightly that she could hardly get lost if she followed the curb to the junction where she turned right. She was gratified to see the twin headlights of a Number 56 bus at the stop just ahead of her.

Georgi hurried forward to grasp the passenger pole and set foot on the bus’s grubby platform. There was no rumble of diesel engines nor grumble of impatient passengers, and the bus interior was as mist-raddled as the outside, but she saw enough to ascertain that it was devoid of people.

She supposed it possible the driver had considered it too dangerous to go further, even with the conductor walking ahead carrying flares. If the 56 had been abandoned, however, it did not explain seats strewn with belongings. Handbags, shopping bags, briefcases, hats, coats – all thrown around the space as though some mad wedding guest thought to make confetti from whatever came to hand.

Georgi’s hand slid through a smear of cold goo bisecting the back of the nearest seat. She peered at the sticky, brownish smear on her fingers and then sniffed at it with a certain caution. The taste test was unneeded. She had seen blood and death too many times in the service of the King for any lingering doubt. The thought of what might have caused the destruction of a whole bus full of people and leave little more than this filled her with an awful foreboding, a feeling backed to the hilt by the nagging ache in the third digit of her left hand.

She moved back to the bus’s platform and considered retracing her steps to the south bank to summon help from there. Except that the food package was warm against her hip, reminding her of her orders to visit Nellie for that report, and she really, really, needed to know why her arcane early warning system had been aroused.

The deep guttural cry of some animal seeped through the fog. It sounded familiar, except it was like no dog that she had ever heard, and too deep for the unearthly scream of a fox. Nor was it a distressed horse from some milk float or brewer’s dray.


Amazon.com | Amazon UK and wherever books are sold



About Jan Edwards:





Jan Edwards is the UK author of the Bunch Courtney Investigations - the WW2 crime series, which gained her an ‘Arnold Bennett Book Prize’. She has 50+ short stories in horror, fantasy, mainstream and crime anthologies, including: Mammoth Book of Folk Horror, Criminal Shorts, The Book of Extraordinary New Sherlock Holmes Stories and volumes of the MX Books of New Sherlock Holmes Stories series. She is a member of the Crime Writers Association and member and past chair of the British Fantasy Society. Two titles due out in 2024 - Of Sand and Tides urban/cosmic horror and Deadly Plot: Bunch Courtney Investigations #5.

Website | Facebook | BlueSky | Instagram | Substack | Penkhull Press



Wednesday, August 14, 2024

The Alternate Girlfriend by Declan Conner

 


Release date: August 5, 2024

Sub-genres: Psychological thriller, Science Fiction



About The Alternate Girlfriend:


Deceit is the oldest sin as Doug Carter will discover

Doug Carter, is blessed with autism and a brilliant mind, but his sheltered upbringing have led him to a life of isolation. When asked to beta test an AI pen pal site, he sees it as the perfect solution - an AI construct that can't cheat on him and fulfills his desire for a loyal lifetime partner.

Using AI, he creates a pen-pal on his computer in the image of his ex-girlfriend, Doug's reality becomes blurred as the trial takes a dangerous turn when they offer to extend the trial with a humanoid in the image of his ex-girlfriend. And when those with a connection to him start dying in mysterious circumstances, all signs point to Doug as the culprit.

As he races against time to uncover the truth, Doug realizes that his isolation may have been his worst mistake yet. With childhood enemies resurfacing and his own past coming back to haunt him, he must confront the deceit that has been lurking in the shadows all along.



Excerpt:


Doug Carter took a sly look at his friend sat beside him, wondering if he could keep a secret.

The day he sat there among the students at his graduation from university in San Francisco, it was as though he were at a Fourth of July firework display, waiting for it to ignite, and he held the touch paper.

Excitement at his graduation aside, he was beside himself at the good news he’d kept inside his head, and was busting a gut to tell his girlfriend, Donna. It was just as hard for him to have kept the life-changing news from his one and only friend, Gregg, for fear Donna would find out before he could talk to her. Doug shuffled on his seat. His skin crawled as the allotted time approached to make a move to the podium.

“You okay?” Gregg asked.

Doug held out a hand. Fingers shaking.

“Just a little nervous. I’ll be fine.”

Having said that, and with a distaste for crowds, he was just thankful that the audience of students was behind his back, and he’d managed to get a seat on the front row. All the same, anxiety overcame him at thinking all eyes behind him were focused like laser beams at his brain. Gregg nudged him in encouragement to join the line leading to the stage. It took a second more forceful nudge with an elbow to his arm to get him to move. His legs were leaden as he waited in line, nerves on edge for what was to come.

It was his turn to climb the steps and on over to the podium. Doug lowered his head. Cheeks burned like a furnace, while following his footsteps to the podium, fingers trembling. Handed his BSc diploma in computer sciences, he turned to the assembled students and family members, holding his diploma aloft. In the sea of faces, he couldn’t see Donna, but he did pick out the huge grin on Gregg’s face as he gave him a thumbs-up. His chest puffed out in pride at the applause, despite the clapping offending his hearing. At the same time, he sensed his cheeks still rouged in self-conscious embarrassment with all eyes on him. He stepped back down the steps and on over to Gregg, thankful that his ordeal was over, with his insides still tremoring.

“Well done buddy,” said Gregg and they clasped each other’s hand, then shared a shoulder nudge.

“Thanks.”

Presentation over, and after a final motivational speech from the principal, he stood and threw his cap in the air along with the rest of them. An immense sense of self-worth and achievement encompassed him now that the ceremony had concluded. He turned to Gregg, unable to keep his secret any longer before he might implode.

“Hey, guess what? The day couldn’t get any better. Got a job as a programmer at an international accountancy firm. I’m to work in their computer software sales division. Unbelievable salary and perks.”


Amazon



About Declan Conner:




Declan Conner lives something of a nomadic life, travelling and living between Portugal, the UK, and Brazil. Having written thrillers over the past 12 years, lately with the advances of AI, it has led him to speculate on how human interactions with AI will develop in the future, both in the realms of the internet, and with robotics. Hence, his latest psychological thriller, The Alternate Girlfriend.

Friday, November 4, 2022

Interview with JJ Cook & AJ Cook, MD, authors of Percivious Escape




Today it gives the Speculative Fiction Showcase great pleasure to interview JJ Cook and AJ Cook, MD, whose novel Percivious Escape has its debut on November 8.

Percivious Escape is the third book in a trilogy that began with Percivious Insomnia. What does the word “Percivious” mean here? 


We coined the term Percivious and its meaning is as follows:


Percivious (per-siv-e-us) 

Noun 

The ultimate in altruism. Self-sacrifice in order to benefit others with no regard to reward or reciprocity. 

Kirkus reviews describes the Percivious Trilogy as an “impressive SF medical thriller”. To what extent is the trilogy a medical thriller and what contemporary issues does it touch on?


The first novel, Percivious Insomnia, would fall under medical thriller, however the second novel is definitely speculative/science plausible fiction and the third is a blend of the two. Although, having said this, our trilogy has also been described as genre-defying as there are elements of sci-fi, mystery, thriller, action, horror, and romance throughout. We don’t live in one genre and we both feel strongly that our story should not be contained to one either. In terms of the issues the trilogy touches upon…well…there are many. Just this week we were discussing a new study that spans 25 years which has found that just five hours of sleep a night or less is associated with a higher likelihood of disease. Attach to this a related pandemic, environmental disaster, destructive technology and our tendency for domination and you have the backdrop for the Percivious Trilogy.


As the third book begins, humanity has learned that we are not alone in the universe. Tell us about the XYZ, who they are and how they relate to humans.

The XYZ of Percivious Origins were the dominant life form on earth 280 million years before the origin of homo sapiens. They are an advanced species that eliminated the need for violence and warfare on an evolutionary level. We drew inspiration from some surprising real-life sources to create their origin story. They are descendants of cetaceans, rather than primates, and we spent countless hours researching whales to develop how the species may have advanced on land.

The precipitating event of the first book, Percivious Insomnia, is a pandemic very different to the one we have recently experienced. What is the significance of the insomnia pandemic?


The Percivious Trilogy has been a decade in the making. While the timing of the pandemic made our trilogy very relevant, it was a complete coincidence, as the idea for the trilogy was conceived in 2012. The fragility of humanity, and the fragility of ecosystems is what inspired our pandemic. We are on the verge of a Holocene extinction, otherwise known as a sixth mass extinction due to human activity. The insomnia pandemic in the Percivious Trilogy is a version of what can go wrong when nature and humans fall out of balance.


Regular treatments are powerless against the wave of insomnia. What happens to the world?


Insomnia can be much more devastating than the typical symptoms experienced such as fatigue, irritability, memory loss. If left untreated it can become fatal. In our trilogy, specifically in the last installment, Percivious Escape, the world teeters on the brink of complete annihilation. Imagine all emergency services being disabled, looting, fires, general mayhem and global disasters which eventually must either be resolved or come to an end… for everything and everyone.


When the XYZ return to Earth, they too are facing a crisis. What has prompted their voyage across space?


The XYZ -- are forced to flee as a 500-km wide asteroid hurdles toward the Earth. In the beginning of Percivious Origins, the starship HELIX departs from Earth’s gravitational pull, while horrified passengers watch as the once aquamarine planet turns red with fire, burning beneath them. After a failed attempt to inhabit a new planet, the HELIX is damaged and energy reserves are running low, and there may be no choice but to come back into the orbit of their ancient ancestral home… setting into motion events for which there will be an unfathomable price to pay.


How do the two species, XYZ and humans, work together? Are they able to cooperate?


A species to whom human frailties like violence and greed are unknown, the XYZ live in abundance and value shared knowledge and emotional connection above all else, therefore their attempts to communicate with humans are driven by a desire to save Earth and all its inhabitants. However, as the story unfolds it becomes clear that while some humans are driven by the same desire, others are not. The XYZ are also able to identify hybrid human/XYZ on Earth as a result of the DNA time capsule they had left behind on Earth hundreds of millions of years before. Because it becomes compromised, the XYZ DNA finds its way into a small percentage of the human population who share the same abilities, although they have yet to fully harness them.


Who is Herriden?


Herriden is the first child born aboard the HELIX in Percivious Origins, and he represents hope during the XYZ’s voyage to a new home. He is the only XYZ character that makes an appearance in all three novels and readers witness his journey from birth, through childhood and into adulthood when he takes over command of the ship. His arrival on Earth and his role in the fate of his species, the planet and humankind are pivotal to the story.


Can you give us any clues about the origins or explanation of the pandemic itself?


At the risk of a SPOILER, our pandemic remains a mystery throughout the trilogy and is not reconciled until well into the third novel, Percivious Escape. However, the one clue we can give is that it is all about energy. Energy transfer and energy accumulation is the key.


What prompted you to write this story at this particular time in history?


It was interesting because we had been working on Percivious Insomnia on and off over a seven-year period. So, to be launching its release just as a real pandemic took hold was eerie, it was unbelievable. I remember working on the book trailer and saying to AJ Cook, “Do you think we should use the term pandemic, it seems so dramatic, perhaps epidemic is better?”. 


In the end we decided upon pandemic with absolutely no clue as to what was to unfold and how it would impact our daily lives. On one hand it made the novel very relevant, and it absolutely did influence the description of the insomnia pandemic in the trilogy, especially throughout the writing of Percivious Escape. However, the mystery or the cause behind our insomnia pandemic results in a much different outcome than what we experienced with Covid, therefore what we ended up with was a true to life fictional pandemic but with more devastating consequences. 


How do you work together? Who does what?


As a couple we love to talk about just about anything…for hours. When it came to writing together it started slowly. It was a bit of an epiphany with the premise and then ideas just started coming together and we started jotting them down. Sentences turned into paragraphs and then a first chapter initially. But three novels later we have a reliable process in place. We usually discuss an overarching story arc and key plot ideas. But when it comes to the writing I (JJ Cook) will take a stab at it and then we edit it (many times) together. So, it’s literally a labour of love and what we have in the end is a single voice, I believe, resulting from a true joint effort. We really don’t hold back when it comes to writing. 

To observe us I am sure you would wonder why are they doing this? Our “discussions”, which we affectionately now call “doozies'' thanks to their increased frequency during the writing of book 2, Percivious Origins, have oftentimes led us to develop a new plotline or uncover an unforeseen twist. I (JJ Cook) had a revelation while writing Percivious Origins. You can think you know someone, especially your partner, only to be surprized yet again. Agreeing to write sci-fi, which would not have been the path I would have set out on had I been writing on my own, seemed exciting initially. AJ Cook, a huge sci-fi fan, would ensure that the science was solid which would enhance believability so that the characters and the story would be guaranteed to stay front and center. How hard could it be? 

The only thing was, and I learned this in the very early days of writing Percivious Origins, that he is more than just a sci-fi fan, he is a science fan and I was very quickly drowning in the vastness of space - terms, physics and ideas I knew very little about. It was a humbling experience and to be honest one I would have rather avoided. But this story, Percivious, is one that haunts us and the characters would not let me go. So, we persevered through time, space and countless doozies in order to finish the trilogy and develop the true heart of our story.

JJ Cook, you have worked in marketing across many different industries. How did you bring your experience to bear in writing Percivious Escape?


My background and work history have brought insight to characters spanning an array of disciplines, ages, countries, and cultures.


AJ Cook, you are an MD currently working as a pediatric urologist and director of fellowship education at the Alberta Children’s Hospital, and have contributed to many published studies. How has your medical and humanitarian experience contributed to your work on Percivious Escape?


My experience as a surgeon—as well as the relationships I have with my young patients and their guardians—has contributed credibility and realism to the narrative.


What gave you both the idea of writing this book and why is it important to you?


About ten years ago it struck me. I said to AJ Cook, “Wouldn’t it be an interesting premise for a book, if someone (or something) was able to exploit your sleep hours. The one thing that still remains ours/uninterrupted (for the most part)”. I didn’t know it at the time, but a trilogy was hanging in the balance as I waited for his reply. As it turned out he loved the idea and the premise for Percivious was conceived.


Now the trilogy is finished and awaiting publication, what will you do next?


We are approximately 19,000 words into a new novel set in the Rockies. I would say it will have the same feel as the trilogy and some similar elements. There is a bit of a mystery that leads the characters off planet. But this time in search of treasure instead of an escape for survival. And…there may also be more to the Percivious story…

To be clear, we are absolutely satisfied with the conclusion of the trilogy in Percivious Escape, however, we have had requests for a continuation of the story. So, depending upon how this last novel is received overall, you may see Percivious become a series rather than a trilogy. For us, the door is still open a crack and it might not be over just yet. We will just have to see where the story takes us!


Preorder Percivious Escape


About JJ Cook and AJ Cook, MD:



J J Cook’s background in marketing across a spectrum of industries—technology, finance, and the arts—brings insight and depth to characters spanning an array of disciplines, ages, countries, and cultures. A J Cook, MD’s current role as a pediatric urologist and director of fellowship education at the Alberta Children’s Hospital has allowed him the opportunity to author and contribute to numerous published studies and hone his writing skills, while his experience as a surgeon—as well as the relationships he’s developed with his young patients and their guardians—has contributed credibility and realism to the narrative.

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Wednesday, March 18, 2020

Interview with Kathe Koja, author of Velocities



Today the Speculative Fiction Showcase is delighted to interview Kathe Koja, whose upcoming new collection of short fiction, Velocities, we are featuring on April 21.

Velocities, your new collection of short fiction, debuts on April 21st, 2020 from Meerkat Press, who describe it as “thirteen stories…all flying at the speed of strange.” What can your readers expect from this collection?

Every reader brings their own sensibility to every story, which is really the thrill and the purpose of reading, and writing: fiction is always a conversation. And the conversations in Velocities invite an adventurous spirit and a taste for what’s unexpected. And expect it to get dark.

You have published many award-winning novels and short stories, including The Cipher, Under the Poppy, Buddha Boy and more. Though some are listed as Horror and Dark Fantasy, would you say they escape the boundaries of genre?

When I write, I don’t think about genre; I don’t read for genre, either. What draws me as a reader is voice: whether it’s stylistically overt or subtle, doesn’t matter, if the voice is compelling I’ll follow it anywhere. As a writer, whether it’s horror, historical fiction, YA, weird fiction, or a performance piece, my own voice is consistent. And I’m always thrilled when readers follow me from, say, Cipher to Christopher Wild to Velocities, continuing that conversation.



As well as writing, you have produced dramatized immersive versions of your work and solo performances in places like NYC, Detroit and Chicago. And at Stokercon! What is involved and can you tell us more?

A lot is involved. Creating immersive events—which I direct as well as produce through my company, Loudermilk Productions—means taking a story—one of my own, or an adaptation (like Dracula, Alice in Wonderland, Faustus, Wuthering Heights)—and bringing all the sensory elements into play that make that story happen in real time for the audience: everything from choosing the site (like a Victorian mansion for Under the Poppy, or a backroom bar for Christopher Wild) all the way to the take-away souvenirs (a silver fork for Dracula). It’s a huge amount of work and a huge amount of fun, it can be exhausting and crazy, and every time it’s different, which I love.

Writing is a (fairly) solitary activity, whereas performing and producing are social and public. What tension is there if any between these activities?

I’ve found that they really complement each other: at bedrock both are about telling a story, sometimes in one voice, sometimes in many. And collaboration gives me, as a creator, a bigger toolbox—music, movement art, video, installation art, puppetry, even fire!—I’ve worked with so many different, outrageously talented artists, and I learn something every time. I’ve also found that collaboration tends to include more snacks and horseplay. :)

Are there different challenges in writing short fiction and writing novels?

A story always has its own inherent form, if it’s short fiction, a novel, a performance piece or script. I’ve learned not to try to impose my own ideas, but to follow whatever that the particular story wants and needs to be. For one example, I had no idea Under the Poppy was going to turn into a trilogy! And Dark Factory, which I’m working on now, has been all about making its own form.



The playwright Christopher Marlowe is the subject of one novel and several other works. Why does he fascinate you and what does he offer a contemporary audience?

Marlowe is incredibly contemporary: he lived and wrote in a time of enormous change and enormous fear, with a critical eye toward uncritical belief in government and religion. When I read Anthony Burgess’ riveting and gorgeous A Dead Man in Deptford, I knew I had to write about Marlowe. Christopher Wild is a triptych biography that imagines him in Elizabethan England, a McCarthy-esque America, and a future European state, and my productions of his works—Glitter King, his Edward II set in a Berlin punk club, and Night School, his Doctor Faustus reimagined as a strange, junk food-fueled school for living—were undertaken as a signal boost and love letter to this absolutely seminal playwright and poet.

What are you working on at the moment?

Dark Factory: the story of a state-of-the-art entertainment club that offers customizable reality, just a scroll away down the night’s menu. Ari Regon is the club’s floor manager and genius loci, a wild card who calls the shots and makes things happen. Max Caspar is a stubborn and talented DIY artist who scorns all manufactured flash. And both of them are chasing the same thing: an ultimate experience, a vision of true reality, the real thing.

And Dark Factory is my first 100% immersive fiction project. It’s a novel with all kinds of moving parts—images, sounds, video in the works, a live event including a VR/AR component—and it’s redefined for me what a story, a narrative, can really be. I have a Dark Factory Patreon https://www.patreon.com/kathekoja and have already worked with some incredible collaborators, with more in the wings.



Velocities debuts in April and The Cipher in September. Can you tell us more about The Cipher, which won both the Locus and Bram Stoker Awards? On your blog you say “the funhole is back!”

The Funhole is indeed back, in all its absolute null-and-void tilt-a-whirl existential hunger, attended by slacker Nicholas and avid Nakota, neither of whom know when to say when. The Cipher was the inaugural title for the mythic Dell Abyss line, which really sought to give horror fiction a new and wider arena, a new way to express the darkness. I’ve been asked a jillion times when Cipher would be back in print, and I’m delighted that Meerkat Press is reopening the door to that grungy storage room later this year.

Under the Poppy has been described as “a gothic, glam-rock take on love and sex and death that reads a little like what would happen if Sarah Waters and Angela Carter played a drunken game of Exquisite Corpse in a brothel . . .” Is that a fair summation?

Absolutely. The Poppy trilogy—Under the Poppy, The Mercury Waltz, and The Bastards’ Paradise—starts in a brothel, plays on various wild stages, and follows the road of adventure, danger, and loss as far as it will go, and all in the company of Rupert and Istvan, the two gentlemen of the road whose love story is at the heart of these books. And there’s a lot of puppetry, booze, and highly inappropriate onstage behaviour, too.

What do you like to read and what do you watch?

The book I just read and loved was Iliana Regan’s Burn the Place, and the show I can’t wait to resume is Dark. To say that one is a chef’s memoir and one is a series about time travel gives a launchpad definition, but you need to experience both for yourself. 

Though you are a writer of dark fiction, your web-site gives a sense of playfulness, glee and joie de vivre – is that a paradox?

I believe in fun—having it, making it, making sure others have it too. Fun’s the gateway drug for joy, and we must have joy, no matter how dark it gets.



About Kathe Koja:

Kathe Koje photo courtesy of Rick Lieder

Kathe Koja writes novels and short fiction, and creates and produces immersive fiction performances, both solo and with a rotating ensemble of artists. Her work crosses and combines genres, and her books have won awards, been multiply translated, and optioned for film and performance. She is based in Detroit and thinks globally. She can be found at kathekoja.com.

Tuesday, August 13, 2019

Claiming T-Mo by Eugen Bacon

Release date: August 13, 2019
Subgenre: Feminist science fiction, Literary science fiction

About Claiming T-Mo:

 

 In this lush interplanetary tale Novic is an immortal Sayneth priest who flouts the conventions of a matriarchal society by choosing a name for his child. This act initiates chaos that splits the boy in two, unleashing a Jekyll-and-Hyde child upon the universe. Named T-Mo by his mother and Odysseus by his father, the story spans the boy’s lifetime—from his early years with his mother Silhouette on planet Grovea to his travels to Earth where he meets and marries Salem, and together they bear a hybrid named Myra. The story unfolds through the eyes of these three distinctive women: Silhouette, Salem and Myra. As they confront their fears and navigate the treacherous paths to love and accept T-Mo/Odysseus and themselves, the darkness in Odysseus urges them to unbearable choices that threaten their very existence. 

 

 

Excerpt:

 Salem

T-Mo happened exactly one week after the puzzle-piece woman with fifty-cent eyes.
One night, black as misery, Salem Drew stood, arms wrapped about herself, at the bus depot three streets from the IGA where she worked late shifts. A bunch of commuters had just clambered onto a number 146 for Carnegie, and Salem found herself alone at the depot.
She waited for a night express bus to take her back to a cheerless home that housed equally cheerless parents. An easy wind around her was just as dreary, foggy as lunacy. There, just then, the shadow of a woman’s face jumped into her vision.
Salem blinked. Was the woman real or a figment of thought? Singular parts of her were easy to file, were possibly real: maroon hair, rugged skin the color of coffee beans. And the scar . . . But all put together, cohesion was lost.
The puzzle-piece woman stood head lowered, quiet in the mist. When she raised her face, silver shimmered from one good eye, petite and round as a fifty-cent coin. The other eye was broken, feasibly some bygone injury. Even though it was as smooth and flawlessly round as the right eye, it held no sight. The coin perfection of its shape was embedded in scar tissue, disfigurement that needed nothing but a single glance to seal the hideousness of it.
If Salem thought to speak, to ask, “Who are you? How long have you been standing there, watching me, and why?” the mighty keenness of the woman’s good telescopic eye, the one that filtered, turned inward, then came back at her without translation, threw it right out of Salem’s mind.
Thunder like the hammering of a thousand hooves did it. Salem ran without a scream, all the way through all that night, never minding the night bus when it whooshed past. All she minded was the gobbling eye, and the unwarned sound of deep belly laughter that chased behind.

 

Amazon | Barnes & Noble | Book Depository | Goodreads

 

About Eugen Bacon:



Eugen M. Bacon, MA, MSc, PhD, studied at Maritime Campus, less than two minutes' walk from The Royal Observatory of the Greenwich Meridian. A Computer graduate mentally re-engineered into creative writing, Eugen has published over 100 short stories and articles and multiple anthologies. Shortlisted Bridport Prize 2018. Honorable Mention L. Ron Hubbard Writers of the Future Contest 2017. Her articles were nominated for the 2017 Aurealis Convenors Award for Excellence. Out soon: Creative non-fiction book with Macmillan International (2019). Literary speculative novel with Meerkat Press (2019). Chapter, multi-authored book: Creative Writing with Critical Theory: Inhabitation, Gylphi (2018). Eugen's work is published in literary and speculative journals, magazines & anthologies worldwide. She is also a professional editor, check out Writerly - editing services.

Website | Blog

 

About Meerkat Press: 

 Meerkat Press is an independent publisher committed to finding and publishing exceptional, irresistible, unforgettable fiction. And despite the previous sentence, we frown on overuse of adjectives and adverbs in submissions. *smile*

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Saturday, July 13, 2019

Interview with Eugen Bacon, author of Claiming T-Mo


Today it gives the Speculative Fiction Showcase great pleasure to interview Eugen Bacon, whose new novel Claiming T-Mo, due to be published by Meerkat Press in August, we will feature on August 13th. 

You gained an MSc in computer science before you switched to creative writing, in which you have a PhD. You say you were “mentally re-engineered” into creative writing. Can you tell us what you mean?
I’ve read some fun bios, the favourite being Chris Kluwe’s who says he grew up in a colony of wild chinchillas and basically barked and howled until he was 14. He’s played football, once wrestled a bear for a pot of gold, and lies occasionally. And why the heck are these bio thingies in third person? Sheesh, so cool, I thought when I read it. ‘Mentally re-engineered’? That’s me trying to be cool. 

You are a prolific author, having published numerous critically acclaimed short stories, but Claiming T-Mo is your first full-length novel - what different challenges did that present and what strategies did you use?
I’m mostly a short story writer, never turning a story into a novel because the story became too long, or had too many characters or the theme was not fully developed in the shorter form, or that I wanted to continue working on the story as a larger piece. 

A short story is, for me, complete in itself—it doesn’t beg to be longer. Sometimes speculative fiction writers don’t understand this. I am in love with the short form for its precision, its integrity, its intensity, its fine craft when done well. It is fun and immediate. 

All these things about the short story present as challenges when I write a novel. So, my strategy is to embed and layer the novel with special vignettes, interconnected. As one writer Felicity Castagna once said, the short story is the backbone of everything I write, regardless of genre. I build my novel story by story, where the writing is singing in a discipline already familiar, while chiming the chorus of a novel. Perhaps this explains the sharpness and intensity of Claiming T-Mo. 

You have contributed a chapter to a multi-authored book: Creative Writing with Critical Theory: Inhabitation, Gylphi (2018). Are there any conflicts between writing about a subject like critical theory and the writing process itself?
I’m very diverse, writing across forms and genres: short stories, prose poetry, scholarly articles, creative non-fiction, literary fiction, speculative fiction... I enjoy creative writing, period—and it crosses boundaries of form and genre. During my PhD in creative writing, I taught myself to marry or divorce the scholar from the artist. 

Can you tell us more about that book of essays and your contribution to it?
Inhabitation explores how writers forge connections between critical theory and their practice while considering creative contexts. My chapter is titled Betwixt: Cross-cultural and cross-genre inhabitation in creative writing: 
‘What colour are my characters? What languages do they speak? I am legion, the self and ‘other’. This is a story about inhabitation, a multiple embodiment. I write as a scholar who is also an artist, who was once a scientist; a short story writer who is also a novelist… My multiplicities surface in positionings of discontinuity, being between worlds. These diversities render themselves in my cross-genre writing, in self-reflective, fictional or diagnostic negotiations that engage with difference in the otherworldly or the everyday. As a writer who exists in zones of difference within and between cultures… my writing crosses borders to new worlds in a postmodernist realism of no ‘clean’ divide. I am many.’
What is it about short stories that particularly lends itself to SF&F as a genre?
In my book Writing Speculative Fiction, I reference theorist Paul March-Russell and talk about the relationship between the short story and postmodernism. The postmodern is… undecidable: the short story leaves meaning to be uncovered. The postmodern is… decentred: the short story’s undecidability dissolves centralisation. The postmodern is… simulation: the short story’s decentralisation allows distinction from reality and enables artistic representations of reality. 

Do you see how qualities of the short story work splendidly in speculative fiction? 

You have also had a non-fiction book, Writing Speculative Fiction: Creative and Critical Approaches, published by MacMillan in May. Having read the blurb, this sounds fascinating: “Through analysis of writers such as Stephen King, J.R.R. Tolkien and J. K. Rowling, this book scrutinises the characteristics of speculative fiction, considers the potential of writing cross genre and covers the challenges of targeting young adults.” Can you tell us more about the book and what led you to write it?
Writing Speculative Fiction is a child of my PhD thesis, de-scholarised, and turned into a fun book that is also a valuable guide in the realms of theory and practice. It offers a framework on which the main components of speculative fiction rest, including the conventions of storytelling. It pays attention to literary theorist Roland Barthes’ pleasure of the text. Most of all, it draws on works by established and emerging writers and offers signposts for recognising and implementing the ‘speculative’ in fiction. 




The blurb also mentions that you interrogate the sub-genres of speculative fiction. Sometimes it seems as if the genre is constantly generating new sub-genres, for example steampunk, dieselpunk, arcanepunk and sparkpunk, to name but a few. What are your thoughts on this?
Fads come and go. Genre and sub-genre boundaries stay thin. In his interview with Writer’s Digest, Orson Scott Card warned against following transient ‘literary trends’ that come and go. Once the trend is over, so are the stories and book you wrote to satisfy them, says Card. I agree. As Card suggests, the best way to invent your best stories is to write about what you believe in, what you’re passionate about.  

What about the interaction between genre and literary fiction? Some authors, for example notoriously Ian McEwan, have denied that they were writing Science Fiction when it seemed that they were writing precisely that. What do you think of this, and does it even have any relevance?
I question why Ian McEwan would refuse to acknowledge bending genre. I am a proponent of cross genre writing. Crossing genre is experimenting. Beautiful works come from integrating traditional genre and literary fiction. Literary award winners from speculative fiction are birthed from successful blends that move publishers, readers and judges who are prepared to be astonished. A good writer will stay curious, exploratory, immersed in a creative space that is ever redefining itself. A good reader will find affection in deviants.     

What are you working on now?
I have a novella currently under consideration, and three short form collections, two of which are contracted. With two books out this 2019, I underestimated the exertion! 

Claiming T-Mo will be published by Meerkat Press in August. Can you tell us more about it?
I wrote Claiming T-Mo as part of my creative PhD. I was fascinated with the model of stories-within-a-story for a writer of short fiction to craft a novel. I was also mesmerised with crossing genre and integrating the literary into my speculative fiction. Claiming T-Mo is a story about engaging with difference (the original title was Outbreeds, a breed of others), where—despite its name—the women are the true heart of the story. 

What new departures can your readers look forward to, and where would you place the book within the genre?
I wrote this book as a curious, exploratory writer immersed in a dynamic creative space. I beg my readers to find affection in this deviant that has no singular tick to the questions: Is it science fiction? Or fantasy? Or horror? 




There is a recurrent joke that writers of dystopian fiction have been put out of business by the dystopian present. Is all speculative fiction necessarily pessimistic?
Claiming T-Mo is not dystopian—which by its very nature attends to themes of societal dysfunction, leading to oppression or abject poverty, for instance, perhaps as an outcome of post-apocalyptic events. I can see why readers might construe dystopian fiction as pessimistic. But not all speculative fiction is dystopian. 

To what extent have e-books revolutionised the situation for writers and writing generally?
E-books certainly make writers and their writing more accessible. Sadly, it also opens doors to poor quality work that may be fan-based and cheaply proliferates the market. Readers must apply filters through reviews, recommendations, the calibre of a publication, and much more, to gauge the superiority of a work. But sometimes you never know until you chance an unknown writer and discover they are a gem. 

What are you reading at the moment and what do you read to relax?
I’m about to embark on Michael Ondaatje’s Anil’s Ghost, oh such fun. I’ve just finished a collection of short stories by Australian John Kinsella, who is a stimulating writer! He reminds me of the beauty of the short form. I truly love speculative anthologies and novellas—like Jennifer Giesbrecht’s The Monster of Elendhaven. 




About Eugen Bacon:



Eugen M. Bacon, MA, MSc, PhD, studied at Maritime Campus, less than two minutes' walk from The Royal Observatory of the Greenwich Meridian. A Computer graduate mentally re-engineered into creative writing, Eugen has published over 100 short stories and articles and multiple anthologies. Shortlisted Bridport Prize 2018. Honorable Mention L. Ron Hubbard Writers of the Future Contest 2017. Her articles were nominated for the 2017 Aurealis Convenors Award for Excellence. Out soon: Creative non-fiction book with Macmillan International (2019). Literary speculative novel with Meerkat Press (2019). Chapter, multi-authored book: Creative Writing with Critical Theory: Inhabitation, Gylphi (2018). Eugen's work is published in literary and speculative journals, magazines & anthologies worldwide. She is also a professional editor, check out Writerly - editing services.