Tag Archives: SF

… excited about my next novel …

I feel excited, because a first cover design idea for ‘Shapers,’ the sequel to ‘Course of Mirrors’ has arrived. I like it a lot, though more ideas are worked on. My son found a wonderful designer, Rachel, who also likes my writing … a bonus. Not yet, but sometime soon I’ll post a cover reveal. The manuscript is presently being formatted by Matador/Troubador, a high-quality self-publishing imprint. I’m too old to wait months on end for agents or publishers to respond to queries. It’s their loss.

View from my workspace

In Shapers, time is a bridge that Ana, Mesa and Cara traverse towards the realisation they are a triple soul existing in different places. They each have an urgent task to mend relationships across parallel epochs. As they gradually come to encounter each other so they must explore the myth of past, present, future. 

From the prologue … The underground community of Shapers – scientists with a mystical bent – take subtle actions in a time of political tyranny. Their shape-shifting Oracle, Cassia, can call earthlings from any time or space into the present when a catalyst is needed …

In AD 2450, Cassia calls back Mesa from a future time to alleviate a crisis in Rhonda. Mesa is an agent of the Ypocs, a genetically-enhanced species. Answering the call, Mesa uses her intuitive powers for a double task of assisting the survival of Rhondeans and Shapers and of exploring the origins of her tribe of Ypocs to find clues about why time slows down in her tribe’s utopian world.

I thought I treat my readers to a segment from the first chapter of Shapers …

Chiming Worlds     

“Wake up.” I nudged Luke, alerting him to the pale mist pouring over the rim of the sea, like the kind that swirls up when warm milk hits a cold pail.

Luke rubbed his eyes and frowned. “I don’t like the silence,” he said, peeling himself from the sailcloth covers of the small lifeboat Captain Jacko Ponto had granted us as sleeping quarters, since all cabins were taken at the time of our late booking.

We were sailing under three square-rigged masts towards the Western Isles. For weeks, since leaving Itaka, our journey on board the impressive Engrail had been favoured by lively currents. This morning, water stretched deadly calm like liquid silver, a novel and beautiful surprise which also struck me as ominous. The stifling air mystified everyone on board. Sails hung slack. Sailors assembled and stared vacantly across the waters that lay flat and deceptively serene. Luke joined them.

The sailors had tolerated Luke’s interest in their acrobatic feats, but they did not permit him to climb the riggings, to trim or adjust sails. He kept fit by practising martial arts, while I became the ship’s mascot. Elevated on coils of rope, with paper and charcoal in my lap, I drafted impressions of Luke, which were blurred with recollected gestures of his twin, Rufus, who burdened my conscience. I churned out sketch after sketch of fellow travellers, men perched on masts pencilled into the sky, and glittering currents and blustering sails.

Luke and I counted time by the ascending sounds from the ship’s bell, until eight rings called for the watch to change. Last night, as every night, we had cuddled together in our snug lifeboat under the gleaming fabric of stars, into which we wove our dreams. Salty breezes flavoured stories we shared, secrets that troubled our lives.

Today I pondered our reckless exit from Rusk towards open horizons, spurned by the mysterious quest proposed by Cassia, the prophetess, as Luke called her now, and, as it turned out, the Oracle of the Shapers, a secret organisation that endured across time. Cassia once told me: You are the bridge, Ana.

My musings were broken by the noisy splutter of an emergency engine, which promptly ceased to function. Luke returned. “Sailors grumble, they’re called below deck and use oars,” he said. The monotonous creaking of oars did nothing to lift our mood. Passengers wandered aimlessly, gaping in vain to distinguish sea from sky, which had blended together into grey mist. Soon people congregated in groups where plenty of rum was shared. Cheering each other with rude songs, shrill enough to chase ghosts away, some people tumbled into each other’s arms as if a puppeteer had tangled up the strings.

I escaped to our lifeboat, to re-read my latest journal entries of Cara, my soul companion. Luke stayed nearby, keeping watch. He thought Cara, whose messages I transcribed into my journal, was a reverie. I had omitted to mention that she lived in a time alien to ours, centuries ahead. When I grew up lonely at Katun Court and sensed the deep wrong in my family, Cara spoke frequently as a voice moving through my head. But once the world unravelled during my river journey between Nimrich and Katun provinces, her presence became sporadic. A few days ago I chose to initiate contact by addressing a message to her. To my delight, she responded. Sentences appeared as if written on air, fragments of events, which I recorded in my journal. Cara’s journey had assumed an uncanny resonance with my own:

I thought I had lost you, Ana. Like you, I accompany a lover on a quest. Let me tell you about us. Your Luke is my Dillon. We are crossing the Atlantic by plane to America. Four weeks from now they’ll elect a new president. From my window seat I watch Canada’s lakes far below – pink mirrors strewn among purple damask. We have been chasing the sunset for hours, bound for Washington D.C., with a stopover in New York to change planes.

An icy wind greets us. I wear a coat sewn by hand from a charcoal-coloured blanket, trimmed with blue velvet. I could be a successful designer instead of a poor seeker with expedient philosophies, such as money obstructs the spiritual quest. My coat has rustic elegance but scarcely keeps out the fierce cold of Capitol Hill. Our charming escort delivers us to one of our hosts. My limbs quiver like frosted leaves. It is Christmas Eve.

We have a festive lunch with students who share this spacious house beyond George Town. Our host’s mother is old and ailing. The door to her room beyond the hall of the dining room is permanently open. From her bed she listens to our table talk. Imagine – all of a sudden she sits bolt upright and points a finger at us. ‘You don’t have to do anything. I don’t have to do anything. They were the first words God yelled out loud when he made the universe.’ With that she slumps back into her pillows. Some of our party smile, knowingly, others gaze absentmindedly at the white turkey slices on their plates, adorned with glaringly red cranberry sauce and green sprouts. While our chatter about spiritual matters resumes, I ponder whether the ultimate clue to our search has possibly just come from the ancient woman across the hall. But it can’t be that simple.

The scenes and places Cara described felt alien, but the incident with the old woman made me laugh and lifted my spirits over conditions on the Engrail:

Dillon avoids talking about his quest. Yet our eccentric status, partial to the arcane path of the fool, and our credentials, arouse curiosity. As Dillon elegantly steers the table conversation away from us, we end up listening with growing amazement to a rapid succession of expositions – on Crazy Wisdom versions of Buddhism, Gurdjieff, Tantra, Zen, Kundalini, Agni Yoga, Theosophy and various Sufi paths. Everyone in this house follows a different teaching. America has supermarkets for everything, including exotic tastes of the divine.

But let’s assume you know deep inside something that does not correspond to what is accepted as possible. Should you express your truth it would be ridiculed. On Boxing Day we meet the main host we came to see. Imagine someone of high standing in society who radiates authenticity and talks with natural ease about experiences you tend to doubt you ever had; imagine that someone drops the end of his cigar into your half-empty coffee cup to jolt you from one dream into another. This someone is our host.

Here’s some feedback re: ‘Course of Mirrors,’ the prequel, on my website:

Among excerpts from ‘Shapers,’ a random one, a time-jump to 1970s Derrynane: https://courseofmirrors.com/excerpts/

I’ve not yet mastered the fancy new design features of WordPress, so any high-lightened links will lead you away from this post, and you need to backtrack to return to this site.

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My promised essay ‘The Body Electric’

Tomila, Museo del Oro, Santafe de Bogota

I wrote the above essay in 1997, inspired by my readings during a vocational film degree, which helped me to catch up on cultural history. The file was idling away in a Clarisworks format on an old floppy disk. A friend (thank you Ian) managed to transfer the text into a Word document. Cleaning the formatting distortions suffered in the process took a while, but was worth the effort, since I wanted to share this theme of exploring Human Identity in the Digital Age with my readers in a PDF file.  A short overview of this essay can be found in my archived posts, listed under January 2018. But here is the full work, including its bibliography. The chapters are headed: Vanishing Time, Vanishing Space, Vanishing Body, Eyes that would Fix and Control us as Objects, Seeing through the Simulacra, and, A Palace of Mirrors. Throughout, I evoke scenes from the SF film Bladerunner.

I’m interested to know your thoughts on the yet unfolding theme of identity in our age.

The title of the essay was inspired by a wonderful Walt Whitman poem called ‘Sing the Body Electric.’ 

A poem by a former Sufi teacher and friend, Fazal Inayat-Khan, conveys a similar vibrant spirit:

A QALANDAR … a human being in the making …

Adam/man, Minerva/woman – a human being in the making – functioning in the world on the stage of life – playing the script of destiny with the delight of indifference and the carelessness of full satisfaction. A being knowing all there is to be known by it, yet ever learning; ready to feel all there is to be sensed by it, yet ever discovering new depth of emotions; capable of expressing its deepest and truest inspirations, yet ever expanding its consciousness; sensitive enough to give and receive love in all its forms and levels of becoming.

The full poem is printed in ‘Heart of a Sufi,’ a book I co-edited with two friends (see my book page.)

Here the last paragraph of QALANDAR …

A Qalandar is simple as a child, wise as an old woman, unfathomable as an old man. He belongs to the moment, she responds to every need. He speaks all languages; she performs all roles. They are one …

                                                                              Fazal Inayat-Khan, 18th of June 1972

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… what writers can glean from cinematographers …

Like writers, filmmakers manipulate time. They take a story apart and re-assemble it.

Robert Bresson, inquisitor and humanist, stimulated filmmakers and enriched the experience ofrobert-bresson2 viewers. With a tiny leap of the imagination his ‘Notes on the Cinematographer,’ publ. by Quartet Books in 1986, transl. from the French by Jonathan Griffin, also offer inspiration to writers of stories. Here are a few  brief notes I collated during my vocational film degree in the early 90s:

An image is transformed by contact with other images as is a colour by contact with other colours. A blue is not the same blue besides a green, a yellow, a red. No art is without transformation.

For the writer – this would apply to action and reaction, resonance or dissonance, anything that develops the dynamic interactions of a narrative.

img108 adjustedTo create is not to deform or invent persons or things. It is to tie new relationships between persons and things which are, and as they are.

This equally holds for writing. Characters discover themselves through relationships.

Something that failed can, if you change its place, be a thing that has come off.

If a writer’s darling idea distracts in one place, in another place it may earn its stay.

One dismantles and puts together till one gets intensity.

This reminds me of a Goethe quote … Dich im Unendlichen zu finden, must unterscheiden und verbinden … To find yourself in infinity you must differentiate and combine … Details works best if they have a purpose in the protagonist’s quest, especially when it comes to turning points.

An old thing becomes new if you detach it from what usually surrounds it.

This is what creativity is all about. Entrepreneurs seem to grok this.

What is for the eye must not duplicate what is for the ear (within.)

This serves as a reminder not to overwhelm a reader with sensual information.

The cause which makes him/her say this sentence or makes that movement is not in him/her, it is in you. The causes are not in the models. On the stage and in films the actor must make us believe that the cause is in him.

A one-up on the ‘show don’t tell’ writing mantra. Both telling and showing have their place, though we connect to a character more intimately through being shown the interactions with him/her self and others.

The omnipotence of rhythms – nothing is durable but what is caught up in rhythms.

We love rhythm. It measures time and gives coherence, while a counter rhythm can surprise and quicken our heartbeat. In film as in writing this might be the repetition of quirky character traits, tone of voice, tempo, mood, atmosphere, or reoccurring shifts in style and perspective, in the way we enjoy how adagio and presto in music enhance each other.

P1090890 - Copy (2)Translate the invisible wind by the water it sculpts in passing.

This ventures into the domain of poetry …  the ongoing challenge to find ways to express in words or images what rushes past us in daily life, but nevertheless affects us deeply.

The eye is (in general) superficial, the ear profound and inventive. A locomotive whistle imprints in us a whole railway station.

This is about trusting the imagination of the viewer, or reader.

Let the cause follow the effect, not accompany it or precede it.

Robert Bresson shares: The other day I was walking through the gardens by Notre-Dame and saw approaching a man whose eyes caught something behind me, which I could not see: at once they lit up. If, at the same time I saw the man, I had perceived the young woman and the child towards whom he now begun running, that happy face of his would not have struck me so; indeed I might not have noticed it.

Build your film on white, on silence and on stillness.

Profound. Allowing a unique story to emerge requires intuition, and an inner kind of listening.

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A touching interview of R Bresson. And some video clips relating to cinema, including hand gestures R Bresson used in film.

As writers, how do we move a story from one setting to another?

In film, a sudden jump of scene is kind of lazy, unless intended to shock. In writing, too, there are more elegant ways to transit from one place, or time, to another, mainly through matching parallels or correspondences. This could be: A keyword in a dialogue repeated in the next scene, or a similar action, direction of movement, speed, light, colour, shape, sound or mood. It could also be an artificial device, featuring a narrator, or a recurring (out of time) interlude which can form the spine for the narrative.

I have time-jumps in my novels (yet to be publishend.) It remains to be seen whether they work.

Regarding spatial/temporal suspensions of linearity, I remember the beginning of the film Space Odyssey 2001. A victorious ape, having discovered a bone can be a weapon, spins his tool high into the air … time leaps … and next we see a spinning space station, shaped like the femur bone.

More recent, in the TV series The Last King – 1st episode, a time leap works well … The Saxon boy, Uhtred, captured by Danes and taken under the wings of Earl Ragnar, is pushed by him playfully into a river with the words ‘You’re as a son to me.’ In the next scene Uhtred steps out of the river as a grown man, albeit with conflicting localities.

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On a personal note, as my life’s narrative is concerned, having made professional sacrifices ten years ago, in order to write, I wish I could shift to a scene and time that did not involve worrying about keeping my roof over my head.

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… imagination …

From its fountain, the psyche pours compositions of light and darkness, images shaping the natural elements that engender our sensual experiences. Countless composite images trickle through our mind. Do we pause to ponder which to let pass, like dry leaves floating down the river, and which to absorb deeply into our heart – and give life to?  

The images we energise are re-envisioned and re-told through our perception. Nature spirits, archetypes, monsters and fairies, heroes and villains, deities, gods, devils and angels, the dark unknown – mankind’s entire mythical landscapes are encapsulated by the imagination and affect our everyday life.

Through this phenomenological process we discovered language, numbers and geometry, tools that potentially enable us to re-create nature. Some scientists maintain that matter constitutes the real and all phenomena derived from nature’s building blocks is not real. But deep inside we know … our search for the world we intimately desire attracts to us enlightened scripts. Through trial and error we learn to apply these scripts, and, for better or worse, we make our worlds real. Worlds within worlds are born from the imagination.

The young in heart have a natural curiosity to play and explore what lies beyond the horizon, literally and metaphorically, with a keen drive to discover facets of their soul reflected in all matter, experiencing matter not as dead, but as vibrantly alive and animated.

Consider the present demand for SF or its playful sister, fantasy, or magic realism. These genres overlap, they deal with the human condition, the desire for a home, in the widest sense – be it for another planet, an island, a heaven, a yesterday, a tomorrow, or the grail of now. To achieve the latent desire for the ineffable, a writer, any artist, becomes a deep-sea-diver of the psyche, and, on coming up for air, re-arranges the booty found there. Some of my favourite writers are R Heinlein, C S Lewis, R Bradbury, I Asimov, M Atwood, Garcia Marquez. Jorge Luis Borges, Doris Lessing and Ursula Le Guin …

It’s time to re-discover the bridge between the two hemispheres of our brains and balance the outlook of our material societies, value reverie, art and fresh perspectives, engage in play, song, dance and storytelling.

Time to embrace unstructured activities, which sidestep reason’s often pre-conceived observations, the epistemological obstacle, as Gaston Bachelard calls it, the grid of unconscious mental patterns that block seeing through our deeply personal and grounded experience, through the heart.

I’ll never forget the visit during the 70s, instigated through a Sufi friend, to a small Trappist community in the vicinity of Washington DC. The handful of monks rotated duties in house and gardens, interspersed with reading time in their fabulous library. Each one of them also enjoyed an annual 40-days-silent-retreat in one of the huts sprinkled over the many-hectare-estate. My then partner and I were privileged to listen to some of the monks sharing their vastly different cosmologies, psychologies and spiritualities. What struck me was that each monk had a vastly different idea about God, including one admitting that he thought God was man-made and no less real for that. What a stimulating place to be, where you are respected for the envisioning of your world.

 ‘The imagination is not a state; it is human existence itself.’ – William Blake

‘In our most private and most subjective lives we are not only the passive witnesses of our age, and its sufferers, but also its makers. We make our own epoch.’  – C G  Jung, 1934 

‘If children grew up according to early indications, we should have nothing but geniuses.’ – Johann Wolfgang von Goethe

Relevant links:

Re: CS Lewis  http://users.etown.edu/d/DOWNINDC/dungeon.htm

Gaston Bachelard  http://www.newworldencyclopedia.org/entry/Gaston_Bachelard

The World Within, C G Jung video  http://www.youtube.com/watch?v=Z6MHRHKd4Ps&feature=related

See also https://courseofmirrors.wordpress.com/2012/05/25/pattern-which-connects/

For those with a metaphysical interest in the imagination, here is an article of mine: https://courseofmirrors.files.wordpress.com/2011/03/science-of-the-heart.pdf

Excerpt … The mystic aims to raise sensory data to a higher level. This happens via the visionary imagination, the ‘presence of the heart’, and it happens precisely in that intermediate world where material beings take form and where material beings dissolve again to become subtle bodies. This intermediate world exists not at the other end of the universe, but right here with us, between each of our breaths. This is how the presence of the heart affects, how ideals, in whatever way we conceive of our Ideal, become realised. What we give being to in this intermediate sphere inevitably appears and becomes endowed with an outward reality. This is so, even when it is visible only to the inner eye, the eye of the heart, just beyond what can be perceived by the senses.

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The rose image: detail of ‘The virgin of the unfading rose,’ eighteen century.

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