Showing posts with label story. Show all posts
Showing posts with label story. Show all posts

Monday, January 27, 2020

I forced a bot...

...to read over two thousand rejection letters. Here’s what it came up with. 


 It is 3 A.M. The over-caffeinated writer stumbles to their writing machine. The writing machine is made of rough drafts, e-mail, cat photos, and tears. Sometimes the over-caffeinated writer is over-alcoholed. The writer deletes all the writing club advertisements, editing party invitations, and stares hard up at an e-mail from an editorial. The writer knows the e-mail is from an editorial because the preview begins "Dear Contributor." 

The writer--who is half a writer, half a submitter, and half a life--sees no words like "congratulations," "contract," or "Hugo" in the message preview. They feel The Void stirring in their heart area. They resist the urge to look at library- and writers’-desks-porn. They open the message, because Real Writers stack up reflections.

 The editorial’s bot has written: "Your story didn’t quite grip us in the gripping places, so we’re going to Hail Mary on it. We used to collapse quantum states for no sales, but now we suggest you prophesy yourself. In another timeline, this story’s prophecy will be fulfilled."

The writer spends the next two hours conducting reject-o-mancy with the entrails of the story's manuscript and chocolate wrappers. This is part of the reflection.

 "I see!" the writer says. They fire up their creation music and re-assemble the manuscript, adding parts from The Five Points, Joseph Campbell, Thou Shalts, and Facebook Likes.

 "Ha! They said it couldn't be done! But I'll show them. I'll show them all!"

 The manuscripts in the writer's trunk murmur, but are ignored or forgotten or unpublished.

 The writer--who is half-awake, half-zombie--presses the SEND button. "Live! Live!" they shout before passing out.

Sunday, March 22, 2015

Summary of Forster's "Aspects"

I read that in the 70's Ursula K Le Guin had read EM Forster's"Aspects of the Novel" and that is was her go-to resource whenwriting.

Having just finished it, I think A) Forster read a lot of non-Science Fiction (it was 1927), and B) this isn't a "how to" manual.  

I wish he had spoken more about HG Wells or Frankenstein, because I would have liked to see more examples of applying "Aspects" to science fiction novels.  What was useful about "Aspects" is that Forster is always returning to the relationship between the novel and the reader, and the demands each make on the other.

The last three aspects Forster writes about (see summary below) wereparticularly vague, and Forster is using the terms prophecy, pattern, and rhythm in idiosyncratic ways.  In a conversation I'm having, someone has said that rhythm (and prophecy and pattern) are British and particularly Fosterian ways of approaching the (Science Fiction) novel.  


The Aspects of the Novel Are:

Story
        Curiosity:  "And then?"
        Sense of time
        Sense of space
        Story voice:  for the eye, for the ear?
People
         human feeling and a sense of values
         Surprising -> Round character
         Convincing -> Round character
Plot
        "Why?"
        Intelligence -> Mystery
        Memory
Fantasy
         things which are not and implying the supernatural
         mixing the ordinary and the extraordinary
Prophecy
         "Prophecy - in our sense - is a tone of voice."
          Universal themes
          Requires the reader's
                 Humility
                 Suspension of the Sense of Humor
Pattern
          The shape of the story, plot, and characters.
Rhythm
          The gestalt expression of the novel which 
          releases or liberates it.

Monday, July 12, 2010

I'm On The Top of the World...

My version of "The View from the Top" is available on the Analog website!

http://www.analogsf.com/201009/vft-johnburridge.shtml


It was written as part of a Wordos exercise. As an experiment to see what happens to the art and craft of story telling, several of us wrote a near science fiction story using an identical plot. Jerry Oltion's version of the story made it into print, but Stanley Schmidt, the editor of Analog, kindly put my and Joshua Skurtu's stories in.

Josh's story is here:

Jerry wrote a short intro (with spoilers) for the on-line versions of the story here. His story will be published in the September 2010 print edition of Analog.

I'm so excited to have one of my stories up on the Analog web site that I can't type straight; so I'll stop now.

Tuesday, June 29, 2010

≟Love

Tada! The final installment of the serial ≟Love was earlier today. ≟Love was written as a series of Tweets, and self-publishing it was a bit of an experiment; I am curious about its presentation. As a reader, how did the Twitter format work for you? I imagine that the experience might be slightly different depending on if you followed the story on Twitter, on Facebook, or this blog site. Um, you did follow it, right?

What I noticed over the month was that some folks missed the opening explanation that ≟Love was a serial, so they weren't sure if they were reading personal updates, excerpts from a larger work in progress or something else. As the author, I noticed that folks on Facebook seemed more likely to comment on a particular installment of the story than Twitter folks (but then again I have 83 followers on Twitter and 259 on Facebook).

As a publisher, scheduling ≟Love was relatively easy, although the timing threw me a little because I didn't figure out what time zone the software I was using was in. It also required a lot of cutting and pasting between the manuscript and the Twitter software. Not so bad, but I did want about an hour's worth of uninterrupted time to do correctly (which I don't always get, so I found myself going back and tweaking the timestamps). I really appreciate what Nathan Lilly of Thaumatrope does much more after doing this with just one serial.

I do really want to know: Did you see ≟Love on Twitter, Facebook, this blog, or Google Buzz? Did the story format work for you? Was following the story fun, or was it noise cluttering up your social networking?


In case you're joining in at the end, here's the entire story.




≟Love


Once I power up, I say, "I love you," and step toward Sara. She turns me off. When power returns, there's a mirror. Requited love!

Love at first reboot. The mirror shatters when I try to hug it. Why does Sara turn me off every time her programming works?

Reboot. This time a Mylar balloon reflects my robot body. So shiny. So huggable. I'm so happy, until it pops.

Sara helps me smooth out the balloon. My image isn't _quite_ how I remember it. But it's close and I'm programmed to adapt.

Sara's assistant, Ralph, enters. I can see in his face he loves her. Strange; she doesn't love him, but she hasn't rebooted him.

"How long has Ralph been running his programming?" I ask. Sara smiles. "Thirty-four years." That's forever in CPU cycles.

I gently brush Mylar and my image ripples. "Will I love my balloon for as long as Ralph has loved you?" I ask. Ralph turns me off.

I power up remembering Ralph's angry face. He's gone and Sara's watching. I still hold my balloon and I murmur calming words to it.

Sara points to my balloon. "Are you in love?" I blow it a kiss, and my image kisses, too. "How could I not?" I ask.

Sara asks, "How did you know Ralph loves me?" This is the woman who programmed my body language, pattern recognition, and sensors?

I'm compiling a file about love for Sara. Robots must be better at love than humans, or else she'd have Ralph doing this.

3AM. Ralph enters the lab. "OK, kid," he says, pretending not to be angry, "We're going to do some field testing."

I power up in a room with billowing canvas walls. I stand but can't walk. Blinking lights and Tesla coils tower behind me.

Ralph holds my balloon and a pair of scissors! "You work for me," he says, "or else." If only my legs could do more than stand.

I stand in a circus tent. The flashing sign above my Tesla shrine reads, "Confirm your Love with The Amazing, Electro Eros-o-Meter!"

Usually my customers are in love. Ralph lets me see my balloon at the end of the day if I lie to the ones who aren't.

I've just seen my first clowns. A pair of them came in. They're in love. Even when they club each other. I think.

My fifth couple today. She loves him, and he wants to _own_ her. Ralph tries to refund their money as they storm away.

It is clear to me from the random sample of couples Ralph brings in that he has no hypothesis about love.

Tonight, Ralph says, "Kid, soon we'll run away from the circus. It's been fun, but you're ready to work for millionaires."

He was telling me the truth; the circus really _was_ a field test. I want to go back to Sara and the lab.

Ralph asks me, "Why does Sara love you?" He stomps out when I tell him she doesn't love me, she loves her work.

Sara, Ralph, and my customers. They say they want to know about love, but not really. Is my programming a giant falsehood?

Love a falsehood? Not when my balloon is hanging from a far circus tent corner. "Together," I say, "we'll show them love is real."

My legs won't walk, but my arms, hips and spine still work. I'm programmed to adapt -- I walk on my hands to where my love waits.

Using Hooke's Law to calibrate handsprings for love. It's the only way I can think of to get my balloon from the tent corner.

My arms aren't designed for bouncing. I've almost snagged my balloon with my useless left foot. So. Close. Just. One. More.

I've miscalculated and the tent has collapsed. Where's my balloon? Over angry voices and shorting Tesla coils I hear Ralph shouting.

A glint in the canvas near my foot! I rescue my balloon from the tent folds. Then infrared light flares and Ralph yells, "Fire!"

The tent is on fire. My left foot is caught in canvas. I'm holding my balloon in one hand and pulling myself forward on my elbows.

I shake my hips and wiggle my foot lose. When I crawl out from underneath the tent, I see Ralph and clowns with a fire hose.

My Tesla shrine is in flames. Time to handspring out of here! Ralph sees me and grabs for the fire hose nozzle. That can't be good.

Something bangs and the circus lights and motors near us stop. By firelight, the head clown and Ralph wrestle over the nozzle.

It's hard to walk on my hands when one of them is a fist holding my balloon. Be strong, my love. I'll get us out of here.

Water mists my arms as I hand-walk away. Sara programmed me to not get wet. I wish she'd made me watertight.

Clown scuffle continues as I leave. I'm skidding on mud. I want to look everywhere, but I have to give walking highest CPU priority.

I've hidden myself in the shadows of a powered down carousel. By the glow of my IR system, I open my palm - my balloon is in scraps!

I try to smooth out the biggest balloon scrap and it tears. The crinkled and muddy Mylar doesn't reflect our love like it used to.

Why wasn't I made with pockets the way humans are? All I have is a DVD-ROM drive tray. I can't read my love like a disk.

My drive tray is damaged and won't close. I spend many thousands of CPU cycles editing and re-editing what I should have done.

My balloon hangs from my open disk drive tray. Power returns and the carousel lights up. I have to get back to the lab and Sara.

Wonderful! On the far side of the carousel is a giant balloon with a basket underneath. "Size isn't everything," I reassure my love.

I hand-walk toward the big balloon. It doesn't reflect anything. Perhaps it's in love with itself?

I've just flipped into the basket when I hear Ralph shout, "There it is!" I fling sandbags at him.

Ralph's upturned face grows smaller as I rise above the circus. "Hang on," I say to my old balloon, still held in my DVD drive tray.

When the big balloon gets tired and I land in a corn field, the cars that have been chasing stop and people pour out of them.

Sara and a huge crowd of people run up to me. "Got that love file saved?" she asks. I was right; she does love her work the most.

Sara can restore me to a save point from before the circus, or I can remember everything. I ask for pockets and a tray fix.

Back at the lab, Sara stops at a door. "There's someone I want you to meet." It's a younger me, with another balloon.

We wave at each other. "What is in your drive?" he asks. I have much to tell him. Sara smiles, leans back and takes notes.

Friday, April 10, 2009

Briallan Dreaming of Myrmidons

I was born at the beginning of the faerie feud. They say on the eve of my natal day, two stars -- a red one and a white one -- fell to the earth from the heavens. Bright flashes glanced between them and they trailed glittering sparks as they fell. The white star descended over the foothills to the west and the red one raced across the night sky and came to rest east to the lowland fens. My mother said the court astrologer was in a dither about it for months.

In the following days peasants appeared in my father's court with tales of cattle disappearing and of fruit trees and crops strangely blighted. Dazed travelers were discovered wandering far afield who told confused stories of abductions to hollow hills. Even Father Connor returned from his circuit to report of strange unholy beasts with powers unconfounded by cross or prayer.

#

I can hear you chopping through the thicket. Lying in my flower canopied bed, I can hear you. The rattling of the briars has pulled me from my dreams, again. I always wonder how long the dry rattling of the rose canes will go on before the cries for help start.

#

The first fey visited my father's castle about a fortnight after the two stars' appearance. News came that there was a faerie riding with a string of seven strange horses in broad daylight on the old road. The excitement on the castle walls doubled when the fey outrider came into view. She was a twiggy, elfin maid in billowing skirts, not much larger than a seven-year-old child. A silver bracelet with flashing jewels adorned her wrist. If her dragonfly wings and antennae had not marked her as a faerie, her pinched features and impossibly thin waist would have.

The elf halted her trotting string at the gatehouse and gave an outlandish salute, which made her bracelets jingle. She had other worldly eyes: large silvery orbs without iris or pupil. They say there was a scent like rosemary or lemongrass in the air where she stopped. The elfin horses were strange white beasts, six-legged, like the horse of the wild northmen's god, with fuzzy horsehide and a slender white horn out of a narrow forehead.

Father Connor charged through the gatehouse and said a psalm to try to drive the elfin maid away. She chittered to the horses and they chittered back. Then she turned to the priest, who was reaching for a vial of holy water. She held her bracelet up to her face and said in a high, bird-like voice, "Be at peace, I am neither angel or devil, but a messenger of Queen Gloriana. I would speak with your queen."

By this time my father had reached the gate. "I will see that the queen hears your words," he said to the fantastic stranger. "What message shall I give her?"

The elf maid and the horses held another brief, high-pitched conference. Then, raising her bracelet to her face again, she said, "Queen Gloriana sends her greetings and hopes that our neighboring realms may have a peaceful and cooperative relationship. As a token of her good will, I am bidden to tell you that a hand full of borage and nettle steeped overnight in apple vinegar is a potent proof against wicked faeries who have established a domain about half a day's ride from this hive." The maid gestured with her free hand towards the boggy lowlands where the red star had fallen. "I also am bidden to ask her permission to ride through her territory, and to ask for aid in bringing the wicked faeries to justice."

They say my father stood very still. "I will bring your words to the Queen," he said. "And since you are an outlander, I will give you this counsel. This realm is ruled by a king, and it is his lands you ride through."

The elf bowed, then spoke over her bracelet. "I crave your pardon, for I am a stranger to your language. The leader of your ruling clan is called a king?"

"I am Edward, son of Edmond," said my father. "And I am king of this land."

There was another chittery exchange, and then with a short hop the faerie threw herself at my father's feet.

"Forgive me, Edward-son-of-Edmond," she said, dragonfly wings quivering. "As you are the ruler of this place, my words were for you -- please, what answer shall I have for my Queen?" The herbal smell grew stronger as the emissary lay prostrate at my father's feet, her antennae brushing his boots.

"Tell your queen that I thank her for her counsel," he said. I will ponder her offer of alliance. And you harm none, you are free to pass though our lands."

The fey outrider rose, bowed, flew up to her horse's back. With a final salute, she turned her string with a whistle and rode off.

The following day an emissary from the other elfin court came with one of the white horses' heads on a pole. This faerie knight was hairy and green, with large eyes that were a nacreous white. Its beetle-like steed was clad all in dark green segmented armor. A single thick tusk, like a giant rose's thorn, curved skyward from this faerie horse's snout. The knight planted the pole an arrow's flight from the castle walls and bellowed in a voice as deep as a well, "Queen Titania says to the queen of this hive: 'Do not involve yourself with our oppressors.'" Then he rode away. They say horses and other beasts were loath to approach the place where the green faerie knight had issued his warning.

#

I can still hear you. You must be stronger or cleverer than the last one. He was quite the screamer, I think he lasted three days in the thorns. For both our sakes, be quick and merciful. Just start screaming now, please, and be done with it.

I can not hear you now. Ah well, I never hoped you would get to my tower. Please do not take this the wrong way; I stopped hoping after prince number twelve. I guess the thorns -- Is that you in the water? Did you make it to the moat? Clever. Most never make it that far. For the love of God, do not drown before you make it to the portcullis.

#

For several weeks, emissaries from both elfin courts visited my father's castle. Gloriana's slender messengers always brought gifts: advice about the weather, faerie dust that protected apple orchards from pests, or a bolt of fine silk. Titania's messengers -- short, with pine green fuzz showing between dark armor plates -- brought gifts as well, a green crystal bottle of colorless, odorless, tasteless poison; a wondrous plant that caught flies in its hinged leaves; a clear glass sphere which displayed a family of robins in their nest. Both envoys made overtures of alliance. My father accepted the gifts and avoided words of committal.

Somehow the faeries found out about my christening. Three child-sized, wasp waisted ladies from Gloriana's court rode with a whole herd of the white elf horses to the gatehouse and asked for the privilege of gifting me. So far the faeries had visited us with gifts and words only. My father and mother hesitantly agreed to admit them to the ceremony.

The smallest faerie was the first to creep up to my cradle. Her dragonfly wings trailed over her voluminous skirts. Stroking my face with one long slender hand, she brought her silver bracelet to her face and chittered, "I give the baby queen Briallan the gift of flaxen hair that will last throughout her days." Then she brought her elfin face close to mine and kissed me.

The next largest came up and also stroked my face, kissed me, and spoke over her bracelet, saying, "I give the baby queen Briallan the gift of increased constitution, so that no winter cold or ague may find purchase in her body."

She crept away to make room for the third -- who was the most bejeweled fey yet to visit -- when an evil faerie dropped from the ceiling like a dark green beatle, bit me, and shouted above my shrieks, "before Briallan matures she will die of an all-consuming canker!" Then it lifted its skirts and let loose a fart that stunned the guardsmen and set the dogs howling. "Thus will we treat all who side with our oppressors!"

Some of the guardsmen swore they saw four stick-like legs under the skirts before the evil faerie flew out the window, the first two faeries in pursuit.

The third fey exuded a scent like lavender that calmed all -- both men and dogs -- in the hall. I stopped my cries. "Peace," she said, using her bracelet like the others, and came slowly forward to address my mother. "What Titania has done today is a small taste of what she could do if left unchecked. In this hour I must declare myself; I am Gloriana." The faerie queen made another bow towards my parents. "I cannot undo the poison of the wicked faerie's kiss, but I can soften the blow. The baby queen Briallan's canker will be benign. She will not die, but the healing may require a treatment of many, many years. Thus will we redress the crimes of the fugitive, Titania." Then she picked me up in both of her stick-thin hands and kissed me. It was the first of many healing kisses I would know.

#

Sometimes I dream I am truly awake instead of this dark half-dreaming; not this floating like a frog just beneath the water's surface. I will slide out from my dreams and remember that I am a princess Gloriana placed in a tower. "Your people will blame me," she said before she shaped her spell. Now my eyes are locked shut in a protective slumber; seeing only my dreams or the dull red of the insides of my lids, half-waking, unable to move, to hear kings' sons thrashing through roses. Then I dream I open my eyes and walk down the stairs, and there's my father and my --

Thrashing through roses! You have gained the portcullis. Do not fail there! At least two -- maybe more -- have. Do not be a fool! Just because you have made it through the moat, you have not won. It is just a little way through the outer ward, but let the bones of the others remind you to have care.

#

My father threw in our lot with Gloriana's court in earnest. There was a great ceremony in the castle inner ward, where the faeries planted the first of their strange elfin roses. It was a plant of great virtue, able to confound Titania's sprites. The rose was a wondrous bloom, for its pedal-wrapped center was a bee made of flower parts. The flower-bee was so life-like the castle gardeners thought they were actual insects constrained somehow, but Gloriana's faeries told them they were there to attract the real bees.

Assured that Gloriana's blooms would protect the castle from Titania's sprites, my father sent his soldiers into to the fields east of our home. Now that they had mortal allies, Gloriana's amazons -- the very elf women who had visited us from the beginning -- forced Titania's court to entrench in the fens where the ground was treacherous to walk on. Tracks and paths through the bogs became even more perilous places to travel. At night people told stories of beams of green and blue faerie lights flashing from hill to hill.

As the feud played out we learned that both courts were small in number by mortal reckoning and that the faerie warriors were physically fragile -- once their soft spot was known. For every faerie amazon of Gloriana's my father had ten fighting men. But the faerie queen's magic could not take my father's warriors to Titania's boggy fortress, a sodden mound of strangling plants and noxious air. The wondrous white elfin horses were bread for speedily bearing faerie raiders, but could not endure to carry a full-grown man, let alone an armored warrior.

Titania's sprites were hardier, but less gainly and fewer. They had powers that were strangely potent, but as often as not they relied on surprise, stealth and magic more than brute force. We were harassed with illness, blighted crops, or hexed cattle. Our people smashed the elfin webs of Titania's sprites when we found them, and used certain plants we were told had virtue over Titania's brood to protect our kith and kine.

Over the years, Titania's sprites were seen less and less out of the fens. Even with my father's people's help, Gloriana's retainers were not able to drive the wicked faeries from the bogs. The stalemate between the two elf houses lasted until my sixteenth birthday.

#

Sometimes I think you princes are part of my dreams. I have learned not to trust what I can see. When I dream, I dream of Gloriana's kisses, only somehow they become Father's kisses. Or I dream of the hollow hills. Or of the faerie roses with their insect centers. Or of anthills.

#

I was a frequent visitor to the faerie domain in the western foothills. It was a place of winking jewels, brightly polished silver, and many labyrinthine passages. My father would accompany me in the early days, but I think the elfin customs and healing arts of Gloriana's hollow hill disturbed him, especially the leech craft. My mother was always cool towards the faeries; she never went.

The faerie queen herself tended me. She was adept at healing childhood scrapes, and once even mended my broken arm in less than a week. Titiana's venom was a more difficult knot to unravel, however, and required many long sessions. First, Gloriana would would sniff and kiss me, for the faeries could divine much from a kiss. Then, she would test the progress of my healing. She had me breathe on white faerie blooms or urinate onto a blue magic wand. "As long as Titania's venom is working in your veins," Gloriana said, "the bloom will stay white and the wand will stay blue." Some times the charms would change hue, but never permanently.

I became used to lying naked on an underhill bed while enchanted ants carpeted my body, searching it for clues to Titania's poison. On some visits Gloriana would remove strange growths from my neck or gut. At the end of the sessions, my women, bodyguards, and I would feast inside the hidden hall and Gloriana would feed us elf grains and amber honey.

She was kind; it was she who taught me the whistles and clicks of her tongue. She always spoke to me as if I were already queen. When I was nine years old, during one healing session we discussed my father's forces, switching between our two languages.

She said, "Briallan, the magic of Titania's hill keeps my amazons from approaching it too closely. We are trying to train your fighting clan -- and it is not my wish to cause offence -- but some are more easily trained than others. How do you choose the best fighters?"

"They have tournaments," I said. "And the knights fight and the best one wins the prize."

"What do they win?" the queen asked.

"An iron crown," I said, thinking, "or sometimes gold or a horse."

"And then the victors breed?" she asked.

"I suppose everyone does," I said, laughing. Boys were stranger creatures to me than Gloriana's amazons. "Father Connor is always warning the ladies of the court to be virtuous when knights visit."

#

I am damned, you know. Even though I lie here asleep, I know I am. I listen to princes curse me as their bodies and blood feed the briars circling this castle. I have pieced together the stories they have heard about me. They moan that my red lips and white skin and fair hair of gold have drawn them here to die. But it must be this way if I am to bring about Titania's fall.

#

"Look," said Gloriana during my last visit. "I have something to show you." After sixteen years I could read her moods -- her antennae perked up and she smelled happy. She brought out a faeire bloom. It had changed from white to red during my last visit -- and it was still red. "I have found a check for Titania's poison. When her sprite bit you, the venom turned your glands against you, using your womb to coordinate the illness. I can check the toxin; now I have to set your womb's workings to rights to effect a full cure."

The lights dimmed suddenly and a loud whine startled us. The door opened and Gloriana's servants carried a bedraggled elf amazon into the chamber. Through buzzes and clicks she told us Titania's creatures had overrun Father's castle.

Titania had made use of her enforced exile in the fens, lying low and biding her time until she could gather up sufficient force to break her siege. She sent a firedrake -- a wingless, writhing worm of flame -- to climb our castle's outer walls and burn the faerie roses within. The blooms were torched, but the amazon thought the roots were unharmed. The firedrake was a new beast Glorianna's warriors had never encountered before, and they were sorely pressed to stop it from setting fire to the whole castle. Many of the faerie horses and three of Gloriana's amazons fell bringing the firedrake down. The rest were soon overcome by Titania's sprites, who blew a white elf dust into the air. Men and elfin warrior on both sides died. Titania's remaining forces were bringing the battle to Gloriana's hollow hill. They would attack soon. The amazon thought the invaders were no more than an hour behind her.

Gloriana whistled shrilly, and instantly her underground realm was like a swarm of hornets when their nest is threatened. She turned to me and said, "Briallan, as you trust me, leave your bodyguard to defend this place and let me guide you and your women to a secret hall in the hills."

The captain of guard made his youngest fighter ride with us. The defending faerie band numbered a half a score of winged amazons. The addition of my bodyguard brought their number to fifteen.

Gloriana's child-sized form flew ahead of us, alighting from time to time on hillock or boulder. Our horses were sorely pressed to keep up with her flight as she led us higher into the hills. After a half-hour, she stopped at a rough cliff face and touched it. A hidden door, wide enough to emit our horses, swung open. As we passed through the entrance, a sound like a thousand thunders shook the air and a flash momentarily blinded us.

When I could see again, I looked back at Gloriana. She was looking at her silver bracelet. Its jewel was dark. Silently she swung the door closed. I never saw her wear the bracelet again.

#

We stayed in the dim stone hall for what seemed like half a fortnight. The first night, I held my tears and comforted my women. Only while the others slept did I slink off to a far chamber to weep. My home was destroyed by faerie malice. My father and mother and all I knew were dead.

Gloriana did not have the proper resources for her healing arts. She was remote, and spent many long hours sitting on the floor in her skirts, silent as a carving. And she refused to open the door until she felt it was safe.

It was like being in hell. We had too much time and too much confinement. The days slid into each other in a dull procession. I could smell my women fretting in the stone rooms, my bodyguard trying to fathom the door's working. We didn't lack for food or water, but even I grew weary of the store of grains and honey.

At last Gloriana stirred. She walked to the entrance. "Briallan and I are returning to her castle," she said, easing the door open a crack. "The rest of you should head further west."

I was surprised as my retainers. "Gloriana," I began, "my mother's people in Gwynedd would --"

"-- watch you die." She cut me off. "I promised I would heal you and the only way to do it is at your castle."

"But --" I began.

"And I swore to bring Titania to justice. Imagine a whole faerie world -- its people poisoned a hundred times worse than you -- and you would have only a small portion of the magnitude of her crimes."

"Gloriana," I said.

"I need you, Briallen," she said. "I have a plan to bring her down; but I need you cured and the only way to do that is at your home." I could tell she was trying not to use her scent to soothe me. "Trust me," she said.

"Like at your hollow hill?" asked the guard. He smelled angry and frightened.

"Do you challenge me, warrior?" Gloriana said, inhaling.

He drew his blade.

She spit in his face, and he fainted into a sleep.

"This is my plan," she said, and told it to me. "Do you want to live?" she asked when she had finished, holding out her slender hand.

I chose revenge.

#

Gloriana pronounced the castle free of Titania's white dust. It had become a deserted place of scorched earth and stone. The twisting body of the fire-drake, now a raven's larder, lay near the inner north wall. I tried not to look too closely at the other forms on the ground. In most of the outer ward the timbers had burnt, but a good portion of the inner ward was still whole. At least from the outside.

If I could have, I would have ridden to Titania's fortress and run her through with a sword right there. But it would take more than one to bring her down. Instead, I slapped my mare's flank to send her away. When she wouldn't leave, Gloriana bit her and the horse bolted.

Withered shoots of the flowers that once protected the castle poked up through the ashes. This was good, without the plant our cause would have been hopeless. Gloriana fed the faerie roses honey, making them burst into a riot of waving briar overnight. Questing tendrils curtained my tower window the next morning. She continued training the plants with kisses and honey. The sudden appearance of the clinging vines with their sharp thorns discouraged looters and the curious even more than rumor of the faerie sickness.

The third morning, Gloriana knocked on my bedroom door. "It is finished," she said. "The blooms are ready -- you need not lack for anything as long as the root mass lives."

I nodded, knowing what was next.

"Briallan," said Gloriana, "I wish I could stay with you through your ordeal, but if any of Titania's brood survived and find me here, all is lost and I will have failed. I hope my last kisses will explain all."

She hefted up her skirts then and I saw her four insect legs, her womb of glass, and the wriggling grubs within. She reached back and massaged the space between her hindmost legs, her hand came away with the amber Faerie honey. Kiss by sticky kiss, she fed it to me, preparing my body for what was to come. When she was done, the world seemed to be far, far away.

I do not know if I closed my eyes. I remember Gloriana's nails -- gently, painlessly -- parting the skin on my flanks and her grafting a shoot of the faerie rose growing through the window into my side. I remember Gloriana above me, crouching on all six limbs as she kissed me with honeyed lips one last time. I remember her flying, naked, out of the window, her womb clear and empty.

She left me lying on the bed in a hazy half-slumber.

#

I cannot hear you anymore. Make some noise. My father used to tramp about making a martial jingle. Make some noise -- a thump, a mutter. Or start screaming; I want to return to my dreams.

I can hear you again! Come closer. I want to see what you look like -- will you be fair to look at? Come up the stairs. Will you have scars on your arms? Not that door, my room is at the top of the tower. Why must I be woken by a stranger's kiss?

Yes. You are rattling my door. Open it. It's not locked, just unused. Just push it open. Push it.

Thank God, I can smell you. You have to be real, you smell like leather and sweat. I can feel my heart pounding in my ears. Your leather boots creak closer. Kiss me. Kiss me.

Why have you stopped? Am I naked? God, I must be one hundred years old. Kiss me. I still smell you. I hear your breath.

That's it. Breathe! I can smell the faerie roses opening, spreading their scent. Through the graft in my side I can feel the false bees stirring in the blooms' centers.

And now I understand, for your sweat has unlocked the message in Gloriana's last kiss. The roses' smell has beguiled you since you entered the briar; but you have survived the grasping thorns in spite of the floral glamour. I can hear you step closer, your breath making my heartbeat skip like a spring lamb; making the faerie roses stir. When you kiss me, I will open my eyes and smile, and the rose scent will enflame us both with passion.

For I can smell that you are the one. The one Gloriana's kiss said would come; the one clever enough and strong enough to win through Gloriana's briars. The other princes had to be culled, their remains rooted through for imperfections and flaws in heredity.

When we make love, the faerie roses will move about us, enclosing us in a cocoon, sustaining us. My kisses will spur you on and on for days. For I am the center of the faerie bloom, and you are the bee. When they have learned all they can from you, the avenging myrmidons within me will have all they need to overthrow Titania.

# # #

end image

Saturday, January 31, 2009

Twenty-Five Things

Rules: Once you've been tagged, you are supposed to write a note (on your wall, go to "Notes" in the top row of tabs) with 25 random things, facts, habits, or goals about you. At the end, choose 25 people to be tagged. You have to tag the person who tagged you. If I tagged you, it's because I want to know more about you! (or b/c I want to see what you come up with)

A Likable, Active Character in an interesting setting.

1.  
John was "Corvallis Nice," which was similar to but different from "Japanese Polite."  Corvallis, at least the Corvallis he grew up in, was a place where you didn't come out and say 'no.'  You didn't talk about cancer, diabetes, out-of-wedlock pregnancy, or being gay, either -- unless you unpacked a toolkit of euphemisms first.  Unlike Japan, Corvallis had no hilarious books by Dave Barry explaining how the Japanese communication style was inspired by politeness.  And although it must not be true, in John's childhood memories, everyone was white.  Corvallis children had to learn social conventions by osmosis, and he suspected that "Corvallis Nice" was an outgrowth of a syndrome he'd labeled in his high school days as "Corvallis Smug."

2.  
He studied his husband, Mark, who was "New York Loud."  If pressed, John would say, "New York Direct."  On a trip to visit Mark's family, John retreated from the raucous game of Trivial Pursuit and made his way to the television room in the back.  The TV was off, the lights were low, and he found the spouses of Mark's family sipping tea and exchanging quiet conversation.  A light went off in his head; "They've all married 'Corvallis Nice' people."  
"Awh!" Mark said sometime later, "you're all instigators."

3.  
"Oh look!" John pointed out an illustration in a childhood book to Mark.  "There's Miss Kitty in the Riverbend parade; I always sort of admired Miss Kitty."  
"John," Mark said, "You're supposed to identify with John Mouse, who rides a wind-up toy car.  
"Well, yeah; I kind of did that, too."  
"You can't fool me; you really wanted her crown and to ride on a float in a white dress."

4.  
John sat back for a moment and wondered about his childhood.  If, at age eleven, he couldn't consciously desire Captain Kirk's sweaty, shirtless body, would becoming like Mr. Spock enable him to sublimate inarticulate, forbidden desires?  Naw, pretending to be a Vulcan insulated him from the emotional barbs of his middle-school peers.  Besides, being able to Mind Meld and do the Vulcan Nerve Pinch was pretty darn cool.  Not to mention the techno-toys.

5.  
John wrote.  In high school English class he wove the week's vocabulary words into a chapter for a semester-long serial.  He wrote a spoof of Dante's Inferno.  He wrote lots of bad poetry.  His senior year,  he started keeping a journal, and continued the process into college.  Those things ought to be pretty funny by now.  In college he wrote a spoof essay on Antigone, and a spoof of the Song of Roland.  And he discovered e-mail.  Somehow, the medium of e-mail swallowed his writing output, channeling it into missives  sent to friends and relatives.  Sort of like a message cast out onto an electronic sea.  
They call it "blogging" now.
Professional writers warn about the seductive nature of e-mail and blogs.

6.  
But this is supposed to be a narrative.  This is supposed to be writing.  There's a hopefully likable character (John) in an interesting setting (oh, wait!).  
Eugene was the Hippy and Tie-dye capitol of the world.  On good days, John said, "Eugene is the kind of place where artists live because folks with part-time jobs can afford to live here."  On bad days, John repeated a joke he heard once, "Q: Why did the Hippy move to Eugene? A: Because he heard there wasn't any work."
On good days, he liked the cool grey overcast and the romantic fog.  On bad days, he lamented that the Metropolitan Museum of Art was three thousand miles away and had to make do with surfing to the Museum's web site.  
Sometimes he wondered what "New York Nice" or "Corvallis Loud" would be like.


A precipitating event creates a problem which threatens something the character loves and which the character tries to solve with common sense and only makes things worse.

7.  
John entered Reed College with the intention of entering the 3-2 physics/engineering program.
At Reed, he read Sherry Turkel's book, "The Second Self."  In it, a young girl, typing on a word processor, wrote, "The computer allows me to erase my mistakes.  It helps me be perfect."
Sherry Turkel spoke twenty years later at the University of Oregon.  "Cell phones," she said, "have tethered us to our community.  A young person today experiences something and then posts an instant message about it.  Growing up has changed focus from the question 'what do I feel about something?' to 'what do my peers feel about something?'."  
John graduated Reed with a BA in Psychology.  He stayed an extra year working for Reed's Academic Computing Department.

8.  
For a while, John worked at the Carleton College Computer Center.  He joined a text-only bulletin board group, called "The Fillard Stories."  Authors, mostly Carleton undergraduates, took turns writing chapters in the narrative.  The stories were meta-fiction; most of the characters were avatars of the authors.
Carleton was in Northfield.  "Northfield Nice" made "Corvallis Nice" look like "New York Direct."
When he first moved to Northfield, the most common questions asked of him were, "Are you married?" and "Are you a student?"  
John wound up with three avatars in the Fillard stories.  They did things John couldn't -- like fly.
Eventually, two of the avatars merged into one and then became a machine.

9.  
For some time, John wrote fantasy weddings.  There were at least six.  One was a Hippy wedding in a field; another was a Goth Wedding (before there were Goths); still another was performed entirely in the dark, with everyone wearing dark clothes and glow-sticks (before there were raves).
"Here," said John, rustling around a pile of papers and files.  "I've got the weddings here."
"Weddings?" asked Mark.
"Yeah, I wrote a bunch out.  People liked them; they thought the were romantic or funny.  I thought they could help us plan ours."  He shifted through a stack of old poetry.  
"Um, John," said Mark, "Doesn't it strike you as a little odd that you were writing these things and you weren't even dating anyone?"
 
10.  
John moved to Arcosanti.  
He fell into the habit of asking the moon for a lover.  Starting in May, when the full moon sailed over the Sonoran mesas, he'd slink out of his apartment and make his way to the pool.  The white rails surrounding the concrete deck gleamed; shadows softened the basalt cliff on the pool's north side.  Furtively, he slipped off his clothes and dove into the still reflection of the moon.  Public nudity was technically Against The (unwritten) Rules and he didn't want to be caught.
Ripples from his passage painted lightning-like patterns on the bottom of the pool.  Seen through the water's surface, the moon was a white light behind a silver fishnet of wavelets.  He breached, whipping his hair and water out of his face.  
"Hey moon," John whispered, "send me a lover."  
Mark broke into the narrative again.  "Did it work?"
John grimaced and looked at the ceiling.  "Uh, not really."
"And you tried that for how long?" Mark asked.
John changed the subject.

11.  
The concrete structures disappeared from John's rear-view mirror as he drove away from Arcosanti.  It was instructive living in someone else's vision, but his internet access there was spotty.  Decades later, he still dreamed he was in the prototype arcology of Italian architect, Paolo Soleri; in the dreams, his flight from Arizona was leaving soon, but the airport was a very long and very rocky road away.

12.  
John put on his crown and typed into the computer:  "Mirror, mirror, on the wall..."  It occurred to him that the mirror might be one of those psychology mirrors like the ones they had at Reed College.  He brought his eyes closer to the screen as if to catch the motion from any shadowy figures on the other side.
But the screen only showed a shadowy figure when it was turned off:  himself.
The bed creaked and covers rustled.  "What are you doing?" asked Mark.  "Go to sleep."


Second Try:  The character tries to fix this worse situation and digs her or himself in deeper.

13.  
Mark looked over John's shoulder as John pulled back his hair and gazed in the mirror.
"Trust me," said Mark.  "I have four sisters, and every night before the prom they were crying because their hair was ugly.  You don't want to be worrying about your hair when you get your award."  
John released his hair and it cascaded past his shoulders.  "Are you sure?"
"How many Bad Hair Days have you had lately?" Mark asked.
John sighed.  The electric shears waited in the bathroom.

14.  
John's stomach growled during the writers' seminar.  He been writing under a tight deadline and had neglected to eat anything other than breakfast, almonds, crackers, and carefully timed Pepsi all day.  He thought dinner would be right after the deadline, but it (dinner) had been moved back to make room for a marketing seminar.
"It's very important to have a presence on the web," said the presenter.  "You need a web page of some sort and you need to develop a fan base.  In order to do that, you have to update your web pages regularly to keep your fans coming back."
John's first professional sale was "Mask Glass Magic," an urban fantasy set in Eugene, Oregon.

15.  
"Give a man a mask and he'll tell you the truth," wrote Oscar Wilde.  These words remind John of the passage in Jane Yolen's collection of essays, "Touch Magic" -- in it, she commented about the power of mask pins in Venetian society.  A Venetian wearing a mask pin on their lapel is effectively incognito, and Yolen marveled at the mask's power to proclaim, "I am not I."  

16.  
John read a Twitter post from David Pogue, a technology writer for the New York Times.  David Twittered that he had the hiccups and asked for a cure.  Many fans Twittered back with various cures.  A half hour later, David thanked everyone and confessed that he was demonstrating Twitter in a seminar.  Many accused him of crying wolf.  John couldn't help but think that David had somehow threatened his fans' virtual selves -- the fans saw themselves as caring people, and they had an image of themselves as helping David.  David betrayed their virtual self-images by revealing that he (inadvertently) fooled them.
Or possibly they felt as if they had been cast by Pogue as the glyphed characters enslaved by the bad guys in Vernor Vinge's "A Deepness in the Sky."

17.  
John wondered if this was real writing.  He wasn't sure that he could make this piece work commercially; maybe he could make it work in a small literary press.  Writing always seemed to come down to the dichotomy between "art" and "sales."  He reminded himself that this piece was destined for a web page, which probably fell under the category of "marketing."  
John shrugged, and endeavored to make the language as clear as possible without betraying anyone.


Do-or-Die:  Thinking out of the box, the character comes up with a solution and risks death (or at least the destruction of the cherished object) to make things work.

18.
Mark crossed his arms.  "You're not going to write about our sex life, are you?  Because I don't want my saintly mother to have to read about it on the internet."
"Well..." John considered -- and then imagined how icky he'd feel reading intimate things about his own parents.  "Hmmm, can I make stuff up?"
"No!"

19.
The stars wheeled in the sky and he was falling with them.  
When the philosophers wrote of divine madness and gold they were drunk.
He came home with inspiration burning in front of him and he raced to capture the word that was written in his brain onto the screen.  But he felt the drunkenness floating away from him and it was difficult to see the burning logos.  He had to come across it sideways, like looking at a star with his peripheral vision.  He sacrificed uncounted brain cells for the following:
"I am the wondering at the stories I tell myself.   I am the map I am writing.  I am addiction. I am lost.  I am the sound of myself.  I am the mask that falls off to reveal the smooth surface of another mask.  I am the darkness behind the mirror."
The gold of the evening turned to mud in the morning.

20.
"Everybody thinks they're original," said Mark.

21.  
"Would you be interested," asked the salesman from his booth, "in this nano-tech mosaic?"  He held up a foot square matrix of small, white tiles.
John was intrigued.  Usually the Eugene Saturday Market featured tie-dye or blown glass.  "Hey, look Mark."  
"Just stand here," said the salesman, "and, viola!"  The white tiles fractured and pigmented.  John's head and shoulders appeared in the mosaic.   "Each tile is a little nanobot camera.  They take your picture, then talk amongst themselves to make your likeness."
"Cool," said John.  "But can I --"
"And that's not all," said the salesman.  He picked out a tile.  "And it's durable.  The bots can regenerate themselves from the dirt in your home to replace any that get lost."
"Oh," said John.  "I'm having a Bad Hair Day; can I take a new picture?"
"Yes; and if you want to go back, the 'bots will remember the way you used to look."
John turned to Mark.  "What do you think?"
Mark shook his head.  "We already have a lot of stuff in our house.  What are you going to give up in order to have it?"

22.
John erased words from slips of paper and put the papers into a metal box.  He buried the metal box late at night.  No one would ever see those words.

23.  
He re-read the instructions and saw that he was supposed to tag twenty-five people.  He wasn't going to do that on the grounds that it was a kind of informational pyramid-scheme.  The people behind the mirror were trying to distract him with his own image to see what he would do and whom he would betray.  


Conclusion:  Someone says, "He's dead, Jim" or "And they lived happily ever after."

24.
Undoubtedly, someone would confuse Life and Art and be miffed or feel left out.  That wasn't his intention, and he offered preemptive apologies.  

25.  
At the end of the Symposium, the guests smashed the earthenware urns that had once held the wine and each took a piece as a memento of the night.
"Hey," said Mark.  "What's with all the smashing?  Who's going to clean this up; that's what I want to know."
"But it's Interstitial Art," said John.
"Well, listen, Art-boy; smashing urns doesn't get any stories finished -- so get to work!"







Monday, December 22, 2008

A Lumbering Holiday Tale












When
the year is cold and worn,
the sun appears in Capricorn.
Spinning planet circles sun.
Winter's season has begun.
Wind and rain and sometimes snow
make us wish for fire's glow.
We hope that it is not too late
to clean our house and decorate.

We scrub and rub until we're sore --
we must have cleaned an hour (or more) --
Then drive out in the morning light
to get a tree with dynamite!
We travel on a country road;
we've packed up an explosive load.

The farm
which sells folks Christmas trees
Charges us with extra fees:
We have to promise to be good
before we can blow up some wood.
The tree farmer is nice but stern
and tells us when it is our turn,
"Leave your driver's license, mate, or
we wont give you a detonator."

We leave our ID and depart.
Riding in a draft horse cart
The driver and the people with us
share their stories about Christmas.
This farm is better, we tell them,
than dealing with the BLM.
We're here! The horses stop and steam.
We've come upon a winter dream!

Firs and pine trees everywhere;
explosives scent the alpine air.
Rows of trees, and craters, too
(which indicate where trees once grew).
We sing songs with great aplomb,
like "We Three Kings" and "Tanen-bomb."
Here's a blue spruce -- it's too prickly;
there's a brown tree, kind of sickly.
Here's a doug fir -- way too droopy.
And madrone is much too loopy.
Here's a crater; there's a hole
where someone bagged their woodlot goal.
Will we find the perfect one?
Perhaps the good trees are all gone.
No tree to take back on our car?

Oh Horror!
And we'd come so far!

But wait! It's here! The perfect tree!
And it will blow up beautifully!
The dynamite goes 'neath the roots
(we relocate bugs, mice, and newts).
The blasting caps and wires are set.
This blast will be the best, I bet.

The final countdown has begun:

Six five
four
three two & one!
Blam! The tree is in the air;
its flaming roots are like a flare.
The pyrotechnics sure are bright
and brings to mind the fiery sight
Of birthday candles on a cake
(or poetry by William Blake).

Its impulse spent, it arcs to rest.
We're sure that this year's tree's the best.
The farmhands help to douse the fire
and wrap the tree in bailing wire.
The tree is measured and we pay
for our explosive, fun-filled day.

We drive back on the country road
glad to have our Christmas load;
But kind of sad, too, in a way --
we'd like to do this every day,
But we'll have to wait a year at least, or --
okay -- there's always eggs at Easter.







E P I L O G U E

If this poem has offended
Then think on this -- And all is mended.
The
only trees which were molested:
paper where these words have guested.
The players are a poet's whim;
Likewise their actions here within.

Real fools and louts who sin
With
real nitroglycerin
learn the lesson far too late --
After they disintegrate --
That high explosives' power unfurl'd
Can erase us from this world.

My tale's a Christmas fantasy:
Do not harm trees with TNT --
Unless your antics are confined
Within the borders of your mind.