Guest Post: “The Yesterday That Never Was” by Aidan Harte (Jo Fletcher Books)

Today, I bring you a guest post by Aidan Harte, author of the historical fantasies Irenicon and The Warring States. Here, he discusses how authors perceive and play around with the historical periods they can write in…

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THE YESTERDAY THAT NEVER WAS

AidanHarte-AuthorPicFantasy and Historical Fiction are in essence extreme forms of Travel Fiction. They take us to destinations that can’t be otherwise reached. Historical Fantasy is a hybrid for brave souls looking for untraveled paths in unmapped lands. Its terrain is more expansive than it was – as the world tilts, reorienting itself to an Eastern pole, the West is no longer the default setting.

Anyone writing Historical Fiction must accomplish two, unfortunately contradictory, things:

1. Immerse the reader in another era.

2. Keep him from drowning in it.

The same onus falls on the writer of Historical Fantasy but he has an extra challenge – after building a believable world, he must test it to breaking point by introducing unbelievable elements. Happily, that’s not as difficult as it sounds. Privately, each of us believes that everyone who died before we were born was a sucker. They don’t know what we know and we can never forgive them for it. Just as the untraveled believe absurdities of foreigners, we patronise to people imprisoned in the past’s dusty mausoleum in a way we’d never treat those lucky enough to cohabitate the same point in time and space as us.

All this is to say that the average reader, whatever he tells himself, really has no trouble believing that citizens of olden times were credulous as slow-witted children. Given that, the introduction of supernatural elements is a doddle. Dragons are only marginally less improbable than the Charleston. Our condescension is not altogether without wisdom. The fact is that people living in pre-scientific societies did not delimit the supernatural from the everyday as rigorously as we Moderns. The average medieval chap would be surprised to see a unicorn, but not nearly as much as you – I’m assuming that you’re not reading this blog from an explored tract of the Amazon.

ClarkeS-JonathanStrange&MrNorrellIn the end, the fantastical elements in any novel are distracting fireworks that count for little if the bedrock of character, plot and storytelling is absent or faulty. The art is to find an intellectual and emotional connection between the reader and the past. I’ve praised Jonathan Strange & Mr Norrell before, but some things bear repeating. Susanna Clarke inhabits her chosen milieu completely. Her infectious wit and generosity draws us helplessly in. The manner she treats the squabbling magicians bursting into Regency England as kindred spirits to the Romantic poets is inspired. It’s not the spells we remember so much as the awkward double act of Strange and Norrell, the noble manservant Stephen and the masterful Duke of Wellington.

That effortless marriage of voice and subject was a continuing inspiration for my Wave Trilogy, although the tone is very different. Irenicon and its sequel The Warring States are set in Etruria, an Alternate History Italy. The most challenging part of realising this medieval world was not creating the mysterious Waterfolk, or the flamboyant martial arts, or the baroque arch-villainy of Bernoulli. All that was pure imagination and came easy. What I really sweated over in the first book was rendering the conflict that was tearing the small town of Rasenna apart. It wasn’t that I lacked inspirational material; anyone perusing a history of medieval Italy will find conflict aplenty, but all the research in the world doesn’t help when you can’t see the living people underneath. You have to be able to smell their breath. It took me a while to understand why the Guelphs and Ghibellines keep quarrelling. The minutia of titles, dates and details obscured the human passions. The truth is that it wasn’t an abstract quarrel for primacy between the Holy See and the Holy Roman Empire that kept the city-states boiling. The factions’ banners were pretexts, vaporous as the shadow battles over “hinge issues” that animate the election years of our democracies. What was and is at issue was power. Who holds it. Who wants it. Once I realised that, realising the inherent drama was easier, though I still had work making a world of guilds, priests, contessas, and strange Italian names inviting to modern readers.

Harte-WaveTrilogy-1&2

This business of making readers at ease can be taken too far. The past remains another country. The average medieval person had views on morality that make the Taliban look easy going. Saints and relics occupied a space in 14th century Italy filled by iPads and smart phones today. I’ll buy just about any anachronistic mechanical contrivance in my Steam Punk novel, but nothing jars more than Victorian characters with the mores of 21st century hipsters. Why ever leave the sofa if we’re all the same?

We travel to experience the world’s variety but some contemporary authors, certainly those writing Literary Fiction, tip toe and genuflect around the issues of race, gender and age. This is patronising in a terrible new way. The joy of traveling is to see strange sights, people we’re not used to, smells that make us dizzy, flavours that make our tongues beg for mercy. Victorian authors, God bless their jodhpurs, had none of this pusillanimity. When Ryder Haggard had a yarn to spin, he waded into the unknown with aplomb – sensitivities be damned – and readers love him it.

FromHellThe sense of discovery is part of Historical Fantasy’s continuing appeal. It’s increasingly hard to imagine life Before Google, that benighted era we left behind in 1996. The world BG was a world where ignorance, speculation and rumour were the rule. The past is a place where the most fantastical things are routinely accepted. If an unmapped world could contain Australia and the Americas then why not unicorns and dragons too? The most ambitious Historical Fantasies pull us over the borders into the unknown. Peter Ackroyd (in Hawksmore) and Alan Moore (in From Hell) take the reader on tours of two very different Londons and make a convincing case that doers of dreadful deeds make their own reality. Cormac McCarthy’s Blood Meridian can be read as Historical Fantasy. Its setting is clearly the 1850’s Mexican borderlands but the villainous Judge Holden – polyglot, immortal, alchemist – is an ogre direct from the Grimm’s fairy tales. Or perhaps he’s just a flamboyant fraud. Or perhaps he’s a figment of the narrator’s imagination. McCarthy’s expansive, elusive prose allows for many interpretation.

At its best, Historical Fantasy pits its constituent parts – History and Fantasy – against each other. That inner tension, that vast uncertainty, is why we love it. Ultimately none of us are quite as sure of ourselves as we pretend to be. How pleasant to go somewhere now and again, where absolutely nothing is certain.

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Aidan Harte’s IRENICON and THE WARRING STATES are both out now, published by Jo Fletcher Books in the UK.

Also on CR: Interview with Aidan Harte, Excerpt of Irenicon

An Interview with M.L. BRENNAN

BrennanML-GV2-IronNight

I don’t read much Urban Fantasy. I don’t really know why. But, last week I read ML Brennan’s Generation V, which I found to be a lot of fun. Naturally, after liking the novel, my first inclination was to send the author some interview questions…

Let’s start with an introduction: Who is ML Brennan?

I’m an avid reader, a writer, and in my day job an adjunct professor. A lot of the time I wish there were many more hours in the day, since all three of those occupations have big time requirements!

I thought we’d start with your fiction: Your latest novel, Generation V, was recently published by Roc Books. How would you introduce the novel to a potential reader? Is it part of a series?

Generation V is the first in a series of books. Right now, I’m contracted for three books, but I’m hopeful that the series will do well, because I have ideas and plans for several more.

The elevator pitch of my book is that Fortitude Scott has a useless degree, a minimum-wage job, a cheating girlfriend, and a roommate who stiffs him on the rent. And he’s a vampire… mostly. But when a little girl is kidnapped, suddenly he’s the only one who is willing to try and do something about it, so he teams up with a wise-cracking shapeshifter and heads off for a rescue mission that will very likely kill him.

This is a book with a very non-typical hero – he isn’t the most powerful character, in fact he’s almost on human levels of weakness when the book begins. In order to beat someone, he has to outsmart them, or make friends and alliances that can help him. There’s no “End of the World” peril – instead, the peril at the heart of the book is one that Fortitude could very easily just ignore and it wouldn’t effect his life at all. His entire family urges him to just look the other way, but he doesn’t, and so it’s his own choices that lead to the life-threatening peril. There’s a lot of banter, a bit of dark humor. But at the core, it’s about a person who is afraid of himself and his heritage, who has to decide between the path of least resistance or something harder.

BrennanML-GenerationV

What inspired you to write the novel? And where do you draw your inspiration from in general?

Inspiration is a tricky thing for me – no one thing inspired me, rather it was a combination of a lot of ideas and topics that I found interesting. Over time I had a lot of scraps of ideas, and they eventually coalesced into the world that Fortitude inhabits.

But I was interested in the idea of family and heritage – Fortitude is a person who has very little in common with his family, and in fact is deathly afraid that he’ll eventually take on the kind of very selfish and harsh worldview that they possess and view as natural. This folds in really well with how I was interested in writing vampires – as dangerous predators, rather than some of their more benign depictions in recent movies. I am also a professor, and one of the things that those of us who teach have really been exposed to in recent years are films, lectures, and books about the idea of an extended adolescence. I also am very personally familiar (through my own experience and those of my friends) with what it can feel like to get a graduate degree and then enter a job market where the only jobs you seem able to find are ones that you could’ve done with a high school diploma. Those things really had a part in how I created Fortitude – he’s twenty-six, underemployed, stuck with a bad roommate and a bad relationship, but his biggest problem is his lack of self-confidence and ownership in his life. Over the course of the book, that starts changing, and it’s a theme that I’m looking forward to exploring in the sequels as well.

How were you introduced to genre fiction?

My brother is older than me by two years, so my first introduction to genre fiction came very much because I was the classic younger sibling: whatever my brother was doing was interesting to me, and whatever he was reading I wanted to read as well. I’m lucky that my brother was fairly tolerant, and he let me borrow all of his books. Thanks to him, I read Ender’s Game, the Death Gate Cycle, Star Trek novels (my favorites were the Peter David ones), and the Thrawn trilogy of Star Wars books. When I was a little older, our tastes and interests diverged, and I headed in the direction of David Eddings, Anne McCaffrey, and Margaret Weis’s Star of the Guardians series.

BrennanML-SFFIntro

How do you enjoy being a writer and working within the publishing industry? Do you have any specific working, writing, researching practices?

Very much. Traditional publishing was always my goal, and I worked very hard to achieve it. I spent almost a decade of very serious writing before I sold a book, and I have to say, starting a project feels different when you know for certain that you will be paid for it, and it is a very, very good feeling.

In terms of writing practices, I’m very much a planner. I don’t start writing a book until I have a very clear direction and an overall outline of the book very solidly hammered out. I know other writers who start writing and figure out that plot as they go, and while I respect their process, I know that I’m just too much of an anal-retentive control-freak to try that myself. Sometimes the outlining can take a few months (and sometimes even longer than writing the book itself takes), but it’s the method that works best for me. I like having already ironed out any timeline or motivation issues before I start working, and having an outline in front of me helps figure out if my plot or characters are somehow out of balance.

When did you realize you wanted to be an author, and what was your first foray into writing? Do you still look back on it fondly?

I’ve always enjoyed reading, and writing is something that I realized very young came pretty easily to me, but I didn’t have much desire to be an author when I was younger. Or, maybe a better way of putting it is that I didn’t want to be solely an author. I grew up in a single-parent household where my mother worked very, very long hours to provide for us, and so I was very leery at the thought of embarking on a career path that didn’t have a solid paycheck and reliability. So, while I did want to write, I always wanted it to be something on the side, with a regular paycheck always there just in case writing wasn’t enough to pay all the bills. I had that plan in mind all through college, in fact, and right up into my first month of law school.

And that first month of law school, unfortunately, is when I realized that I didn’t want the writing to be something that happened on the side – it was what I wanted to do all the time. I wasn’t happy about that realization at the time (as you can imagine, neither was my mother or my spouse), but there it was. I left law school and entered an MFA program, and writing has been the center of my professional life ever since. (In the interests of full disclosure – yes, the pay was every bit as low and unreliable as I’d feared when I was younger.)

What I view as my first serious foray into writing happened when I was an undergraduate in college: a short story that I’d written was published in a literary magazine. I do look back on it very fondly – I had no personal or professional connections to that literary magazine, and I mailed the story to them with just a standard cover letter. My story had already been rejected from easily two dozen other literary magazines, but I kept at it, and I was published. That experience really helped years later when I was trying to get a book published!

What’s your opinion of the genre today, and where do you see your work fitting into it?

I think the genre that I’m working in – urban fantasy – is really exciting. Dip into urban fantasy and you can find everything from hard-bitten, noir-ish police procedurals with monsters, to very sexually-charged paranormal romance. Urban fantasy is a big tent genre, which is why I have so much fun with it.

I think what can potentially be problematic about some urban fantasy is when authors start becoming formulaic in the hopes of getting an audience quickly. I made some decisions in my book that I felt helped make it be what I think urban fantasy should always try to be: something fun and new.

Your novel features vampires. What’s different about your vampires, and why do you think they (and other undead beasties) have been, and continue to be so popular with readers?

I think vampires rest in our cultural consciousness so well because they hit a lot of our buttons. Vampires look human, so they can pass among us unnoticed, and we can’t immediately identify them as a threat. Vampires are traditionally humans who have been changed and converted, so that hits on our fear of treachery, that the person who was an ally, friend, or loved one today might turn on us tomorrow. Vampires feed on human blood – this frightens us because it raises the horror we have of being prey, and of being consumed. Vampires typically have a level of sexualization – this also brings up that fear of not recognizing a threat, and of facing treachery later. I think all of those elements make vampires more popular (and sustain that popularity) over creatures that don’t play on those fears. For example, the Creature From The Black Lagoon: it poses no threat of infiltrating society, it can never betray you since everyone already hates it, while it does have a bit of subliminal sexual horror in that it sure seems to gravitate to pretty women in bathing suits, but it doesn’t seem to possess genitalia, and no one is going to be seduced by it, so no worries there, and finally it doesn’t really seem to eat us – mostly just squeeze us to death, if my memory of the movie is accurate.

So, vampires have a very long-standing appeal. In terms of the vampires in my book, I actually made a lot of changes to the traditional presentation. In the majority of vampire fiction, the vampire is a human who has been transformed into a vampire, and through that transformation process they are now ageless, immortal, and undead. I’ve always found this kind of idea a bit problematic. For one thing, a creature that reproduces just through a tiny blood donation? Talk about a population explosion! For another, a character that never gets older and will never die? That’s a fairly static character with very few outside pressures. I was never interested in writing about an immortal character.

The big change that I made for my vampires is to make them a separate species. These aren’t transformed humans – they have a lifecycle that includes growing up, old age, and ultimately death. They also have a reproductive cycle that is rather finicky and difficult, and it gives a good reason why vampires haven’t just overrun the planet – in fact, my vampires are a species in total crisis, and right on the edge of extinction.

BrennanML-GV2-IronNight

What other projects are you working on, and what do you have currently in the pipeline?

In the pipeline is Generation V’s sequel IRON NIGHT. It’s with the copyeditor right now, and I’m currently working on the third Fortitude Scott book, which has to be finished by the end of the summer, so that’s pretty much filling most of my days.

What are you reading at the moment (fiction, non-fiction)?

I’m a fairly wide reader, so if you asked me that week-to-week the answer would always be changing. Right now, I’m reading non-fiction, Carl Sagan’s The Demon-Haunted World: Science as a Candle in the Dark. It’s good – very challenging, extremely applicable to a lot of what is happening right now, but ultimately very optimistic. This has been on my stack for a while now. I haven’t read any Sagan before, though I did have a general working understanding of him.

SaganC-DemonHauntedWorldMy first encounter with Carl Sagan was actually thanks to The Far Side comics, which my brother and I used to read in the paper every day and puzzle over. There’s one comic that’s supposed to be Carl Sagan as a kid, and it’s two little kids looking up at the night sky, and one says to the other something like, “Look at all those stars, Susie! There must be hundreds and hundreds of them!” Which is funny, if you know about Sagan’s famous comment “billions and billions.” My mother explained that to us, which led to my brother reading one of Sagan’s books on outer space. I remember looking at the pictures but nothing else…

What’s something readers might be surprised to learn about you?

I guess it would depend on what readers’ expectations of me were. One expectation that I’ve actually encountered a few times (primarily, it must be said, from friends of my parents who don’t do much genre reading), is this idea that if I write about vampires, than I must be an active believer in vampires, ghosts, witches, UFOs, and just about everything else, or that I have some kind of obsession with one of those topics. That’s definitely not the case. While I have an interest, it’s similar to the interest I have when I read about mythology. Curiosity and enthusiasm for Norse myths doesn’t mean that I have an altar to Odin in my closet, or that I’ve decorated my house with runes.

What are you most looking forward to in the next twelve months?

Oh, lots of things! I’m going to my first convention as a writer in just a few weeks – ConnectiCon, and I actually will be on two panels, so I’m extremely excited about that. At the end of the summer I’ll be at WorldCon, which should be pretty amazing. And then Iron Night will be published in January, so I’ve got a lot of really great stuff to be looking forward to!

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Be sure to check out Brennan’s website, Facebook and Twitter for more information about the Generation V series (sometimes called the “American Vampire” series, apparently), and more.

“Lexicon” by Max Barry (Mulholland Books)

BarryM-LexiconA superb new thriller, from the author of Jennifer Government

At an exclusive school somewhere outside of Arlington, Virginia, students aren’t taught history, geography, or mathematics—they are taught to persuade. Students learn to use language to manipulate minds, wielding words as weapons. The very best graduate as “Poets,” and enter a nameless organization of unknown purpose.

Whip-smart runaway Emily Ruff is making a living from three-card Monte on the streets of San Francisco when she attracts the attention of the organization’s recruiters. Drawn in to their strange world, which is populated by people named Brontë and Eliot, she learns their key rule: That every person can be classified by personality type, his mind segmented and ultimately unlocked by the skillful application of words. For this reason, she must never allow another person to truly know her, lest she herself be coerced. Adapting quickly, Emily becomes the school’s most talented prodigy, until she makes a catastrophic mistake: She falls in love.

Meanwhile, a seemingly innocent man named Wil Parke is brutally ambushed by two men in an airport bathroom. They claim he is the key to a secret war he knows nothing about, that he is an “Outlier,” immune to segmentation. Attempting to stay one step ahead of the organization and its mind-bending poets, Wil and his captors seek salvation in the toxically decimated town of Broken Hill, Australia, which, if ancient stories are true, sits above an ancient glyph of frightening power.

I’m going to keep this review very short (for me). Lexicon is filled with twists, revelations, and a superb blending of timelines that makes it rather difficult to review sans spoilers. Needless to say, though, Lexicon is a thoroughly enjoyable, gripping and original thriller.

The novels starts with a kidnapping at an airport that is at once amusing, while also quite excellently, uncomfortably mirroring the drugged-nature and mindset of the victim, Wil. (A brave choice, to be sure, as it was a little weird…) Over the course of the novel, we follow Wil, as he has one brush with death after another – the plan of his kidnapper, Tom, goes to hell in a hand basket fast, so they form a weird kind of partnership (I won’t spoil why).

The narrative switches between Wil’s story and that of Emily. Emily, one of our primary protagonists, is great. She starts off as a huckster on the streets of San Francisco, scraping by on card tricks and scamming tourists and gullible locals alike. She is approached by some strange man in a suit, who seems to have a considerable power of suggestion… After passing a potentially-degrading test, she is taken to the school (mentioned in the synopsis, above), and we see her learn various aspects of what they can teach – advanced persuasion, if you will (or, linguistic manipulation, if we’re being a bit more honest). The school is run by an ancient secret society called the Poets, which uses words as weapons. Emily develops into their most gifted, and also troubled, member. Her story follows her rise within the school, and her education there. In her younger years, I was reminded of Veronica Mars, for some reason. I could totally see Kristen Bell playing her in a movie… I thought Barry handled her story arc, and development very well. There were plenty of endearing moments, and also heartbreaking moments.

As story progresses, these two threads inevitably join (not how I expected, but it happens about a third of the way in). Barry mixes up timelines without much signposting, but it works.

The author writes with a great prose style: it is inviting, engaging, extremely well-paced, and sprinkled with a fair few quips and funny asides, which only made me love the story and characters even more.

Overall, Lexicon is a superb thriller. It touches upon a number of modern questions of privacy, identity, and perhaps most importantly, the rising obsession of data-collection. Barry weaves these topics into a tapestry that also underlines the power of language and coercion. It is utterly engrossing, and brilliantly written.

Very highly recommended. Lexicon is easily one of my favourite reads of the year.

Guest Post: “SEEDS IN THE DESERT” by Peter Liney (Detainee Blog Tour)

Liney-DetaineeI’m not exactly sure when THE DETAINEE started to take shape in my mind. For a long time I had this notion that I wanted to write a book about the human spirit, about the fact that, no matter how dark the situation, given hope, we always find a way to survive. Like those seeds that lie dormant in the desert, year in, year out, waiting for rain, and when it comes, suddenly burst into the most beautiful of life. Or the victims of kidnapping, political prisoners, those held for no reason and often under the most appalling of circumstances, where do they find the will to survive? To wait for the arrival of that shower of life-giving rain? Continue reading

Guest Post: “My Favourite Novel” by Robert Goddard

I’m very pleased to share with you this quick guest post by author Robert Goddard, whose latest novel – The Ways of the World – was published yesterday, by Transworld (details at end).

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My Favourite Novel: THE MAGUS by John Fowles

Fowles-TheMagus1977I first read The Magus shortly after it appeared in its revised 1977 edition, following original publication in 1966. Part of the appeal of the book then was probably to do with me being just the right age to be intoxicated and enthralled by its hallucinogenic mixture of psychological thriller and searing memoir. Beyond that, though, there’s the energetic lyricism of the writing. That’s what I relish most when I look back at it now.

The book works on the reader rather as the shimmering Aegean setting, the twin femmes fatales of June and Julie and the tormenting figure of the magus of the title, Conchis, work on the narrator of the story, Nicholas Urfe. First there is seduction, then there is mystery, then there is torture and finally an enigmatic resolution. No one part of the structure convinces as fiction without the others.

It is a brilliantly sustained piece of work.

Would that I could say the same of John Fowles’ writing career. After The French Lieutenant’s Woman (1969), there was a slow and disappointing decline into virtual unreadability. I went to a talk by the great man once, in Exeter, some time in the mid-1980s. Alas, all that met me at the venue was a sign reading ‘John Fowles is unwell.’

‘John Fowles is depressed’ might have been more accurate, as I discovered when I read his diaries, published a few years ago, following his death in 2005. It’s probably best to know as little as possible about a writer you admire. Their personalities are apt to disappoint.

So, forget the writer. But enjoy his work. Anyone who hasn’t read The Magus has something to look forward to. I envy them.

By Robert Goddard

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Goddard-WaysOfTheWorldRobert Goddard’s latest novel, The Ways of the World is out now. It is, I believe, the first in a new series. It is very close to the top of my TBR mountain, so hopefully you’ll be seeing more of it on the blog in the near future.

Here’s the synopsis…

1919. The eyes of the world are on Paris, where statesmen, diplomats and politicians have gathered to discuss the fate of half the world’s nations in the aftermath of the cataclysm that was the Great War. A horde of journalists, spies and opportunists have also gathered in the city and the last thing the British diplomatic community needs at such a time is the mysterious death of a senior member of their delegation. So, when Sir Henry Maxted falls from the roof of his mistress’s apartment building in unexplained circumstances, their first instinct is to suppress all suspicious aspects of the event.

But Sir Henry’s son, ex-Royal Flying Corps ace James ‘Max’ Maxted, has other ideas. He resolves to find out how and why his father died – even if this means disturbing the impression of harmonious calm which the negotiating teams have worked so hard to maintain. In a city where countries are jostling for position at the crossroads of history and the stakes could hardly be higher, it is difficult to tell who is a friend and who a foe. And Max will soon discover just how much he needs friends, as his search for the truth sucks him into the dark heart of a seemingly impenetrable mystery.

Guest Post: A Letter to Readers, by Peter Stenson

This guest post is adapted from a letter author Peter Stenson wrote connected to his new novel, FIEND, which is published today by William Heinemann in the UK. The novel is published by Crown Publishing in the US (both are imprints of Random House). It is the story of the journey he had to travel before he got to a place in which he could write the novel.

FIEND has been described as “Breaking Bad Meets The Walking Dead”, and is currently sitting very near the top of my To-Be-Read mountain. Expect more on the blog very soon.

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Dear Readers,

I’d been kicked out of high school and had run away to San Francisco with a hundred dollars to my name. I had a pretty healthy addiction to opiates going and was still a year away from being able to vote. Needless to say, I wasn’t exactly setting the world on fire.

It was New Year’s Eve and I don’t remember exactly how I made my way to a hotel downtown, but I did. It was full of Phish-type kids who were there for some concerts. There were lots of dreadlocks and cocked hats and sagged pants and patchouli. There were even more faces made concave from malnutrition and narcotics. I stumbled around looking for somebody I knew or at least a place to sit down. Everything was red and gold and seemed to slither. Hundreds of other kids did the same thing. I was struck by the idea that some fundamental aspect of our being—whatever the hell it was that made us human and alive—was missing.

Fast-forward six months. I’d relocated to Washington and was living in a halfway house for adolescents. Life was beginning not to suck. I was sober, my parents spoke to me, I was holding down a job, and I was learning that I could find joy outside of chemicals. The main newfound joy was spending my afternoons in a small used bookstore. I’d go there after work and sit in the literature section poring over the cracked spines of books. I spent what little money I had purchasing said books, oftentimes devouring them that same day. I had my quintessential love affair with literature (albeit a little later than most) sitting on that red carpet, huffing the musty pages of those novels. And it was there that I realized I wanted to be a writer.

Both of these memories have stuck with me ever since. I’ve been sober now for a decade and can’t so much as imagine traveling to a city without a hotel reservation, never mind running away two thousand miles. But I’ve never forgotten that moment when I conflated addict and walking-dead as one, nor the accompanying realization that these kids, like myself then, would do anything and everything to keep the high going.

Fiend is born out of that memory and those realizations. I wanted to tell a story of addiction, and strangely, the most honest way I could portray the kind of addiction I knew was to set the story against the background of zombies. I also made methamphetamines a “cure” of sorts so that quitting would not be an option—and so I could see what depths my characters were willing to sink to in order to stay alive.

PeterStensonAnd as for my other memory, the one about spending every afternoon for six months sitting in a shoebox of a used bookstore, I can’t begin to tell you how excited I am about the thought of my book stacked on your shelves. To be amongst the novels that helped give me a purpose—well, I know I’m supposed to be a writer, but the words are failing me here. Because I can’t express how much that means to me.

Sincerely,

Peter Stenson

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Here’s the synopsis for the novel…

When Chase sees the little girl in umbrella socks savaging the Rottweiler, he’s not too concerned. As someone who‘s been smoking meth every day for as long as he can remember, he’s no stranger to such horrifying, drug-fueled hallucinations. But as he and his fellow junkies discover, the little girl is no illusion. The end of the world really has arrived. And with Chase’s life already destroyed beyond all hope of redemption, Armageddon might actually be an opportunity — a last chance to hit restart and become the person he once dreamed of being. Soon Chase is fighting to reconnect with his lost love and dreaming of becoming her hero among the ruins. But is salvation just another pipe dream?

A Q&A with MAX BARRY

BarryM-Lexicon

Max Barry is a superb author. I haven’t read as much of his stuff as I would like, and I’m due a re-read of Jennifer Government at some point in the near future. His latest novel, Lexicon, is one of my favourite reads of 2013 so far, and will be reviewed tomorrow. He was kind enough to take some time out of a busy schedule to answer some questions for me…

Let’s start with an introduction: Who is Max Barry?

Max Barry is a Melbourne-based author who runs an online political simulation game in his spare time. Except by “spare time” I mean “time he should be spending writing novels.”

I thought we’d start with your fiction: Your latest novel, Lexicon, was recently published by Mulholland Books. How would you introduce the novel to a potential reader?

I’d probably be all like, “I wrote this book about… stuff.” Because I’m terrible at describing my own work. But someone else said, “Modern-day sorcerers fight a war of words.” That’s not too bad. It’s a thriller.

BarryM-Lexicon

Lexicon is about the power of language. What inspired you to write the novel? And where do you draw your inspiration from in general?

The novel came from a lot of little ideas intersecting, one of which was privacy: the notion that so much of what we do is tracked now, and analyzed, and used to figure out what kind of person we are. So what used to be a very personal decision – how and when we reveal ourselves to other people – has been taken away.

How were you introduced to reading and genre fiction?

I’m not sure kids need to be introduced to genre fiction. If you’re an eight-year-old boy and you see a picture of a book with a dragon on it, you want that book. I’ve always loved reading; my parents made sure I was never short of a book.

How do you enjoy being a writer and working within the publishing industry? Do you have any specific working, writing, researching practices?

BarryM-AuthorPicI have the best job in the world: I get to make up stories all day, I can work in my underwear, and people periodically email me to say, “Hey! Great job!” It’s like the opposite of a real job. Except for the part about making up stories all day. Because I used to work in sales.

I don’t have a formal routine. I do try to make sure I’m at the keyboard, ready to write creatively, every weekday. I don’t force myself to write if it’s not working. But I always give it a shot.

When did you realize you wanted to be an author, and what was your first foray into writing? Do you still look back on it fondly?

I don’t remember ever not wanting to be an author. I realized it wasn’t a very practical goal, but it was what I wanted. Pretty much all of my formal education was acquired with the aim of staving off homelessness while I wrote novels on the side.

What’s your opinion of the genre today, and where do you see your work fitting into it?

I don’t write to any particular genre. Which is kind of stupid, for both creative and commercial reasons. But I’ve never cared too much about genre. I am usually shelved in the sci-fi section, but I think you can read my books without really noticing their genre.

What other projects are you working on, and what do you have currently in the pipeline?

I no longer talk about books I’m working on. I used to, in great detail, but then it was embarrassing when the book turned out to be unpublishable. So I stopped. Also, I feel authors need a long period of quiet discovery with their books. Talking about them early kills a little of the magic for me.

What are you reading at the moment (fiction, non-fiction)?

I’ve just started Life After Life by Kate Atkinson. The most recent non-fic I’ve read is The Signal And The Noise by Nate Silver, which was really good.

BarryM-Reading

What’s something readers might be surprised to learn about you?

I can tell what’s wrong with your computer just by listening to it.

That’s not true. I have to SSH in and run some diagnostics. But that’s almost the same thing. I know more about Linux systems administration than is healthy.

What are you most looking forward to in the next twelve months?

Working on a good book.

Guest Post: “The Details in the Devil” by Lou Morgan

MorganL-Blood&FeathersFinalThere is one really, really stupid thing you can do as a writer. Monumentally, head-thumpingly stupid.

And that’s to put the Devil in your book.

Where do you start? Whatever name you give him, whatever face, Old Nick comes with some pretty hefty baggage. Trickster, manipulator, tyrant, victim, former angel or demon… he’s still the Devil. You can race with him; you can be caught between him and the deep blue sea. You can have sympathy for him (or not) and he’s even been known to wear Prada.

All this, and we’ve barely even scratched the surface… So why would anyone be crazy or arrogant enough to go ahead and write one of the most (in)famous characters in all of literature into their own book?

The answer’s simple. It’s because he’s fun. And he’s fun because he’s a challenge. Everybody’s Devil is different. The scariest one I’ve ever seen on film is Viggo Mortensen in The Prophecy. He’s scary because he talks, and it’s not just his voice but his words which are seductive; they ebb and flow as he sits there, fiddling with a rose… and then you realise what he’s saying, and suddenly he’s a thing worth fearing…

He should be seductive, in his own way – it’s what he does best, isn’t it? It’s why those pitchfork-wielding dragon-types they were so fond of in medieval art always look so strange to us. The idea of devil-as-serpent we can understand – there’s something compelling about the way a snake moves, isn’t there? – but none of us could imagine being taken in by a gargoyle.

The Devil stands for evil, after all (just look at those two words… Coincidence? Nah.) and how many of us could ever see ourselves as being deliberately evil? Not many. We use words like “seduced” and “corrupted” when we talk about people going to the dark side. To believe that anyone could simply wake up one day and decide to be truly bad, to become any of our modern definitions of evil is unthinkable – not to mention very frightening indeed – and this is where the “Father of Lies” comes in.

And that’s precisely where a writer’s headache starts.

Every writer’s Devil differs. Of course they do: just like every writer differs, and everything they’re scared of differs. There’s a good chance you’ll find an overlap (how can you not with a character like this?), but there will always be something fresh – even if it’s just the pieces of a jigsaw arranged in a new pattern; the whole being re-lit to cast unfamiliar shadows.

I imprisoned my Lucifer in a block of ice at the heart of hell… but then if you do that, doesn’t it rather take him out of the game? It depends how smart you think he is – and I wouldn’t bet against his being able to think his way around that one. If he were stupid, he wouldn’t be nearly so much trouble, would he?

MorganL-Blood&Feathers-RebellionGoing back to medieval paintings of devils and demons, it’s not unusual to see them being pulled out of peoples’ mouths, because this was a time when possession was not only feared, it was absolutely believed in. And what could be more frightening than speaking to someone you know and realising that they aren’t themselves? What could be more seductive than hearing half-truths – carefully phrased and selected to do the maximum damage possible – from the lips of someone you think you know…?

What if his mind could wander at will? What if he could hop into your head, your mother’s, your wife’s, your brother’s, your child’s? What if he could settle down like a toad in a mind that isn’t his, spitting out words that didn’t come from there and planting thoughts that don’t belong?

What’s his deal, anyway? What’s his agenda? Is he angry? Vengeful? Spiteful? Petty? Sadistic? Is he flat-out monstrous or just misunderstood? Just the same as any character, he needs his motivations and his pressure-points; it’s just that his tend to be bigger, scarier and more nerve-wracking than others.

And after all that: the knowing he’s smarter than you and more vicious than you (which is why he’s locked up, after all: he’s officially A Bad Dude) with nothing to lose and everything to gain, you’re left with one very alarming question.

What will he do to get what he wants?

Answer that, and you’ve got a Devil of your own.

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Author Bio:

Lou Morgan lives in the south west of England with her family. She studied medieval literature at university and loves cathedrals and pizza (but probably not together). Her short stories have appeared in anthologies from Solaris Books, PS Publishing and Jurassic. Her first novel, Blood and Feathers has been shortlisted for the 2013 British Fantasy Awards in both the best newcomer and best fantasy novel categories. She spends far too much time on Twitter.

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This post should really be read while listening to this song…