Thoughts on Eden while mowing my lawn

In the book of Genesis, Adam and Eve eat from the tree of knowledge of Good and Evil on the serpent’s advice, “know their nakedness,” and are thrown from the garden to a life of toil and want – the original sin that in Christianity, Christ died to forgive.
This sin of the apple is such a tortured and joyless reading of the story that I (nominally atheist, though also not) had to wonder how it has taken hold. Perhaps because we learn it as children, when banishment seems impossibly hard, when knowing nakedness only connotes embarrassment.
If you let go of this reading, the story is a much better message for adults than for children. It’s an obvious metaphor for adulthood, and of the need to separate from any parent – if you’re gonna have sex under My roof, God tells His creation, time to get your own roof.
If you are anthropologically minded, it represents the transition from the hunter-gatherer life to stabler but more labor-intensive agricultural life. A fall from grace, perhaps, but with the planet’s grace, hewing our own structures and spaces out of it, using ever more of it, removing ourselves from it with the flaming swords of burning wells.
Eden is garden, always a garden. Gardens are safe. You don’t worry about running through thorn bushes from lionesses in a garden, but you can still pick a strawberry. We take this idea into our names for safe child spaces, real or imaginary – kindergarten, A Child’s Garden of Verses.
A garden is a managed space. Adam and Eve don’t mow their lawns or trim the verge – who does? Maybe this is why the angels rebelled.
To a gnostic, of course, the serpent is the true good in Eden, the pirate message from outside the garden, warning the garden is unreal and pernicious. Think of the clones in Never Let Me Go, or Neo in The Matrix. They know something’s not right in their managed world. The serpent is the path out, and a reassurance that maybe what is beyond isn’t nearly as terrifying as they tell you.
Maybe you don’t need forgiveness for wanting to leave. Maybe you just grew up. Those flaming swords keeping you from that past? They’re just time.

Book Review – Under the Skin by Michel Faber

My vacation book on my family trip to New Orleans was Michel Faber’s elegant, familiar, horrifying novel Under the Skin. I’ve owned the book a long while, and knew very roughly what it was about. I had no idea what a perfect foil it would be for my trip – an escape from my escape, yet apposite too. The Big Easy is vibrant and gorgeous, but its beauty is also painted and its energy pushed with stimulants. It celebrates scoundrels as much as talent, and romanticizes vampires.
Isserley, Under the Skin‘s narrator, is not exactly a vampire, and her hard life in forbidding rural northern Scotland is far from easy. In Faber’s wry, spare telling, she is as sympathetic as anyone in a lousy job, and a monster in the truest sense – one who sees humans as food.
(All spoilers ahead.)
Isserley’s race are intelligent alien ponies with hand-like forefeet, technologically far ahead of us, who live in a feudal-capitalist society  under their world’s polluted surface.
Once a beautiful mistress to the rich, discarded when she aged, Isserley escaped a short life of toil in deep mines by going to Earth. Radically altered, her face and body both halved, she can pass as human. She drives around rural northern Scotland, looking for hitchhiking men – only men, muscular and not fat, whom she drugs and takes to her farm. Once castrated and bulked up with hormones, her prey are prized meat, sold by her planet’s greatest corporation, each small filet worth a month’s oxygen and water combined.
Under the Skin is a decadent novel in a hard bitter place, and that is only the first of its many clever subversions. Isserley’s bitter self-pity is thoroughly earned, but she also knows her relative privilege. Even the sleekly beautiful corporate scion of her firm, fashionably vegan and contemptuous of the huge profit his family makes from human meat, envies her the planet where she gets to live, no matter the deformity it required.
Like all privilege, it will fade, from the most obvious of pressures. Despite the astronomical profit, hunting in northern Scotland is too haphazard. The request has come for Isserley to start taking fertile females.
Under the Skin does not preach or lament, though Isserley does a lot of the latter. Rather, it admits. This is how we are, and it’s no surprise that this is how they are too. There is no them or us, save our eternal tendencies to seek an us, and a way to profit from those who become them.

Recovering technophiliac

I use a MacBook Air 2012, second version of the Air line and model for all that follow. It’s a perfect size for serious work, with a screen that usefully shows a half-dozen apps in a single desktop space. It’s substantial yet light, easily portable, fine in a lap or a desk. It has local storage so no need of wifi for work on the go, and cloud backup the moment it connects.
At my desk, it runs two HD+ monitors, a backup drive, and any peripheral I need. Home and away, from apps to settings to bookmarks to the structure of the folders, everything is the same on it, wherever I take it. It’s the most useful thing ever.
Drives me crazy.
I have an addiction. I like new computing gear. I like to get better gear that does new stuff. A perfect computer can do everything – but that.
Every other year, I spend good money on e-trash, some quirky machine with a clever feature like a touch screen or small size. Each time, the affair is short-lived, and soon the device ends up housed in a cabinet, so backlogged with updates that I fear to turn it on. My last one went three days from unboxing to reboxing.
It’s as if I drive a McLaren sports car, every day, but I keep buying new Cadillacs for the bigger cupholders.
It started out innocently enough. I got into computers as a teen, as a writer, at the dawn of word-processing, still a hobbyist’s preserve but even then superior to typewriters. My then-rare comfort with the technology dovetailed with the dawn of online connectivity as a consumer business. I was rewarded with a prestigious international career.
If you bought your winning ticket for the mega-lottery at the liquor store, how would that affect your alcohol abuse?
The same for my success and my need to poke at new gear – even in this new career where (from a gear perspective) I merely key words in empty spaces, and there’s no more technology to master.
Meanwhile my MacBook Air just works. It’s got another four years at least. Four more years of perfection, of comfort and familiarity and a natural flow.
Maybe longer.
The itch is stressful. I am trying to realign it with better pursuits, like the ambulance-chasing lawyer in Banks’s The Sweet Hereafter, proud to have a good use for his anger. When my dad’s old desktop needed its final backup, I taught my son the basics of computer architecture. We rebuilt it at modest cost with new drives, cards, and memory. We did such a good job my dad demanded it back.
Of course, I spent two afternoons after thinking through and researching how to build powerful desktop machines for different uses from parts at low cost.
But I didn’t buy anything.
That’s something.

Destroying Budapest

My science-fiction work-in-progress is set in a single city, and I needed to see it to imagine living in it. Welcome to Pest! Only walk on gray parts….
Pest, the White Lake and the Soft Lands
Budapest was a proxy in the One-Day War between Greater Russia and Umoja East Africa. Buda is now the White Lake, a boiling toxic waste of microscopic robots that eat carbon dioxide, and anything else, to make diamonds that wash on its shores. Both embargoed no-person’s-land and boomtown, Pest houses thieves, smugglers, engineers, and skaters, daredevil gladiators who jump and spin over the Lake in maglev boots, just one fall from death.
I suppose I could have done any old thing to ruin a city, but I wanted a dusting of Science! in my fiction. I thought a fractal would make a believably consistent result small enough for microscopic robots to store. I used FractalWorks, a Mac app, to generate a tiny portion of the celebrated Mandelbrot function, and overlaid this on a large screenshot of central Budapest, so its finer arcs and whorls were the length of city blocks.

Budapest map and Mandelbrot sliver

Budapest map and Mandelbrot sliver


I didn’t think at the scale of blocks it could ever be so precise – if nothing else, land would collapse – so I cut out the Lake using an image editor’s predictive selection tool, to make the edges sloppy and eroded.
Both the pink and white areas are products of the fractal. The white is the Lake itself, while the pink represents Soft Lands, areas of shifting underground streams through which nanites recharge, around which smugglers tunnel.
It’s been a huge help to have the reference. Putting my characters on a literal map lets me figure out relative distances, and helps me imagine the land and the city that might grow from it.
I also thought further about my mechanical monster’s makeup. Where Lake meets land has always been seductively quiet, since earliest drafts. Instead, let the meeting of Lake and Soft Lands be a place of churn and upheaval, the turbulence of nanites going into and out of dormancy around the buzz of other nanites quantumly-uncertain just where their strange fractal stops. I have a heart murmur too.
It’s easier to name things in the context of the city’s weird sense of humor now, and I’m looking at it as more impressively built than previous drafts. Where before it was falling apart and hastily erected, now I see it as printed and reprinted, strange but regular, by the same artificially-intelligent drone “taxibots” that run the city services. This has new virtues and a very different look. And some rewriting.
If this map gets reproduced in the book, I don’t want the plain line drawing quality of most novel maps. Rather I’d commission a graphic artist to generate a cityscape, degrade that so it looked like a 12th-generation-photocopy of an old image, have all the landmarks written in sloppy marker. At top: “Welcome to Pest where you will likely die.” At bottom: “Wanna know more? Live and learn.”

A quick hello during a busy season

I am sorry to have been so silent. In between summer travels with family, all my projects have been in construction phases, and I don’t like vague-posting.
But, news. I have several author events scheduled for this fall. You can find me at:
The Fredericksburg Independent Book Festival, Fredericksburg, VA, Sat Sep 23
YABBAFest, Warrenton, VA, Sat Oct 14
Quest-Con, Mobile, AL, Fri Oct 20-Sun Oct 22
Philcon, Cherry Hill, NJ, Fri Nov 10-Sun Nov 12
I have also begun recording The Demon in Business Class audiobook. People who sign up for my mailing list at Fredericksburg or after will get a free copy of the early session recording of Demon chapter 1.
Want in on the goodies? Sign up too! 
The third project is of course my new novel, which I finally have come to admit is not going to be fleshed out from the previous manuscript, but completely rewritten. I have however set myself the semi-impossible goal of debuting it next year at Atlanta’s massive DragonCon, which means that next week I get to writing in a headlong Phildickian rush. Well, maybe not, but I have a lot to do.
I’ll be posting about the book in a couple of days, since I can actually discuss it now and show some concepts.
A fourth project … awaits much more solid scheduling. Suffice it to say I am working with great artists.

Demon ebook on special sale until Aug 17

Starting today for the next three weeks, The Demon in Business Class ebook is on sale as part of the “Bump in the Night” fantasy-thriller set at Storybundle.
Pay from $5 to $15, you get six ebooks, including mine; pay more than $15 and get nine more ebooks. Download versions for all readers – or, if you follow their slightly technical instructions, Storybundle can send it direct to your Kindle/Kindle app.
If you have friends who are fantasy or thriller readers, please share the sale with them! It’s good until August 17 2017.

Hello Florida Supercon – goodbye wonderful Raleigh!

Hope to see you this coming weekend, July 27-30, at Florida Supercon in Fort Lauderdale, FL. I’ll be at the Bard’s Tower booth all four days of the con with Kevin J. Anderson, Josh Vogt, Kevin Ikenberry, Keith DeCandido, and J Scott Savage. I have one scheduled panel, on using real world experiences in fiction, at 3:30pm on Thursday.
I’m pleased that Florida Supercon is under the same management as last week’s Raleigh Supercon. Raleigh was a tremendous event, well-run and with a welcoming energy. I met many enthusiastic people, and even got to join a panel on Religion and Magic.
I’m very lucky to have Bard’s Tower as a promotional outlet to the world of fan conventions. Bard’s Tower helps me connect to my audience while working in a collaborative way with fantastic and experienced writers. Speaking as a business, tens of thousands of people with hundreds of options and real-world budgets are a brutal lab for direct marketing. As an artist, it’s an incredible chance to find that certain reader my work really speaks to, live and in-person — an unrivaled source of joy.

Hello Connecticon 2017 – and thanks!

Tonight I fly north to Hartford, CT, to join the Bard’s Tower booth opening Friday at Connecticon. It’s the first of three cons I’m doing in July at Bard’s Tower, with other fantastic writers.
Cons are intense, by design, and they’re also long days standing on concrete. Three cons in four weekends is a heavy schedule, personally tiring and hard on my family. Still, #livingthedream . These are my last big cons this calendar year. I want to connect with every interested reader during my hours in these big convention halls.
How immediate these connections can be! People know their tastes, even if naming them with difficulty, but they feel. Once in a while I get a visual clue that a convention-goer might be my audience – cosplaying Sandman‘s Death, or wearing an Unknown Pleasures t-shirt – but more often, the readers find me and click. I’ll see an hour of people glancing away, then a delighted voice reads my title aloud and everything brightens.
Connecticon 2016 was my first con behind the table, learning to connect with readers in person and find their interests, before my launch in Cincinnati. Seeing how little time one gets in the hugeness of a con convinced me to market overtly to a niche sensibility.
I am excited to come back with my book – and new trading cards!

New Demon trading cards!

As a promotion on social media for The Demon in Business Class, I created a virtual trading card deck. For cons, I printed card versions of the nine character pictures. They were done as a last-minute inspiration, made by shoving the cards’ original Instagram proportions into a business card template on Moo.com, the excellent online printer. The cards turned out to be popular at cons and events, and at a better cost-per-item than postcards.
I updated the info on the back and resent the cards to print a larger order – seven this time, of the original nine, because nine is unwieldy at a con; and extra Zarabeths.
This time, Moo said the uneven border made for unsatisfactory results, and offered me the chance to do the cards over with new images. They were right of course, and I took the opportunity.
At my upcoming cons in Hartford, Raleigh, and Ft Lauderdale, I’ll be sharing the good word about Demon with new promotional trading cards!

The Inner Loop reading series

I had a great evening under twilit stars – and frequent, seemingly aimless helicopters –  with The Inner Loop, a monthly DC reading series for poetry, fiction and non-fiction writers, at Colony Club. The headliner was Jennifer Atkinson, a poet drawn to human disaster, with readings by Joel Goldberg, Matthew Moniz, Alyssa Oursler, Alex Aronovich, Peg Alford Pursell, Alan C. Page, Leila Rafei and Sam Mahone.
Standing room only!
       
I’m firmly in the camp that writing is an art for the ear. Studying other languages’ poetry let me hear the latent music in my own writing. I always want my work to sound good aloud and I love to hear other authors reading. It’s a happy time for this viewpoint, with the growing market, and quality, of podcasts and audiobooks. I’ll be fascinated to see how English prose style changes for a world where most of it is heard not read. (Prediction? Dialogue tags will lose “said.”)
The evening had a warm, friendly feel. I talked shop with other writers, books with readers. A writing event is quieter than a band, with no dancing or chatter and surprisingly little phone use other than recording videos. The vibe remains casual and attentive. Even for the writers – 5 minutes, and you’re back in the audience.
There will be a bigger market for these. Already the Moth series has spread to live events in several cities. Reading for performance will be the new penmanship.