Anthony Dobranski Online

Category: demon-extras

  • A Valentine to The Master and Margarita

    A Valentine to The Master and Margarita

    In this season of love, I’m posting Valentines to inspirations for my own novel, The Demon in Business Class. This is the fourth – find the others here.

    My previous love notes were to works or creators that I followed for years. Mikhail Bulgakov’s The Master and Margarita happened to come into my life at the right time — I found it on a bookstore table, and bought it on a whim.

    Though I use books to find styles and moods, I tend to avoid books with similar stories to ones I am currently writing, and deals with demons and thwarted love come awfully close. So I say whim, but I think inspiration. Without this great novel and its many lessons, The Demon in Business Class would be a different and worse book, if finished book at all.

    The Master and Margarita is a hallucinatory horror satire, a story about capricious, florid evil challenging methodical, dull evil. The Devil wants to host a great party in Soviet Moscow, but while he can bully past greedy functionaries — or behead them, or teleport them to Yalta — he needs a willing human hostess. The desperate Margarita searches for her writer lover, crushed by the official rejection of his beautiful novel about the last days of Jesus’s earthly life. A deal is struck, one that leads through horror toward unearthly peace.

    The Russian people now treasure the novel, both as a story and as one of the few surviving honest descriptions of life under Stalin. Despite demons, talking cats, magic flights over Moscow, and a grand ball by turns miraculous and ghastly, the novel also captures the injustice of ordinary life in that fear-soaked time.

    In many ways, my novel opposes Bulgakov’s. My demon is an evanescence, not the intelligence in charge. Margarita embraces the demonic to restore her lover; my characters escape the fantastic for each other. Bulgakov ends with hope and love. My characters — well, read for yourself.

    It’s instead that honesty and ordinariness that inspired me — really that solved my worst problem — and took The Demon in Business Class to greater breadth and depth.

    My earliest concepts of Demon focused on the love story, the characters’ unsuitability for it, and what they had to go through to keep it. To highlight the opposition, I imagined a world with modern technology but also overt and obvious magic. I knew the fantastic had to be there, but I couldn’t say why, and that ignorance was in my way. I wrote 400 pages of novel and felt painted into a corner.

    Bulgakov showed me my initial error. I had chosen to flavor my book in my time and with my brilliant experience, which showed me a world where fast transportation and instant communication had brought ancient cultures right up against each other, without time and understanding to moderate. I saw nations in flux, saw fusion and friction, all the while working alongside smart, ambitious people.

    Having been offered all that, I was making it an aside, in favor of my own engineered fantasies, for stakes that needed over-explaining in a bubble. Many books are their own place, with no referent to our world, but I was trying to make my own small place out of a big place.

    Fantasy need not be a rejection of the world as it is, because most fantasies, and horrors, form inside us, our own processing of our hopes and fears through the lens of our culture. I had a rich world to work with — the only real world, pace ecstatics and Philip K Dick. All I had to do was… be in it, in both its facts and its dreams.

    So I followed Bulgakov’s example. My narrator went to the background, my plot got trimmed. My characters grew sharper, less erudite, feeling not talking. The magic became secret, costly, and hard-won — and usually inconvenient. It made for a better novel, if a more exacting one to write.

    It also made for a novel that knew what it wanted to say, about where the world was going and how we might accept, reject, or stand back from it. Already the real few years since Demon‘s setting have shown it got things right.

    Despite demons, star-crossed lovers, hidden conspiracies, immortals, and a single night of miracles and horror, maybe The Demon in Business Class will also read, over time, like an honest description of this period in human life.

    I wonder if readers will feel as lucky not to live in my time as I do not to live in Margarita’s.

  • A Valentine to A Scanner Darkly

    A Valentine to A Scanner Darkly

    In this season of love, I’m posting Valentines to artistic inspirations for my own novel, The Demon in Business Class. This is the third – find the others here.

    I spent my teenage years in search of Philip K. Dick. I hunted down every yellowing paperback of his I could find, in used bookstores across the United States and in other countries too. I bought and read Dick novels in the Latin Quarter, on the Spanish Steps, and in many low-end shopping malls. He was my lodestar for a decade, in the decade before his critical renaissance.

    What most fascinates me in Dick’s work isn’t exactly what drives most discussions of his work: the sense of unreality he is justly famous for exploring, his Gnostic sense that the world we see is a veil over a deeper truth, be it better or worse.

    I liked that, of course, because it was true. It was obvious. What I craved from him was not that knowledge, but what to do with it. I sought examples of humanity in the face of that. I wanted to explore the terror of cosmic befuddlement, to see how to survive it, and how sometimes one didn’t.

    This is why my inspiration and my love goes to A Scanner Darkly, the rawest, cruelest, bleakest, least heroic of all his novels — the only one that ever made me cry, and still does.

    Despite it being the only Dick novel faithfully made into a movie, it seems the least beloved. Science-fiction fans like his earlier work, where there are spaceships and androids, virtual realities and powerful psychopaths. Mystics like his later work, of religious ecstasy and passionate conviction. A Scanner Darkly is the grim, tedious nadir between them, with a main character who is neither The Matrix‘s Neo nor St. Paul: Bob Arctor, a deep-cover narcotics policeman between losers and literally faceless (thanks to special suits) desk-duty bosses, while his addiction to the drug he’s supposed to trace slowly destroys him.

    The Demon in Business Class shares much with A Scanner Darkly‘s story. There are answers to hidden questions, and characters discover they’ve been serving goals they would have refused, whatever their worth to the greater good. And of course there’s a demon, more literal but as effective as addiction at dragging them down while promising not to.

    Zarabeth and Gabriel are too adept at conventional reality to bottom out in the way Bob Arctor does. If Dick had written my novel, Bill Thorn would have been his Arctor, failing tragically to measure up to a goal he chose out of fear.

    Demon however is a love story, something Dick never wrote (save one for a shoe). Dick never allowed his characters a companion in their grief. Zarabeth and Gabriel have each other, and the willingness to recognize the value in their bond by letting it change them.

    The closest I could get to Dick’s despair was to give Zarabeth and Gabriel the understanding that their love meant giving up something their love could never fully replace. At least it’s a choice.

    Without spoilers, my lovers have challenges ahead. Maybe this was another nod to Dick’s reality — the thing, as the saying goes, that doesn’t go away when you stop believing in it.

    I said earlier that Zarabeth and Gabriel don’t bottom out the way Bob Arctor does. Maybe better to say, haven’t yet. There’s still time.

    *Maybe I should say, the least beloved of his major works. Dick wrote nearly fifty novels, but fewer than a dozen get Library of America editions. A Scanner Darkly is, I think, the least loved of those.

  • A Valentine to The Alexandria Quartet

    A Valentine to The Alexandria Quartet

    In this season of love, I’m posting Valentines to inspirations for my own novel, The Demon in Business Class. This is the second – see them all here.

    It’s impossible to say only one literary work taught me how to create characters, how to make them as deep and maddening as real people, how set them against each other, how to set them in their time and place.

    If I could only pick one, it would be Lawrence Durrell’s Alexandria Quartet.

    It’s not an easy work to explain in this short space: a magnificent, sprawling, story of destructive passions that hide, and enable, political intrigue. Told told over four gorgeously slumming novels (Justine, Balthazar, Mountolive and Clea), it’s set in Alexandria, Egypt in the 1930s, at the onset of both World War II and Middle-Eastern revolution.

    It’s also not an easy work: elliptical, philosophical, experimental, inconclusive, and rooted in single viewpoints for such long stretches that it really takes until the third novel to see just how wrongly some characters in the first novel misunderstood their situations.

    In flipping through its pages, both in my hands* and in memory, I wonder anxiously (in Harold Bloom’s sense) at its many influences on my characters — of which I was mostly unconscious during my writing, thank goodness. Zarabeth is like Justine in her sensuous character, childhood trauma, and facility with deception, but Zarabeth is an overt trouble magnet, and would bristle at being so pampered and indirect — as, in the end, does Justine herself. Gabriel has both Darley’s callowness and Mountolive’s optimism to mislead him, but happily Gabriel is more violent and less deceptive than either. Walt is wealthy like Nessim, and like him, gets in Missy a wife who, also like Justine, sets his agenda and will never stick to his bed alone.

    If those were the similarities I didn’t intend for The Demon in Business Class, here’s three I did:

    It’s cosmopolitan. The Quartet only has only one setting, unlike Demon‘s dozen, but empires come to Alexandria, and have for two millennia. Few books give one such a sense of meeting our whole world and its history in one place, which is likely why I so responded to it while reading it during my own wanderings across the in-flight map.

    It’s personal. I led this homage by talking about characters, and the Quartet keeps the focus on them, even while so slowly revealing an actual plot that won’t leave anyone unscathed — but there’s no saving or destroying the world here. The story stays rooted in the characters’ lives.

    It’s about the end of youth. I almost wrote that it was about growing up, but growing up is something we do in our teens. 1st Corinthians famously notes the putting away of childish things, but when we first close the toychest, the adult world is new to us. The Alexandria Quartet is about when we start to see just how old and big the world really is, and how little of its time we’ll actually get to take part in.

    In Mountolive, the Quartet‘s third novel, the novelist Pursewarden bitterly calls Jesus an ironist for blessing the meek, given what the rest of us do to their inheritance. In that at least, Demon‘s characters differ in their imitation of Christ, learning by example not statements. As Walt says to Gabriel, “You’re what, thirty? Jesus died at thirty-three. Get cracking.”

    *I have the 1961 Dutton paperback edition, pictured, though not the box. It’s a lovely set I sought across many used bookstores, and the last literary novel I read in mass-market format.

  • A Valentine to Farscape

    A Valentine to Farscape

    In this season of love, every day this week I’m posting Valentines for the artistic inspirations for my novel, The Demon in Business Class. This is the first – see them all here.

    In my profile on the Science Fiction Writers of America discussion boards, I declare that, between Star Wars and Star Trek, I choose Farscape.

    This ridiculous, lurid, gorgeous, impossible show captivated me from my first stumbling on it near the end of Season 2 — and why not? Unapologetic and inspired melodrama, fantastic set designs, astonishing alien makeup, and a cheeky reworking of every other sci-fi show’s story clichés through absurdity and into flight, all delivered with hyperkinetic brio in Australian accents.

    My inspiration, however, was the central romance between John, an Earth astronaut “shot through a wormhole” across the galaxy, and Aeryn, a fighter pilot exiled from a military dictatorship for her failure to capture John.

    Messy and explosive by itself, the romance worked like that in a Greek myth, to give the show its skeleton — or maybe its gravity, as John and Aeryn’s unstably circling each other became a binary that drew the other story elements in. It showed me that my own early idea of an earthy romance between opposites in a fantastic setting really could work — especially if it first made life harder for both of them, not easier.

    Farscape‘s fingerprints are all over my novel. Like John and Aeryn, Zarabeth and Gabriel had to be uprooted from what they know, and forced to think on their feet with only themselves to rely on. Zarabeth has John’s part: dogged, confident and somehow making it work despite hard knocks, slashing Occam’s Razor all the while. Gabriel has Aeryn’s part: occasionally able to rely on his experience, but mostly learning a new way to be — trusting. Both find each other in part because they’re the only ones like each other, a match that is correct but also feels desperate, which leads to doubt.

    I also have to admit that Zarabeth’s demon isn’t too far off the translator microbes colonizing John’s brainstem.*

    Twenty years since its airing, I see I’m not the only one to find my way by Farscape‘s light. The casinos, trading posts, and treacherous landscapes of the last season of Star Trek: Discovery looked very much like Farscape’s “uncharted territories.” The Mandalorian took criminal jobs to make ends meet, all the while guarding a power as great as John’s “wormhole knowledge,” and as sought after by another empire.

    Maybe I’m not the only one choosing Farscape.

    * Of course it’s all babelfishes, but we try.

  • Q&A about The Demon in Business Class

    Q&A about The Demon in Business Class

    Let’s talk about The Demon in Business Class!

    The Demon in Business Class is a modern fantasy about two people, Zarabeth and Gabriel. They each find a place in the world, a secret magic, where they fit, but they also find each other — and they can’t have both.

    It’s also a story of hidden international conspiracies, set in multiple countries around the world — a supernatural corporate thriller love story.

    So what does the demon do in Business Class?

    The demon gives Zarabeth just one power: it lets her speak and understand all languages. Imagine what you could do with that! Of course, it has a cost… but it lets Zarabeth cause a lot of problems, in many countries. Which she enjoys.

    Gabriel’s a psychic sensitive to evil. When we meet him he doesn’t understand that, so mostly he gets into fights. He tamps down on a lot of his power to manage it, but that isn’t working any more. He has to find another way to be.

    What’s the conspiracy?

    That would be telling! On the back of the book, I share this much: Zarabeth is working to start a war. Gabriel is trying to stop one. It’s a big thing, though, and neither has anything close to all the information.

    Demon is a stand-alone novel, and in fantasy at least, that’s not common. Why did you write it that way?

    It’s the story, finally. The characters change. Not all their problems are solved, of course, and they have some new ones, but this is a time in their lives they live through.

    Plus, I like an ending.

    I think readers like an ending too! Before the pandemic, I promoted the book at literary festivals and comic-cons. I’m trying to find my best audience, so I would say up-front it was a stand-alone. I was surprised by how positive a response I got. Readers would talk about how they got tired of waiting for the next book, or how they also liked to have something to mix in between long series, like watching a movie between bingeing shows.

    This one novel is also a tremendous journey – a dozen countries and a large cast of characters, from the viewpoints of two distinctive characters, with some big ideas, told crisply and with style.

    Will you write another book with these characters?

    Hmmm… I have no plans. Of course, I have some ideas!

    Enough characters are alive at the end that their story could continue, and while the main characters get to a different place in their lives, the conspiracies continue too.

    I have no plans, though. I have other books to write first.

    See more at the Demon+ page, including samples, interviews and posts.

  • A Demon movie cast

    A Demon movie cast

    For a recent blog tour, I was invited to imagine a cast for a movie version of The Demon in Business Class. It’s a fun exercise!

    I limited myself to living actors, currently at an age that matches the characters, and tried to be neither obvious nor obscure. You can compare them with the images in my Demon character profiles!

    Happy to entertain alternate casts in the comments!

    Zarabeth Battrie – Natalie Martinez

    Zarabeth longs for respect, but will exploit being underestimated. In her complicated role in The I-Land, Martinez pulls this off. Also, pinch out a lit cigarette? This actor would.

    Gabriel Archer – Chace Crawford

    Behind his straight-shooting demeanor, Gabriel is a hugely conflicted person. Crawford’s wild, bleakly comic arc as The Deep in The Boys shows he could integrate Gabriel’s hope and his anger.

    Missy Devereaux – Miley Cyrus

    Missy is a child of privilege who grew up leading a double life, and still chafes at it. Any questions why I cast Cyrus?

    Walt Wisniewski – Charlie Hunnam

    Walt is a seeker, an imposing presence who also wears his gifts lightly, and is fine not being the hero. Hunnam would find the sensitivity and cleverness behind Walt’s big bold front.

    Bill Thorn – Bokeem Woodbine

    Bill is not emotional, but he’s keeping his passions tamped down, maybe unwisely. Woodbine conveys great power whether serious or comic. He’d find the depth and pressure beneath Bill’s still waters.

    Magda Crane – Charlotte Rampling

    Magda is old, complex, and several steps ahead of you. In her whole acting career, including the upcoming Dune movie, Rampling has an intelligent, secretive toughness.

    All images are from the actors’ listings in the Internet Movie Database. Image source links:

    https://m.media-amazon.com/images/M/MV5BZjRhOTYyNTAtNGM5Yy00M2NiLWE5MjMtZjg2Mzc2ODQxOWQ4XkEyXkFqcGdeQXVyOTExMjQ0OTE@._V1_UY317_CR17,0,214,317_AL_.jpg

    https://m.media-amazon.com/images/M/MV5BMjM4Nzc3Njc0N15BMl5BanBnXkFtZTgwMjE0MDEzMTE@._V1_UX214_CR0,0,214,317_AL_.jpg

    https://m.media-amazon.com/images/M/MV5BMTc3MzE1MzcxNl5BMl5BanBnXkFtZTcwNTM1MTA2OA@@._V1_UY317_CR5,0,214,317_AL_.jpg

    https://m.media-amazon.com/images/M/MV5BMjE5NjE5Mzk2MV5BMl5BanBnXkFtZTcwODI5MDE1Ng@@._V1_UY317_CR5,0,214,317_AL_.jpg

    https://m.media-amazon.com/images/M/MV5BODY0MjQ0MDQyNl5BMl5BanBnXkFtZTgwMTgxNzQxNjM@._V1_UX214_CR0,0,214,317_AL_.jpg

    https://m.media-amazon.com/images/M/MV5BMTU0MTgyMjIzMF5BMl5BanBnXkFtZTcwOTc3NTA0Nw@@._V1_UX214_CR0,0,214,317_AL_.jpg

  • The first idea

    The idea for The Demon in Business Class came at a weird time. I had a good job, opening overseas offices for the internet company AOL. I had just finished a six-month stint in Tokyo, a life-changing and confidence-building experience. I was waiting to start my upcoming assignment in Sydney — waiting far longer than expected. After the energy and focus of startup life overseas, I suddenly had very little to do at what had become an enormous company. I felt like a snowboard in summer.

    I was still processing a bad relationship from the year before — or, really, back to processing it, cleaning out the emotional junk I had ignored while working in Japan. Many friends had settled down while I was away, so social life was hard to find. I ate a lot of dinners, at home and in restaurants, alone with a book.

    My dear friend Erik Bennett was working as an actor in Los Angeles. He and I had created a short-lived arts magazine some years before, and he was my only connection to my early creative dreams. At one point Erik had said, lightheartedly but with a sense of real possibility, that I should ditch my job and come make movies with him. As the boredom of waiting had grown, it was on my mind.

    One evening I wrote him a letter — on AOL Japan stationery, with a fountain pen given to me by a London colleague.

    Indie movies sounded fun, I wrote, but I was in a navel-gazing place. I could write about corporate life, but while I enjoyed it from the inside, it wasn’t exciting from the outside. I’d probably need some big plot, maybe something archetypal and fantastic. Like, if Good and Evil were rival companies, and two people who were on either side of that somehow fell in love.

    The great juggler Michael Moschen once talked about how he might pick up an object, like a bent piece of rebar, and feel a sickening in his stomach. He knew from that single heft he could do something with it, and that it would take him a year of hard work.

    I understood that feeling, then.

    It took me more than a decade. I did go to Sydney, and after that to Hong Kong. When I stopped living in hotels, life was waiting for me: my mother’s illness and death, meeting my wife, starting a family. I wrote some screenplay scenes, but I liked fiction better — even though I had to relearn how to write it, and learn more. I wrote 400 pages, tossed them out, and started over.

    What surprises me still is how I didn’t let go of this basic idea, or it of me. Now I have new books in me, but this is the book that made me a writer.

    Welcome aboard. Fasten your seat belt. Bon Voyage!

  • A playlist for The Demon in Business Class

    I created this playlist for a blog tour — if you want to start listening, here it is on Spotify: https://open.spotify.com/playlist/4tR8uHsFCla94vEFZnwz8c

    It was a fun project, sort of a soundtrack with backstory.

    Some of these songs were specific influences, though unnamed, on certain scenes. Other songs evoke its moods.

    The project also put me in touch with my younger self, who long ago spent many hours making mix tapes — on cassettes — that then took me across the United States and back, not unlike Gabriel’s own journey late in Demon.

    Enjoy! Songs are listed Title – Artist, with notes after each.

    Part of the Process – Morcheeba

    This track evokes the uncertain, down-but-not-out place Zarabeth finds herself at the novel’s start. On my own visit to Aberdeen, Scotland to research the novel, I bought Morcheeba’s album Big Calm in a record store bargain bin. I think it’s the last actual compact disk I ever bought!

    Opium Dreams – Rithma

    Don’t read into the title. This song is here for its smooth groove, punctuated by the unsettling party laughter, both evoking when we meet Gabriel at a party that really isn’t fun.

    Cirrus – Bonobo

    This propulsive yet pretty track, known for its amazing video, is all for mood, launching Zarabeth and Gabriel down their respective rabbit holes.

    The Marriage of Coyote Woman – All Them Witches

    A slow, psychedelic blues, with an opening line that works in business class – “I never met a salesman like you before” – and a mood that fits Walt’s as he kicks himself back into the world.

    Season of the Witch – Lana Del Rey

    This breathy take on the 60’s pop classic brings out Missy’s seductiveness, and the turmoil behind it.

    All That We Perceive – Thievery Corporation

    A song about picking up more than other people do, and the difference between knowledge and understanding, an issue even for those paranormally gifted.

    My Girls – Animal Collective

    Sunny, but also manic, this track is from the album Gabriel plays for Zarabeth on their first drive together. It’s a hope for simplicity that Gabriel will not find.

    Atlas – Part 1: Personal Climate: Travel Dream Song – Meredith Monk

    This minimalist, haunting opera about modern travel is what Gabriel is listening to when Zarabeth comes to visit him in his Aberdeen hotel room. Zarabeth thinks it sounds like DNA.

    Example #22 – Laurie Anderson

    A fun nod to Gabriel’s uneasy trip to Hamburg, seemingly sung by Zarabeth working her way into his dreams. “What are paranormal voices?”

    Policy of Truth – Depeche Mode

    At a house party of deaf grad students, Zarabeth taps into her wild magic while dancing. This naughty, world-weary ode to lying was on repeat while I wrote the scene.

    Just Like Heaven – Katie Melua

    A gentle, sad take on The Cure’s story of lost love. We’re at the halfway point. It gets darker from here.

    Revenge – XXXTENTACION

    Like Zarabeth’s own feelings, this track is small and dense, a seed for careful growing.

    Chce Se Mi Spát (I Want to Sleep) – Psí vojáci

    One of the major voices of Prague’s Velvet Revolution, Psi Vojáci (Dog Soldiers) evoke Zarabeth’s fatigue, and the insincerity and disconnection in a world of surveillance.

    等著你回來 (Waiting for You) – 白光 (Bai Guang)

    1940s singer and actor Bai Guang was the sultriest of what have become known as the Shanghai Divas, and is still known across Asia. I went with the original to evoke Zarabeth’s bitter desire in Hong Kong, but you can find updated remixes on the album Shanghai Lounge Divas.

    Furious Angels – Rob Dougan

    Some will recognize the instrumental version, used in The Matrix Reloaded during Neo’s opening fight sequence (“Upgrades.”) For burning blue Zarabeth and hot desperate Gabriel outrunning angry angels, I opted for the full melodrama of Rob Dougan’s original.

    Hessel, Raymond K. – The Dust Brothers

    This heavy, spacy drum and bass track evokes the Las Vegas cult ritual where the wrong god shows up, to Zarabeth’s benefit… and no one else’s. Originally from the Fight Club soundtrack.

    Thirteen – Johnny Cash

    Gabriel crosses the American West, trying to find an answer to his love and the hurt he caused her. Johnny Cash knows about that.

    Wolf Like Me – TV On The Radio

    Missy and Walt just hope to settle down, but there’s a reckoning ahead with Missy’s family and coven — and TV On The Radio’s tale of horror and hunger speaks to Missy’s reaction.

    Cheap Thrills – Sia

    My editor Vivian Caethe told me to add a chapter about Zarabeth after Las Vegas, lest she seem to be “waiting by the phone.” Laying low in Lincoln, Nebraska let Zarabeth tie up some loose ends. To get back in her head, I had this song on repeat as I wrote the chapter.

    IKAZUCHI (Thunder) – Tom H@ck – Yoshida Brothers

    During my own work in Tokyo, I was introduced to the spare, bluegrassy music of the banjo-like shamisen — just before Yoshida Brothers took it international by mixing in drums and synth. This track is for modern Japan, land of quiet beauty, bullet trains, and much that is not spoken but that you need to know.

    Regret – St. Vincent

    Wouldn’t it be nice if love stories just ended well forever? St. Vincent doesn’t think that happens, and maybe Zarabeth and Gabriel agree, sometimes.

    Demons Are A Girl’s Best Friend – Powerwolf

    A little heavy metal, and maybe a renewed love triangle, to close out this stormy ride!

    Thanks for listening!

  • An interview with Zarabeth

    AD: Hi! I’m Anthony Dobranski, author of the modern fantasy novel The Demon in Business Class. Today we’re talking to Zarabeth Battrie, the main character, about her life and her story. Zarabeth, welcome!

    ZB: Hi. Thanks for having me. Also, writing me. For the most part. You could have left a few things out.

    AD: I wanted the audience to share the whole experience. Before we get into the novel, tell us a little about yourself. What do you like to do when you’re not the main character of a novel? Any interests, any hobbies?

    ZB: Causing trouble.

    AD: Seriously.

    ZB: Seriously! I don’t read, I don’t watch movies. Some TV if I’m bored, but that gets boring fast. A few drinks out, a little clubbing. More weed than I probably should.

    I like to work. I like to make things happen. I don’t socialize but I love to collaborate, if that makes sense. I love travel but hate vacations. If there’s nothing to do, I get into trouble. I cause trouble. I’m a trouble magnet.

    AD: Which is good in a main character! Did you like being the main character?

    ZB: Hmm. Sort of. I’m more a behind-the-scenes person, honestly. Also, it was intense! I’m not complaining. Given that I start out the book pretty sure I’m going to be fired from my job —

    AD: Downsized.

    ZB: Not a lot of difference, in the job market of 2008.

    AD: 2020’s worse, actually.

    ZB: Not my problem. Anyway. Given where I start the book, international travel and shady conspiracies was a good outcome. As was, I have to say, being taken seriously again. That mattered a lot to me.

    AD: Even if it was by a villain using you to start a war?

    ZB: At least I flew business class! OK, fine, I’m being flippant. As people will learn, I didn’t have a lot growing up. My dad died when I was young, and my mom … well, people can read about that. In the book I learn a few new things about my past, as it turns out —

    AD: No spoilers!

    ZB: Sorry. As I was saying, respect for my abilities isn’t something I’m used to. So it’s compelling when someone finally appreciates me. I think we all want that, and the chance to earn it. Not a free ride, not a participation trophy. Just, a shot. A chance to shine.

    ZB: As it happened, my shining time came with a demon that let me speak all languages.

    AD: I am jealous of that.

    ZB: It’s not all upside. Oh, who am I kidding? It’s amazing! To go all around this big world, and be… well, not at home exactly, but enabled, connected, able to take part. I can speak Italian. Chinese. Russian. Arabic. I can speak sign language. It’s incredible. Especially in your time, with everyone stuck at home — you have to read it. It’s a wild journey. And with me, you’re in the front seat.

    AD: Your perspective starts and ends the novel, but you share your story with Gabriel Archer. What can you tell me about him?

    ZB: What can I — after all we go through… Wow. I’m not sure. Which is why it works, maybe. If Gabriel were easy, if I could have gamed how it would play out… it would be a very different book, wouldn’t it? On the surface it seems straightforward. Girl meets boy, in a hotel bar. Of course I have a pet demon, but, I don’t need that to interest a guy.

    Except Gabriel’s not at all what I expect. He has a story as strange as mine. Repressed psychic powers? Recruited to work for a guy who dreams future events? That’s original. No surprise, he’s got issues.

    AD: Is that all right?

    ZB: It’s not boring! The trick of it is, neither one of us is perfect. Way far from that. People talk about feeling connected, about completion, about matching. Gabriel and I connect … like Velcro. It shouldn’t work. But it does, stronger than either of us are prepared for. Sometimes it’s enough to be with another person who is also way far from perfect, and knows it. So long as we both respect what we are and what we have. Which is hard for me, and hard for him. When it works … Like I said about my demon: to feel connected, to share, to take part.

    AD: The three of you must have been happy together.

    ZB: Gabriel and the demon? No. Ha. Sigh. No. That’s the second half of the book, when it gets really complicated. A lot of that was hard to go through. I know people reading and listening will find it one heck of a ride.

    AD: Along with Gabriel and your demon, you also have a friend, Missy Devereaux —

    ZB: I’m not supposed to talk about her being a witch.

    AD: I was going to ask about your friendship.

    ZB: Oh! Oops. Yes, we’re friends. She’s very different from me. Wealthy, educated, and she got plenty of that respect thing. She has every advantage. Turns out, despite all that, she still has to prove herself. Or maybe because of it. That’s why Missy and I get along. We’re very different but we both want more. Neither one of us is a sidekick. Maybe you should write a book about her.

    AD: Not a bad idea!

    ZB: Are you writing a book about her?

    AD: No…

    ZB: You sure?

    AD: You sound jealous.

    ZB: I do not.

    AD: Moving on. One last question. In the novel, you often take a look ahead, as it were, with a special Tarot deck.

    ZB: My deck is really cool! It’s called Business Class Tarot. It’s focused on work and professional issues, and it looks like modern life, with representation for all people. Of course it’s still a Tarot, and totally woo-woo. But it works for me.

    So, we done?

    AD: Um… yeah, I guess.

    ZB: Good. I have problems to cause. Nice chatting. Bye!

    AD: Wait! I — OK. Well. I probably should have expected that. Even though she ditched me, you can enjoy more of Zarabeth’s intense adventures in my novel, The Demon in Business Class!

  • Demon Character Profiles

    Meet the principal characters of The Demon in Business Class!

    ZARABETH BATTRIE

    She would be a dragon. Make them clear a path.

    Zarabeth Battrie is a short, slender, brown woman in her late 20s. Sharp and aggressive, she likes travel, not vacation; she doesn’t socialize but enjoys collaborating. No interest in culture, art, reading, or movies. Music is a background for her. She likes to look good, to attract positive attention, but she isn’t showy. Her relaxation is sex, sleep or intoxicants – but her mother is an alcoholic so she knows the buzz can turn on her. Maybe that’s part of the fun. She trusts her body more than her brain. Touch and feel are her sixth sense.

    *

    Gabriel

    GABRIEL ARCHER

    Last year, the picture of forthrightness. Now he fronted anything.

    Gabriel Archer is a medium-height white brunet man in his early 30s. Despite a decade of sobriety, he still feels his angry brawling youth, and a sense of missing something from it. Purpose? Satisfaction? Maybe both. He isn’t motivated by money or by leisure, but the world of the spirit always sounds empty to him. He longs for problems to fix. He believes in the social good of business, the value of exchange, of laws and rules. He likes speed, pushing himself on his bike, driving fast cars on empty roads — but, under control. He mistrusts his body, even when it’s right. Smell is his sixth sense.

    *

    Missy

    MISSY DEVEREAUX

    I have studied power for decades. Why don’t I feel ready?

    Missy Devereaux is a tall, white, heavily-freckled white woman in her late 20s, currently with red hair. She’s a wealthy town-and-country gal who loves cities, but her hidden truth is older and stranger: she’s the future ruler of an ancient matriarchal witch coven. This defines her life, but, she’s not excited about it. She likes business, likes winning without sorcery and not by decree. She seeks a new path, with just the power and none of the responsibility. She only has five senses, all very sharp, especially when the moon is out.

    *

    Walt image

    WALT WISNIEWSKI

    I wish to feel my peak again. Not just caffeinated but energized.

    Walt Wisniewski is a big, tall, deeply-tanned white man in his late 30s. The tech business he built and sold gave him wealth and leisure, showing him the world then letting him live atop it. Now life is fun, with sports and parties, but maybe too easy. He wants to use his skills and drive in a new way. Someone to do it with, too. Plenty of people look good. Few impress him. Nature abhors a vacuum, he knows that. He doesn’t know he’s the vacuum. He has no sixth sense, but he has luck.

    *

    MAGDA CRANE

    ‘Win-win.’ I hate that phrase. It’s not winning if no one loses.

    Magda Crane is a tall, pale white woman, apparently in her early 70s. Sometimes she seems younger, sometimes far older. Though old for the corporate world, she is still vigorous, determined, and powerful. Also, shady. She dresses well, but doesn’t try to look young. She comes off as a little quaint and dotty, before she guts you. She’s well ahead of you. Hearing is her sixth sense.

    *

    Bill image

    BILL THORN

    I’m a very tense fellow. I go to church twice a week, the shooting range more.

    Bill Thorn is a medium-height, fit Black man in his 40s. He has a measured approach, cautious, like he is the bull in his own china shop. He knows a lot, but plays his knowledge close to his vest. Is it a lack of trust, or simply that he knows others have to come to understanding without being told? Sight is his sixth sense. He has seen a lot with it. Maybe too much.

    *

    The Polyglot Demon

    THE POLYGLOT DEMON

    Any roadside convenience store has a sign in the window: GIRL MISSING.

    It lives inside Zarabeth, and lets her speak all languages. It was made from a woman’s soul. But it’s just an app now. Really.