As I think most readers know, I love conspiracy stories with weird and mysterious elements–Deus Ex, The X-Files, The Mothman Prophecies etc. fascinate me. I’ve tried writing something in this vein before, but that novella left some readers (understandably) unsatisfied. I think I was much more successful with this story–it’s way shorter than Majestic World, but I think it packs just as much conspiracy weirdness into a much tighter package. But that’s ultimately your call to make.
Some other notes:
It’s approximately 15,734 words. I say “approximately” because I made a few edits after converting it from a Word document, and I don’t know how to see word count in the Kindle file format.
There is some bad language and violence, but nothing too horrible. I think it would probably be rated PG-13 if it were a movie, but these days, who knows?
This is easily the fastest turnaround time I’ve ever had between thinking up an idea for a story and actually completing it. Whether that is good or bad is, again, up to you to determine.
This is a delightful collection of ghostly tales set on the island of Jersey. Most of them follow classic ghost story archetypes—haunted houses, buried secrets, and wandering female specters, among other things. But each story is well-written, with carefully fleshed-out characters, so they always feel fresh, even if many of them hearken back to ghostly legends of the sort that can be found all across the globe.
I read a lot of ghost story collections like this when I was around 12 or 13 years old, and this one certainly ranks with the best of them. None of the tales are too gory, at least not by today’s standard, but they are certainly quite disturbing—with glimpses of horror that evoke more than is written on the page, just as a good horror story should.
“The Haunting of Longueville Manor” and “The House of Screams” were particular favorites of mine, but every story is creepy and effective. And it was nice to read stories set in a place that I was unfamiliar with—I learned something of the island’s history, in addition to getting some memorable scares.
This is a terrific Halloween read for anyone who enjoys good scary stories. It’s probably too disturbing for young children, but anyone 12 or older is bound to enjoy this collection.
[Many thanks to Twitter user @ESXIII for recommending this book to me.]
Earlier in the year I read Audrey Driscoll’s terrific re-imagining of H.P. Lovecraft’s Herbert West–Reanimator short story, The Friendship of Mortals. So I was eager to read this second book in the series, which sees West changing his name, his home, and most of all, his personality.
The book begins by retelling certain parts of Friendship of Mortals from the point of view of West’s servant, Andre Boudreau, whom West restored to life after he was killed in World War I. Andre of how he and West flee Arkham, and embark on a wild journey that takes them to various locales across America, with West–now living under the name Francis Dexter–showing unusual flashes of irrationality, romanticism, and guilt that were completely foreign to him in his old life.
Eventually, with West fearing that the law will catch up to him, the pair board a ship bound for Alaska, helmed by an eccentric Russian who, in addition to employing them in his kitchen, holds forth on his vaguely Fortean philosophies that suggest he knows more than he says. Eventually, after a series of adventures including a thwarted mutiny, West and Andre arrive at Bellefleur island in British Columbia. There, Andre finds employment at the local lighthouse and the narration shifts to the perspective of Margaret Bellgarde, a widow whose husband Richard encountered West during the war–though she does not know that the new island doctor Francis Dexter is the same man her late husband wrote to her about.
On Bellefleur Island (as everywhere he goes) West acquires a reputation for his miraculous healing powers, and this despite the fact that he has sworn off the revivifying techniques he used during his time in Arkham. He gradually becomes popular among the denizens of the island, and begins to form close relationships with the inhabitants of the region. It is these relationships that form the central drama that drives the latter half of the book, but I won’t spoil them here. Let it suffice to say that the book ends on a cliffhanger that promises far more will be revealed in the subsequent volume.
The alert reader will have noticed that I didn’t mention much of anything about Lovecraftian horrors, or the Necronomicon, or even of reanimation, in the above synopsis. And indeed, the horror element is greatly reduced here compared with The Friendship of Mortals. The Journey contains elements of many genres–from mystery to seafaring adventure to romance, and even a dash of courtroom drama towards the end; but Lovecraftian elements are at a premium.
In a way, I can see how this might bother some readers. When one reads a book about a character created by Lovecraft, one might reasonably expect a good deal of the old Lovecraftian staples. And when they fail to appear, one might feel cheated.
However, it didn’t bother me much. Here’s why: I felt the whole concept of “Herbert West: He Revivifies The Dead” had been explored about as thoroughly as possible in Friendship of Mortals. To have him simply doing it again in a different place would have been dull. I liked that Driscoll chose instead to transform the character into a man haunted by what he did.
Friendship of Mortals was impressive to me because it reminded me so strongly of Lovecraft. The Journey is a very different beast; and indeed, there is little in it that evoked Lovecraft at all. At times, I almost forgot the origin of the character altogether, and would actually be surprised when I saw a Lovecraft word like “Arkham” or “Miskatonic” on the page. There were a few dashes of horror here and there; and perhaps their very scarcity made them more effective. It made me think of M.R. James’s way of putting flashes of unspeakable horror into what at first appeared to be a mere comedy of manners.
But the author The Journey most strongly reminded me of was Steinbeck. Specifically, East of Eden. That was also a sprawling, sometimes downright meandering tale, which would wander so far afield of the core story that I would forget what the plot was, and sometimes find myself pausing to remember just how I’d come to be reading about these characters, who seemed to have nothing to do with ones I’d started reading about at the beginning.
And yet Driscoll, like Steinbeck was, is such a keen observer and has such a gift for storytelling that I never lost interest. I may not have known how the narrative got where it was, but I always wanted to know where it was going. The Journey is many things, but it was never tiresome or dull. It’s more firmly planted in the “literary novel” camp, as opposed to flirting with the “genre” one like Friendship did, but it’s still an awfully good piece of storytelling, which is the ultimate test of any novel.
There were a few weak points: the courtroom drama I referenced earlier seemed forced to me, and the suddenness with which Andrew Boudreau abandons West to work at the lighthouse seemed unbelievable to me, after all the time he’d served him. There were one or two other plot points that rang false to me as well, but I won’t spoil them here. None of them were so significant as to ruin the overall effect of the book; especially the latter half–I especially enjoyed the characters of Margaret and Captain Bellgarde.
Lastly, there was something that may be of interest only to me, but which I mention because it struck me so: at one point, Margaret develops a migraine headache, which is preceded by a visual disturbance that makes it impossible for her to read. The description of this was amazing to me, because I have had this, but never encountered anyone else who did. The first time it happened to me, I thought I must be having a stroke. It turns out to be a harmless thing called an “aura”, but it’s extremely strange when you don’t know what it is. Naturally, I felt a lot of sympathy for poor Margaret!
The Journey might not be what you expect. It’s so many different things, it’s hard to see how anyone could expect it, frankly. But while it may have its share of rough spots, it also has an incredible way of compelling the reader to keep going, to see what strange development is coming next. It’s an odd and sometimes puzzling book. I think that it might suffer a bit because the people most likely to enjoy it–literary fiction fans–are unlikely to read it because of the association with Lovecraftian horror. But don’t fall into that trap–it’s well worth a read.
I was inspired to write this after reading Audrey Driscoll’s post on the same subject. Audrey lists the music that influenced her writing, some of which she worked into her books, and some of which, as she puts it, “lurk[s] unseen, despite its huge influence”. It’s a good post, and I encourage you to read it.
I don’t usually listen to music with lyrics while I am in the act of writing. That would just distract me. Sometimes I’ll put on a little atmospheric instrumental music that suits the mood, but that’s about it.
But as any author knows, writing a book is more than just the time spent hitting the keyboard. You spend most of the time “writing” a book thinking about it, mulling over plot intricacies and character motivations in your head. And then is when what you’re listening to really plays a role.
I didn’t listen to much music for The Start of the Majestic World, but I did listen to quite a bit of the radio show Coast to Coast AM while I was planning it. That definitely influenced the story. A few times while writing, I did cue up the soundtrack to Deus Ex, because that game was just the right vibe of weirdness I was trying to get in Majestic World.
The Directorate also has relatively few musical influences. I listened to “The Captain” by Leonard Cohen almost daily while I was writing it, as well as assorted military songs and marches, including “Heart of Oak” and “The British Grenadiers”, which probably influenced the militaristic tone of the novel.
For my current work-in-progress, I’ve been listening to Western music and soundtracks from Western films. Also, the folk song “The Bonnie Earl of Morey”, which I currently have referenced in the book itself, though I may yet cut that.
For the most part, in all my work, music is a minor influence. I’m not sure why. Maybe because I’m not very knowledgeable about music, and so don’t think about it that much. I couldn’t write about it the way Audrey does, for example.
But there is one other story I wrote that was much, much more influenced by music than any of the rest. It’s the super-dark tale I alluded to in this post.
First of all, during the process of writing that one, I was listening over and over again to Kay Starr’s performance of “The Headless Horseman” song. It’s a children’s song, so it’s more cutesy than scary, but for some reason it was running through my head constantly when I wrote this book. I don’t know how to explain, but the light-hearted handling of a rather frightening subject somehow fit very well with my mood.
Then, while I was writing the story, a friend played Blue Öyster Cult’s “(Don’t Fear) The Reaper” for me. I thought the unnerving blend of romance and death was exactly the sort of eerie dissonance I was going for in my book, so I included a reference to the song.
Coincidentally, on the same album that includes “(Don’t Fear) The Reaper”, there is also a song called “E.T.I. (Extra Terrestrial Intelligence)” that references The King in Yellow, which was a major influence on my book as well.
But the weirdest part of what was already a surreal writing experience didn’t become apparent until nearly a year after I had already finished writing the story, when I heard the song “The End” by The Doors.
I had heard the beginning before, in the film Apocalypse Now. But when I heard the full, uncensored version, I was immediately stunned by how well the disturbing imagery Morrison used in his lyrics matched the tone of my book. Images and motifs in each fit together eerily well, as did the song’s general feeling of a slow descent into madness. I felt like Carl Jung or Joseph Campbell could have had a field day with it.
What about you? When you write something do you listen to music, or otherwise let it influence your writing process? Any examples of a song that really fit your work?
Now that I have iMovie back for the first time in a decade, I can do a lot more with videos. So I’ve updated some of the ones I previously put on YouTube. No major changes, so if you have already watched the originals it probably won’t add much, but I like them a lot better, and it’s a fun way to learn more about iMovie’s capabilities.
If I were George Lucas, I suppose I’d call this a “special edition trilogy” or something.
I didn’t know what to expect from this book. Glancing at the categories and the description, it didn’t match any genre I was familiar with. I figured it would be a romance set on a scientific voyage. And it kind of is that, but there’s way more to it.
The book follows marine biologist Ellen Upton, an expert on jellyfish whose grant money is rapidly dwindling. In desperate need of a breakthrough to save her career, Ellen ventures out on a research ship into the Pacific, hoping to find something that will earn her more funding.
The majority of the novel is told from Ellen’s perspective, and in many ways, her plunge into the unknown depths of the ocean mirrors her journey into her own equally complex and mysterious psyche. I usually don’t like using such lit-crit terms, but that truly is what happens here, and what’s more, it works. It never feels like an overplayed metaphor, but rather an organic marriage of character and plot development.
Ellen has great difficulty feeling close to others, having gone through a painful break-up when her fiancé stole her research ideas for his own. Unwilling to trust others easily again, she loses herself in her work, much to the disappointment of Ryan, her loyal research assistant.
On the cruise, she meets other scientists and students, including one researcher whose skepticism of man-made climate change sparks a friendly rivalry. She and the other scientists also visit a small island populated with a tribe of welcoming natives, and a family whose patriarch has gone missing at sea. Ellen and Ryan later find him on another island that formerly housed a military installation.
The book is filled with strange vignettes that make Ellen’s experience feel more like a surreal journey into a mystical realm than a scientific expedition. From her encounter with a waiter who speaks of ghosts following her, to the magical rituals performed by the islanders, to the antics of one of the students on the expedition who has a penchant for dressing up as a gorilla, the book gradually builds a feeling of melancholy mystery woven from bizarre, dream-like incidents.
When Ellen finally makes the major discovery she has longed for, it is not a triumph, but rather a frightening experience—one that disturbs her so much she questions her own sanity. As did I, I’ll admit. I wondered if Ellen might be transforming into an “unreliable narrator” of sorts, though the book is written in the third-person.
Hurst’s prose throughout is haunting and hypnotic. The tale unfolds at a slow pace, but the writing is filled with evocative descriptions and intriguing turns of phrase. At times, it reminded me of Steinbeck in the way it dwells upon seemingly minor things without ever becoming dull or tedious. Little details, like the apparent changing expressions of a rock face the islanders believe represents the moods of the sea, stick in the memory to create a beautifully odd atmosphere. (It reminded me of Mal, the demonic face in the trees in Patrick Prescott’s Human Sacrifices.)
Maybe it’s just because I saw the film adaptation so recently, but the book also put me in mind of Jeff VanderMeer’s Annihilation. Like VanderMeer’s nameless biologist, Ellen’s seemingly cold reserve and preference for biology over human interaction mask a wounded soul with deep emotional scars. And also like Annihilation, Ocean Echoes depicts nature as simultaneously dangerous, mysterious, and eerily beautiful; all while weaving an environmentalist warning of humanity’s potential to unwittingly cause unimaginable harm to our own planet.
Does the book have flaws? A few, yes. Some of the scientific exposition sounds a bit awkward as dialogue, and I swear that a couple times some background information about jellyfish was repeated almost verbatim. Also, the above-noted slow pace of the book may not be to every reader’s taste. If you have a strong preference for fast-paced action, it might not work for you, at least early on.
But even then, I still encourage you to give Ocean Echoes a try. It’s a weird, haunting, hypnotic mystery of a book, a love-letter to the ocean, written with respect for its dangers and fear for its fragility. When it rambles, it rambles in the way the best novels do—with love and understanding of its theme that commands the reader’s attention.
It’s very bold to write and publish a book that doesn’t easily fit into any pre-defined genre, and that goes double for an indie author. And yet some of the greatest works of fiction ever created defy categorization. So I admire Hurst tremendously for going through with it and taking the risk to write this mesmerizingly weird and thought-provoking tale. It may not always be what you expect—but then, what better reason could there be to read it?
The creator of the paranormal/conspiracy theory-themed radio show Coast to Coast AM passed away yesterday.
I enjoyed listening to Coast to Coast when Bell hosted. I hear the show has become politicized now, but in Bell’s time, it was focused on weird and otherworldly subjects instead of political ones. The government was always covering things up, but it was always assumed to be the whole government.
Needless to say, the show was great for a lover of weird fiction. Nothing gets the imagination going like listening to people telling ghost stories late at night, especially on or around Halloween.
The guests and callers seemed to be largely a mix of crazy people and hucksters. Maybe some of them really had seen unexplained phenomena, but it was never easy to tell who was who.
But Bell didn’t judge. He let his guests and callers speak their minds, and unless they were obviously lying as a prank, he wouldn’t silence them. I don’t know what Bell’s beliefs were, beyond the fact that he obviously had some general belief or interest in the paranormal and the supernatural. He would accept his guests and callers on their terms, and let them speak their minds.
I really admired Bell’s interviewing style–he wouldn’t talk over his guests or try to impose his own views on the subject at hand. He would just ask and let them have their say, even if he didn’t agree.
Now, you might argue that all of it was insane, and that Bell shouldn’t have given airtime to such outlandish claims in the first place. But part of what made his show great was the feeling of being able to kick around weird ideas. If you want to try to think of novel ideas, you have to be willing to think of things that sound crazy. And most of them are crazy, but a few might actually be useful.
You would think this sort of attitude would be more common now that we have social media, but in fact the opposite seems to be true. You generally don’t want to try discussing new ideas on Twitter, for example, because it can very quickly devolve into a back-and-forth of argument and ridicule. Instead of being liberating, the censorious nature of social media makes people more careful about what they say. (Unless of course they are a troll. Which creates the problem that thoughtful people are afraid to speak, and thoughtless people aren’t.)
When it was great, Coast to Coast reflected Bell’s personality: eccentric, but very independent and open-minded. Actually, these last two are probably the most important traits for a talk show host or interviewer: a willingness to admit that you don’t have all the answers, and to listen to things that most other people would automatically dismiss. It’s bound to take you to some pretty weird places, but it’s also a good way of learning new things.
More media personalities and hosts should study Bell’s style. If mainstream talk-shows were willing to approach politics and current events as thoughtfully as Bell approached subjects like cryptids and ghosts, they might be more informative.
So, for the last few days, I was agonizing over whether or not to post a poem I’d written. I eventually decided to do it, then had second thoughts, then finally settled on making it a page of its own instead of a regular post. (In the process, throwing off some readers who were linking to the original post. My apologies, Phillip!)
The reason I got so concerned about this, as I mentioned on Twitter, is that the poem is very dark. I hate to inflict this kind of gloomy subject matter on an unsuspecting audience. I myself have very mixed feelings about dark fiction.
So why did I write it then?
Well, first of all–and this is especially true of poetry–these things take on a life of their own. In this case, I started writing with the general concept that I wanted a poem about a Knight writing to his Queen for help. I wanted the Queen to initially seem unsympathetic, but have the Knight (and hopefully the reader) come to understand why she behaves the way she does by the end of the poem.
I didn’t have any specifics in mind of how this would work, and I just let things play out line by line. Rhyme is a major factor too–if I write a line I like, I’ll try everything I can to come up with a respectable rhyme for it rather than cut it. So the words I pick in lines 1 and 2 dictate what happens in subsequent lines.
I remember reading an interview with the comedian Danny Kaye, in which he said he would like to make a recording of some Gilbert and Sullivan patter songs. But when he tried, he said, “something goes haywire inside me–and the words go haywire.” The result was he would sing updated parody lyrics.
I think I have a similar condition, only instead of updated lyrics, my words tend to turn into bleak ruminations on the dark side of humanity and the universe.
And the reason I really wonder about this is that, in fact, I have led an extremely blessed and happy life. Probably better than about 98% of the world’s population. I have no tragedies or trauma in my past. The only loved ones I’ve lost are my grandparents, who lived well into their old-age, and pets, most of whom lived to their full life expectancy. These are sad things, but also part of the natural order of the world.
Moreover, I happen to know–either from reading their blogs or from other communications with them–that some of my readers have had to go through much worse things than I ever have. I feel guilty when I inflict made-up horrors and tragedies on people who have almost certainly had to deal with plenty of sadness in real life.
There are times I wish I could be like P.G. Wodehouse, and write brilliant pieces of light entertainment that are funny and fun and make a person feel better while reading them. But, as I’m not a genius like Wodehouse was, when I try it comes off as fake and saccharine.
And on that note, Happy St. Patrick’s Day! Ponder this: why did he cast the snakes out of Ireland but leave the spiders be? Seems like a rotten deal to me.