Worlds with Depth

The Fall/Winter issue of MYTHLORE includes an article by Katherine Sas on creating the "impression of depth" in a work of fiction (specifically, in this case, in the backstory of the Marauders in the Harry Potter series), a term coined by Tolkien in his classic essay "Beowulf: The Monsters and the Critics." One of my favorite themes in fiction is the overshadowing of the present by the deep past. That's one reason I find Stephen King's IT enthralling, a feature that the new movie tries to present a bit better than the old miniseries, but still not adequately. So I'm glad to have an official name for this theme. Sas herself paraphrases this effect as "a sense of antiquity and historical reality."

The essence of the "impression of depth" consists of a feeling that the author "knows more than he [or she] is telling." Tolkien refers to the creation of "an illusion of surveying a past...that itself had depth and reached backward into a dark antiquity." He mentions the crafting of this effect in BEOWULF by "allusions to old tales." In his own work, Tolkien uses invented languages, frame narratives, references to ancient tales and lost texts, and "hypertextual layering" (i.e., metafictional features that draw attention to the text as an artifact). Such techniques produce the illusion of a world that has existed for a vast expanse of time before the present action and contains places, peoples, and events glimpsed at the edges of the main story.

Within a more limited physical setting, King's IT creates an illusion of deep time by the gradual revelation of how the monster originally introduced as merely a supernatural killer clown has haunted Derry since the town's founding—revealed by Mike's research into the generational cycle of the entity's periodic return and hibernation—and, eons before human settlement, came through interstellar space from an alien dimension. Likewise, the TV series SUPERNATURAL begins on a small-scale, personal level and expands to encompass an entire cosmology. At the beginning of the series, all we know about the background of Sam and Dean Winchester is that their father is a "Hunter" (of demons and other monsters) and that their mother died in a horrific supernatural attack when Sam was a baby. The brothers themselves know little more. We, and they, soon learn that their father made a deal with a demon. Eventually it's revealed that Sam and Dean were destined from infancy, not to save the world, but to serve as "vessels" for divine and diabolical entities. As they strive to assert their free will against this destiny, they uncover secrets of their family's past and the worldwide organization of Hunters (along with its research auxiliary branch, the Men of Letters), they clash (and sometimes ally) with demons, angels, pagan deities, and Death incarnate, and, incidentally, they do save the world and visit Hell and Purgatory several times. They learn the real nature and purposes of Heaven, Hell, and God Himself. The hypertextual (metafictional) aspect of the series is highlighted in episodes such as a visit to an alternate universe where the brothers are characters in a TV show and their discovery that a comic-book artist who turns out to be a prophet (as they believe until he's revealed as the very incarnation of God) has published a series that chronicles their adventures.

Tolkien's colleague and close friend C. S. Lewis reflects on the literary impression of depth in two articles reprinted in his collection SELECTED LITERARY ESSAYS, "Psycho-Analysis and Literary Criticism" and "The Anthropological Approach." In both pieces, he concludes that the ideas of hidden, half-forgotten, multi-layered dimensions in place or time and disguised remnants preserved from the ancient past are alluring in themselves. We're fascinated by the suggestion of "the far-borne echo, the last surviving trace, the tantalizing glimpse, the veiled presence, of something else. And the something else is always located in a remote region, 'dim-discovered,' hard of access." We're thrilled to enter "a world where everything may, and most things do, have a deeper meaning and a longer history" than expected. Many readers (although admittedly not all) enjoy the idea "that they have surprised a long-kept secret, that there are depths below the surface." Tolkien's exposition of this effect, as well as the creation of it by him and other authors who use similar strategies, offers valuable hints to writers who want to produce that kind of impression.

Margaret L. Carter

Carter's Crypt

Yokai Among Us

If you're looking for unusual, non-European creatures to use as fictional characters, check out the yokai of Japan. This word, often translated "demon," is a broad term covering all sorts of spirits and supernatural beings, not only malevolent, scary entities but also mischievous and benevolent ones. In the animistic world-view of traditional Japanese culture, almost anything can be a spirit or become imbued with one. Human-made inanimate objects a century or more older can become animated (tsukumogami). If you don't treat your personal possessions with respect, they may come to life and take revenge. There are yokai animals, plants, natural phenomena, and personifications of abstract qualities. There's a yokai that looks like a walking paper umbrella and another that blocks travelers' paths in the form of a wall. There's even one that flips your pillow in the night. One of my favorites, the akaname, exists for the sole purpose of cleaning bathrooms. In some versions, failing to keep your bathroom clean will incur its wrath. The shiro uneri is an overused dishtowel, reduced to a dirty rag, that comes to life and attacks servants. Both of these legends, obviously, act as cautionary tales to warn against neglectful housekeeping. There are also legends of more conventionally frightening spirits, such as the ghosts of women who've died in childbirth and demonic wolves that chase people on lonely roads. Japanese folklore is highly eclectic, including not only yokai from centuries-old tradition but also monsters from urban legends that have sprung up within recent decades and even individual writers' original creations incorporated into popular lore. If we lived in the universe of this belief system, we'd have yokai thronging around us almost everywhere.

Some of the best-known creatures often found in fiction, anime, and manga: Kappa, water monsters, often depicted as resembling turtles, that try to drag victims under and drown or devour them; kappa love cucumbers, and you can defeat them by tricking them into spilling water from the bowl-shaped depressions on their heads. Kitsune, which literally means "fox" but also refers to supernatural fox spirits, seductive and often very powerful. Tanuki, likewise a real animal, the "raccoon dog," and also supernatural shapeshifting tanuki with trickster habits. Tengu, crow-like humanoids sometimes rumored to spirit people away.

Here's the general Wikipedia page about yokai:

Yokai

A Wikipedia list of many different yokai and other creatures from Japanese folklore:

Legendary Creatures from Japan

And here's a comprehensive, illustrated website on the subject:

Yokai.com

For an informative, lively, in-depth reference work, see THE BOOK OF YOKAI, by Michael Dylan Foster.

The Studio Ghibli animated movie SPIRITED AWAY, brought to the U.S. market by Disney, showcases a wide variety of yokai.

My recently published light paranormal romance novella, "Yokai Magic," features a talking spirit cat in a contemporary American setting, along with a small menagerie of other yokai:

Yokai Magic

Margaret L. Carter

Carter's Crypt

Not with a moose... nor with a rabbit, I think

If you have a mind like mine, perhaps you are always wondering how far you'd want to push the romantic envelope in real life, and what you think your editor might swallow in your fiction.


Things happen. I'm sure a lot of us see and process random items in the news or on the net, and come up with similar ideas.

This week, I clicked a couple of different links that took me to YouTube. I lie. I clicked a lot, because friends on Facebook.com (do befriend me!) posted links to two of my favorite musician groups: Queen and The Doors.

I digress.

One link took me to Survivorman, Les Stroud (who was verisimilitude consultant for my alien romance, Insufficient Mating Material) talking about one of his most scary real life adventures. In the rutting season, he made the sounds of a romantic lady moose, and a very determined male moose pursued him relentlessly. I suppose moose operate on the "if it quacks like a duck" theory. Either that, or he was furious with Les Stroud for being a blatant moose teaser.

http://www.youtube.com/watch?v=xltg0iagMJY


Another link took me to a pastiche of funny cats. (One image was not funny, so I'm not posting the link.) A male rabbit stalking, and then attempting to hump an outraged ginger cat was.

The cats I grew up loving were rabbit killers! That adds an extra element of piquancy, and I suppose that's why Vampire Killers falling in love with Vampires is such fun.

So... as I was chopping onions for dinner, I began to wonder (not for the first time) if I were a mythical Greek maiden, how would I really feel if the most powerful and over-sexed god in the Pantheon charged up to me in the guise of a bull, or as a really big swan, and was determined to have his way with me?

Having watched the latest Merrill Lynch ad. I have to think that a bull would have practical difficulties if the maiden didn't want to cooperate. I don't think it would make a good romance for me to write. Could be a comedy. Would not have a traditional happy ending.


By the way, Insufficient Mating Material is giveaway book of the day today (Sunday) at

http://www.authorisland.com/

Best wishes,
Rowena Cherry

FORCED MATE --what's the book about

A reader on the Amazon Romance discussion thread (about what Readers wish Authors would put on their websites... good thread!), asked me why there is no unbiased information about what FORCED MATE is about.

In a small, but not unbiased, way, I'd like to rectify the omission.

FORCED MATE is a chess term (all my titles are chess terms). Basically, the Black King and the White King race to make a pawn their Queen. It seemed a great metaphor for a romance where two powerful world leaders want the same girl.

Persephone is abducted (from Earth) by Hades (dark god of the Underworld) ... and kicks his butt.

My heroine, Djinni-vera (Jinny) Persephone, is psychic and a mind reader, and an intergalactic warrior in training who is being kept hidden on Earth until the time is right for her to marry her betrothed, the White "King".

The "Black" King (I am using my inverted commas deliberately) sees a picture of the heroine, and decides --much as Hades did-- that he has to have her. He also wants to make her happy --in some versions of the myth, Hades also was willing to go to great lengths to please Persephone and he turned his underworld into a dark version of Earth for her, but with a double bed.

Since the "Black" King has never had to woo a woman to get her into his bed before, he's a bit out of his depth. He consults unreliable sources, such as old, pirated James Bond movies, and Romance novels, and an embittered English mercenary, and tries almost every stock "Romance" situation, and is astonished and baffled --and annoyed-- when his romance is not an instant, outrageous success.

Of course, the White "King" does not take the abduction of the perfect pawn Princess like a gentleman and a sportsman. He objects. He wants her back. He does not give up gracefully.

This is a complex romance with many levels and layers. It's full of puns, miniature spoofs, good jokes (and bad jokes!), bathroom humour (I-tell-your-alcohol level toilets), political intrigue, one explicit consensual sex (think of England) scene, and a whole starshipload of interesting characters with their own ideas of what is really important and whose side they are on.

Some commentators have said this book is about the ultimate hunk.
Others have said it is about the heroine and her relationships with other females. Others have said it is about the humor.

For me, it was the book of my heart.

Rowena Cherrry
alien romance

1. FORCED MATE (paperback, also e-book)
2. MATING NET (prequel, short story, e-book only)
3. INSUFFICIENT MATING MATERIAL(paperback, sequel/spin off... story of Djetth (Jeff) and Martia-Djulia (Marsh)

Coming in 2008: KNIGHT'S FORK

I beg pardon for the self-serving post. Today, I mean to finish KF (before it is 3 months late)

Worldbuilding in the grocery aisles

Hybrids aren't just cars that run on more than one fuel source.

There are hybrid animals, and hybrid plants which occur either naturally or with the assistance of mankind, also hybrids in Greek and Roman mythology. Some hybrids are sterile, and some are not. Some hybrids are called after a combination of the father's name and the mother's (father's name first). The mythological creatures do not appear to follow this convention... and in fact, now I understand the convention, my mind boggles over the Manticore (man-lion-scorpion).

wikipedia.org/wiki/Hybrid


The etymology is delightful. According to wikipedia, hybrid comes from the ancient Greek for "son of outrageous conduct."

I could have called my Tigron world's black sabre-toothed tigers ... pangers, or tigthers, but I think that would have complicated matters.

This week, I'm more interested in plant hybrids. For world-building in a hurry --not that I recommend taking a short cut, but sometimes one has to-- a few hours in the grocery aisles can be quite inspiring.

There are some astonishing hybrids available, as well as exotic fruits and vegetables that might or might not have been hybridized. I look at the Ugly Fruit, and I wonder whether it evolved to be visually appealing to anything (assuming that its fruit is "designed" to be dispersed with the assistance of creatures that eat the fleshy parts and eject the pits).

There's something spiny and orange that looks like a cross between a sea urchin and a sea slug, and I'm fascinated by those waxy green globes that come inside a pale green papery looking flower. If you were to change their colors, rename them, and describe them carefully as if you'd never seen them before, you'd hardly need to dream up your own fruits and vegetables for your alien romance's world. And, then there are the roots. You have to be careful what you do with your root vegetables, in my opinion.

How did we ever start to eat root veg? Did we observe a primate and copy them? Did our earliest ancestors' curious gaze fall upon something intriguingly orange, or pleasantly white, pushing up through loose soil? I suppose we do have an instinct (as children) to pull things out of the ground and bite them as an experiment. I'm told that I ate a worm once when I was a toddler! Would your aliens have similar instincts?

Your human heroine has to eat in outer space, so not all her food can be unrecognizable (or she'd have to have major allergy testing) or her gut would not be adapted to handle it. We're accustomed to stories about our domestic pets eating human delicacies which are not natural for them... which their guts are not adapted to handle. I've been thinking about what natural carnivores can and cannot eat, because I want my tigers to play a larger role in my next story.

In fact, having spent several hours reading the ingredients on dry pet food for research purposes, I do have to wonder under what circumstances a dog in the wild would eat corn on the cob. Or rice!

There are some schools of alternative healing thought that claim some of our painful ailments (such as arthritis) are a consequence of us eating fruits or vegetables that we are not adapted for, or to which some of us are allergic. My mother cured very painful arthritic swelling in her hands by giving up all produce in the tomato families. Other people have a problem with potatoes. (Some have a problem but don't know it.)

In Insufficient Mating Material, the hero and heroine are marooned on an island on an alien world, and they have to test food and deal with the possibility that the heroine might not have a tolerance for some of the fruits and vegetables growing there.

Why do I think roots are a problem? Carrots are easy, and you can eat them raw if you want to. Parsnips look like big carrots only white... but you really do have to cook them. Watch out for onions and shallots, because they look like tulip bulbs. There are different roots that look alike. Take ginger root and Jerusalem artichoke. They are both about the shape and size of a small, pudgy hand, with gnarly, stub-tipped fingers, root filaments like fleshy hairs, and are beige-gray.

On our world, some plants do not want to be eaten, especially by the roots (!) so they evolve to be poisonous. What happens in your alien world?

For those interested in research, or obsessed with plausible alien anatomy --and possibly inspired by the fact that a carrot fresh from the ground does not necessarily look "carrot shaped"-- M.I.T. (an eminently respectable place of scholarship) sells --or used to sell-- a to-scale, and anatomically correct poster called "Penises of the Animal Kingdom".

I thought the plural was Penes, but I suppose a few people wouldn't get the point.

And having Googled that, because none of the three of my dictionaries within easy reach gives any guidance on what a proper person should call multiple schlongs, I'm off to pursue other lines of romantic alien research.

Best wishes,

Rowena Cherry
Insufficient Mating Material
"racy, wildly entertaining futuristic romance" ~Writers Write