Pin Board for Quantum Zoo

Yesterday I created a Pinterest board for Quantum Zoo. It captures the feel of the stories in the collection so well, I want to share the images with you. You may, of course, click over to Pinterest here to see the board in all its glory. But I’m also posting the collage below. 😀 Enjoy!

Pin Board for Zoo

Quantum Zoo Amazon.com I Amazon UK I Amazon DE I Amazon ES

Here’s a bit more about the images: which stories they’re associated with, who created them, and where they originated.

1 — Quantum Zoo‘s book cover, designed by J.M. Ney-Grimm
2 — “A King in Exile,” Lady in Violet, painting by Pál Szinyei Merse (1845-1920)
3 — Bridget McKenna, author of “A King in Exile”
4 — “A King in Exile,” Triceratops, German stamp 1976
5 — D.J. Gelner, author of “Echoes of Earth”
6 — “Echoes of Earth,” Alien Power, photo by Rooners Toy Photography
7 — “Demon Rising,” Zebra, painting by W.T. Benda, appeared on cover of Life, issue November 1922
8 — “Demon Rising,” Minotaur, painting by Synner
9 — “Your Day at the Zoo,” Fish, Aquarium de porte dorée, September 8, 2013, photo by Murielle
10 — Mosiac, repping Frances Stewart, author of “Your Day at the Zoo”: Mosaico de la Basilica di San Vitale en Rávena, photo by Lourdes Cardenal
11 — R.S. McCoy, author of “Demon Rising”
12 — “Serpent’s Foe,” Egypt Personified, painting by Farid Fidel
13 — J.M. Ney-Grimm, author of “Serpent’s Foe”
14 — A.C. Smyth, author of “Ignoble Deeds”
15 — “Ignoble Deeds,” Ghost, composite of two photos: Lights through the trees in the dark forest, photo by Joan Sorolla; Lady, circa 1905, photo of vintage photo by josefnovak33
16 — “Your Day at the Zoo,” Gorilla, photo by Tim Cummins
17 — “Playing Man,” Rainforest, photo by Ben Britten
18 — “Ignoble Deeds,” Zoo Entrance, photo by Anthony22
19 — “At Home in the Stars,” Pink Cadillac, photo by LuAnn Snawder Photography
20 — Scott Dyson, author of “Playing Man”
21 — Blue X, repping Sarah Stegall, author of “Bestiarum”, and expert on The X-files!
22 — Ken Furie, author of “The Most Dangerous Lies”
23 — “The Most Dangerous Lies,” Man Behind Bars, photo by Lachlan Hardy
24 — Chocolate Eggs, repping S.E. Batt, author of “At Home in the Stars”: photo by Tiia Monto
25 — “Playing Man,” Monorail, photo by by Joe Penniston
26 — “You’ll Be So Happy, My Dear,” Small Shop, photo by Kevin Oliver
27 — John Hindmarsh, author of “You’ll Be So Happy, My Dear”
28 — “Bestiarum,” Tiger, photo by Steve Wilson
29 — Octopus, repping Morgan Johnson, author of “Skipdrive,” photo by Morten Brekkevold
30 — “Skipdrive,” Leviathan, photo by Philcold, purchased from Dreamstime.com
31 — Holding up a heavy weight, 😉 Castle Vault, photo by Sam Belknap

Quantum Zoo Amazon.com I Amazon UK I Amazon DE I Amazon ES

To read excerpts from Quantum Zoo:
Serpent’s Foe
Demon Rising
Skipdrive
Echoes of Earth
A King in Exile

For a list of the 12 stories in Quantum Zoo, click here.

 

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Hunting Wild as a Novella

The Lady and the Unicorn, Musée National du Moyen Age, Cluny Museum, Paris

A year and a half ago, I wrote a short story and posted it on my blog here.

I’d intended it to be flash fiction – under 1000 words – like the other flash fiction histories I’d created about the empire of Giralliya (in my North-lands).

“Hunting Wild” went long – to 6,000 words – but I posted it anyway. It was a cool story. I wanted readers to see it!

And readers did see it!

At least one urged me to continue writing and posting these “fairy tales” from the past of my fictional world.

I wanted to do so, but I must confess that the 6,000-word length of “Hunting Wild” daunted me. With another dozen of flash fiction titles on my to-be-written list, I certainly had the inspiration.

But what if they all went long?

In fact, I could sense that the next three – at least – would go long.

What to do? What to do?

I pondered the matter off and on. And wrote a lot of other blog posts. Then, last December, I realized that my dilemma was really not one.

Nunc Dimittis, detail from medieval tapestry in the Burrell Collection in Glasgow“Hunting Wild” was long enough to publish as an ebook on Amazon and with other online booksellers. (Unlike the flash fiction pieces, which were too short for that.) Why not do so?

Why not, indeed!

I could publish “Hunting Wild” and “Fairest Trickery” and “Aegis” as ebooks.

After the holidays, in January, I pulled out my manuscript and looked it over.

Well, it was still a cool story, but – to my now more developed storyteller’s eye – it looked like it was missing a scene or two.

No problem. I could easily write the “missing” scenes and weave them into the story. I set to work. It was fun!

But after writing two new scenes and meshing them into the existing manuscript, it was clear that I needed to write two more scenes.

Can you see where this is going?

I’m closing in on my revision now, but in all I’ve written 7 new scenes, requiring 11,000 new words. Whew! That took a little more time and energy than I’d planned!

I’m pleased with the new Hunting Wild, and eager to share it with my fans. First it must go to my beta readers for their feedback. That’s an important step. There are always a few small glitches (sometimes large glitches) that I can’t see, because I’m too close to it. Luckily, my beta readers see such problems just fine. They point them out to me, and I fix the trouble spots.

However, I have a snippet – a poem – that I wrote as I further developed the religious beliefs of my “medieval” Giralliyans.

Writers end up with these background notes all the time. Things the writer needs to know in order to write the story, but that don’t belong in the story.

This particular fragment of text derives from an old Giralliyan religion – the Gedier Creed – that had been losing followers for centuries until, finally, its practice was forbidden by the crown.

The Gedier Creed involves belief in a god with three aspects: Gwirionedd in heaven, Cummenos on earth, and Eoin in hell.

Enjoy!

The Unicorn Tapestries at Stirling Castle

With blood, in death, the sacrifice of our king draws truth – Gwirionedd – down from heaven to manifest on earth.
In death, with sacrifice, in the harvest of our ripeness dost our king suffer his holy rite.

Stag-horned, beast-headed, our Lord chases the earth.
Steed-mounted, hound-hunted, he courses to pursue his sacred hunt.

Named Cummenos, named wild, he hunts the Hallowed Eve.
From the farthest to the nearest, he hunts monsters unseen.
From the outmost to the inmost, he hunts evils unfelt.
Driving them before him, he descends into hell.

Enthroned, enslaved, in hell he is Eoin.
Judge and demon, meter of fates, he is chained until freed by mortal gift.

With blood, in life, the surrender of our lady frees judgment – Eoin – from hell, to mount to heaven.
In life, with surrender, in the pregnancy of deep winter dost our lady embrace her blessed rite.

Named Gwirionedd, named truth, our Lord presides in heaven.
Breath of spirit, light of seeing, he glorifies and sanctifies, awaiting the sacrifice of the king.

Gwirionedd, our source.
Cummenos, fell and fallen.
Eoin, our maker.
Gwirionedd, our truth and haven.
Hosanna to our Lord.

* * *

For more about Giralliya, the setting of Hunting Wild:
A Great Birthing
Bazinthiad’s Fashions
Bazinthiad, A Quick Tour

 

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The Simiae

bull, crab, sea goat, ram depicted as art nouveau line drawings

Modern western culture recognizes 88 constellations. I don’t have that list memorized.

But when I reached a particular point in writing Devouring Light, I grew certain that among those 88 patterns must be a great ape. How could there not be?

I could see Mercurio (my protagonist) conversing with a wise and ancient primate while perched on the massive bough of a rainforest tree in a starry jungle of the eighth sphere. I could hear them speaking.

And there’re tons of animals included in the constellations. The familiar ram, bull, and great bear (Aries, Taurus, and Ursa Major). Plus a boatload of more obscure ones, such as the hunting dogs, the goldfish, and the peacock.A goddess of ancient times under a volcanic sun

There must be an ape. Or, better yet, apes in the plural.

So I went looking. Eagle, swan, and wolf. No ape.

Centaur, pegasus, and unicorn. No ape.

Even microscope, table, and furnace! But no ape.

What about other cultures?

Traditional Chinese star groupings have the three enclosures – Purple Forbidden, Supreme Palace, and Heavenly Market – and the 28 mansions within them. Among those, the winnowing basket, the turtle beak, the ghost, and the chariot sound pretty cool. But no ape!

black and white photo of 2 Japanese women using winnowing baskets

Dash it! I’d been sure I’d find a reference to a wise great ape somewhere in oriental star lore. But I hadn’t. And I knew Mercurio met with the chieftain of “elder cousins” manifesting the form of apes.

Luckily…I’m a fiction writer! If I couldn’t find an existing mythology involving apes, I’d create one!

I felt drawn toward language for inspiration, so that’s where I looked next.

The Latin for monkey is simius (male), simia (female), and simiae (plural). My constellation would be the Simiae – the Apes.

What about the English word? What are the origins for the word monkey?

Obscure! It might derive from a character named Moneke in a German version of a fable entitled Reynard and the Fox, published around 1580. Hmm. No juice there. At least, not for me.

black brush strokes on white backgroundI eventually wound up on a Wikipedia page about the Chinese pictograph for monkey.

I went looking for that page as I wrote this blog post. And could not find it. I almost wonder if I imagined it – except I didn’t.

This time (while attempting to retrace my steps) I arrived at an article with the title “Monkeys in Chinese Culture,” which informs me that, “Monkeys, particularly macaques and gibbons, have played significant roles in Chinese culture for over two thousand years.”

And, further, that Chinese deities were said to appear at times in the guise of monkeys, while many Chinese mythological creatures resembled monkeys or apes.

Now that would have been very useful when I approached writing the monkey scene in Devouring Light.

However, the notes on the pictograph proved fertile ground. I read of the various pronunciations for the word in Cantonese, Mandarin, Korean, and so on.

From them, I derived the names of my Simiae.

Old Jyutping, the chieftain, wise and earthy (despite his celestial nature) and indigo-furred.

Saru, who is nimble, beautiful, and clever – with fuschia fur.

Pinyin Hou enjoys riddles and sports a pelt of lime green.

Ko indulges in practical jokes, as well as the polar opposite: meditation. His fur is bright cyan.

All four are superb gymnasts and acrobats.

I wrote my scene. It remains one of my favorites! 😀

The Simiae

< For more about the world of Devouring Light, see:
The Celestial Spheres of Sol
What Do Celestials Wear?
The Graces
Roman Dining
The Heliosphere
The Oort Cloud
Mercury the Planet
Draco the Dragon

 

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The Player King

The Maze at ChatsworthSwift footsteps crunching on gravel, she arrived at yet another four-way intersection between tall privet hedges. The corners had been shaved to resemble medieval towers, crenelations and all.

“Damn neo-Rens!”

She barely paused before diving into the left passage, snagging the cap sleeve of her dress on the foliage when she cut the corner too fine, feeling the scratch of the twigs across her collar bone.

There was no time for this, no time for being lost in a lantern-illuminated, neo-Renaissance maze at night, no time before – before what?

The memory was false. Sam was sure of it, damn all! Somebody’d hacked her chip to plant it. She’d never entered that dark-paneled room with its somber oil portraits. But it existed. She was sure of that too.

The maze hedges turned sharp right, then left, and opened onto a small garden. Three children, tricked out in fancy neo-Ren dress, clustered around a jester. He juggled a trio of glass spheres, lit from within, tossing them high into the air and then apparently pulling one out of the littlest girl’s ear. She giggled.

Garden Maze

Sam checked her headlong rush. The scent of roses lay heavy here, so pungent she could taste their sweetness. Too strong, the same perfume choking that damnable room she’d never seen and now saw so vividly. Where young Nick stood flanked by a player king and his advisor, terrified white face staring up through lying memory and begging for rescue.

“The key to the maze, tell me it!” Sam demanded of the jester.

He gazed at her a moment, permitted one corner of his mouth to turn upward, then gracefully caught all three of his glass orbs. “Your invitation will instruct you, milady.” He bowed, an eyebrow lifted. Did she really look so disheveled? She’d doffed her costume to resume her modern shift the instant that constructed memory rose in her mind’s eye and sent her haring from the party-congested mansion to the maze.

“The key, you!”

“A transponder in the wax seal may be set to guide you to the exit, the entrance, or any of sixteen pleasure destinations between.” Behind the jester’s formality, he mocked her.

Sam tore open her clutch purse.

Maze Garden

For more story openings, see:
Fate’s Door
Tally the Betrayals
Popcorn Kittens

 

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Kay Nielsen

Kay Nielsen rejuvenated my writing career.

How? It was his illustrations for East of the Sun and West of the Moon that did the deed.

I’ve told the story of how I discovered my creative process in an earlier post. Strangely, I’d engaged in my creative process for decades without recognizing it for what it was. Which meant that when I attempted to make the switch from one type of creativity (game design and graphic design) to another (narrative fiction), I didn’t know how to go about it. I tripped and fell.

Dorothea Brande’s Becoming a Writer sorted out my thinking. Ready to give my old ways a new try, I needed inspiration.

"And flitted as far as they could..."Kay Nielsen’s illustration in the title story of East of the Sun – captioned “And flitted as far as they could from the Castle that lay East of the Sun and West of the Moon” – came to mind almost the instant I began the meditation that kicks off most of my writing.

Now, I adore that painting, but I resisted it as the inspiration for my tale. Why? Mainly because I thought one of the quirkier works in the collection might make a more unusual starting point. And unusual appeals to me.

Fortunately my inner storyteller refused to budge. The story of the lassie carried away by a white bear is a great one, and Nielsen’s illustrations for it – both black & white line drawings and color paintings – utterly beguiled my imagination.

As I mused, my North-lands were born along with cursed Prince Kellor, half crazy in the darkness during the night when he regains his man’s form. That first scene – Kellor struggling to think clearly – almost wrote itself. And you know the rest: I completed and published Troll-magic.

Then I wrote about Sarvet, a character with one small walk-on part in the second-to-last chapter of Troll-magic. And then I wrote another story about the Hammarleedings, Sarvet’s mountain people. I suspect I’ll be writing stories in my North-lands for a long time. All because of Kay Nielsen.

As well as being the creative inspiration behind my fantasy world, his work also appears on my web sites and graces the covers of three of my books. I stand on the shoulders of a titan.

So I want to tell you a little about him.

First, his name. As an English speaker, I would naturally pronounce Kay to rhyme with weigh or inveigh or, more simply, may. And I would be wrong. It’s pronounced “Kie,” rhyming with pie or vie. (Yes, I’ve always liked rhyming games. 😀 ) Nielsen is more straightforward. “Neelsun.”

Illustration by Kay Nielsen for "The Widow's Son"So, Kay Rasmus Nielsen was Danish, born in Copenhagen in 1886. His parents were actors, his mother a very famous one and his father the director of the Dagmar Theater. He studied art in Paris, then lived in London, where he received a commission from a British publisher to illustrate a collection of fairy tales.

No, this wasn’t East of the Sun, the collection of Norse folk tales. Titled In Powder and Crinoline, it included more continental stories such as “The Sleeping Beauty” and “The Twelve Dancing Princesses.” Nielsen’s illustrations featured courtiers garbed in sweeping ball gowns and cavalier coats along with towering white wigs. Cool stuff! I’m thinking I might try to acquire a copy.

The commission for East of the Sun came the next year, to be released in 1914. Both books utilized the new four-color process of printing to wonderful results. The previous method – three-color process – tended to produce darker colors that looked dirty and muddy. Kay Nielsen’s color plates possess clear, true tints from light to dark.

Of course, these commissions weren’t the whole of his professional life. He created scenes from the life of Joan of Arc, he painted landscapes in Dover, he traveled to New York for an exhibition of his work. He painted stage scenery for the Royal Danish Theater.

In 1924, he returned to book illustration with color plates and monotones for Fairy Tales by Hans Christian Andersen and Hansel and Gretel and Other Stories by the Brothers Grimm.

In 1939, he worked in Hollywood, eventually landing a job with Disney! I’d no idea, back in my childhood when I read and re-read East of the Sun, that the illustrator of those marvelous old-fashioned pictures was involved in something so modern as the movies. The “Ave Maria” and “Night on Bald Mountain” sequences in Fantasia were his work. He grew famous in the biz for all the concept artwork he did for Disney films.

"He too saw the image in the water..."Sadly, all the beauty and genius of his work did not secure honor and security for his old age. His illustrative style fell out of fashion, and he died in poverty in 1957. He deserved far better. He delighted my childhood, as I imagine he did for many who read the books he illustrated or saw the movies he influenced. He sparked my own creativity. I see him as one of the greats of history.

Live long in our admiration of your art, Kay Nielsen!

 

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Draco the Dragon

Several constellations receive mention in my novella, Devouring Light. Cygnus the Swan soars across the eighth sphere. The Great Bear lumbers along its vast curve. And, embracing the freedom of fiction, I created a few constellations unknown to Earth’s history: the Simiae and the Winged Bulls.

But one constellation alone features prominently in my story: Draco.

Blue Dragon Tattoo

Older by far than the planetary spirits, Draco is a wily, jaded creature who’s forgotten the pleasures of living in his neck of the universe. His capricious response to his boredom pushes first Mercurio, and then Haden, toward action that summons catastrophe.

Of course, many an ancient legend about the dragon preceded my own Devouring Light.

According to the ancient Greeks, a dragon named Ladon guarded the garden of Hera, queen of the gods. Within Hera’s garden grew a grove of trees with golden apples that bestowed immortality upon their eater. Nymphs – the Hesperides – tended the garden and occasionally stole the apples. Ladon was given the task of preventing such theft, whether by the nymphs or by other intruders.

The Garden of the Hesperides by Frederic LeightonDespite Ladon’s watchful ferocity, two renowned trespassers managed to steal apples. Eris, the goddess of discord, inscribed her stolen fruit with the phrase “to the most beautiful.” When she rolled the apple into a wedding (from which she had been excluded), she started the Trojan Wars.

Hercules was the other interloper. Of the twelve labors given him, the eleventh was the theft from Hera’s grove. He didn’t attempt the feat himself. Instead he offered Atlas a break from holding up the world, if Atlas were to do the deed. Atlas possessed the advantage of being the father of the Hesperides, and he liked the idea of a rest for his shoulders. In fact, he liked it so much that he refused to exchange the stolen apples for the world. He didn’t want it back.

Hercules agreed to take Atlas’ place permanently, so long as he could first rearrange his cloak. Naturally, once Atlas again bore the world on his own shoulders, Hercules did not keep his promise. Not much honor amongst those Greek gods and heroes!

In one version of the myth, Ladon is rewarded for his long vigil by being enthroned in the sky as a constellation. Certainly, the two constellations – Draco and Hercules – are near one another in the heavens.

The ancient Romans told a different tale about the dragon. Draco was one of the Titans, monsters who fought the Olympian gods for dominion over the earth. The war was grievous and long. In the final battle, when the Olympians prevailed, the goddess Minerva confronted Draco. She won and tossed the defeated dragon into the sky. Frozen by the cold northern Celestial Pole, he stayed there for eternity.

In addition to its mythological importance, Draco also possesses elements of interest to astronomy.

The star Thuban – head of the serpent – shines within Draco. It’s a blue-white giant and occupied the position of pole star from 3942 BC to 1793 BC. The ancient Egyptians noted this and built their pyramids with one side facing north and an entrance there that permitted Thuban to be seen within. Because the Earth wobbles on its axis – a cycle that takes 26,000 years – Thuban will become the pole star again in 21,000 AD.

Cat's Eye NebulaThe Cat’s Eye Nebula is located in Draco. It possesses one of the most complex shapes ever seen through the Hubble Space Telescope. Created 1,000 years ago by an exploding star, the nebula features knots, jets, bubbles, and arc-like structures.

The quasar Q1634+706 also inhabits Draco. 12.9 billion light years away, it’s so bright that it’s the most distant object that can yet be seen through an amateur telescope.

And, finally, Draco hosts the meteor shower known as the February Eta Draconids.

On the cultural side of things, I am not the only artist inspired by Draco.

The film Dragonheart presents the constellation as a heaven to which the spirit of any dragon ascends after death, if it has upheld an ancient dragonish oath to guard mankind. The Russian chess master master Fyodo Dus-Chotimirsky named the chess opening of the Sicilian Defense the Dragon Variation, after the constellation. And J.K. Rowling named her antagonist, Draco Malfoy, in the Harry Potter series after the starry Draco.

For more about the world of Devouring Light, see:
The Celestial Spheres of Sol
What Do Celestials Wear?
The Graces
Roman Dining
The Heliosphere
The Oort Cloud
Mercury the Planet
The Simiae

 

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Gongs

Gong au Palais Royal de BruxellesWhen I wrote the story Resonant Bronze, I needed to know more about gongs.

The type of gong most familiar to Westerners is the bullseye gong or tam-tam. A tam-tam is made of brass (copper and zinc) or bronze (copper and tin). It’s nearly flat with a very shallow curve. And the rim is turned to be perpendicular to the gong’s surface.

Tam-tams yield a crashing sound when hit. They were originally used in China to signal the peasants working in the fields. They could be heard up to 50 miles away!

But the gong featured in Resonant Bronze is not a tam-tam. It’s a nipple gong.

Nipple gongs possess a central raised boss that is often formed of a different metal than the rest of the gong.

Such is exactly the case for the gong in Resonant Bronze. Its central boss is made of meteoric iron, while the rest of its wide circle is formed of arsenical bronze (copper and arsenic). Thus its silvery color.

Nipple gongs have a clearer, more resonant tone than tam-tams, with less “shimmer.” Small nipple gongs are often suspended horizontally (rather than vertically) and played together as you might play a xylophone.

The gong in Resonant Bronze is large – roughly 3 feet in diameter – and hangs vertically.

One of the most interesting things I learned in the course of my research involves the unique forging properties of bronze.

Most metals – copper, steel, silver, brass, etc. – when heated and slowly cooled to room temperature in still air become more ductile, more workable at cold temperatures, and less prone to internal stresses. This is called annealing.

Bronze does not behave like this when slow cooled. In fact, it becomes excessively brittle and difficult to work.

Bronze must be heated to cherry-red and then quenched in water. This quick cooling makes it so soft that it can then be hammered. Thus a gong is first heated, quenched, and shaped. Then it is heated again and slow-cooled to harden it.

While modern bronze is composed of copper and tin – from 8 to 22 parts of tin for every 78 parts of copper – the ancients used arsenic instead of tin. This resulted in several advantages.

The arsenic acted as an de-oxidizer, causing the extra oxygen sometimes present in liquid copper to evaporate as various arsenous oxides, yielding a more malleable bronze.

The presence of arsenic also produces a greater work hardening of the metal without causing embrittlement. (Especially important for cutting and chopping tools, not as important musical instruments.)

And, finally, the arsenic creates an attractive silver sheen to the metal’s surface.

Arsenic is present in many of the copper ores in the ground, but the ancients also added arsenic themselves.

Unfortunately, arsenic within an alloy also possesses some serious disadvantages. Arsenic vapor attacks the eyes, lungs, and skin of the smith, as well as causing neurological damage that results in weakness in the legs and feet. It is speculated that this fact of neuropathy lies behind the archetype of lame smiths such as the Greek god Hephaestus.

A very large Thai gong at a temple in Roi Et, Isan, ThailandThis is one of those times I was super glad I’d done my research! It would have been so easy to get this wrong. My natural inclination is to research topics I don’t know much about. I just don’t feel comfortable writing my story when there’s an important element in it and I’m ignorant. Of course, it’s not just wanting to get the details right that propels me. I’m also insatiably curious! 😀

For more about the facts behind my stories, see:
Origin of Canning
The Accidental Herbalist
Roman Dining

 

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The Theft of Odin’s Horse

Stowe Landscape Gardens, Buckinghamshire, England

This story opening was inspired by two photos I took last year. Both appeared on my blog: the tangled garden here, and the soaring tree here.

* * *

All-father above! Why was Yggdrasil, the Tree of the World, growing in Loki’s court?

Cissa had walked out to Ithunna’s garden to loll on mounds of feathery periwinkle and savor the light breeze winging up the hillside. Why not? Vanna was busy in the kitchen; they’d gabbed late into the night. Some morning solitude would suit them both.

But lolling and savoring weren’t what she was doing.

She’d strolled through the wild tangle of green, noting sprays of fern, tendrils of ivy, and seated herself against the trunk of a gnarly maple. Its rough bark grated on her skin, left bare by her halter top. Long weedy things tickled the bend of one elbow.

She’d found the perfect vantage: tree at her back, loveliness sloping away before her, cool dappled shade all around. Ah! She inhaled – the start of that savoring – and chuckled. The sweet syrupy aroma of honey melting into butter accorded not at all with her bowery surroundings. Vanna was making granola, and her open kitchen window meant spicy cinnamon and nutmeg overwhelmed the cleaner scents of rain-washed leaves and loamy earth. A clatter of baking sheets interrupted fluting birdcalls and the distant sound of falling water.

It felt comforting, this blend of her kinfolk: Vanna’s domesticity in the home, Ithunna’s love of green and growing things in the outdoors.

I’m lucky in my sisters, my nieces, she mused. Less lucky in . . . but that was a thought for another time. Or was it? Before her and behind her, all was well. But there to her left, where Ithunna’s orchards lapped the stone walls of their nephew’s castle? Was something amiss there?

She’d straightened, not sure why she was worried, then climbed to her feet and let the sensory world fall away. In the space between will and action, the gap between dream and reality, in the magic underlying rock and bone and breath – something was far more than amiss.

Eyes closed, she saw vast limbs stretching beyond the sky, cradling the heaven of Asgard; sensed deep roots burrowing below even the earth’s foundations to sip the springs of fate and wisdom; felt the massive trunk supporting the clement harbors of life where mortal men and women dwelt.

An American Beauty, 1906 postcardBut Yggdrasil grows from the Wells of Urth, not in the trickster’s back bailey!

What had Loki done?

* * *

She’d rushed back to the house to confront Vanna with the dreadful news.

And been inveigled into another of her sister-in-law’s food projects before she found the words – and the opening – to speak of Loki’s perfidy. When she did the modest dining room – sunlit white walls, two windows, oak table and chairs, and nothing else – grew very quiet. Her chair creaked under her as Cissa leaned forward.

“You knew? You knew! That Yggdrasil now grows in Loki’s court?”

Vanna was looking at the capped jar of raw milk resting on the oaken boards of the dining room floor. It had been curdling for five days now, separating out into creamy curds floating on thin cloudy-white whey.

“Loki told me.” Vanna’s answer sounded distant.

Loki told you?” Cissa felt breathless. “Loki!”

Vanna bent, lifted the two-quart jar, and placed it on the table. They’d covered the surface with a red oilskin to protect the wood from moisture. Making whey for pickles could get messy.

“He always trusted me more, you know.”

Odin’s beard! Was everything Cissa thought she knew about Vanna wrong?

“But you told someone? You warned someone?”

Vanna arched an eyebrow, easing the cap off the milk jar. The sour smell of the whey rose from the vessel’s mouth. Sunlight sifted through the tree leaves outside the west window, dappling the square glass panes, dappling Vanna herself. Her golden blond hair – twisted up on her head and pinned – glowed. She looked very much herself: goddess of fertility and wife of Uller.

“Did you never think that perhaps the reason Loki is untrustworthy is because no one trusts him?”

Cissa rose abruptly to her feet. “No!”

She turned to pace. The room wasn’t big enough for it. She knocked against the next chair over, caught her elbow on the white cloth blind let down over the south window, and then bumped her hip against the table. The screws holding the legs on squeaked. The whey in the jar sloshed, but the thick curds atop kept it from spilling.

“Loki the abducter! Loki the thief! Or are you going to tell me he never absconded with Daphne to Alfheim? Or clipped Sybil’s tresses?”

The hint of a smile crossed Vanna’s face. She arranged a square of linen in a sieve in a crockery bowl.

“There was rather more to it than that. Both times.”

In one smooth motion, she tipped the jar upside down over the sieve. The curds stuck for a moment in the neck of the jar, then slithered out with a sucking noise. The whey poured after, splashing.

“I think it’s worth giving him a chance.”

Cissa’s breath huffed out. She plopped into the chair beside her, at the table end near the parlor. A cushion tied to the rungs of its back made the seat softer than her earlier perch, plain oak.

“And if you’re wrong? If there are no extenuating circumstances this time?”

Her arms rose almost involuntarily, and her fingers clutched the curls atop her head. It pulled a bit.

“This is Yggdrasil. The world tree. Which has grown in Odin’s court since first its seed sprouted. Its branches are our foundation. Vanna, think!”

“I did think. I have thought. And –”

While she hesitated, Vanna knotted the two opposite corners of the linen cloth, then the other two, and thrust a wooden spoon through the double loop.

You think. If we raise an alarm, a big stink, what will Loki do?”

Cissa grabbed the glass pitcher from her end of the table and pushed it along the oilskin, closer to the bowl.

“The absolute worst he can think of,” she answered slowly.

“And if we give him breathing room?”

Vanna lifted the bundled curds by the spoon. The whey, almost translucent, ran off the bottom of the rounded linen, passing through the sieve and hitting the bowl with a soft drumming rhythm. Its sour smell, a bit like yogurt, but sharper, grew stronger.

Cissa felt her lips straightening. “Perhaps no harm will be done. Perhaps we’ll find out why – oh!” She jerked and bumped the table yet again, with her belly this time, and softer. The table jiggled and squeaked. “Do you suppose Yggdrasil was in danger? Loki is protecting it?”

Vanna lowered the bundle of curds into the pitcher, letting the spoon rest across its wide opening. For the first time in this conversation, her eyes met Vanna’s. They looked sad.

“Now you are more generous than I, little sister.”

Cissa blushed. “But –”

“Loki will make mischief whenever it does not compromise his advantage. And even then, sometimes.”

Vanna carried the pitcher away into the kitchen.

Cissa heard the ice-box door open and close. She reached for the bowl full of whey on the table, lifted the empty sieve out of the liquid, let it drip a bit, and set it down. Wet. That’s why the oilskin. She put the waiting funnel into a clean jar with a narrower mouth and poured. Would it all fit? No, she’d need a second container.

Bunging the cork in to seal this first one, she came to a decision.

Her hands weren’t quite steady.

“I’m not willing to just take Loki on faith. I won’t raise the alarm. But I’m going to ask some questions.”

Vanna reappeared in the kitchen doorway.

Cissa stood, wiped the damp whey bottle with a dish towel, and handed it to her.

Vanna smiled. “Good,” she answered.

* * *

For more story openings, see:
Witch’s Sweet
Fate’s Door
The Green Knight

For the list of stories that began all these story opening posts, see:
Popcorn Kittens

 

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The Heliosphere

gout of plasma against black space

Devouring Light started from the idea of spectacle. Somebody – Mercurio – was creating a grand display involving the constellations. Draco, the dragon. Ursa Major, the great bear. And so on.

But what would this spectacle celebrate?

No mystery there. That was part of my initial inspiration as well: our sun’s birthday.

The next question was trickier. How would our sun – Sol – mark his birthday?

Possibly he did so in Earth years. Earth being the only planet in the solar system with humans on it lends these “Gaian” years a certain distinction.

But the universe of Devouring Light features many other beings: the spirits of stars, those of comets – all the celestial bodies of the cosmos, in fact.

And Sol is so very old when measured in Earth’s years. Using them as birth markers would be like humans using seconds.

My decision: Sol wouldn’t use the movements of anything within his own system to signify his anniversary. What about outside the solar system?

Posing that question yielded an immediate answer. Or, rather, another question which generates its own prompt answer.

What does the sun revolve around?

Our galaxy, of course.

There was Sol’s “year.” The time it takes for him to travel once around the Milky Way.

And how long is that? In Earth years? Being human myself, not celestial, I think in terms of Earth. And I had some research to do.

We know the age of our sun: 4.6 billion Earth years. An odd measure, when you consider that Earth herself was likely still a part of the dust cloud around Sol when he ignited. But that is how we measure long spans of time.

Our knowledge of the number of times that Sol has swung around the galaxy center is less precise. One circuit requires between 225 and 250 million Earth years. Sol has made the trip anywhere between 20 and 25 times.

Since I envisioned Sol as a fully grown “young man,” not a youth barely emerged from his teens, I chose the longer figure.

Sol was turning 25. Excellent!

photo by NASA Goddard Space Fight

With this important question answered 😀 , I could call this blog post complete. But you know I’m not going to do that! In the course of my solar research, I learned a bunch of cool things about our sun. And, while I’m perfectly capable of sharing them all with you, I won’t do that either.

Instead I’ll tell you the one cool thing that was utterly new to me and that proved to be important to my story.

The heliopause.

What, you may ask, is the heliopause.

I certainly didn’t know what it meant when I first encountered the term.

It has to do with the solar wind.

Now, I’d heard of the solar wind, and I thought I knew what it was. But I didn’t. Not really.

Because the solar wind is plasma.

What? Plasma? I thought plasma existed only in conditions of great heat and pressure. Like in the body of a star.

Well, that is a common place to find it. Although it also occurs in the instant of a lightning strike.

But what plasma is . . . is a mass of ions. That is, atoms stripped of their electrons, so that the electrons swirl through the plasma solo with their negative charge, while the nuclei – protons bound with neutrons – also swirl through the plasma with their positive charge.

And the solar wind is this plasma hurled off the surface of the sun and out into space.

Wow!

Obviously, the solar wind is very “thin,” with only a few particles within a lot of vacuum. Almost like a vapor or a gas. But it’s plasma, not a gas, because the particles have a charge. And it packs some punch. Think of the solar yachts posited in SF stories, with sails catching the solar wind.

Luckily, because the plasma particles have a charge, they get bounced by Earth’s magnetosphere. But that’s another topic! Maybe a future blog post? 😉

image from Nasa Blueshift

So . . . the heliopause.

The solar wind blows a long, long way. All the way past Pluto to nearly 100 astronomical units (100 AU).

To refresh your memory, one AU is the distance from the sun to Earth.

At 100 AU from our sun, the solar wind runs out of steam and ends, contained by the pressure of the interstellar medium and the stellar winds that roam the galaxy.

The bubble created by the solar wind is known as the heliosphere. It has a ripple in it, shaped like a pinwheel or a ballerina’s swirling skirt. It’s caused by our sun’s spinning magnetic field. And the heliosphere has turbulence at its edge, where the stellar winds press inward, while the solar wind presses out.Artist's Conception of the Heliospheric Current Sheet

That area of turbulence is known as the heliosheath. And the great curve where the turbulence ends, the solar wind ceasing completely, is the heliopause.

Why did I care?

Because my dragon constellation, Draco, does some “flying” at the heliopause. I needed to know what he’d encounter there!

Not being a scholar, Draco calls the entire end zone the heliopause, rather than using the precise terms: termination shock, slow-down region, stagnation region, and depletion region. But his wings feel the strain of the turbulence regardless!

For more about the world of Devouring Light, see:
The Celestial Spheres of Sol
What Do Celestials Wear?
The Graces
Roman Dining
The Oort Cloud
Mercury the Planet
Draco the Dragon
The Simiae

For more about our sun, see:
Sol

 

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Roman Dining

When Mercurio throws a banquet in my novella, Devouring Light, his guests dine Roman style.

I’d always envisioned the ancient Romans as reclining while dining, propped up on couches with low tripod tables at their elbows. But when it was time for me to write the feast scene, I needed details. So I dove into research!

And discovered that my vision was somewhat mistaken!

The video below is what I’d imagined.

Certainly there are museums with replicas that look somewhat like that. One even features the individual tables I’d envisioned. While that may be accurate for meals with three people only, the scene looked rather different when more people were gathered.

Before we go further, let’s note two terms.

A klinē is a sort of slanting couch, with the foot ten degrees lower than its head.

A triclinium, the ancient Roman dining room, meant “three klinai” or “three couches.”

The houses of the ancient Romans usually had at least two triclinia. Elite households might feature four in a triclinium maius .

Triclinium, Museo de Zaragoza

But, here’s the thing that confused me.

The ancient Romans commonly invited between nine and twenty guests to their feasts.

How on earth would they squish three reclining diners on each of those narrow couches? They would have to sit, not recline. And I knew they didn’t. Or I thought they didn’t.

Once I’d located some more scholarly works, I discovered there was more variation among Roman dining styles than I’d supposed. Specifically, the ancient Romans were people with individual habits, just as you and I have our own idiosyncrasies.

Sure, the reclining habit was a mark of status. Undoubtedly, most eaters started off that way, just to show they could.

“Yes, I’m rich and privileged. See!”

But what about the child who couldn’t lie still? Or the lady with a bad back? Or the senator with a dyspeptic stomach?

Well, the likelihood that people shifted their position a fair bit while eating was only common sense.

But it still didn’t explain how they fit three reclining diners on those couches.

Finally I found another visual, and it all made sense.

Aha! The head of the couch pointed toward the table, and the foot of the couch pointed away. Those klinai for three people were much bigger than those for a solo diner.

I couldn’t find an image in the pubic domain that I am free to post here. But check this link, if you want to see the visual for yourself.

Mercurio gives each of his guests a unique klinē garnished with flowers, rather than grouping them on shared couches. The major “celestials” in Devouring Light happen to number eighteen, perfect to exactly fill two triclinia. How convenient!

This was Mercurio’s seating plan for them until . . . he realized he needed to accommodate an unexpected guest!

Mercurio's seating plan

For more about the world of Devouring Light, see:
The Celestial Spheres of Sol
What Do Celestials Wear?
The Graces
The Heliosphere
The Oort Cloud
Mercury the Planet
Draco the Dragon
The Simiae

 

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