Fiction Circular 8/1/20

A weekly dissemination of fiction writing from around the web by Kaiter Enless.


From Caliath: Notes on the Creative Corpse by Joao-Maria (a poem concerning the creative process).

To dispetal the cosmos and the cosmos, place those steatic specs upon the unreeling…

J.M., Notes on the Creative Corpse

From Cyberwave: Coloring For Karen (a scifi short story).

With a wave of his hand the boy produced magnificent shapes and formed islands out of the empty ocean while standing on the cliff. His eyes were closed but he knew he didn’t need them. He used his imagination without bounds, and without the influence of external stimuli.

– Cyberwave, Coloring For Karen

From Jan Christensen: Sad Victory (a mystery short story).

“Of course I’m okay.” Her mouth twisted around the slang word disagreeably.

– J. Christensen, Sad Victory

From Horror Tree: Pale Horse by Lynn Love (a tale concerning a man who may or may not be crazy hears a voice that may or may not be there).

‘That ain’t no wind,’ he says. ‘There’s a voice. Can’t you hear it?’

– L. Love, Pale Horse

From The Chronicles of History: Beyond The Trees by Samantha James (a short story of the fantastique).

A young orphaned girl flees her home one afternoon and finds herself lost in a big scary forest. The child becomes injured but is assisted by an unlikely companion that claims to know the way to the girl’s home at the abbey. Not all is as it seems …

– S. James, synopsis

Warm-up Exercises

by John Grey


When lovers argue 

the air gets it in the neck 

dreams are full of such crackling currency 

but when I awake I can’t spend any of it 

lost love is like eating alone 

in a restaurant 

sipping the last of the wine 

while fish bones stare up at you 

a statue is the last stop 

on a long journey of made-up stuff – 

this figure in marble 

bears as much resemblance 

to real flesh and bone 

as a cushion does to a razor 

there are no more stage villains – 

nobody wears top hat and tails, 

flicks their moustache 

while tying women to railway tracks – 

these days, it’s tee shirt and shorts, 

a day’s growth around the chin 

and a back of the hand 

slapped hard against a woman’s cheekbone – 

ah, Snidely Whiplash, 

at least, the boos rained down on you 

river’s frozen, 

roads aren’t plowed, 

can’t get out my front door 

for the drifts – 

War and Peace 

this could be the day 

of Chapter One Page One 

I must have loved 

a thousand women 

and I ended up with one – 

there are some instances 

where math need not apply 

there’s an article here 

about this guy who found his wife in bed 

with another man – 

he divorced the wife 

and married the man – 

and then it’s on to the latest peace talks 

for more irony 

1 made a few phone calls 

sent emails 

even wrote a letter 

but it’s the same old same old – 

you still can’t go home again 

my fingers look up from the keyboard 

ask then why have you brought me here.


John Grey is an Australian poet, US resident, recently published in Examined Life Journal, Studio One and Columbia Review, with work upcoming in Leading Edge, Poetry East and Midwest Quarterly.

The Lexicon: A Cornucopia Of Wonderful Words (1996) by William F. Buckley Jr.; A Review

William F. Buckley’s The Lexicon (published by Harcourt Brace & Company and described as a “pocket word guide”) is a compact reference of uncommon words, which places emphasis not simply on the rarity of the words included, but also, as one might induce from the inclusion of cornucopia in the title, the applicable breadth and variety of those words. Omitted are such narrow oddities as arachibutyrophobia (ie. the fear of peanut butter sticking to the roof of one’s mouth); a word which Buckley thought belonged in the “zoo section” of dictionaries. The utility of such special case, single-use words as the aforementioned, to general discourse, (then, as now) are, obviously, minimal. Thus, their omission doubtless bowdlerized the volume considerably from what it would otherwise be, should its author have saw fit to include as many arcane and ancient lexical peculiarities as could be found, without regard to utility.

The consequence of this view on the book itself is that it is rather light on inkhornisms and consists primarily of words that tend to sit at the back of the average reader’s mind, like boxes of old clothing in an ill-ventured and moth-proofed attic; such as aberrant (ie. a person whose behavior departs substantially from the standards for behavior in his group) and bellwether (ie. the guide by which one measures other data), as well as a sprinkling of latin phrases such as ab initio (ie. from the beginning) and caeteris paribus (ie. if all other relevant things remain unaltered); and more atypical offerings, such as asservation (ie. an assertion made in very positive form; a solemn assertion), buncombe (ie. talk that is empty, insincere, or merely for effect; humbug), cacoethes (ie. an uncontrollable desire), and enjambement (ie. continuation in prosody of the sense in a phrase beyond the end of a verse or couplet; the running over of a sentence from one line into another so that closely related words fall in different lines).

Every word featured is accompanied, in addition to its definition, by a example of its use in a sentence; often, a wry, scathing observation of some political situation or personality of the time or utilization of Buckley’s fictive works (all citations from his published oeuvre). It is these amusing asides (in addition to a number of cartoons by Arnold Roth) which lend the book its singularity and readability—that quality so often and ironically lacking in written works concerning language.

Circular 3/27/20

From Caliath, (Droplet) Jupiter, The Loneliest Planet by Joao-Maria.

“I see now a Europe leeched dry of its fortitude.”


From Forward Base B, Trolly Problems on the Island of Sodor by Giovanni Dannato.

“Well, I tried to revive Percy and Henry and the rest, but no one in Sodor makes the parts for them anymore. I’m afraid we’ve lost them, Thomas.”


From Little Tales For Busy Folk, Chasing Memories by Vic Smith.

“When the last of these memories has slipped away from me, what is there left?”


From Meredith Schumann, 2050 by Meredith Schumann.

“She took a deep breath and delved into her pocket. How she longed to know what it had been like in her dad’s day, when every person, near enough, was connected with the world via a small rectangular device they’d keep in their pocket”


From New Pop Lit, Townies by Philip Charter.

“you probably think the Ministry of Sound is a governmental department”


From Shreya Vikram, There Is A Certain Distancing Necessary by Shreya Vikram.

“We know our catastrophe and sing.”


From Spelk, Junk Dumps by Phebe Jewell.

“Like all vigilantes, he has routines and rituals.”


From The Drabble, You Hear A Noise by John L. Malone.

“Those bloody mice, you say, though you’ve seen no evidence of any. It’s nothing, you decide, nothing. House noises. You head back to the bedroom, turn off the lights. Someone taps you on the shoulder.”


The Logos Fiction Circular features work by independent authors of prose fiction. If you have a recommendation of a particular author to cover, feel free to leave a comment and let us know.

And Finally, Thanks To Winter

Winter’s about to strike again and I’m excited. It’s almost March and we’re expecting 11 inches along the Wisconsin-Illinois border. The approach of snow and falling temps focuses the mind like few things can. I’m writing this in stages, while panic-buying groceries, because I can’t predict when I’ll be able to leave the house again. But while trapped, I’ll thread various plotlines – currently in my head — into a coherent narrative for a future novel. Here, art often depends on the whims of nature.

If you’re a creative person who lives above the 40th Parallel, you know January through March is a fertile time. After all, going outside is not only unpleasant, it can be dangerous. Your weather app’s warning to hunker down not only keeps you safe, it discourages visitors from interrupting your process. I must use this opportunity. I vow to disable my internet and silence my phone. I’ve consumed plenty of content created by others in recent weeks. Now it’s time to invent something of my own. Lean in, I tell myself, and don’t stop writing until the last pile of snow finally melts.

Hopefully, if you do the same, you’ll have a solid second draft by the time spring arrives. Well done! Now let it rest. It’s impossible to continue because robins are singing (when did they return?), daffodils are blooming, and trees are greening again. The whole earth is stirring with diversion — look a bunny!

See? Who can create when nature demands so much attention?

You might say we’ll be used to these distractions by summer, but you’d be wrong. Almost overnight, people’s clothes get more revealing. Engines rev and roar, and that sun; it rises early and stays up long after dinner. And when it finally gets low, I defy you not to be mesmerized by the sky turning orange, then tomato, then strawberry shake before fading to coal.

No, summer is for editing, a process that’s more craft than art. It’s about weeding words, mowing sentences, shearing off entire paragraphs. You’ve had three months away from your manuscript, so now you can review it with fresh eyes. With careful pruning, it’ll soon resemble a garden maze where your reader enters here, enjoys a laugh there, stumbles into trouble, then gets in even more trouble before ending at a koi pond where they can sit and ponder their journey.

Satisfied with it? Send it to your publisher.

The crisp air of autumn might tempt you to begin your next work, but I wouldn’t. Not yet. Inspiration awaits in apple orchards and bonfires. As the sun sets earlier each day, people begin sharing family lore, including hauntings, and everything is so compelling you realize you’re listening all the time – which is good. This is when you gather all those chronicles and tall tales, bottle them, and let the fermenting begin.

Before you know it, you’re in that period infused with nostalgia: the holidays. The smell of baked cookies and roasting meat sends me back to my grandma’s kitchen, where I stare at a picture of a Black Forest cake and struggle to decipher the recipe. Or was it flourless chocolate with raspberry? When I ask my cousin, he insists the kitchen belonged to my allergic aunt who used karob instead, which may explain my perusing a real dessert book. Nonetheless, competing memories reveal how stories evolve. Steep in these a while longer. And when the New Year begins, and the noise subsides, you’ll know the time for input is over. Go ahead — open that bottle of distilled experience and pour with abandon. Don’t worry about containing spills; there’ll be plenty of time to clean up later. A new wave of creation is underway up north!

If you live further south, where each day is graced with warmth and sunshine, and creativity transcends seasons, I truly envy you. Still, this supports my theory that geography and climate have a greater hold on the imagination than we realize. Whether your locale lets your taps run freely or only when the time is right, make a point of experiencing both. Consider swapping houses with yours truly. This way, I could – without irony — paint seven self-portraits enjoying ice cream outdoors and caption them Monday through Sunday. I wonder what you’d create in a place that’s pleasant for maybe 14 days every year.

Don’t worry, I’m not about to invade your neighborhood. Northern inhabitants like me appreciate how bad weather nourishes our dark side and, frankly, we don’t like being creative all the time. But if you ever get tired of endless sunshine, and yearn for the rhythm of seasons, come up here after the holidays. Barricade yourself against the snow and wind. And if your time up here proves fruitful, be sure to include winter in your acknowledgements. I would understand how un-ironic that is.

 

 

 

 

 

Circular 1/22/20

PROSE

From Fictive Dream: Delirium by John C. Mannone.

“The brick-lumps sifted through the black morph into swarms of fire ants with glassy-grit teeth.” (Delirium)

From Spelk: Letters to Dead People by Foster Trecost.

“I sometimes write letters to my father, but he doesn’t read them.”

“How do you know?”

“Because dead people can’t read letters.” (Letters to Dead People)

From The Drabble: Dreams of Unspecified Crimes by Howie Good.

“I think it was Freud who said dreams are the day’s dark residue.” (Dreams of Unspecified Crimes)


VERSE

From Caliath: To Taste of Salt by João-Maria.

“What’s it like to bow up?, that rotten soliphsism of yours by which suns dawn merely to candle your rooms…” (To Taste of Salt)


ESSAYS

From Art & Crit: “The Death of the Author” Debunked by Eric Wayne.

The belief that “the author is dead” is one of the unquestioned bad ideas that has become gospel in the art world. It’s usually just asserted — along with its companion notions that originality is impossible, and the artist’s intent is irrelevant — as if to deny it is as hopelessly naive as denying evolution. (Wayne)

From New Pop Lit: Do Awards Matter? by Karl Wenclas.

Awards ceremonies, like hall of fames– sports, music, and otherwise– are in reality highly successful PR appendages to their particular industry. (Wenclas)


 

Circular 12/25/19 (Yuletide Edition)

Regular readers of the site will be aware that circulars have been few and far between of late. That is not because I’ve discontinued the series, but simply because I’ve been focused on various other projects (namely music composition and writing). With that said—Merry Christmas! to all our readers and supporters.

— K. E., Logos Editor.


LOGOS RECAP

From Matt Wildermuth, four classically inspired poems (Hubris, Prospero, Leaving Ogygia, and Ysatters-Kasja).

From Dan Klefstad Elevens (2001) – an new excerpt from his forthcoming novel, Fiona’s Guardians.

From yours truly, chapters 1 through 15 of The Dauntless Rook (a novella), the remasters of the tracks Suzerainty (a march) and Blood For Butterflies (a organ-driven leitmotif), as well as a new arrangement of the track Legerdemain (a waltz) and a short essay on the etymology of culture.

Additionally, for those interested in downloading site-published tracks, the Logos patreon-exclusive music archive is now live (and will be updated daily).


LITERATURE (verse and prose)

From New Pop Lit, the Tale of the Christmas Bear.

From The American Literary Blog, a republication of a Christmas poem, written by the Virginian, W. G. McCabe during the Civil War.


VISUAL ART

From the always colorful Examining The Odd, a vibrant, eye-catching illustration.

From PMu at the Daily Doodle, a charming Christmas tree sketch.

And a statue of the Roman Sun-God Mithras (whose birthday is Dec. 25th).


MUSIC

For your listening pleasure, a wonderful performance of Rossini’s The Thieving Magpie Overture by Jonathan Scott on the great Willis Organ of Hereford Cathedral. If the title doesn’t sound familiar to you, give it a listen and you might be surprised that you’ve heard (a part of) it somewhere before.


HISTORY & CULTURE

One of the most enduring icons of yuletide in America (and various other places around the world) is Santa Claus. When one thinks of Jolly Ole St. Nick one is likely to conjure an image very similar to that created by the American artist Thomas Nast in 1881, an illustration which Smithsonian Magazine describes as “the face that launched a thousand Christmas letters.”

From SciHub, a fascinating article on the first radio broadcast in the U.S. conducted by Reginald Fessenden on Christmas Eve, 1906.

And lastly, I recently provided the sound-design for a Monologue On Roman Satire by the talented Miss White.


 

Music Recommendations 12/20/19

Don’t Stop The Dance (Todd Terje Remix) by Bryan Ferry – Great energy.

Faces by Clio (1985) – Classic Italo-disco.

Testure (12″ mix) by Skinny Puppy (1989)“I hope you make sure we’re properly dead before you start Old Rip-beak!”

The Orchestra of Futurist Noise Intoners (2013) – A contemporary recording of Italian Futurist noise compositions, conducted by Luciano Chessa; featuring Luigi Russolo’s famous Intonarumori (noise intoners).

Russolointonorumori.jpg
Russolo with noise machines; first published in Russolo’s book ‘The Art of Noises’ (1913).

Online Writing Resources (December Recommendations)

In the selection of dictionaries, thesauruses, word processors and other writing-related software, my primary criteria is simplicity, task-specificity and reliability. Below is a list of sites that fit this criteria, paired with notes pertinent to the distinctive attributes of each. All sites and programs listed are free (or have a free version).

Writing Programs:

Apache Open Office Writer (v. 4.1.7). Feature-intensive word-processor. Comparable to Microsoft Word. Download required. Offline functionality w/ regular updates. Whilst the program allows for font integration, exercise caution in uploading highly ornate fonts, which will cause AOOW to run extremely slowly.

Writer: The Internet Typewriter. Minimalistic typewriter emulator (email address is required for account creation). No download required. Offers both online and offline functionality and unlimited document creation. A feature that bares highlighting is its online-offline sychronization, which allows for a offline document to be synched to a online counterpart (for example, if you were writing a novel and experienced a connectivity issue, the program would proceed in offline mode and, when connectivity was restored, upload all new segments of the novel online) and thus, obviates the need for constant file downloading and uploading, so as to secure your progress.

Thesauruses:

Power Thesaurus. Crowdsourced, fast-loading, user-rated, regularly updated and easily navigable, online thesaurus. The site’s best feature (outside of its massive database of 77 million synonyms and nearly as many antonyms) is its side-menus, which allow the user, after searching a desired word or phrase, to move seamlessly between synonyms, antonyms, definitions and examples.

Stonewall Jackson’s Way (1862)

Come, stack arms, men! Pile on the rails,
Stir up the camp-fire bright;
No matter if the canteen fails,
We’ll make a roaring night.
Here Shenandoah brawls along,
There burly Blue Ridge echoes strong,
To swell the brigade’s rousing song
Of “Stonewall Jackson’s Say.”

We see him now, — the old slouched hat
Cocked o’er his eye askew;
The shrewd, dry smile, the speech so pat,
So calm, so blunt, so true.
The “Blue-Light Elder” knows ’em well;
Says he, “That’s Banks, — he’s fond of shell;
Lord save his soul! we’ll give him” — well,
That’s “Stonewall Jackson’s way.”

Silence! ground arms! kneel all! caps off!
Old Blue-Light’s going to pray.
Strangle the fool that dares to scoff!
Attention! it’s his way.
Appealing from his native sod,
In forma pauperis to God,—
“Lay bare Thine arm; stretch forth Thy rod!
Amen!” That’s “Stonewall’s way.”

He’s in the saddle now. Fall in!
Steady! the whole brigade!
Hill’s at the ford cut off — we’ll win
His way out, ball and blade!
What matter if our shoes are worn?
What matter if our feet are torn?
“Quick-step! we’re with him before morn!”
That’s “Stonewall Jackson’s way.”

The sun’s bright lances rout the mists
Of morning, and, by George!
Here’s Longstreet struggling in the lists,
Hemmed in an ugly gorge.
Pope and his Yankees, whipped before,
“Bay’nets and grape!” hear Stonewall roar;
“Charge, Stuart! Pay off Ashby’s score!”
In “Stonewall Jackson’s way.”

Ah! Maiden, wait and watch and yearn
For news of Stonewall’s band!
Ah! Widow, read, with eyes that burn,
That ring upon thy hand.
Ah! Wife, sew on, pray on, hope on;
Thy life shall not be all forlorn;
The foe had better ne’er been born
That gets in “Stonewall’s way.”


—By J. W. Palmer


“In September, 1862, I found myself at the glades Hotel, at Oakland, on the line of the Baltimore and Ohio Railroad, and in that part of Allegany County, Maryland, which is now known as Garrett county. … I wrote the ballad of ‘Stonewall Jackson’s Way’ with the roar of those guns in my ears.”

—J. W. Palmer quoted in The Photographic History of The Civil War, p. 86.

Red Shadows (1928)

“This Solomon Kane is a demon from Hell, I tell you.”

 

—Red Shadows, 1928


§.00 In the introduction to The Elements of Style (Strunk & White, 1999, p. xv.), the authors implore the reader thrice over to “Omit needles words!” Robert E. Howard’s Red Shadows (first published in Weird Tales, August 1928)—the first of the Solomon Kane stories—follows this dictum to a near-fanatical degree. No word is wasted and no description is deployed that does not advance the plot. The bare bones approach is so pronounced that at numerous points in the tale I wished it was less minimalistic.

In almost every way, Howard’s spare, swift, repetitive and concise style is the complete opposite of his friend, H. P. Lovecraft’s, whose writing is long, winding, labyrinthian and baroque (though both maintained a thoroughgoing interest in historicity, evidenced by Lovecraft’s remark to E. Hoffman Price after Howard’s death, “I always gasped at his profound knowledge of history… and admired still more his really astonishing assimilation and visualisation of it. He was almost unique in his ability to understand and mentally inhabit past ages…”).

reh_studio_side.jpg
Robert E. Howard.

§.01 (*The following contains details concerning the plot) The tale begins in a unspecified location (presumably France), with the titular protagonist, Solomon Kane, a Puritan wanderer, stumbling across a terribly wounded young woman near a ruined village. Kane inquires what happened and is told that a bandit named Le Loup (the wolf) descended with a band and waylaid the town. The woman then tells the traveler that it was none other than the bandit leader who had ravaged and mortally wounded her. The woman then succumbs to her wounds and Kane swears vengeance upon the criminals.

§.02 What is really compelling about the tale is, firstly, its protagonist, who is quite a unique creation. Kane is a somber man, with a “gentle voice,” polite (described as “not a profane man”) and yet obsessed with violently stamping out evil wherever it may reside. It is this latter quality which throws him into conflict with his religion, for how can a cool-blooded murderer (albeit of other murderers) be also a man of God, a Puritan? His answer is simple: He is an instrument of providence, an agent of divine retribution. Yet, he waxes uncertain as to the veracity of this belief and it is this uncertainty that lends him a depth of humanity and the believability required of his status as protagonist.

Le Loup himself is also a interesting character and a effective villain. Intelligent and debonair, yet haughty, vain and avaricious. So consumed by greed is the detestable rogue that he murders his own subordinate, Rat, so that the plunder need not be split two ways. Despite this, towards the end of the tale, when he could have ambushed Kane, he decides instead to meet him in a duel in the open, suggesting some lingering chivalric sentiments, some as-yet uncorroded honor.

The other two main antagonists, introduced in the latter-half of the tale, though they don’t recieve as much development as the wolf, also prove effective, particularly in driving the themes of the tale, for the thing which all three of the central opponents of Kane—Songa, Gulka and Le Loup—share is a penchant for capricious betrayal.

Le Loup betrays his own men, then the African sorceror, N’Longa, whilst Gulka and Songa both join in on the usurpation. As a consequence, they rise high—for a time—but end up facing death alone for want of aid. Yet Kane, despite constantly being thrust into similarly harrowing circumstances, receives aid firstly, and intentionally, from N’Longa, and secondarily, and unintentionally, from the gorilla that hunts Gulka down. The actions of the three knaves ultimately bring about their demise—Songa meets his end at N’Longa’s hand, Gulka is slain by the gorilla whose mate he cruelly slew, and Le Loup is struck down by Kane. Not a hand raises to aid them. Condemned by their selfsame, corrosive agency, their eschewing of all civility. For such creatures, death at the hands of their vengeful fellows is all but assured, when they are not first claimed by Solomon Kane.


Sources

  1. Robert E. Howard. (2007) The Best of Robert E. Howard, Vol. 1.
  2. Strunk & White. (1999) The Elements of Style.