Wyrd Warfare

 

 Here's the cover of the latest anthology in which one of my stories is featured. The editor had this to say in the introduction about my story: "[Wheeler] demonstrates the gallantry and the butchery of the Napoleonic Wars amplified to 'eleven.' He also wrote the best exchange of dialogue in a book filled with great exchanges."* The story is "Seventh Hussar and Aide to the Mage." You can get it here. I reread it earlier today, and enjoyed it again. It's smack-dab in the center of the book, which is filled with great stories.

 

*Currently, the ebook (and probably print as well) fails to list my name in the introduction, erroneously giving the name of an author who wrote the WW2 short story preceding mine. My story is the only Napoleonic tale in the anthology, and I've confirmed with the editor it was me and my story/dialogue to which he referred. A correction, although not demanded, has been promised.

___________________

I was in a meeting earlier today in which someone mentioned that a third-party wasn't responding, or didn't seem genuine in her responses. Naturally, I had to say, "She was immune to your consultations." Nobody got the reference. Not only that, I couldn't remember either the song title or artist to which I was alluding. The other folks in the meeting thought I was using legal jargon. Fortunately, the handheld device was right at, well, hand. I did a quick search to reveal the source song and artist. Even then, no one else recognized it.

On the other hand, a coworker did get a couple of the three musical references I made within her hearing. All I can say about that is two out of three ain't bad.

Doing some reading in French, as I often do. I was struck by the difference in the French and English words for "now." The English word has but three letters. The word compacts a sense of urgency within the narrow confines of its brevity. Two consonants sandwich a single vowel. The first consonant is quickly formed with the tongue tapping the palate immediately behind the teeth. The second consonant has the advantage of requiring almost no oral action at all--merely a slight constricting of the lips and passage. The word can be a burst of sound enunciated with the leading letter to be squelched at once or drawn out by holding the vowel and final consonant. The W is a doorman who can slam the door or hold it open for emphasis. "Now" is perfectly suited to its purpose.

The French word, "maintenant," au contraire, does not lend itself to the hammer blow imperative of insistent immediacy. It has ten letters. For those of you running low on mathematical wizardry spells, that's more than three times the letters in "now." Notwithstanding the fact that the French have a penchant for ignoring many of the soldiers within the ranks of a given word, it's still at least a two syllable word (technically three, but that "e" in the middle is really just to tip-off the neighboring "t" to the fact that he needs to answer the roll call even though his mate at the end of the word could go awol and not be missed). The word begins with the lips entirely closed for the "m." To add insult to injury (and other cliches), the two syllables are both nasal, making one shouting the word by itself sound like the bearer of a speech impediment or a double-squeezed goose. It's a no-win combo of sound.

English for the win on this duel of rival tongues. Why do I bring this up? No reason. It's just something I noticed and spent more time thinking about than it deserved. I'm sure there are other battles that French might win. (I refrained from making an old joke here. I'm sure you can figure out what it was). For instance, could there be a better language for poetry? When you can make the "O" sound with 14 different combinations of letters, you're going to have big advantage in the rhyming words skirmish. However, I suspect that Shakespeare would be willing to contest the matter.

 

Check out all my books and published short stories here.

 

 

 

A couple things came up during the week--three if you count the terrific storm with thunderbolts and lightning which was very, very frightening, and which prevented me from finishing the great mowing for the week.

The first two things didn't really come up; I stumbled across them. As for the first one, I've already changed my mind about linking and discussing it. The other was a guy talking about music. I've also included a book description for your consideration and comment.

Here's an old guy with some musical expertise talking about, playing along with, and explaining how a song was made and why it sounds the way it does. The video takes some time but I enjoyed to watch someone who obviously loves the subject matter give an explanation for all the things that I heard when I listened to the song (and many I didn't quite hear but about which I had more than a feeling) but did not understand and appreciate. Now I understand why the sound on this song is what I have always described in my rich musical vocabulary and wondrous skill in weaving words as "full."

On a completely different subject:

I submit for your consideration, a book description and a cover for the sequel to Threading the Rude Eye. The book description is missing something in my opinion. I can't decide whether it is too much or too little, or too boring, to spark a reader's interest. WHAT DO YOU THINK? Post a comment or send an email.

Cover and draft of the book description for Power to Hurt:

Alex flees from the dark commander after the vicious battle with the young dragons, but his dragon-hunting friends question whether he can remain in their company. Cat, the wild Irish maid and leader of the hunters, must face some difficult questions concerning her relationship with Alex. The French patriot Lucette fights for a place among the gryphons, risking dangers no less destructive than the cannon's mouth. The mysterious power of Jonathan's hand may not avail her against gravity and gryphon's claws. Lieutenant Roberts goes undercover and enlists the aid of Lucette's countrymen against her. With the commander closing in upon his prey, the diminutive Iago and the strange islander Atu evaluate their loyalties, taking action with important consequences for Alex and for the future of the New World. While Alex continues to grow in his mastery of the essence, the smugglers Rip and Antonio accept a secret mission across the sea. The smugglers will have to find a ship before they can set sail against the might of two empires. The Japanese entrepreneur Akira and Near Eastern merchant Akram must consider whether their temporary union should be prolonged and expanded in order to increase their chances of taking a mature dragon. Bitter surprises await them all. A fiery rendezvous at Black Moon with the lives of his friends at stake will force Alex to confront the power to hurt before he can stand against the fury of the commander.

Ninety minutes of misery

that's how I had determined to classify the concert as the first half wound down to the intermission. My wife tried to persuade my daughter to leave at that point, but daughter wanted to see more David Archuleta. He only did one number during the first half and she knew that he would be doing at least one more song. So we didn't slip away like thieves in the night. That was probably for the best as the second half showed some improvement--in fact, it would have been a nice concert if it had consisted of only the second half. Actually, there was a piano solo that I believe came before the intermission which I thought was great--the piano solo, I mean, not the intermission.

I received some free tickets to a concert (a food donation was required). The concert featured Marie Osmond, David Achuleta, and Alex Boye -- that's all I knew about it. I left the decision about going to wife and daughter. Daughter decided she wanted to go--so we did.

Before I reveal what a horrible person I am by sharing the details about the concert that made it subjectively unpleasant for me, let me say that in addition to the piano solo, there were a few other bright spots, and I think that many of those in attendance enjoyed it in its entirety, or were at least enthusiastic about the show. I'll cover discuss those bright spots at the end.

Seating: My tickets were general admission. Two staff members, young men (late teens or early twenties), responded to my question about where we were allowed to sit with an answer that led me to believe that only the front portion of the floor seating was reserved. I suggested some seats in the back that looked directly forward to the stage. Daughter chose a nice seat on the side that gave her a view of the stage--then we had to move when folks started arriving with reserved seats in that section. I spoke with another staff member. She told me I could sit anywhere in the gray areas. I told her that didn't help me (the reason being that although certain seating sections were marked in gray on her map, the actual seat sections was not marked in gray). She explained that the general admission seating began at section A6. I noted that no one was sitting in that section. I selected seats just beyond A6 that would allow us to watch without turning our heads to the side the entire time. Then my wife saw some seats remaining in the section in which I had first suggested we sit. So we moved again.

The seats were decent. I think some signage or perhaps some staffers who both knew what the seating arrangements were supposed to be and who were equipped to explain that would have been helpful.

Sonic sewage sound system and The Lights of Zetar:

I don't go to many concerts--by which I mean that I don't go to any concerts other than high school choir concerts, and then only when I have to. So maybe I'm not qualified to judge sound systems outside of our local high school (which has really great sound). If I were qualified to judge, I would rate the sound system from this concert as very poor with a frequent distortion and some buzzing--I suspect that most artists wouldn't consider that as an enhancement to their performance. Additionally, many of the lights on the stage would sometimes sweep the audience. I'm pretty sure that was by design. The maneuver did not double my pleasure. At least one of those lights would regularly strike me right in the eyes, momentarily blinding me and leaving me to wonder if aliens were trying to take over my soul.

Crazy clapping choir: The backup choir of a hundred (or fewer) women and girls (maybe there were men too, but I didn't notice any) sounded nice and did not lack for enthusiasm. They liked to raise their arms and clap their hands above their heads. I didn't see the need for that clapping most of the time. They also did a lot of swaying back and forth and raising they hands into the air and looking at them as though they were having their first experience with some mind altering substance. Such activity could be regularly accepted procedure in some religious services but I found it rather disconcerting (disconcerting--yeah, I went there).

The mystifying music: I must say that I had not realized beforehand that the concert was intended to be a religious experience. That proposition did not put me off. I had very high hopes; given the headliners who were doing the show, my expectations groveled not. Therefore, when the arrow of disappointment struck, it struck to the bone (cue the Golden Earring song). Most of the music was performed by Nashville Tribute Band. I had seen these guys on PBS once and had watched for a few minutes before determining that their sound wasn't for me. I'm confident that thousands love them and their music--that's great for them. I'm not a fan. The music was mystifying in the sense that most of it was utterly bewildering or perplexing. I respect people who enjoy that music but for me there was too much demented drumming and vociferous vocals. I saw it as a clash of country and strange rock music in battle for scriptural supremacy. I recognized and enjoyed two vocal selections from the entire concert.

One example I would point to was a song with vocals performed by Daniel Emmet (who I thought was quite good and I would have liked to have heard more from him without the band and sound system interference) and a woman whose name I forget. The song began so sweetly and I was confident that this would be one that I would really enjoy with two nice voices singing in harmony (at one point it made me think of "Endless Love"). Unfortunately, the longer the song went on, the more raucous it became. By the end the music had gone full Ozzy Osbourne off the rails on the crazy train with overpowering drums, words I couldn't make out, and red and black background on the big screen--that's not exactly the direction I'm looking to go for a religious experience.

Wacky woo-hoo lady: At least one person at the concert was having a marvelous time. She sat a row or two behind and to my right. She possessed the enthusiasm that artists love but which the audience about her hates. It must have been a transcendent encounter for her because she was moved all too frequently to articulate praise by screaming, "Woo-hoo!" Occasionally the experience became so overwhelming for her as to rob her of half her eloquence, rendering her capable of screaming only, "Woo!" It's absolutely fabulous that she had a great time. What wasn't fabulous was that her screams fit tightly into that bandwidth of sound which forms an ice pick stabbing against my inner ear. She transformed what was a strange, eerie, even slightly creepy experience into absolute torture for me. Think before you scream--I think that should be a rule; maybe even complete a puzzle and solve some trig and calculus problems, take a walk in the park and grab a bus across town before screaming.

The praiseworthy: On the one hand it was all worthy of praise for the effort expended in an attempt to accomplish something good and uplifting--so that's an "A" for effort. Thousands of pounds of food were also donated for the food bank. Praise for actual accomplishment goes to Marie Osmond. Her solo of "How Great Thou Art" was the best part of the performance in my opinion. The sound system even cooperated. She sounded wonderful. There were no drums, no wild music, no woo-hoos, just the pleasing strains of her voice in a hymn of praise. She was the phial of Galadriel in Shelob's lair. David Archuleta's second half performance of "Glorious" also illuminated the darkness with wondrous flair--flare with flair. Daughter's favorite was Archuleta's lead during the final number of the concert. I put it up there with the piano solo.

***
After the concert, I expected to finish writing Power to Hurt but I saw that Forbidden Planet was on television. I needed to watch it as a follow up to reading Shakespeare's "The Tempest." So the novel will reach the first stage of completion later this week. Then editing can begin. The cover is already done. I'll post it soon.

Have you had an interesting concert experience?

If you're looking for a reason to read Threading The Rude Eye, you need look no further than this review:

 Beyond satisfying! May 17, 2019

I loved this book! I especially love America's Revolutionary Era and the story set in this period. Characters were complex and varied in their growth, the story was thrilling and captivating. Having read other books by this author, he does not disappoint in his story telling abilities. I consider this author a master storyteller and this book a masterpiece!

It's not often that I get that kind of review - the 5 stars are not uncommon; the unconditional praise as a masterpiece is rather more rare. To be honest, I don't consider any of my books to be a masterpiece. Smoke does come the closest in my opinion - of course, your mileage may vary. I will, however, receive and bask in the sweet warming rays of such praise when I can. You can judge for yourself by clicking the link at the upper left to get your own copy of Threading The Rude Eye - or any of my other books on that side of the page. 

I'm at 36K words on the sequel which means it's nearly half complete. I sort of got lost in that fog that always drifts in on me somewhere between the 30k and 40k word mark. I lost writing time rethinking some plot points and characters, doing some outlining and attempting to get the major scenes in the proper order before I started writing them. I found it helpful to write the final scene, an exciting confrontation toward which the first two books have been building. Writing the ending and ordering the other scenes helped clear some of the fog. I'm hoping the rest will clear as I race through it at increasing speed--because the pace and action will continue to mount from this point.

***

I don't usually listen to music while I write. I prefer to get immersed in the story and characters without the danger of being pulled away by some music that I like. On the other hand, if I'm writing while other things are going on--someone else watching a television program or movie, for instance--I will put in the earbuds and either play classical music, or play one of two playlists. One is a compilation of favorite downloaded music; the other are tunes that I have selected and compiled especially for writing time. There is some overlap. The songs on the list that might be considered "classic rock" (like Stairway to Heaven, Ziggy Stardust, Black Magic Woman, and all of the Queen or Rush songs) are actually the Vitamin String Quartet versions which are quite nice with no lyrics: 

I suppose a generous characterization of the lists would be: eclectic.

You don't often see a mix of Electric Light Orchestra, Styx, some French artists, Herb Alpert and the Tijuana Brass, Nat King Cole, Little River Band, Jethro Tull, Handel, Wagner, Christopher Cross, soft instrumental versions of classic rock tunes, and Doris Day.

This week I discovered Bobby Hackett sort of in the way that Columbus discovered America--it was something that was already there but I hadn't known about it. In this case, I do not get to claim it for anything other than my own nonexclusive enjoyment. James Lileks at Lileks.com mentioned listening to Bobby Hackett. I was intrigued. I searched youtube and found some of his stuff available at the big river site.

After a bit of listening I must liken it to musical silk chocolate (I see that silk chocolate could be taken to refer to soy milk. I take back that analogy.) dark chocolate, smooth with a hint of honey. In my youth I played the brass horn and learned to appreciate its robust metallic sound. I've enjoyed Louis Armstrong and Doc Severinsen and recognize their great talent. However, my favorite must be Hackett (now that I've discovered him for myself). I can almost hear the words gliding out of that horn in undulating-but-unwrinkled tones with the pleasantness of a cool summer breeze.

Listen for yourself while you read the rest of this post.

I finished reading Andy Peloquin's Trial of Stone this week.

I picked it up for $0.99 at the big river site. I think it's still offered for that price. Let me say that I think it should be a big success among YA readers. Peloquin delivers on the action and describes the conflict with the keen edge of an Indomitable's Blade in high definition. The story follows Issa, Aisha, Evren, and Kodyn to the city of the god of the dead. There's a lot going on in the story; it's all interesting.

***

On the opposite end of spectrum, I watched Outcast starring Nicolas Cage and Hayden Christensen.

Once again we see a story that begins with war weary soldiers discovering that their participation in the crusades has made them very good warriors but not very good people. Fast forward a few years to China where there is turmoil within the kingdom, horse riding, fighting, and a struggle to protect the child emperor from his murderous brother. Unfortunately, that's all a sideshow. The main theme of the film is a bitter and hard-fought contest between Cage and Christensen for the worst actor award. Hayden's character spends most of the time in some kind of mental fog. Cage counters that with a terrible accent and delivers the poorly written lines with the subtle finesse of a professional wrestler's ringside persona. Every other actor (and actress) in this show (including the horses) gave a better performance than the two stars. While the Asian actors took the project seriously, the two big names stumbled through the scenes with the grace of water buffalo on skates. As for the award for worst actor, it's just too close to call.

***

Finally, I present a draft of the description for the new novel, Threading The Rude Eye (Tomahawks and Dragon Fire Book 1):

When the dark commander captures Lucette, she must find a way to keep Cartier's map to the ancient cache of vast power from the dark commander and the British in order to save both America and France. The strange pair, Iago and Atu, may help her save the map but they can't save her from the commander and his ability to compel obedience.

Alex's life changes abruptly when the commander's pursuit of Cartier's map obliterates everything that he knows and loves. If Alex can overcome his repugnance for the American rebellion, he may learn to use the power that will allow him to defeat the destroyer of his dreams. Alex needs time that the commander has no intention of granting him in which to master the mysterious essence of the dragon stone.

Cat and her dragon hunters seek their prey with a commission from the king but even they don't know the true purpose of their task. They will discover that dragons are not nearly as difficult to find as they have been led to believe--and the beasts are much more difficult to defeat than they ever imagined.

Captain Charles Rip and his first mate Antonio have enjoyed great success as smugglers. When they agree to add some desperate passengers to their cargo, the profit or loss figures may be written in blood--their blood.

Alex, Lucette, Charles, Antonio, Cat and the dragon hunters will have to make decisions that will determine not only their fate and whether they can work together but they will also drastically shape the course of the rebellion among the American colonists. They will all receive a baptism of fire in Boston.

Naturally, I'm looking for some criticism of the description. Is it too long? Too boring? Confusing? Does it pique an interest?