Is the Nile REALLY 1000 Miles Long?

 I have no idea. But Amelia Edwards claimed it was nearly that in her travelogue A Thousand Miles Up the Nile. Published in the 1870s, this firsthand account of traveling the Nile by dahabiyah tops the list of irreplaceable research material that I'm devouring while writing my historical novel. 

I finally thought to add it to my Goodreads bookshelf. The review I posted there is as follows: 

A Thousand Miles Up the Nile by Amelia B. Edwards
My rating: 5 of 5 stars

Along with Lady Duff-Gordon's published letters, A Thousand Miles Up the Nile has my go-to source for setting details (and shocking imperialist attitudes) when researching for my historical novel, which takes place two years before this book was published. My copy is dogeared, marked up, highlighted, and tagged with stickies. And when I traveled the Nile myself in 2021, Edwards' descriptions kept whirling through my head: in the rural parts of Egypt, much remains the same, and it was a trip back in time. To see the same things she described in the 1870s was breathtaking. I can't imagine what I would have done without this priceless firsthand account.

Even if I hadn't needed the book for research, Edwards' prose is magnetic, her insights both timeless and marked by her era, a fascinating read.

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Review: Bellman & Black by Diane Setterfield

 A very brief review. Just a quick reaction, really, that I posted at Goodreads. As follows:

Bellman & Black by Diane Setterfield
My rating: 5 of 5 stars

I loved this book. Several weeks have gone by since I finished it, but I cannot stop thinking about it. The rooks are haunting me -- in a good way. The story is an epic character study of a deeply flawed man, interwoven with mythology (no spoilers). The prose is poetic, the wisdom profound and moving. The only complaint I had was that, in the first half of the book, there is little setting detail. I'm a sucker for immersive settings, and this narration was slim in that regard, until the last half. The longer I read, however, I realized that had Setterfield included richer setting details throughout the novel, the thing would've been needlessly long. The two settings that matter, the mill and the funerary goods emporium, are painted in thorough detail. And so everything fall into place and the author's choices make sense.

(view spoiler)[The biggest question that haunts the reader throughout is whether the rooks are sabotaging Bellman's life, or has William Bellman sabotaged it himself? The reveal at the end is heartbreaking and worth sticking around for. (hide spoiler)]

This is a story I will read again in a few years. 

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Blackout Poetry

Blackout poetry is not poetry you write when the power goes out. I guess you could, BUT! Blackout poetry is the surprising results you get when you take a piece of text from elsewhere, carefully select a few of the words on the page, and black out everything else, leaving a startling new message. In honor of National Poetry Month, I took a random page from Mary Shelley's Frankenstein (which is in the public domain) and ran it through the Blackout Poetry Maker, here: BLACKOUT POETRY MAKER 

  

 If I were to reformat these words, I might make them look like this: 

night, my retreat

of anguish-- 

wild, broken 

objects ranging 

through cold stars 

and bare trees-- 

voice 

of universal stillness

Shiny New Editions

Slowly but surely, I'm re-releasing several of my publications with new covers and, in some cases, revised text.

I decided to start at the beginning. Way back in 2011, I published my story "Fire Eater" on Amazon as a sort of test run to learn the formatting ropes before I went through the grueling process of preparing a novel series for publication.

So today, I completed the cover art and interior edits (very minor) for this dark fantasy novelette, in the hopes that snappier art will entice more readers to download the story. It received positive reviews, of which I am very proud.

So, just as a record, and an example of how critical cover art is to attracting readers, I'm going to share the old cover and the new. The comparison is laughable.

Old Cover. BLECH!

 

New Cover. YAY! (Love that 3D affect in the pupil!)

Next up, I'll slap new digs on Sanjen's story, the novella A Nocturne in Red. Later in the year, I hope to do the same for the entire Falcons Saga, with hefty revisions for Book 1.

Download "Fire Eater" for Kindle HERE.

National Poetry Month: The Clerihew

I have learned something new about poetry, which isn't hard because poetry is such a huge, broad, varied topic. New things keep falling out between the lines, and shimmer, bedazzling.

The Clerihew (who knew?) is "a whimsical, four-line biographical poem of a type invented by Edmund Clerihew Bentley. The first line is the name of the poem's subject, usually a famous person, and the remainder puts the subject in an absurd light or reveals something unknown or spurious about the subject. The rhyme scheme is AABB, and the rhymes are often forced." (Wikipedia)

So I gave this form a go in honor of National Poetry Month, and this is the cute thing I came up with:

Not earth-shattering poetry, but fun. The rhyme scheme is ABBA, too, but it's lucky it ended up rhyming at all, given my lack of a knack for it (nailed that internal rhyme!). But most importantly, I learned something, which is always a win. I do admit, however, I have a crush on that silly ol' bear.

Microfiction: One Last Toast

Microfiction used to scare me to death. How can someone encapsulate and entire story in so few words??? But giving it a try, I learned how many words are NOT needed to convey an idea.

This miniature sci-fi piece was written for LegendFire's 100 Weekly Contest. 100 words, no more, no less. Prompt words: light, stable, bar. First published in LF's Compendium, 2021. 

(Click image to enlarge and read more easily.)

MidJourney: Banned Words & Creepy Images

 To follow up on my previous post about MidJourney:

I'm learning the ins and outs of the AI's language. Sometimes I have no idea what the commands mean that I'm using but they produce fabulous results. And just because some words are banned from the AI's engine doesn't mean it won't produce some seriously disturbing stuff.

Lately, I'm considering writing a short story involving the Native American legend of the wendigo, a monster that personifies insatiable hunger and greed. So I plugged Ojibwe teach/scholar Basil H. Johnston's description of the the wendigo into the MidJourney's prompt window:

The Wendigo was gaunt to the point of emaciation, its desiccated skin pulled tightly over its bones. With its bones pushing out against its skin, its complexion the ash-gray of death, and its eyes pushed back deep into their sockets, the Wendigo looked like a gaunt skeleton recently disinterred from the grave. What lips it had were tattered and bloody ... Unclean and suffering from suppuration of the flesh, the Wendigo gave off a strange and eerie odor of decay and decomposition, of death and corruption.

"Flesh" and "bloody" are banned words, so I removed them, but the AI accepted the rest and returned the following creepy results:

Whew, is that fun or what?

I found it interesting that most of the images had horns. I had to specify "--no horns" or "horns ::-2" for the latter image to pop. After researching the wendigo a bit I learned that later interpretations, after Europeans brought their own legends from the Old World, horns started showing up in descriptions of the monster. Why is any scholar's guess. And I'm sure there are some fairly good guesses out there.

Hmm, now to go enjoy ... lunch.