Joe Bonadonna’s Amazon review of The Golden Sword, #2 in the Silistra Quartet:
Joe Bonadonna’s Amazon review of The Golden Sword, #2 in the Silistra Quartet:
Bestselling author Andrew P. Weston reviews Janet Morris’ The Carnelian Throne, 4th and final novel in The Silistra Quartet.
The Carnelian Throne by Janet E. Morris
5 of 5 stars
The Carnelian Throne (Silistra, #4)
by Janet E. Morris (Goodreads Author)
Andrew Weston’s review Mar 31, 2017
it was amazing
At the conclusion of “Wind From the Abyss,” the most esoterically enchanting chapter of the Silistra Quartet, Sereth–a master Slayer turned renegade, Chayin–cahndor of Nemar, and Estri–former well keepress of Astria, overcame almost insurmountable odds to form a triune thought to represent a vision of supreme authority as foretold in ancient prophecy.
And prophecy is everything, for Owkahen – the time-coming-to-be – continues to set the tone and tempo as events flow toward a culmination that will determine the verity of what was augured in ages past.
The “Carnelian Throne” begins with our protagonists exploring a forbidden continent. A land where technological and intellectual arrogance has forged upheaval, man is subservient and the result of thousands of years of genetic manipulation has reaped incredible and deathly ramifications.
It is into this cauldron of uncertainty that Sereth, Chayin and Estri venture, unwittingly triggering a series of events that soon overtake them…or do they?
Closer examination reveals a startling juxtaposition is manifesting all around them. Epoch-spanning cycles are maturing. The wheels of circumstance have almost turned full circle and creatures of disparate genesis are brought together at a time and place that tends to support the supposition that destiny is being shaped by a biology long in the making.
Yes, witness at last the summation of catalysis genetics as they reach a pivotal nexus in a black glass chamber bathed in amber light.
If, like me, you’ve been eagerly awaiting the final installment of this epic adventure, I can assure you, you won’t be disappointed. The Carnelian Throne is artfully written, employing engrossing characters and a skillfully crafted plot that involves you from the very beginning and keeps you enthralled to the final page.
My honest opinion?
This is a truly engaging adventure. I thoroughly enjoyed it and it’s one saga I’ll keep coming back to again and again.
New, definitive Author’s Cut editions from Perseid Press include e-book, deluxe trade paper, and hardback.
Get all four volumes: https://www.amazon.com/gp/product/B06XFHJVRG?ref=series_rw_dp_labf
Title: The Carnelian Throne
Author: Janet Morris
Genre: allegorical fiction, science fiction, fantasy, political fiction
Main character description (short).
In a far and dystopian future, three rulers seeking to make truth of prophecy explore the “shores of which none are empowered to speak,” a forbidden continent where humanity no longer rules.
Brief Excerpt 250 words:
“Gate!” he bellowed over the storm, his dripping lips at my ear. The deluge had made us sparing of words. Under leathers soaked to thrice their weight, I shivered in spasms. Arms clutched to my sides, I stared into the rain. The driven sheets slashed me for my audacity. Lightning flared, illuminating the riverbank white. A moment later, the bright noise cracked through my head. The hillock trembled.
Over the gate danced the lightning. Its crackling fingers quested down thick-crossed slabs of iron, seared flesh. Emblazoned as they tumbled were those six-legged amphibians, their streamered tails lashing, scaled, fangful heads thrown back in dismay. I saw their afterimage: beryl and cinnabar, aglow upon the storm. Then their charred remains splashed into oblivion, spun away on the fast current.
“Down!” One man shouted, the other shoved me, and as I staggered to kneel in the sedges, the god that washed this land shook it, grumbling. I crouched on my hands and knees on the bucking sod, between them. Little protection could they offer up against shaking earth and searing sky, not even for themselves, without divorcing themselves from the reality they had come here to explore. And that they would not do.
Somewhere far off the weather struck earth again. We knelt on a fast-declining shore. On our right and left, steeps ascended, cresting in a plume of dense rain forest. In that moment of illumination the whole river valley and the gate set into the river stood bared of shadow. Six times the height of a man was that gate.
Why should readers buy this book (50 words max)?
The Carnelian Throne makes you think as it explores the revenge of nature upon humanity once we have despoiled land and sea, and what our manipulation of genetics may mean for the future as the three foretold seek truth in prophecy where men no longer rule.
Kindle On Amazon: https://www.amazon.com/dp/B06XDC8Y4K/
Hardcover on Amazon: https://www.amazon.com/Carnelian-Throne-Silistra-Quartet/dp/099775835X/
Trade paper on Amazon: https://www.amazon.com/Carnelian-Throne-Silistra-Quartet/dp/0997758341/
The Silistra Quartet on Black Gate Magazine: https://www.blackgate.com/2016/03/19/vintage-treasures-the-silistra-quartet-by-janet-morris/
About the Author: Best selling author Janet Morris began writing in 1976 and has since published more than 30 novels. She wrote the bestselling Silistra Quartet in the 1970s, including High Couch of Silistra, The Golden Sword, Wind from the Abyss, and The Carnelian Throne. This quartet had more than four million copies in Bantam print alone, and was translated into German, French, Italian, Russian and other languages. In the 1980s, Baen Books released a second edition of this landmark series. This third edition is the Author’s Cut edition, newly revised by the author for Perseid Press. Most of her fiction work has been in the fantasy and science fiction genres, although she has also written historical and other novels. Morris has written, contributed to, or edited several book-length works of nonfiction, as well as papers and articles on nonlethal weapons, developmental military technology and other defense and national security topics.
Dreamers in Hell (Heroes in Hell, Volume 15)
Created by Janet Morris, edited by Janet and Chris Morris, and written “with the diabolical assistance of their damnedest writers.”
Perseid Press (478 pages, June 13, 2013, $23.95 in trade paperback)
It is a place of swords and spears, revolvers and automatic weapons, sorcery and science, catapults and cannon, bows and arrows, computers and demons. It is a place where there is no Hope for the damned, merely the suggestion of it.
Welcome to Hell, where Perdition rules. Whether a soul believes in Hell or not, Hell believes in damnation of the mortal soul. Anyone can end up in Hell, no matter what religion, no matter what faith. You may not believe in Hell, but Hell believes in you.
In Hell, all things are possible. In Hell, many of the damned believe they have been wrongly sent there, while others accept their fate and try to make the best of a bad situation. In Hell’s Mortuary, the Undertaker giveth and taketh away, revives and reassigns the damned — again and again — so they can continue their dance with the Devil. Yes, welcome to Hell — where rogues and heroes and fools quest for a way out, and Satan plots to storm the Gates of Heaven.
Ah, but wait… the powers that be in Heaven have decided that Hell has become too comfortable. Infernity is in trouble. El Diablo is lying down on the job.
Heaven has sent Erra, Babylonian god of plague and mayhem, and his 7 Sibitti (his Auditors, his Enforcers, his personified weapons), to further punish the innocent as well as the guilty, and they do so with great glee. They are Hell’s judge, jury, and executioners. Satan can’t even run Hell the way he wants to run it. Paradise mocks him. Will Erra replace Satan? Make things worse for everyone in all levels and versions of Hell — past, present and future?
Dreamers in Hell is the 14th volume in this best-selling series, which has seen stories nominated and winning Hugo and Nebula awards. It is also the most ambitious book to date in this highly successful and most brilliant shared-universe of all. So let’s get started, shall we?
Chris Morris gets things off to a grand start with Fools in Hell. Satan plans a great festival to celebrate the rebuilding and reopening of the Hellexandrian Library. (Guy Fawkes, in an earlier tale, had destroyed the Library, as well as the Hall of Injustice in his attempt to assassinate Satan.) Shakespeare and Christopher Marlowe write a play for Satan, who enlists their aid in yet another of his nefarious schemes. And who knows what wicked games, what sinister machinations lurk in the mind of His Satanic Majesty, aka HSM?
“Leave me in hell then! But leave my hell alone!” Satan screams to “Above,” in Janet Morris’ wonderful Alms for Oblivion. There is too much overcrowding in Hell for Satan’s liking. So he sets into motion plans to prove that Humankind is unworthy of Hell or redemption, and deserves only oblivion. Rid Hell of Humankind, and the Netherworlds won’t be plagued by Erra and his 7 Auditors from Above running amok throughout Satan’s rightful domain.
In Nancy Asire’s clever little The Unholy Hole, Caesar’s magnificent villa is totally destroyed, leaving but a massive hole in the ground upon which it stood. No survivors can be found. Are the dastardly Erra and his 7 Auditors behind this attack? Or is it someone or something else? Napoleon and Wellington are recalled to active duty by El Diablo himself. Attila the Hun and Sulla’s “legions” join them. Countess Marie Walewska, who chose to spend eternity in Hell to be with Napoleon, arms herself and joins in the fun.
Next up is Yelle Hughes’s intriguing Essence Helliance. The King Infernal visits Medea of Colchis, the first wife of Jason of Thessaly, who works in Hell’s Mortuary. Old Scratch needs the essence and souls of the damned who have no chance for redemption. This, he tells her, is for a project he is working on. A headstrong, disrespectful, and somewhat mad woman, Medea is in charge of this “essence and soul distillery.” But is there more to Satan’s power play? Can anyone even guess at what his infernal end game may be? (I’ve been sworn to secrecy.)
Next is Sara M. Harvey’s lovely and sad, Barefoot, On Brimstone. Isadora Duncan awakens from a dream of dance-performance, green grass, and her children — only to find that she is alone, still in Hell, and the infamous scarf that had strangled her is still around her neck. But then she meets Pharzuph and Naamah, a pair of fallen angels. It seems she has been summoned to Sin Francisco, to see Joshua Abraham Norton, who had once declared himself Emperor of the United States and Protector of Mexico, and they are to be her escorts. But what she asks of him only one personage can give, and so she must go dance for the Prince of Darkness.
Shakespeare’s Ophelia, delicate and moody little flower that she is, finds herself once again in the hands of the Undertaker, in Shebat Legion’s wicked little vignette, Ophie and the Undertaker.Having twice attempted suicide, poor Ophie refuses to accept her fate in Hell and the fact that there is no escape. No matter how much the Undertaker takes from her, tenacious and stubborn Ophelia always finds herself crawling—or squirming—back to him.
In John Manning’s delicious Just Desserts, Jimmy Hoffa is union president of all Hell’s damned souls. Satan has ordered him to provide labor for the reopening of the Hellexandrian Library. Infamous Nazis Heinrich Himmler and Joseph Mengele, with a few friends, are hired as cooks under the supervision of Jewish gangster, Izzy Bernstein. Meanwhile, Matthew Hopkins thinks he’s found a way for him and fellow witchfinder John Stearne to get out of Hell and escape to Heaven, where they belong. Needless to say, everyone gets what they deserve.
Hell, I Must Be Going, is Michael A. Ventrella’s comedy-skit ode to the Marx Brothers, wherein Rufus T. Firefly and Ciccolini Ravelli, his assistant, are in charge of keeping track of all assignments in Hell. Enter one Margaret Dunwoody, who has come to question who they reallyare and what they are doing. Seems they’ve conned their way into positions where they can search for a missing brother who, for obvious reasons — is not in Hell. Hail, hail, Helldonia, land of the Knave and Unfree.
INFERNAL NOTICE: Weapons are not allowed at the grand reopening of the Hellexandrian Library. In Head Games, Bill Snider’s sly look at psychoanalysis in Hell, Fionn mac Cumhaill, accompanied by his friend Caliban, leaves his sentient spear Areadbhar at the door. Then, during an interview with Sigmund Freud, the spear begins talking to Fionn, though only Fionn can hear it. Old Siggy finds Fionn’s attachment to the spear quite “telling,” and begins to explain how the weapon is an extension of Fionn’s… well, I’m sure you can guess. Throw in the Staff of Merlin, which can talk to the Fionn’s spear, a guest appearance by Merlin himself, and one harridan named Sycorax, who is the mother of Caliban — and hellzapoppin!
Next up is Tom Barczak’s heroic tragedy, Blood and Ash. Beowulf is still in the process of accepting his death when he encounters Boudica, Queen of the Iceni. Then they meet up with Joan of Arc, who has come to lead them out of Hell. All three are sorely wounded and badly burned, as you might imagine. The trio meets up with former writer turned tinkerer, Charles Lutwidge Dodgson, who gives Joan a Vorpal Blade that he calls ‘Alice.’ Before they can escape down the rabbit hole, along comes Erra and his 7 Sibitti Auditors. The unexpected happens, a sacrifice is made, and we discover that even in Hell, there is such a thing as Hope.
Hellexandria the Great is next at bat. Sarah Hulcy hits a home run as she tells us of Demetrius, the Chief Librarian, Makalani his assistant, and Caesarion and Brutus, the sons of Julius Caesar. Brutus and Caesarion are drafted as volunteers to act as guides for the guests at the upcoming gala in honor of the reopening of the Hall of Injustice and the Hellexandrian Library. During the boys’ training period, they hear of the destruction of their Dad’s villa by suspects unknown, and everyone is naturally on edge. (Could that all be part of Satan’s grand scheme to storm the gates of Heaven? At this point—anything is possible!) But everyone survives the big party, even though the witchfinders attempt to assassinate His Satanic Majesty.
David L. Burkhead’s The Knife-Edged Bridge is a tale of friendship and loyalty. It stars William Simpson, veteran of Second Manassas, Jim Bridger, scout and trapper, and Perseus, Son of Zeus. In olden times, this bridge was known as the Bridge to Paradise. But now… who knows where it leads? For them, it will hopefully lead out of Hell. But along the way, Bridger is horribly mangled and tortured, and Perseus goes missing. Setting out to rescue his mates, Simpson finds himself in a disturbing level of Hell he’s never seen before, where his friends are being tortured by demons, rather than having been sent back to the Undertaker for reassignment. Simpson rescues his friends, as well as Archimedes, who claims he should be in Hades or Tartaros, but not in Hell. So they all set out to find Erra and his 7 Auditors, hoping to get Archimedes’s punishment amended—and fearing that they might make it worse.
Our next item on the menu is Deborah Koren’s The Wager. It’s an interesting mash-up of the western and boxing genres, with a dash of Damon Runyon thrown in for seasoning. It stars Bat Masterson, the eternal gambler, and Wyatt Earp, who has become the manager of a boxer named Big Ed. Enter one Grayson, an atheist and former writer who refuses to accept that he’s dead and in Hell. Earp bets Masterson that he can’t convince Grayson that he is indeed dead and damned. As for what’s at stake, you’ll just have to read the story and find out for yourselves.
Bettina S. Meister’s More Light is a very poignant, complex, and introspective yarn. Certain passages read like the inner monologue of poet and sorcerer, Johann Wolfgang von Goethe, who believes he has been wrongly sent to Hell. He suffers the daily humiliation of a poet’s soul. His sufferings of old age are daily presences in his life in Hell. He is tormented by memories of his mother, his wife, and his children. But even in the Realm of the Damned, one can find a friend, and he does — Karl Wilhelm Jerusalem, whose suicidal death Goethe had immortalized in his novel, “The Sorrows of Young Werther.” Arrogantly thinking that he can play with the powers of Hell, Goethe sets out to plead his case in hope of gaining salvation.
In the Shadow of Paradise is Jason Cordova’s excellent, first-person account of Juan Ponce de Leon y Figueroa’s common-sense approach to survival in Hell, set in Lost Angeles. The 7 Sibitti have destroyed Hellywood, and through a landscape of death and devastation, Figueroa travels to find a map showing the way out of Hell, using the waters of the Fountain of Youth underneath the Mortuary. And then he meets Marie Antoinette, who has somehow acquired the map. With her is her attendant, Henrietta, who is in possession of box that contains a Prophecy Head Doll that speaks with the voice of Rasputin. Meanwhile, two Angels from Above discuss whether or not there is such a thing as ultimate salvation, and whether or not even the damned can be redeemed.
Zero Sum Game is Richard Groller’s sci-fi seasoned take on what happens when Nikolai Tesla realizes what has been missing from his theoretical constructs. Tesla is Director of Infernal Research Projects. George Washington Goethals, once Chief Engineer in charge of building the Panama Canal, is Tesla’s assistant and ally. Thomas Edison is the comptroller of the Dept. of Infernal Energy. And Hero of Alexandria is the arbiter of the War of the Currents that is still being waged by Tesla and Edison. Tesla needs funding and is obsessed with besting Edison. Goethals has a penchant for skirting regulations. During the course of Tesla’s experiments, a worker demon is killed, and then a stress wave in the fabric of Space and Time causes one-third of New Hell to disappear. Could Thomas Edison be the saboteur? Tune in and find out!
“All of Hell is a stage and the damned are merely players in Satan’s endless and infernal game.” So says Jack William Finley in his philosophical And the Truth Shall Set You Free, which stars Constantine the Great, one-time emperor of the Holy Roman Empire. Constantine can’t come to terms with the reality of his new existence in Hell, but he has a plan: “In the land of the Prince of Lies he would weave a greater lie than all that came before, a lie that would set them all free.” He assembles the finest minds in Hell, including Kierkegaard, Voltaire, and Schrodinger, to help him concoct this magnificent lie. Satan then orders gangster Frank Nitti to team up with Jack the Ripper, and they are sent to keep an eye on this intellectual rabble. When in Rome, do as the Romans. But when in Hell, do not attempt to emulate the Devil.
The next entry is Michael H. Hanson’s The ITTT (pronounced eye-triple-tea) — The Institute of Terrified and Tortured Technicians. Sergei Korolev, former father of the Soviet Space Program and now, in Hell, President-Elect of The ITTT, is the keynote speaker at an upcoming conference, which revolves around the ongoing feud between Edison and Tesla. Edison is a crafty bureaucrat who lords it over the various infernal-internal technology departs, and steals every idea he can get his hands on. Also in this clever little tale, we see more of the irony and punishments of Hell: genetic engineers are plagued with physical deformities, and chemical engineers are constantly sprayed in their faces by all manner of toxic elements, for example. But what’s really at stake here is Tesla’s new space tunnel, Hell’s own escape hatch.
Petra E. Jorns continues the tragic tale of Siegfried and Kriemhild in her mythic Siegfried’s Blade.Kriemhild awakens in Hell, suffering the pain of loss and guilt. Wandering over a field of bones, she hears a skull speak to her in a familiar voice. “You have murdered us.” It is the voice of Gunther, her brother, who had plotted Siegfried’s death with Hagen. Kriemhild sets out to find Siegfried, only to encounter Brunhild, her enemy, whose own vanity had led to Siegfried’s death, and they accuse and blame each other for that. Further along, Kriemhild meets Hagen, who now carries Balmung, Siegfried’s accursed sword. Hagen: whom she had allowed to murder her brother Gunther, and thus quench her thirst for vengeance. Haunted by memories of Siegfried, confronted by old ghosts and tortured by her own guilt, Kriemhild stumbles on, over the bodies of her brothers and all those she had brought to death thru her vengeance — and ultimately discovers the truth of her personal and private Hell.
Stairway to Heaven is Ed McKeown’s wonderful tale of Emile Du Chatelet — physician, mathematician, and author—who seeks audience with Belial, Crown Prince of Hell. One-third of New Hell City has disappeared, and its citizens have not reappeared at the Undertaker’s for reassignment. According to Emile, Tesla could not control his Dirac Power Source — which is actually the underlying principle that binds the Universe together. She proposes a great mechanism by which they can rip open the dimension of Hell and march out to freedom — perhaps to Heaven itself. Emile, who claims she has done nothing to warrant her place in Hell, wants revolution. She wants to invade Heaven and face God in battle, but she needs Tesla’s help, and he’s still locked inside the Fortress of Despair — J. Edgar Hoover’s prison. Belial agrees to support her, and with the aid of a female demon named Smoke, the cowboy Frank Hopkins, and Achilles piloting a Blackhawk helicopter, they storm the prison in a battle worthy of a James Bond flick. Emile’s speech to the damned is thought-provoking, eloquent, and perfectly logical. What she asks of Belial, however, is a thing heretofore unknown in Hell.
Knocking On Heaven’s Gates is Larry Atchley’s excellent and epic novella, starring Anton LaVey, founder of the Church of Satan on Earth. Seems he’s been blown to pieces in the failed attempt to steal from Guy Fawkes the Spear of Longinus, aka the Spear of Destiny—the spear that had pierced Christ’s side. LaVey wakes up in the Mortuary after experiencing a dream of light at the end of the tunnel, a heavenly dream of love and joy. Now he wants to experience those feelings again, if he can. After the Undertaker reconstitutes his body, LaVey sets out to file his report with Satan. Meanwhile, Tesla’s latest invention has backfired and a third of New Hell has gone missing. Hell now really looks like a painting by Bosch or Brueghel. LaVey realizes that Hell is truly going to Hell in a hand basket.
Cut to Guy Fawkes, who was captured and is now in prison, but still in possession of the Spear of Destiny. But the Spear is embedded in his body, a result of an explosion during the failed attempt to take it away from him, and legend has it that whoever has the Spear is invincible and invulnerable. So no one can take it away from him. Enter Emile du Chatelet, who comes to free him and enlist his aid in her plot to storm the Gates of Heaven. Will her plan succeed or is it doomed to failure? And what is Satan’s purpose for secretly supporting but not taking part in the storming of Heaven’s pearly gates?
Meanwhile, Satan wants LaVey to play keyboards and entertain the army of damned souls about to attack Heaven. But LaVey is suffering from Post-Traumatic Death Disorder and does not feel he can perform at his best until he recovers from his emotional trauma and his troubling dream. Just as self-serving in Hell as he was in life, LaVey wonders if he can become a better person, to be loved and to find redemption. After his first session with Williams James, Psychologist, Spiritualist, and Pragmatist, the big day has come for LaVey. He is ordered by demons to play the new and improved Liszt pipe organ while the army of the damned assaults the Gates of Heaven and battles a host of Angels. Ah, but things in Hell are not always what one thinks they might be, and LaVey realizes that everything in Hell has its price — even playing the pipe organ, to which he and a number of other lost souls are physically attached.
Now we come to the final chapter, folks, and a most fitting pay-off it is, too. Janet Morris returns us to Chris Marlowe and Will Shakespeare as they perform, perhaps for all eternity, their play, Hell Bent, which is also the title of this eloquent and theatrical comic-tragedy. The two playwrights play lovers in a hellish parody of their own plays, which they have written to order, per His Satanic Majesty’s Request. Will plays the male lead, Marlowe the female. In every performance, Marlowe must kill Shakespeare — I mean, really kill him. But the Bard does not return to the Undertaker for reassignment, for Satan is there at every performance, there to revive him, once a night and twice on Sadderday. More than a parody, their play is almost a travesty, being made up of scenes and dialogue cannibalized from the plays they wrote in life. Marlowe, in love with Shakespeare, wonders and worries over the Bard’s infatuation with HSM.
“Why should you love him whom the world hates so?” Marlowe’s character asks.
“Because he loves me more than all the world,” Will’s character replies.
As he prepares to plunge the rapier into the heart he loves best, and bring death nightly to the man he treasures most, Marlowe stage-whispers a line from Othello. “Perdition catch my soul, but I do love thee! And when I love thee not, Chaos is come again.”
“Hell is just a frame of mind,” Shakespeare replies through gritted teeth.
That line from Faustus was Marlowe’s downfall — a line that ultimately proved to be false. He had taunted the Devil in life with it, and now he pays in Hell forever.
Over and over again, Marlowe must kill Shakespeare in the final act, only to watch, through jealous eyes and suffering heart, as Satan brings Will back from the dead, showering him with love and favor. However, after long and many arguments, Marlowe convinces Will to trade roles with him, and the Bard in turn convinces Satan to let them do it, because he wishes to learn how it feels to truly kill a man.
Will the Prince of Darkness bring Marlowe back to life after Shakespeare kills him in the final act of their play? Ah, there’s the rub.
Not since Adam and Eve has the Devil had such a pair to play, one against the other.
Oh, what fools these mortals be! Are the damned Satan’s tools, his fools, to think they can wring power from infinity, make themselves powerful enough to overcome their fate? Does the assault on the Gates of Heaven succeed? Does Satan bend Hell itself to accommodate his fools for war? Does he transport one-third of New Hell, trashed by power-hungry idiots and their petty hatreds, into some new dimension of space and time just big enough to accommodate their egos and their fiery deaths? Does the Son of the Morning make his point to Erra and his Seven Sibitti, the Almighty’s pitiless enforcers — that Mankind is demented and foul and not worthy of Heaven’s forgiveness, not worthy of redemption? Will Satan gather his legion of Akkadians and Spartans, Nazis, Americans, Chinese — the greatest armies of the damned — and put on his own play for Heaven? (Or a reality show—“His Satanic Majesty Disciplines His Own,” perhaps?)
In Hell, the Devil rules, the Devil is not mocked, and the Devil always gets his due.
Each story in Dreamers in Hell is top notch. Perhaps I should say each chapter, for this is truly a shared-universe that reads like a novel, rather than an anthology. The stories are all very good, many are great, some are superb. This is a true collaboration of diverse hands that has been shaped and molded into a cohesive whole by Janet and Chris Morris.
The beauty of the Heroes in Hell series is that all genres work in Hell, and no genre has been left undone. You’ll find horror and science fiction here, fantasy and historical drama, satire and action/adventure thrillers — even romance. These metaphysical, visionary “mythical epics” are character-driven, thoughtful, intelligent, and insightful. They examine the nature of Man, and the nature of good and evil.
These are fables and morality tales, examinations into what makes Mankind tick, a look into the soul of humanity. Justice rules in Hell, too, you’ll discover. So does irony: all that was fair on Earth has turned foul in Hell. But all’s fair in Hell when it comes to how the damned are treated, of course. Yet for all its torments and punishment and betrayals and violence, there is friendship and loyalty to be found in Hell, courage and honor, and even love. And above all, Hope persists. For even in Hell, the damned can and do hope for redemption and salvation.
Have some sympathy for the Devil and give Satan his due: check this one out. In fact, I recommend you check out all 14 books in the Heroes in Hell series. Just in case you find yourself in Hell one day, it’s best to be on the good side of the Devil. If he has one, that is.
This Author’s Cut Edition is revised and expanded by the author and presented in a format designed to enhance your reading experience with larger, easy-to-read print, more generous margins, and covers designed for these premium editions.
Wind from the Abyss is the third volume in Janet Morris’ classic Silistra Quartet, continuing one woman’s quest for self-realization in a distant tomorrow. Aristocrat. Outcast. Picara. Slave. Ruler …. She is descended from the masters of the universe. To hold her he challenges the gods themselves.
Praise for Janet Morris’ Silistra Quartet: “The amazing and erotic adventures of the most beautiful courtesan in tomorrow’s universe.” — Fred Pohl
“Engrossing characters in a marvelous adventure.” — Charles N. Brown, Locus Magazine.
“The best single example of prostitution used in fantasy is Janet Morris’ Silsitra series.” — Anne K. Kahler, The Picara: From Hera to Fantasy Heroine.
EXCERPT: Wind from the Abyss begins with this . . .
Author’s Note – Since, at the beginning of this tale, I did not recollect myself nor retain even the slightest glimmer of such understanding as would have led me to an awareness of the significance of the various occurrences that transpired at the Lake of Horns then, I am adding this preface, though it was no part of my initial conception, that the meaningfulness of the events described by “Khys’ Estri” (as I have come to think of the shadow-self I was while the dharen held my skills and memory in abeyance) not be withheld from you as they were from me. I knew myself not: I was Estri because the girl Carth supposedly found wandering in the forest stripped of comprehension and identity chose that name. There, perhaps, lies the greatest irony of all, that I named myself anew after Estri Hadrath diet Estrazi, who in reality I had once been. And perhaps it is not irony at all, but an expression of Khys’ humor, an implicit dissertation by him who structured my experiences, my very thoughts, for nearly two years, until his audacity drove him to bring together once more Sereth crill Tyris, past-Slayer, then the outlawed Ebvrasea, then arrar to the dharen himself; Chayin rendi Inekte, cahndor of Nemar, co-cahndor of the Taken Lands, chosen so of Tar-Kesa, and at that time Khys’ puppet-vassal; and myself, former Well-Keepress, tiask of Nemar, and lastly becoming the chaldless outlaw who had come to judgment and endured ongoing retribution at the dharen’s hands. To test his hesting, his power over owkahen, the time-coming-to-be, did Khys put us together, all three, in his Day-Keeper’s city — and from that moment onward, the Weathers of Life became fixed: siphoned into a singular future; sealed tight as a dead god in his mausoleum, whose every move brought him closer to the sum total, obliteration. So did the dharen Khys bespeak it, himself. . . .
About the Author:
Best selling author Janet Morris began writing in 1976 and has since published more than 30 novels, many co-authored with her husband Chris Morris or others. She has contributed short fiction to the shared universe fantasy series Thieves World, in which she created the Sacred Band of Stepsons, a mythical unit of ancient fighters modeled on the Sacred Band of Thebes. She created, orchestrated, and edited the Bangsian fantasy series Heroes in Hell, writing stories for the series as well as co-writing the related novel, The Little Helliad, with Chris Morris. She wrote the bestselling Silistra Quartet in the 1970s, including High Couch of Silistra, The Golden Sword, Wind from the Abyss, and The Carnelian Throne. This quartet had more than four million copies in Bantam print alone, and was translated into German, French, Italian, Russian and other languages. In the 1980s, Baen Books released a second edition of this landmark series. The third edition is the Author’s Cut edition, newly revised by the author for Perseid Press. Most of her fiction work has been in the fantasy and science fiction genres, although she has also written historical and other novels. Morris has written, contributed to, or edited several book-length works of non-fiction, as well as papers and articles on nonlethal weapons, developmental military technology and other defense and national security topics.
Hello, thank you for agreeing to the interview. Would you tell us a little about yourself?
A must have! Click Here.My pleasure. My consuming passion is voice in all its aspects, but especially as it manifests in storytelling, both in prose and verse, literature and song. Metaphorically voice represents many things, even the sum of a life. Voice is a double-edged sword we learn to wield to our benefit or detriment. Most recently I’ve assumed the task of narrating our prose catalog and am thrilling to offer publicly what has heretofore been a private but seminal feature of our writing process.
You write as a team with your wife Janet Morris. When did you first become drawn to writing, was it before or after you met her?
Before. Since childhood I’ve enjoyed arranging words to varied effect. In my youth I became a marvelous liar, more because of my fascination with discerning and fabricating what people wanted to hear than from mischievous or malicious intent. When Janet and I met our first collaborations were songs, many of which I still perform today — they are that good. She wrote stories from a very early age. A lasting part of our attraction was and is a shared desire to precisely express what life is showing us, and that means capturing those observations in story form. The difference — or complementarity — between us is that she is expansionist in her portrayals and I am reductionist.
You are a musician, when did you start playing? What instruments do you play?
My older sister and brother proved miserable piano students, so our parents decided that Christopher could do without. Unbeknownst to me (and thankfully so), I was spared the disadvantage of entering musical life through the doorway of percussion. I’m a baritone and baritones seldom wow anyone vocally until the instrument develops, usually in one’s mid- to late twenties. Therefore my public school music teacher, Ms. Hutton, smiled commiseratingly and showed me to a seat with alto boys whose glee club lot was to huff and puff in support of the shrill girls reciting rote melodies. I loved it: anonymity and license to experiment with pitches against a preprogrammed backdrop of boys droning away predictably. In short, I sang, and still sing, first and foremost. And I utterly believe that all music in the human bandwidth derives from controlled breathing.
Guitar started for me at age eleven and is my most satisfying lifetime tool-oriented skill path, several times requiring me to experience the miracle of starting over in order to thoroughly master basic aspects. At this point I am pretty deeply into creating digital models of guitars impossible to achieve in strictly analog settings; I use custom built guitars with Graphtech’s Ghost hexaphonic sensors fed to Roland’s VG99 effects unit, then into a Yamaha board (with my vocal mic) and out in stereo to one of two twin Bose tower monitor systems (L1 and/or L1 Compact) so I am always in the same sound field as any listener. This all stems from wanting a bigger – not louder – guitar sound. I “build” a guitar for any song that needs something a little different and now have twenty or thirty pretty amazing guitars dial-able from one setup. Can’t wait for you to come check it out, and we be jammin’ man.
To me the guitar is a universe of possibilities, which is the same with writing. Do you ever feel limited by people’s expectations of you and your crafts?
I could spend an hour on your first statement here, but will answer the question bit first. No, I no longer feel constrained due to others’ irrational calculations of what comprises art. I say ‘no longer’ because every creative must ascend from the pit of self-doubt into the light of self-knowledge and mastery through determined focus and practice. In his autobiography Miles Davis stated the gospel: “The most difficult thing a musician can do is sound like himself.” And, as you said in that first sentence, it’s “…the same with writing.”
When I played onstage I got instant feedback as to how I was doing. I often find it difficult when I release a book and it gets less attention than I’d hoped. Does your perception of what you feel will or won’t be received well change when you consider your fan base?
No, nor should it for you. This is a variant of the last question, but with a putative contrast between two, on the surface, apparently different art forms. Beneath the surface however they are so closely related as to be nearly identical: they are both listening sports, simultaneously involving the sources and receivers and overlapping the roles of each. Anything you can say of one has an obvious parallel in the other, the biggest difference being in rate of transmission.
One of the glories of human consciousness is that we can hear ourselves hearing ourselves. Shakespeare was the first to portray characters listening to their own inner voice, “the invention of the human” as Harold Bloom calls it. In both music and literature you are your own first audience and, if you like what you hear, by any and all means do not hesitate to proceed for want of external approbation. They are your audience, not your judges. Disregard this truth and that way lies madness.
Get your copy here Does a really good review feel as good as a standing ovation at a gig, or are they apples and oranges?
Glad you asked. Distrust both. If you pin your self-esteem to them and their approbation or lack thereof, you are lost. As Heraclitus said, “He who is praised to the skies lives a life of fantasy.”
You and your wife Janet are a team, how does that dynamic play out when you are developing a novel? When it is underway?
Our novels develop from conversations reaching a point where further elucidation will best be accomplished by the exploration of personality(ies) – in our case, fictional heroes — living their way through circumstances embodying the challenge under consideration. Our working definition of a hero is one who struggles in service to an ideal; if we run out of ideals we may write a different sort of book, but that protagonist would most likely be struggling to find out what happened to all the missing ideals … hmmm.
When the book is under way it’s buckle up time, the blessed state, because (and this is hard for many of our writer buddies to accept) we honestly don’t know everything that’s going to happen. The way to find out the details is to go where only the characters can take us. By that time we are way onboard and strapped in and boldly going we know not where, but headed for a climax we’ve seen but not yet lived. Fun or what? Is it real? For us and the characters, you bet. Does it have that precious quality of feeling true to life? Yup. That’s the reward of the collaborative arrangement; it imparts a binaural, binocular, bi-conscious view of uncertainty, which we and a host of readers find magnetic.
When you edit do you have a process?
When Janet began drafting (typing, mind you) High Couch of Silistra I would read her day’s output (and still do) aloud, because sound is primary to my apprehension, especially if analytics are involved. When I draft we do the same. Although it might seem laborious, this actually saves time and speeds up the rate at which we achieve publishable work. Linguistic anomalies can be heard by the ear and missed by the eye; our editing voice benefits from two sets of each. I’m frequently amazed at how much a slight alteration of pitch or emphasis can inform the net effect of syntax. If we have a passage that wants to be heard a certain way it’s incumbent on us to nail the punctuation so the experienced reader ‘hears’ it.
Since you began as a published author, how have things changed?
It might be easier to list what hasn’t changed, but for those tuning in late there’s: lots more slush being published and given away; increased ability of content providers to call the shots at every production level; no more meddling middle-folk; no more security of the reasonable advance for a multi-book deal; lots more transparency; even more slush being published and given away; piracy; more feedback from readers and trolls; general confusion as to what intellectual property is and how to preserve ownership of it; still more slush being published and given away; genre-fication whelping a litter of niche-of-a-niche-of-a-niche popularity contests; ability to purchase emblems of legitimacy bestowed for a price by formerly powerful arbiters of taste such as Kirkus; global reach to millions of readers; yet more slush being published and given away, or did I say that enough?
One of your recent projects was narrating the audio book “The Sacred Band”. Could you tell us what it takes to accomplish such a feat?
Like anything worth doing, it takes tenacity and focus. Because it was a first-time project The Sacred Band audio book involved a learning curve which added time and cost. I’m a team player and narration has a solitary aspect to it; I’m getting accustomed to it, but I was grateful for the technical assistance of a good friend who babysat me as I got this first one recorded over a period of a little more than a year. If I narrated full time it might now take me only eight or nine weeks. I’m working in Adobe Audition and can handle everything up to but not including audio-post mastering chores (adding noise reduction, some compression and normalization processing before converting to Mp3 for submission). I am an ACX.com (Amazon>Audible>ACX) user and have no plans to market outside their considerable infrastructure; I’d recommend them to beginners because they’ve done the homework necessary to service all the stakeholders in a project. ACX is also a good place to listen to samples of what other production teams are doing and obtain a reference point of view as to what constitutes a finished product. ACX costs nothing to join; they’re compensated from what Audible gets from sales of your book.
I say feat due to your performance. You are merged with your and Janet’s characters in that delivery. This summoning of Tempus or whomever is speaking shows a deep connection to your characters. Do they make you laugh or cry?
I had already read The Sacred Band aloud two or three times before embarking on the narration. We are meticulous about “voicing” our characters and punctuate and format very carefully to emphasize their characteristic speech patterns while still retaining transparency of style. For our first audio project we decided to hire Alex Hyde-White to learn the ropes and see how an accomplished pro would narrate our material. He did a bang-up job with Wake of the Riddler, a shorter TW piece of Janet’s, and immediately caused me to realize what I could bring to our work because of my greater familiarity. I am gratified that you heard the characters coming through because after experimenting with inventing a distinctive sound for each character I opted instead to read with consistently clear articulation and to respect each character’s mood and message within the limits of my voice rather than risk caricature.
They don’t make me laugh or cry. They make me disappear. I miss that when we’re not together.
Your music is intelligent and endearing, quite moving actually, were you going for the same effect on the audio book?
Thank you. Yes, in both cases it turns out to be what I do instinctively. After countless attempts to sound “commercial” musically, I finally took Miles’ advice and dared to embrace what comes out of me ingenuously. Being comfortable in one’s own skin is worth whatever effort is required to make it so. It took me decades to get there (hence my remarks about the acclaim of others) but once arrived, I rejoice to possess sheer bandwidth that accommodates a broad spectrum of emotion without disproportion.
What is your take on violence in books?
Gratuitous…or not. If a story is merely a vehicle to roll out a train of atrocities, what’s the point except to titillate adolescent sensibilities? Writers of all sorts leverage threats of violence, many to avoid the laborious task of carefully laying out a sequence of events building to a genuine need for overt confrontation. I write for the more experienced reader, and myself, who want a little more justification, realism, and reason to care what happens than a story where hardware and machinery are indistinguishable. No doubt about it, there’s violence in books.
Who are your favorite musicians? Authors?
Ray, Mose, kd, Chet, Tony, Sly, Diana Krall, Tommy Emmanuel, Bill Evans, JS Bach, CPE Bach, Mozart, Davey Spillane, Bela Fleck, Victor Wooten, Nat, Haydn, Corelli, Leadbelly (see video), Lightnin’, Jeff Lynne, Roy Orbison, Dinah Washington, Aretha but she ticks me off, Eddy Arnold, Mitchell Parish (wrote the lyrics to Stardust), Carmichael (wrote the melody to Stardust), Michel Legrand.
Janet Morris, Arthur Clarke, Hermann Hesse, John Milton, Will Shakespeare, Jack London, Will James, Marcus Aurelius, Seneca, Heraclitus of Ephesus, P. G. Wodehouse, Harold Bloom, Homer, Deborah Koren, Mika Waltari, Sam Harris, Roger Penrose.
How long did it take to compose the backing track on the Outpassage trailer?
Read Outpassage It took about two days, back in late ’78, culminating in that recording. It’s a song called No Man’s Land, a bedroom demo recorded on a TEAC 10 inch four track reel to reel with Janet on bass, Leslie Kuipers on guitar, Nathan Seely on drums, Ted Lo on ARP string synthesizer, and me on guitar and vocal. It smoked sufficiently that we began playing the Boston fusion clubs around Berklee and generally had a very good time. We were regrouping after moving back from LA in the wake of the MCA album’s short but glorious run, and I still had three quarters of my band to work with and Ted and Nathan eager to jump in. We were listening toMahavishnu and Return to Forever and I was wondering why nobody ever sang over that kind of stuff, plus it was in my “sky high” period when I’d figured out how to build section momentum with circular patterns. The song has some cool cousins I’ll put up pretty soon. What I’m digging now is that shelf life is pretty much irrelevant these days and No Man’s Land has a rabid following on a site called NumberOneMusic.com ; entry level listeners take in Hendrix and Gaga and Norah and Eminem and me all at once and could care less when a piece of music was made or even whether the artists are still alive.
Tell us about your publishing house.
Perseid is damning the torpedoes and putting out stuff that is representative of what we grew up wanting to read; we say books for experienced readers, or books worth reading.
What inspires you?
My favorite of your questions.
Growth. A starry sky. Acceptance of the greater without diminution or forfeit of personality. Personal truths: the value of distinguishing between what one is told and what one learns from experience. The love of a dog. The suppositions of consciousness turned upon itself. In music the ability to reharmonize melody, steal time (rubato) and imply realms beyond physical scope. Kindness. Exploring Heraclitus’ thesis that all things are reflected in all things. The hunger for truth, beauty and goodness. Sister Wendy.
We live in cataclysmic times, for all I know analogous to all preceding ages. What is unknown to me so overwhelmingly eclipses what is known that my fate is to be inured to the idea that uncertainty is somehow requisite to continuity. I accept. I am human for a blink, a moment in an infinite progression. My moment too is subsumed in eternity and, being part, reflects its whole — harbors the DNA of the eternal — from micro to meta. So, even as a relatively infinitesimal particle I may intake my portion of the entire mystery of mysteries. If I am a moment, so am I eternal. Beyond cool.
And partnership…to host an intellectual life is a high privilege, to share such a life closely, transcendent, to make art of such sharing, nonpareil.
For readers new to your novels, which three would you recommend?
The Sacred Band (book, e-book, audio book) Click Here.
Outpassage (book, e-book) Read Outpassage
The Fish the Fighters and the Song-girl (book, e-book). Buy
How important are reviews to you? For marketing? For sales?
Reviews are Rorschachs of their writers, offering subjective accounts of questionable exposure to some work or other. The substance of reviews is of most interest to other reviewers. Although taken for marketing currency, reviews are seldom value added. Creators inevitably fail to accurately calculate the effect of reviews on sales because the study of the relationship is an inexact science at best, at worst an obsession stymieing their creative efforts for lack of prudent allocation of attention.
Now advertising is a little different….
I would like to thank Chris Morris for this famously insightful and encouraging interview. It is good to know the human condition is not wasted on him- but rather seen as an opportunity to grow. Bravo- Chris! See everyone next time. 🙂Thanks for reading.Donny
Chris’ Links: http://www.amazon.com/The-Sacred-Band/dp/B00N1YRVH2/http://www.audible.com/pd/Sci-Fi-Fantasy/The-Sacred-Band-Audiobook/B00MU2VCEO/http://www.amazon.com/Outpassage-Janet-Morris-ebook/dp/B00IDC1E84/ref=tmm_kin_swatch_0?_encoding=UTF8&sr=&qid=http://www.amazon.com/Fish-Fighters-Song-Girl-Sacred-Stepsons-ebook/dp/B007VQIJFY/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1410294833&sr=1-1&keywords=the+fish+the+fighters+and+the+song-girlhttp://numberonemusic.com/christophercrosbymorris/https://www.reverbnation.com/christophercrosbymorris?profile_view_source=profile_boxhttp://www.amazon.com/Everybody-Knows-Christopher-Morris-Band/dp/B004GNEF3A/https://soundcloud.com/christopher-morris http://www.amazon.com/Chris-Morris/e/B008L41JNO/ref=ntt_athr_dp_pel_2https://www.facebook.com/JanetMorrisandChrisMorrishttps://www.facebook.com/christophercmorrissings http://www.sacredbander.comhttp://www.theperseidpress.com/# http://www.facebook.com/christopher.c.morris.7?fref=ts http://en.wikipedia.org/wiki/Chris_Morris_(author)https://www.youtube.com/watch?v=CLqxH_Tx5VA https://www.youtube.com/watch?v=7g79LZAgk8w https://www.youtube.com/watch?v=2EylzKQa4yghttps://www.youtube.com/watch?v=BCv4GA5W5eA https://www.youtube.com/watch?v=ICAPn0E7NC0 https://www.youtube.com/watch?v=5SQFmxwfT7ghttp://www.amazon.com/Outpassage-Janet-Morris-ebook/dp/B00IDC1E84/ref=tmm_kin_swatch_0?_encoding=UTF8&sr=&qid= Where to find Donny Swords stuff: Donny Swords author ( Facebook ) (Blog) Primal Publications (Facebook ) (Blog) The Indie Collaboration ( web ) Novels & Links