Originally posted at https://libraryoferana.wordpress.com/2017/11/11/zweihander-interview-will-and-kit/
Character Names: William Shakespeare and Christopher Marlowe
Relationship: Roommates; Playwrights; Co-authors
World: New Hell
Books: Rogues in Hell; Dreamers in Hell; Poets in Hell; Doctors in Hell; Pirates in Hell (Heroes in Hell series)
How and where did you meet?
Will Shakespeare: When alive, we met as rival playwrights, Kit holding forth in the ‘Admiral’s Men company’ wheresoever the troupe played, or at the Rose; and I at the Globe, where I owned an interest in the house.
Kit Marlowe: Eyewash, all that. Shakespeare’s a famous liar. We met in the Clink, on Maiden Lane. So what? What intelligence we had of one another came through his works and mine, what plays we wrote and how we acted in ’em. My Tamburlaine the Great, Parts I and II, I performed in my lifetime; the rest were staged posthumously, but for Dido, Queen of Carthage, writ by me and Thomas Nashe, and ‘performed’ by the ‘Children of the Chapel,’ as fair a clutch of boy charmers as ever gamboled on any stage. I met my death not too long after cultivating Will, a matter of my spying here and lying there, most times with Walsingham, whose wife took umbrage, as women do when boys and men make love. Yet those plays set a new standard in quality and introduced blank verse. Mine were not, like Will’s, tripe writ for money-grubbery by the uneducated and for the uneducated. I helped Will write his Henry VI, Parts One, Two and Three and got no credit for it. Still, my own four plays performed on Earth after I arrived in Hell did what art should do: shined lights on evils hidden and calumny of the vilest kind.
Will: Kit, let’s not linger on this question, unfortunate as it may be. We were sometime lovers, sometime haters of one another, but always haters of repression and Elizabethan frippery. If your spying got you killed, Kit, your love of controversy sparked it — yea, incited it.
Kit: Incited? Poor choice of words, methinks. Edward the Second was first performed five weeks after my death; so that play, at least, retained its bite.
What is it you like most about the other person?
Kit: Like about Will? His soft white skin, his ample buttocks — his mobile mouth, empowered tongue, and nubile breasts.
Will: Kit means he adores my ear for language, my deeply probing artist’s soul, and my knack of staying out of trouble whilst I slip and slide among the rich and reprehensible at Court. Do recall I’m not the one who ended life with a bodkin thrust deep in that eye so like a doe’s.
What is it you hate most about each other?
Will: We said that. But, since you ask for more: his blasphemy and his need to fill his pages with the ‘vile heretical conceits’ that sent him to trial before the Privy Council.
Kit: We told you that, and, like the Privy Council, you’ll acquit me on the grounds that truth itself can’t be denied — for long.
Will: Christopher Marlowe, like your English Agent in the Massacre at Paris, I hate your overweening pride and lurid need to confess your days of secret agency under so thin a guise as that play. What were you thinking, to warn Elizabeth of agitators, a theme far too dangerous to survive? And how many refugees from the low countries died of your ideas planted in their tiny little heads?
Do you think your partnership will last?
Kit: Henry Sixth answers that, for my part. It’s what Shakey would have writ had he an education or a life made dangerous enough to enjoy. And the rest, you see before you: two souls forever doomed to one another’s company in the bowels of perdition, to count eternity’s every day, and nights more deadly still.
Will: Kit’s a good boy, a young fellow led astray by childish derring-do, and with a taste for the hurly-burly that snuffed his life before its time. But now I have infernity to reform him, and Satan provides the irritant around which we’ll secrete a necklace of pearls while we write as we’ve never writ before.
Describe the other person (max 100 words):
Kit: Will, go ye first, and light our path with your dulcet tones, so like a cello but a string or two short.
Will: Master Marlowe, my thanks for your recital, though it best be delivered later and revisited daily, as the Privy Council sentenced you to come before them every day: every day of the ten you had yet to live . . . Withal, I’ll try to answer the question: this Marlowe creature hungers for adoration and thirsts for justice, both of which were as precious scarce in life as they remain dubious in afterlife. Nevertheless, his talent is wider than the face of Paradise and tempered by a lifetime few would have dared to live — and I love him for his childish heart and indomitable soul.
Kit: My turn, then, to laud the Bard in terms free of spite and full with admiration: such a mind for the human animal has ne’er been seen on the black earth — not before he lived his quick span, or at any time thereafter. Although glorifying humanity may be an empty effort, he’s made them look into themselves, and find there what joy can be had, and give it value.
Describe how you think the other person sees you
Will: I think not, for safety’s bereftest sake.
Kit: As my better half insinuates, ‘twould take a three-part comedy of errors to do that story justice. So I’ll not begin it, lest it never stop till eternity runs out.
Tell us a little about your adventures.
Will: Then or now? Becoming famous in life holds no candle to sustaining afterlife. We’ve written three plays now for Satan, and suffered the attendant woes of those who know true ignominy. We wrote Hell Bent, and died in it every night. We wrote The Witch and the Tyrant, and fell afoul of its graveyard stench. We wrote another, Pirates in Perdition, and found the very sounding of its name an incantation to summon fiends and demons and all manner of unexculpated souls.
Kit: Read our plays writ here, to Abbadon’s order, or don’t. But be warned: you’ll risk your wizened hearts every time you turn our pages and let your eyes rub words too dangerous to speak aloud.
Tell us about your world – and your part of it.
Will: Hell is the Reformation come to grief, with no Third Act to cure it.
Kit: Hell is where the heart is, and seldom beats. But when it does, that heart beats as only love can. We are Satan’s personal poets, and no worse can befall a soul who yet owns an ear for courage or for rhyme.
Where do you see yourselves in five years?
Kit: Right here. Scoffing at evil while we glorify every flaw that makes man human. What else, in hell, is a playwright to do?
Will: Enough, Kit. The last line of this comedy is mine: We’ll be here as long as ghosts roam the world and fools rule it; as long as regrets power penance and singers keen their pain.
You can find Will and Kit in the following:
By Mr. A Weston on 8 July 2017
Once inside, he becomes a guest of Chiara – the Evening Star – and is invited to a sumptuous feast where he is greeted by a number of other visitors who, as it transpires, are from different epochs of earth’s history. Mingled in amongst them is none other than Aškelon of Meridian, Lord of Dreams and entelechy of the Seventh Sphere; onetime husband of Tempus’ sister, Cime.
While the majority of the group believes they are there to determine the fate of billions in the present and future by undoing mistakes & manipulating events in the past, Tempus suspects events are being staged, for Cime had disappeared from the land of dreams, along with her deadly rods. Thus begins the hunt that sees the storm god’s avatar transported to present day – and 22nd Century – New York.
Tempus in New York! Can you imagine?
The culture shock itself leads to some rather imaginative confrontations. And that’s only the beginning, for there is an Archmage and his minions to kill.
Enmity is guaranteed. Combat is inevitable. Bloodletting abounds.
Along the way, old wounds are opened; long held grudges come to the fore; bitter lessons are learned; eternal stories come full circle; and Tempus discovers just how intimately his affairs are interwoven to that of his god.
Having read all of Tempus’ adventures, I have to say this is one of my favorites. Fast paced, engaging and thoroughly enjoyable, it adds a clever twist to his epic narrative and keeps his story as fresh today as it’s always been.
Wind from the Abyss – Book 3 of the Silistra Quartet – Janet Morris
The third book of the Silistra series is, perhaps, the most passionate, the most evocative and the most enthralling. This is a book about power, amongst many other things. The power of biology, of technology and the problems it can bring, the power over another, and the power over oneself. Silistra is a supremely crafted world, apart from ours but terrifyingly familiar in many ways. It is, a could be – a might be, and the denizens thereupon are reflections of humanity.
Estri – our protagonist – is a shadow of what she was, and beholden to a man who is demigod, ruler and profit. He shapes his world and brooks no competition or threat. Estri, now little more than a slave, must find herself, and her past and future and use them to save herself and her world. Does she do it? You’ll have to read to find out. I’ll just say it’s a long and difficult journey, filled with sacrifice.
You’ll quickly be entranced by the world and its characters, and although it helps to have read the earlier books, even without that it’s a tumultuous journey. This is not for the faint of heart, nor those who want an ‘easy’ read. It’s cerebral, lyrical and evocative. You have been warned.
Available in Kindle, Nook, e-pub, deluxe trade paper, and hardback from Amazon, Barnes & Noble, and everywhere
Joe Bonadonna’s Amazon review of The Golden Sword, #2 in the Silistra Quartet:
Unlike most historical novels, ‘I, the Sun’ does not try to impose modern morality upon an ancient civilization. After all, what is the point of claiming to be a work of “historical fiction” if you are bound by the preconceptions of modern times? However, that aspiration is easier to state than to achieve, and many authors end up failing in their quest for historical accuracy in favor of creating a mass media narrative. As a result, the market is flooded with so-called historical novels that are in no way representative of whatever era they examine.
In this work, Janet Morris has made some courageous choices. Above all else she strives to embrace the brutality and social norms of an era that took place fourteen hundred years before Christ. The book is, in many ways, an intelligence test for those who come upon it. Wittingly or not, readers seek nothing more than the same old “Disney approved” prepackaged plot set in a different historical landscape. That’s not what you’re going to get with ‘I, the Sun.’
One of the most common complaints about modern heroic writing is that there aren’t enough female characters. But too often, authors simply take a male character and give him a female name in order to satisfy gimmicks like the Bechdel test. But what the Bechdel test fails to account for is the existence of realistic women who are engaged in plausible, gender related issues. It’s easy to write a “superhero” female character. But it’s far more interesting to show a powerful woman who manages to exert her influence although she is subjected to a powerless social role.
The women of ‘I, the Sun’ are fascinating, and in many ways they are more interesting than the titular character. They are mothers, slaves, prostitutes and witches, and they conduct themselves with strategic intelligence and a tremendous survival instinct. They fight tooth and claw in darkness and lose often, just like real people.
The prevalence of brutal actions in this book will rightfully make the reader squirm, but engaging in the intellectual exercise of examining the consequences of historical thinking is exactly the point. What are the effects of living in a cruel society, not just the torments of the moment but the prolonged mental burden of surviving within such a world? That’s the theme that Janet Morris bravely tackles in ‘I, the Sun.’ Are her conclusions correct? Who knows? But this novel does indisputably embrace the hard questions of a specific historical age and wrestles with them with intellectual honesty even at the risk of alienating overly delicate readers. The result is a remarkable novel, beautifully written, that will linger with you long after you’ve closed the cover.”
See the original review on Amazon: https://www.amazon.com/review/R2B83HD484TF14/
see original post at: https://www.blackgate.com/2014/05/25/love-in-war-and-realms-beyond-imagining-a-review-of-the-fish-the-fighters-and-the-song-girl-by-janet-morris-and-chris-morris/
Love in War and Realms Beyond Imagining: A Review of The Fish, the Fighters and the Song Girl by Janet Morris and Chris Morris
“Your commander reaches for yonder stars and gods do eye him. And there are more Fates in the wide worlds of men than those whom he has aided.” – from The Fish, the Fighters and the Song Girl.
The Fish, the Fighters and the Song Girl
Janet Morris and Chris Morris
Revised Author’s Cut, published by Perseid Press (386 pages, May 24, 2012, $24.95)
Cover art: Peter Paul Rubens, “The Consequences of War” (detail), 1637-1638
The team of Janet Morris and Chris Morris once again grace us with another excellent collection of Homeric Heroic Fantasy, featuring Tempus, Niko and their Sacred Band of Stepsons. This compilation is comprised of both new stories and earlier tales, herein revised from the original Thieves’ World® series, stories such as “What Women Do Best,” “Power Play,” and “Sanctuary is for Lovers.” Brand-new tales, written especially for this book, include “Shelter from the Storm,” “Lemnian Deed,” “Ravener, Where Art Thou?” and the title story.
All the magic, action, adventure, humor and human drama I’ve come to expect from Janet and Chris Morris are here in spades, and there are enough revelations and plot twists along the way to keep you on your toes.
This collection takes place after the Morris’ masterpiece, The Sacred Band, and gives us more of the history of the Sacred Band as Tempus takes his Stepsons and Thebans north, a world away, into unexplored regions and a mythic country. Though they are courageous, these fighters, they are no strangers to fear. Though they are warriors, hard and tough, they are not immune to love and compassion, to decency and common humanity.
And though the gods at times play their part, there is never a chance that Deus ex machina will overwhelm these wonderful characters and seize control of the stories. In fact, at times it seems that the gods are really no match for the human and mortal characters. As in Greek mythology, which is the heart and soul of all the tales of the Sacred Band, the gods are as weak, as fallible, as jealous, and as imperfect as mortals – and sometimes even more so.
The Fish, the Fighters and the Song Girl is a highly intelligent and extremely complex collection of tales that reads very much like a novel, and is built on a large and strong cast of characters who live and breathe, sweat and bleed. We meet new characters and revisit old, familiar ones.
And while we travel through unknown territory with Tempus, Niko and the Sacred Band, most of these stories are centered in good old Sanctuary®, where war is brewing between the empire of Ranke and the Beysibs of Harka Bey over control of that infamous town of rogues and thieves, whores and priests, mages and mercenaries.
Tempus and the Stepsons, the 3rd Commandos under Sync, and the Rankan Empire all want to rid Sanctuary of the Beysibs, install an interim ruler, and make Sanctuary an independent state. So that’s the background on what’s going on and the hub around which these stories revolve. Now, let me tell you a little about the players involved.
Once again we encounter Molin Torchholder, Vashanka the Storm God’s priest; he’s always trying to curb the actions of the Sacred Band, and this time out strikes a bargain with Tempus for his own secret agenda.
We learn more about the Stepson Straton and his love affair with Ischade the necromant; they set out to rescue Strat’s partner Sync, who’s been totally enthralled and held captive by Roxane, the Nisibisi witch who played such a large role in The Sacred Band and the Beyond Sanctuary Trilogy; her demon-familiar, Snapper Jo, now tends bar at the Vulgar Unicorn® and dreams of being human.
Herein we get tangled up with Zip, the Death Squad guerrilla leader who introduced Sync to Roxane; he also gets romantically involved with Kama, daughter of Tempus, and becomes a player in the war for Sanctuary’s independence. Randal, the shape-shifting, jug-eared mage is here, too, and he’s still allergic to animal forms, especially when he changes into one.
We also meet Cassander the Healer, a gifted horse doctor who buys a live fish, a kite-ray that he needs to heal a young girl named Seriti. (Interesting thing about this fish: it’s used to create a sort of “organic battery,” which is then used for healing and purposes of interrogation. Cassander is like a heroic fantasy version of television’s MacGyver.)
Niko, right-side companion to Tempus, has been immortalized and is now the avatar of Harmonia, the Theban goddess of Balance and Justice. He has his hands full taking care of two children: Arton, who at times can see the future, and Gyskouras (Kouras), who is the god Vashanka’s son, through Tempus who actually fathered him. Jihan, Froth Daughter of the god Stormbringer, shows her maternal side when she and Niko defend the boys against deadly snakes sent by the witch Roxane to slay the lads.
As for Tempus the Sleepless One… as always, he has a full plate. When the two gods – Father Enlil (Lord Storm) and Vashanka the Pillager – vie for space and attention inside the head of an exhausted Tempus, Abarsis the Slaughter Priest, founder and now patron shade of the Sacred Band, comes to his aid and grants him one full night of rest. And Tempus will need that rest, for even more trials and tribulations await him.
Kama, his daughter, is on a covert mission and becomes apprenticed to Hakiem the storyteller, who claims to be neutral in this war, but seems to have all the right connections. New to the Stepsons is Gayle, a foul-mouthed mercenary who can build a string of profanity around a single word; he’s been assigned to protect Kama, even from those who are trying to help her. But then Kama is framed – implicated in, and about to be indicted for, sedition and attempted murder.
Meanwhile, Molin Torchholder wants to save and marry her, and Jihan claims to be in love with young Randal, the Hazard Class and shape-shifting mage. So Tempus decides it’s best to stop the marriage between Randal and Jihan; with Randal’s permission he then sets out to woo Jihan away from the young mage for many reasons of his own, not to mention for the sake of romance. But first Tempus must send out teams of Stepsons to find the traitor who framed Kama for murder and sedition.
There is so much more to this anthology and to these stories, so many levels and layers, and the fun is in the reading and discovering how all the many threads tie together to create a tapestry of great storytelling. As in all Janet and Chris Morris’s stories of Tempus and his Sacred Band, their writing is crisp and spot on. Their use of present-tense to grab the reader with a sense of immediacy and urgency is always well-played and never jarring. There is a balance and simplicity, a beauty and poignancy in their prose that is not overdone, not overplayed; they write with a deep insight into the human soul, with compassion and humanity. Here’s a favorite passage of mine that takes place when the ghost of Abarsis the Slaughter Priest appears to take Niko’s former partner to heaven:
She knew ghosts when she saw them; this one was a spirit of supernal power, a fabled strength, a glossy being of such beauty that tears came to Ischade’s eyes when it sat down beside Niko, ruffling his hair with a fawn-colored hand.
“I am Abarsis,” it smiled in introduction, and she saw the wizard blood there, ancient lineage, and love so strong it made her head hurt; she’d given up such options as this ghost thrived on, long ago.
“We need Janni’s soul in heaven; it’s earned its peace…”
I like that passage a lot. For me it’s writing that aims for the heart, as well as the brain. The philosophy, the credo of the Sacred Band will make you pause to think, but the way the characters are written, whether heroic, villainous or something in between, will make you feel.
One thing I’d like to mention is the women characters. In a review of one of the Sacred Bandbooks, the reviewer brought up the point that the female characters are either witches or goddesses. Now, part of that statement rings true to history, true to a time when women controlled most religions, when women ruled as queens. But women play much more diverse roles in the Sacred Band mythos than witches, goddesses, priestesses, and even whores.First, there is Kama, a Sacred Band warrior as deadly, as proficient in the art of killing as any man. There are the two Lemnians, Breisis and Ditki, who once fought against the Band but have now joined with them.
And then there’s Madame Bomba, a shrewd businesswoman who has her hands in everything, her eyes on everything, and her heart in the right place. These women are all empowered – they are forces to be reckoned with, such as: a witch that even the gods fear; a necromant who feels love and compassion; a goddess who wants to be human; veteran warriors who have not sacrificed femininity and gentility, tenderness and caring.
To talk more in depth about the plots of each story would be to give too much away. I think, I hope that what I have given you here is tease enough and has piqued your interest enough to have you seek out this volume and lose yourself in the wondrously magical and yet all too gritty and real world of the Sacred Band. And for those of you who haven’t read my Black Gate and Amazon reviews of The Sacred Band, Beyond Sanctuary, Beyond the Veil, and Beyond Wizardwall, please check them out. I think you’ll like the realms of wonder created by Janet and Chris Morris.
Life to you all, and everlasting glory.