Mandragora swallows the moon

006

As promised, here are the notes on Storylandia 15: Collected Stories By Julie Travis:

From The Bones

As a child many family holidays were spent hunting for fossils on the beaches at Lyme Regis in Dorset. We have evidence of the ancient past all around us but fossils gave me an amazing connection to it. Later on, I became more interested in human history, more specifically the spiritual aspects of the Stone, Bronze and Iron Ages. These days I spend a lot of time at sacred sites and this story came from all of these influences. I’m somewhat uncomfortable with the ethics of digging up bodies and displaying them in museums and suchlike (although I have been to see Lindow Man and other bog bodies in the British Museum); does our demand for knowledge make it acceptable to disturb such places? There is a link here, I think, with our arrogance in extracting oil and minerals from the ground without worrying about the consequences, both for ourselves and for the Earth – to which we’re connected, whether we like it or not.

Grave Goods

More archaeology! Early burials would leave a few items – or, in the case of a high-status grave, almost a roomful of items – with the deceased, for them to take to the Otherworld. We don’t do that any more (at least in Western European culture) but perhaps we should. It might be of great use to take a few things with us wherever we go. I wanted to write a story that was definitely horror rather than dark fantasy and it was more or less drafted in three days. One of the characters was heavily inspired by Marlow Moss, a Modernist artist who lived in Lamorna, West Cornwall, in the mid 20th century.

Scar Tissue

Along with Pieces (Urban Occult, 2013), this story’s set in the gay community in Hackney/Stoke Newington in London, a scene I was immersed in for a few years in the 1990s. There were some terribly damaged women out there, mostly as a result of abuse in early life and this is based on some of them. It is not a failure to be mentally ill or damaged, but to use these things as leverage over other people’s lives is, in my view, criminal.

Theophany

This is a continuation, of sorts, of Darkworlds (Premonitions: Causes For Alarm, 2008) but not a ‘part 2’ – each story is completely separate and stands on its own (to make sure this was the case I didn’t mention Darkworlds to Ginger Mayerson, Storylandia’s editor, so that she could be objective when she read Theophany). Darkworlds was begun in London and finished in Lelant, Cornwall, where I lived when I first moved down here, and marked a far deeper, layered form of writing.

Widdershins

My favourite word. What happens when you walk anti-clockwise – ‘the wrong way’ – around a church? What happens when you live an unconventional life? The church and its location are based on St Bega, a small church that stands beside Bassingthwaite Lake in Cumbria. This is the first story I wrote after my mother’s passing. Everything is a time machine.

In an update on other work: The Man Who Builds The Ruins will not be appearing in the Dreams From The Witch House anthology. It hasn’t been rejected – I found out second hand what the book’s contents are and my story wasn’t listed. As yet, no one involved with the book has had the courtesy to let me know. I wish the anthology well and I intend getting hold of a copy, but I’m not impressed with the way the writers have been treated. Along with the blog writers who I’ve supported for years but who couldn’t be bothered to reply to a polite email asking if they’d be interested in a copy SL 15 for possible review, the wheat is certainly being sorted from the chaff as regards professionalism.

I’m working on two other stories: Pig Iron is close to a finished first draft. As soon as it’s done, I’ll do the final tweaks needed on The Hidden to finish it.

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Rising from the dread

Harris 4

Things are somewhat in limbo regarding publishing and acceptance news – my collection in Storylandia has suffered various delays; proofs are currently being shipped to me for checking a few editorial decisions, so I’m not expecting the journal to see the light of day before April. However, the cover photo’s been chosen – it will be one of my photographs, taken at Highgate Cemetery in the mid 1980s (and not included in the shots published in Night Mail, as mentioned in my last post). I miss these cities within cities, which were one of the few interesting things left about London when I escaped. I was slightly concerned that such a photograph might be a cliché for a collection of horror stories, but the content of the photo – the cemetery’s mausoleums – are unique and should avoid the charge. Meanwhile, Dark Regions Press have launched an Indiegogo fund to raise enough cash to extend their Dreams From The Witch House anthology and to commission the cover artist to provide an illustration for each of the stories included, so it’s likely to be a couple of months before I hear whether or not The Man Who Builds The Ruins has made it into the book, which won’t be published until December 2015. I’m still working on two stories – with a list of ideas for the next several – Pig Iron is progressing well and In Holes And Corners, now definately titled The Hidden, is finally nearly complete. It’s taken a year, with several changes of title, to knock this one into shape. Sometimes it just does.

I have been able to get hold of some ‘musick’ that I’ve been after for a while. X-TG’s Desertshore/Final Report is wonderfully mind expanding and a lovely tribute to Peter Christopherson, despite my reservations about Genesis P-Orridge not appearing on it. I’ve also managed to get a few of the extra download tracks, Faet Narok, even more dreamlike versions of Desertshore than the main album. I’m currently listening in full, for the first time, to the Coil ANS triple cd set (over three hours long), which I bought for a reasonable price after several years of patiently looking at prices. The experiment – the band gaining access to the huge Russian ANS synthesiser, worked by etching diagrams into a glass plate and the machine ‘playing’ the pictures – gives me the sensation of flying through space, something I’ve dreamt of many times. I’m aware that more or less the only cds I’ve bought over the last several years have been ones that can be used to put me in a certain frame of mind which helps me write. That doesn’t mean I don’t enjoy them for their own sake – or that I can’t write without them – but they need to have a ‘higher’ purpose than just entertainment. And after seeing The Punk SingerSini Anderson’s documentary on Kathleen Hannah, which includes some wonderful footage of Bikini Kill and Le Tigre, I’m feeling super-inspired in entirely different ways. I met Anderson at the Dirtybird Queercore Festival and Sister Spit open-mic nights in San Francisco in 1996. She was a force to be reckoned with back then and, it seems, still is.

I’ve begun reading Jeremy Reed and Karolina Urbaniak’s book Altered Balance, which documents Reed’s friendship with Jhonn Balance of Coil. It’s raw and honest and sad. I didn’t expect anything else. Stories about when Balance and Sleazy lived in Chiswick reminded me of the late 1980s; driving through the area one day, I wondered which road the pair’s flat was in (my obsession has indeed been going on for decades); ironically I now believe I was in Beverley Road a number of times to visit friends who lived in the street.

*The photo at the top of this piece is of a female Harris Hawk, visiting the Eden Project with her owner when I was there recently. I have, of course, sent all the shots of the bird I took to Andy Martin of UNIT for possible inclusion in future UNIT releases.

Low Winter sun

Castlerigg Plaque

As 2014ce edges towards a close, it seems a good time to do a bit of an update on various writings and projects:

New Zealand based fantasy writer Lynne Jamneck is editing a collection of Lovecraftian stories written by women, to be published as Dreams From The Witch House by Dark Regions Press in 2015, with a clear emphasis on diversity as regards sexual orientation and ethnicity of the authors. This is the kind of thing I really want to be involved in, so I sent her The Man Who Builds The Ruins – probably the closest to ‘Lovecraftian’ writing I’ve done. This weekend I heard that the story passed the first reading round. Still a long way to go, I know, and a couple/few months of awaiting news, but I’m much cheered by this, and reading a bit about Jamneck, who has a huge interest in science and magick/the occult, has made me even more keen to be involved. Writing is solitary – which is partly why it suits me so much – but the isolation, the sense of operating in a complete vacuum, can become overwhelming at times. One shouldn’t write/create to please others, and I don’t, but if someone else is sympathetic or gets what I’m doing, it’s a huge bonus.

The running order for my short story collection in Storylandia #15 has now been set. Coincidentally (or not), the order I put them in turned out to be alphabetical, and also the same as editor Ginger Mayerson had listed them. At her request, I sent her some photographs I took many years ago, and it is quite possible that one of them will be used for the journal’s cover. If so, it’ll be the first photography I’ve had published since some shots (from Highgate Cemetery and a Swiss forest) appeared in Night Mail art fanzine in the early 1990s.

More stories are on the way: In Holes And Corners needs some more adjustments, more in the way of place names than anything else. The story is set in Camborne but I may invent a town name, one that’s a little more lyrical. Pig Iron has now been (very sketchily) sketched out and is progressing well and I have notes on two more stories to work on next year, which don’t have working titles yet, but both ideas are promising. Completion, a story began earlier this year, is on the back burner for now, until the way forward with it becomes more apparent. Ironically, it may never be completed!

Meanwhile, I look forward to the Montol celebration in Penzance on the Winter Solstice. As one of the masked participants gleefully said last year, “All the oddballs come out for this one.” I need to connect, even at a distance, with the more strange elements of the area. It’s reassuring.