Never Refuse to Reuse

It’s happening again.

My first novel, Maximilian and Carlotta Are Dead, came out nearly six years ago now. It was a male teenager’s story of a quest, which led to a foreign land and which turned out to have its dangerous aspects. After writing it, I decided that I needed to work on something completely different and bearing no relation whatsoever, in terms of characters or story, to the first book. It would be a fantasy about a prince saving a kingdom suffering under a curse. With a tale like that, you certainly couldn’t get any further away from the first book, could you?

Darned if the second book didn’t turn out to be the exact same story—sort of. Paralleling the first novel, the princely protagonist was a male teenager in a foreign land, growing up a bit while encountering miscellaneous and sundry dangers. The funny thing is that I didn’t even realize what I was doing until I was halfway through the first draft of The Three Towers of Afranor. Well, I wasn’t going to make the mistake again.

Flash forward to a year ago when my fourth novel came out. Called The Curse of Septimus Bridge, part of its narrative was devoted to the title character recounting his own story of making a Faustian bargain for the benefit of the love of his life, only to have it (as Faustian bargains tend to do) backfire on him. After getting that fantasy story out of my system, I was ready to go back for one more episode in the life of the fictional Dallas Green. Nothing could be more different than those two books, right?

You’re probably way ahead of me. Yep, it happened again. Didn’t this chapter of Dallas’s life turn out to involve him, in the name of romantic pursuit, making one of those Faustian bargains. Being somewhat dim, I was well into the writing before it dawned on me that, once again, I had merely re-written my previous book. I suspect few people have done as much for recycling as I have.

In my defense, the books aren’t really all that similar—even if the undeniable parallels are interesting. Even more interesting (to me anyway) is the fact that, barring a catastrophe or major second thoughts on my part, the new book will be coming out not too much more than a year after the previous novel. That is record time for me, and it certainly wouldn’t have happened that way if not for the pandemic.

What is also interesting is that people, who have read the early manuscript all the way through and commented on the ending, have reacted a bit differently than they did to the previous two Dallas books. So far no one (I’m only talking about a couple of people here) has said, “Can’t wait to see what happens next” or “Looking forward to the next book.” Does this mean I’ve actually done it? After thinking I had completed Dallas literary journey in each of the two previous novels, have I actually managed to reach the end of his story this time?

The funny thing is that, out of habit, once I got to the end, I immediately began mapping out what might happen in a fourth book. Having said that, I like where I have gotten Dallas to, and I’m happy to leave him there. I am tempted, however, to explore what might happen with some of the other characters that have come to populate his world. We shall see.

In the meantime, I have more pressing literary impulses. I have already begun writing the beginning to the adventures of Sapphire and Izanami post-Septimus and am finally quite happy with the story idea I have for it. Also, my brain has come back around to my long-planned epic about Seattle in the 1980s.

Let’s not get ahead of ourselves, though. In the short term, there’s still plenty of work to do on the upcoming Dallas book. I can’t wait to tell you more about it.

St. John’s Eve

Tonight is St. John’s Eve. If that means anything to you, it could be because you live or have lived in Ireland. This is the night when the environmental authorities apparently turn a blind eye to people burning their accumulated rubbish in the late hours of the dying light. The more common name for the day here is Bonfire Night.

Depending on how the days fall in any particular year, St. John’s Eve comes one or two or three days after the Summer Solstice, that is, when the earth is positioned to provide the shortest nights and longest days in the Northern Hemisphere. The farther north you go, the shorter the night, and Ireland is pretty far north. Straddling the 53rd Parallel, it is at about the distance from the equator as Kazakhstan; Inner Mongolia; Russia’s Sakhalin Island; Alaska’s Attu, Kagamil and Umnak islands; Manitoba’s Lake Winnipeg; Newfoundland and Labrador. This time of year you can see light bleeding over the western horizon until around 1 a.m.

Just as Christmas season here causes one to feel in one’s bones the planet’s passing through the dark extreme of its annual journey, St. John’s Eve marks the opposite brightly-lit passage. Well, up to the point. Interestingly, in my eighteen years in this location, I have noted the weather invariably deteriorates around this time. The summer sky becomes obscured by clouds. It’s as though this island has some allergy to bright sunlight and protects itself by covering up.

“The coldest winter I ever spent was a summer in San Francisco.” That quote has been attributed to Mark Twain, but I don’t know if it has ever been verified. Like many apocryphal quotes attributed to Churchill, it has variations. The one I know best substitutes Seattle for San Francisco. It has also been said about Alaska. Whoever said it, they could have easily said it about Ireland. We spent six months after our marriage in County Kerry. Many were the days we gazed out at lashing rain from waves of Atlantic weather fronts and made plans for “when summer comes.” Sometime in August I realized we were still saying “when summer comes.”

Summer hasn’t been too bad this year, but true to form we have been getting those Atlantic fronts lately with their wind and rain. It hasn’t been too cold where we are, but I imagine the wind chill is noticeable enough on the Connemara coast.

It is an apt time to be working on the final drafts of my next book. The first three chapters are set near the Galway coast on St. John’s Eve in the year 1993.

When I first realized there would be more than one novel narrated by my character Dallas Green, I set a couple of ground rules for him. One was that he would go nowhere near Seattle—even if he would sometimes talk about it. The other was that he would never go to Ireland. Some readers were looking hard enough to find parallels between his life and mine, and I wanted to avoid some of the more obvious possible ones. In the end, the second rule was made to be broken. The lure of depicting his observations and impressions of this place was irresistible. Also, when I write about the Irish, it really annoys my wife, and that’s always worth doing. Only eight of the thirty-five chapters are set in Ireland. The rest of the book sees our hero in California, South America and other European countries, jumping back and forth in time.

Will I be guilty of overlaying this country with my own sentimental gauze, as many others have done? Will I trade in the clichés that so many Irish people love to complain about? Will my friends and neighbors find the Galway characters inauthentic?

I won’t lie awake all night worrying about it. These days, the nights are short enough anyway.

Feeling Entitled

Shall I keep teasing readers about my next book? Sure, why not? Heck, why not tease them about the next two books?

As I mentioned last time, I finished the first (rough) draft of the manuscript for my fifth novel, which happens to be a sequel to both Maximilian and Carlotta Are Dead and Lautaro’s Spear. I suppose this means they form a trilogy, but I am still resisting that designation. My intention has always been for each book to stand on its own.

I think the whole idea of trilogies got popularized by J.R.R. Tolkien’s masterpiece The Lord of the Rings. As the fantasy movement in popular literature inspired by that work grew, lots of other writers produced trilogies as well. There seemed to be something almost, well, divine in the idea of a trinity of novels. Then one day I happened to read that Tolkien never intended his story about Middle-earth and the One Ring to be a trilogy at all. The work was only split into three books because of the limitations of publishing technology at the time. There were simply too many pages to print in a single book.

So unlike The Lord of the Rings, my three books about the wayward life of one Dallas Green were never meant to be a single story. It was always meant to be three. Actually, it was meant to be one, but just the first one, that is, the Maximilian and Carlotta one. That book was conceived and intended to be a stand-alone. Only after people kept pestering me for another book about Dallas did I come around to the idea of writing another one. Then I was happy with the pair of books, but people still wanted to know what happened next. As I have half-joked before, every time I thought I had tied up a story nicely, everyone else thought I had engineered a cliffhanger.

Will there be a fourth Dallas book? Well, didn’t I just tell you that it was trilogy? I really did my best this time to bring my hero’s story to a satisfying conclusion, but of course I thought I had done that twice before. Yes, I can sort of see how the story might continue, but I don’t know if there is really any point. Anyway, we shall see how things go.

I have been giving Dallas and his story a rest for a while now, so that I can start over on the manuscript with a fresh eye and maybe read what I actually wrote instead of seeing what I meant to write. Despite the pause, I have made significant progress on the book in another way. I now have a title! Unless it changes again. So far, so good though. This one at least passed the litmus test where people in my household looked merely confused when they heard it instead of physically gagging.

There were actually moments when I feared I might not be able to come up with a title at all. Nothing seemed to be working. Ironically, I now think I might also have a title for my sixth book. You see, the thing that always seems to happen at this point in the process is happening again. My brain has raced ahead and has started composing scenarios for the next book. That doesn’t mean that I will for sure write the book that is now percolating in my brain, but it probably does.

The sixth one will almost certainly be a sequel to The Curse of Septimus Bridge. That book ended by virtually promising more adventures, but in fact, I wasn’t really sure where it could go next. I was not really keen on doing the obvious thing, which would have been a book basically just recounting Sapphire and Izanami hunting and fighting one demon after another. For me to be interested, there had to be quite a bit more to it than that. Now I think I have a story that can build on the first one and yet be its own separate thing as well. And as I say, I even have a title in mind, which means I am way ahead of the game compared to last time.

But back to Book Number Five, i.e. Dallas Book Number Three. Anything else I can say about it? Well, this one is basically a love story. Come to think of it, though, all my books are basically love stories. I guess what I mean is that the new Dallas book will be a bit more romantic than the previous books, but definitely not in a “chick lit” sort of way. We are talking about Dallas after all. I like to think Dallas (who is forty by the end of the book) has grown into what Ernest Hemingway would have been—if he had been a self-absorbed baby-boomer.

Okay, maybe I should stop now. I’m afraid I might be over-selling it.

Third Installment Soundtrack

Inevitably, I will always look back on my fifth novel as “the Covid-19 book.” Being required to stay at home for weeks—while not forgetting the toll the pandemic has taken around the world—only accelerated my work on the final installment of the Dallas Green trilogy.

A couple of days ago I hit that most satisfying of milestones. I reached the end of my first draft. Experience informs me that much work—actually the hardest labor—still lies ahead, but it’s an exhilarating feeling to have the entire story, such as it is, committed to stored keystrokes. There will be much polishing, rewriting, deleting, inserting and fretting to come.

This will be the longest of my books. Current word count exceeds 118,000. Estimated number of printed pages is 357. There are 35 chapters. Unusually for me, I have reached this point without having definitively settled on a title. Just this morning in the shower I did settle on my preferred title, but I am not sure it is a practical and/or serviceable one. Chapter titles, on the other hand, are fairly firm but always subject to change.

In November I posted a Spotify playlist to accompany The Curse of Septimus Bridge. It consisted of tracks that were meant to evoke the various moods of the book as well as pay homage to my inspirational sources. It also included songs mentioned in the novel. In the process of compiling it, I was delighted to find tracks that actually matched some of the book’s chapter titles and characters’ names, including Septimus and Justine and even such tricky ones as Astaroth, Izanami and Koschei. Lately I began wondering it would be possible to match all the chapter titles in the new book to song titles.

The result is a new Spotify playlist for [insert title here], which also gives loyal blog readers a first approximate look at the novel’s table of contents.

Most of the track titles are exact matches. Some (“Brónagh,” “The Funeral,” “Rabbit Huntin’ ”) are nearly exact. Others (“Obscure B.A.,” “My Other Job”) are as close as I could get but no Cuban cigar. “Reporting His Own Murder” is just a ridiculous inclusion, but it was the best I could do.

A couple of the songs (Lady Gaga’s “Alejandro,” “The Letter” by the Box Tops) will be widely familiar. Many were for me happy finds of music I had not previously known, particularly “Algeciras” by the Finnish band Katseet Kertovat. A happy coincidence is the inclusion of Apparat’s eerie “Goodbye,” which also happens to the opening music for the supernatural German series Dark (available on Netflix), with which I have become addicted and obsessed.

Enjoy the music. I can only hope the eventual book lives up to the promise of its improvised soundtrack. I should have much, much more to say about the new book going forward.

The Bard of Santiago de Chuco

First, a writing update. I am pleased to report I am nearly at the end of Chapter 23 in my first draft of the sequel to Lautaro’s Spear. I still do not have a title, but I have a pretty clear idea of the ending, so at least that’s something. The latest adventures of Dallas Green, my own personal Candide, are taking him to three continents where he meets new characters and runs into, sometimes unexpectedly, familiar ones. And he still keeps getting himself into trouble, with the stakes increasingly high.

I am about to plunge back into the writing after a break brought about by the opportunity to attend some events of historical significance in Dublin. The good news, if you can call it that, is that I will probably get more writing time than I had expected this week since St. Patrick’s Day has effectively been canceled. Quite apart from the tragic toll Covid‑19 is taking on so many people around the world, being told by the government and health experts to stay at home and avoid people is actually music to the ears of a writer.

In case you are wondering, I do have other literary projects going on besides my slowly growing list of novels and the blogs. For some time I have been translating poetry from Spanish to English. This has been at the behest of my longtime dear friend Manuel Moreno Salvador. He and I met by chance forty-two years ago in Lima when I happened to spend a few hours in his family’s home. He and I hit it off, and the two of us have been corresponding regularly—sometimes at length—ever since, as well as meeting up in person a couple of times in Lima and in Paris, where he has lived for many years. He is an incredibly multi-talented artist, whose accomplishments include ballet dancing, acting, directing, music, illustration, and fashion design. He and his brother Ántero are founders of the Paris-based Franco-Peruvian cultural association Capulí.

In addition to all of the above, Manuel is a poet. His verses are strange, surreal, hallucinatory, passionate, and I have to say, often highly erotic. He sometimes sends them to me to translate into English so that they can be published in journals in the two languages. Such work is a challenge. Poetry is notoriously difficult to translate because you not only have to convey the literal meaning of the words but you also have to be mindful of things like the mood, the rhythm, and additional layers of meanings. Nuance is critical if you are going to be as faithful as possible to the poet’s vision and intent. It’s not something I would ever have thought myself capable of, and maybe I’m not—in a general sense. When it comes to working with Manuel, though, it somehow does work. It is as if there is a telepathic link between us—aided of course by constant consultations with multiple dictionaries—so that I feel confident I am getting the intended meaning of his words.

Vallejo in Berlin in 1929

Lately Manuel has been on to me to write something about the Peruvian poet César Vallejo. While I studied Vallejo at university many years ago, I am by no means an expert on him. Still his work resides in my mind sufficiently that I recognize the profound influence he has on my friend’s poetry.

Vallejo was born in 1892 in a remote Andean village. He wrote his first (of only three in his lifetime) book of poetry Los heraldos negros in his mid-20s in Lima where he was a university student and then a teacher. In 1920 he returned to his birthplace where he became involved in a political insurrection, which resulted in him being jailed for three months. He later moved to Paris where he managed to have a rather interesting romantic life even while enduring dire poverty during his early years there. He also spent time in Spain and the Soviet Union. In Madrid he wrote his only novel, El tungsteno. In 1934 he married the French writer and poet Georgette Philippart, who was sixteen years his junior. As a journliast, he was a frequent contributor to Latin American pubications, and he wrote theatrical works, which were performed only after his death. In his forties he produced his final two books of poetry, Poemas humanos and España, aparta de mí este cáliz, which were published posthumously. He died in 1938 at the age of 46 from a recurrence of malaria, a disease he had had as a child. Consumed with the tragedy of the Spanish Civil War, his last words were, “I am going to Spain! I want to go to Spain!” Since 1970 his remains have rested in the cemetery in Montparnasse.

Let us now take time to wish César Abraham Vallejo Mendoza ¡Feliz cumpleaños! Today he would have been 128 years old.

It is hard to believe that it is only a few years shy of the half-century mark since I first read Vallejo’s poetry. Yet the first verse of his best known poem “Los heraldos negros” is etched in my memory forever:

Hay golpes en la vida, tan fuertes… ¡Yo no sé!
Golpes como del odio de Dios; como si ante ellos,
la resaca de todo lo sufrido
se empozara en el alma… ¡Yo no sé!

A straightforward English translation of “The Black Heralds” does not feel as if it does the Castilian words justice:

There are blows in life, so powerful… I don’t know!
Blows as from God’s hatred; as if before them,
the backlash of everything suffered
were to dam up in the soul… I don’t know!

The anguish and desperation certainly come through in the English words, yet the effect is not precisely the same. When I read the Spanish words, I hear them in the voice of my old Spanish literature professor and with the raw emotion of his voice. In English, there is quite a different feel. I hear them in my own voice and without the full power of the Spanish version. Therein lies the dilemma of the translator. You are creating an echo of a work, and while hearing an echo is better than not hearing the work at all, it does not really compare to the original. Hence the old Italian saying, Traduttore, traditore (Translator, betrayer).

You could argue that a translation is actually a work of art in its own right, albeit a derivative one. That is what Manuel implies when he tells me, “You too are a poet.” Personally, I’m doubtful.

Perhaps that is also what was reflected in a response he got upon submitting one of his more florid pieces, along with my translation, to a journal in Chicago. The reply—I am still not certain whether it was an acceptance or a rejection—was as follows: “This poem is pornographic, and your translator is even more pornographic than you are!”

Agreeing with Stephen Fry

Work on Volume Three of the Dallas Green Trilogy continues. After getting through Christmas and flu seasons in January, I finally got back in my stride. With luck, there should not be too many more distractions for a while, although the Irish general election and the Academy Awards pretty much wiped out the past weekend for doing anything productive.

I am happy to report that I am now most of the way through Chapter 16 of the initial draft, which may well be the halfway mark. Strange thing. Dallas and a new friend were recently in Mendoza, Argentina, which required some online research. Now my email inbox is inundated with special offers from TripAdvisor about places to stay in Mendoza.

I still do not have a title, although I have been toying with one that I have mixed feelings about. It would be even more obscure than my other Dallas book titles, and it would be a departure from my established pattern of mentioning one or more historical figures in each title. For the time being it is probably best to just keep writing, and the best solution may dawn on me when least expected.

I was saddened to learn on Friday of the death of Orson Bean in a pedestrian traffic accident near his home in Venice, California. The 91-year-old actor/comedian/writer was a raconteur of the highest order. By coincidence we had spotted him just a couple of evenings before in a guest spot on the Netflix sitcom Grace and Frankie. I will no doubt at some point write more about him on my movie blog, but I thought he was worth mentioning here because of another coincidence. As you might suspect, Orson Bean was not his birth name. He adopted it because he thought it sounded funny. The name he was born with? Dallas Frederick Burrows. The irony from my point of view is that everyone my Dallas meets seems to think his name is funny.

While I am rambling here, let me share something I recently learned about books in Great Britain. Books and newspapers in the UK are exempt from value added tax (VAT). That is the 20-percent levy added to most things you buy in the UK and pretty much throughout the rest of Europe. Exempting reading material from VAT makes sense. After all, why discourage people from reading by making it that bit more expensive? The weird thing, though, is that VAT is not excluded from e-books. In other words, there is relative penalty for reading books on a digital device.

Nearly 700 writers have banded together to try to get this changed. In a letter to The Sunday Times they point out that younger people are more likely to use digital devices and those are the very people you most want to encourage to read. The VAT is also a penalty on people who must use e-books because of visual impairment.

The list of writers backing the call includes such notables as Stephen Fry, Shades of Grey author E.L. James, and The Girl on the Train author Paula Hawkins.

An excerpt from their letter: “Reading is one of the greatest pleasures there is. Books are a passport to other worlds, to other ways of life. They help people develop empathy, offer comfort, inspire and challenge. It is vital that everybody can access the joy and opportunity of reading; regardless of their age, income or physical capability.”

For what it’s worth, you can add my name to those sentiments.

One Hundred Years of Waiting?

If you go into Netflix and look up Title No. 81087583, you come across something that makes people like me very excited. It is a series called Cien años de soledad. We are informed that it is an adaptation of the masterwork by Colombian Nobel Prize winner Gabriel García Márquez, which is being executive-produced by his sons Rodrigo and Gonzalo. If you click the “Remind Me” button, you are assured that it will appear in your Netflix List when it becomes available.

There is no further information as to when that might happen. The IMDb lists it as being in pre-production. There is precious little other information, and its page has not been updated since last March. We can only continue to wait and wonder.

There was a flurry of excitement in the media last March when Netflix announced it had acquired the rights to the 1967 novel. The New York Times noted that it would be the first time that One Hundred Years of Solitude would be adapted for the screen. Technically, that is correct, although in 1983 Ruy Guerra made a lovely film called Eréndira that was adapted from a 1972 short story by García Márquez called “La increíble y triste historia de la cándida Eréndira y de su abuela desalmada” (“The Incredible and Sad Tale of Innocent Eréndira and her Heartless Grandmother”). In the film version, the Brazilian actor Cláudia Ohana played Eréndira, and the Greek actor Irene Papas played the grandmother. Both those characters had previously appeared briefly in One Hundred Years of Solitude, so in a convoluted, round-about way, a piece of that great book has sort of already found its way to the screen.

Other works by García Márquez have been adapted to the screen, notably Mike Newell’s 2007 film, Love in the Time of Cholera, starring Benjamin Bratt and Javier Bardem.

According to the García boys (by way of that Times article), despite many entreaties to agree to adapting One Hundred Years, their father had serious reservations about whether the book would fit well into a movie—or even two. Moreover, he was committed to it being told in Spanish. Netflix solves both those problems. As a series, the adaptation can run as many hours as the filmmakers think is needed. Moreover, the beauty of the Netflix platform is that you can watch things with audio in any language you want and with subtitles (if you want them) in any language you want.

The way we now consume video entertainment has made it possible to produce all kinds of works that previously seemed problematic to adapt. Sometime in the next year, we can look forward to the prequel series to J.R.R. Tolkien’s The Hobbit and The Lord of the Rings on Amazon Prime. Reportedly, two episodes are in the can with production scheduled to resume next month. A second season has already been approved.

How about my own trilogy? Of course, I can only dream about it becoming a series on Netflix or Amazon Prime. I still think the early adventures of Dallas Green are probably bettered suited to a low-budget independently-produced road movie. His later exploits, though, would require a fair amount of foreign location shooting.

Before there is any point of dreaming about any of that, I need to finish that third book. I still do not have a title, which is strange because I usually at least have a working title by this point. And I am still stuck at the one-third mark in the first draft—thanks to the holiday season and now the flu. The good news is that, if I am now well enough to blog, then it shouldn’t be long now until I am back hard at the novel.

Happy 67th, Dallas!

It’s Pearl Harbor Day, which means it is also the real-life birthday of the non-real-life character who has consumed more of my time than any other over the past several years. Yes, it was thirty-nine years ago today that a somewhat depressed Dallas Green celebrated his twenty-eighth birthday in his San Francisco apartment with no one to share it with except a bottle of tequila and the ghost of his dead friend Lonnie.

As for this year, I cannot tell you exactly what Dallas is up to in the year 2019, but I do know that, if he is still alive, he turns 67 today.

I am again spending lots of quality time with Dallas. As of this writing, I have completed the first draft of no fewer than eleven chapters of the next installment of his trilogy. This means I am, relievedly, well over the psychologically significant, albeit arbitrary fifty-page threshold that has always resulted in a creative flow coming much more easily. In fact, at the moment this book nearly seems to be writing itself. I don’t know if that’s a good thing or a bad thing, but so far I’m not complaining. I guess I have just lived with this character for so long and with the plot points of this particular book for so long that the first one-third is not quite the struggle of previous books.

The hard part is coming up. I have long had a clear beginning mapped out for this book, and there is also a clear ending as well as certain key moments in between. The rest is an assortment of black voids, waiting for me to find a way to fill in and connect one independent bit with a different one.

The first five chapters take place in June of 1993, and I’m afraid we find poor Dallas again in kind of a bad state, but then things start to look up. For those particularly concerned about his maturation process, I’m afraid that, while he is obviously older, he still seems not to be all that much wiser. Various bits of information are dropped as to what transpired during the twelve-and-a-half years since we previously him.

In the sixth chapter we are transported back to the moment where Lautaro’s Spear ended. We follow Dallas and Ángel to Chile to learn how that turned out. This provides your author an excuse for wallowing in nostalgia, as I immerse myself in my own personal memories of that country, the culture, the people, the Pinochet-era politics, and the pleasures of red wine and pisco.

One problem that keeps cropping up as a result of nailing down very specific dates in the story is that real-life history has a way of intruding. For example, I was well into my writing before it dawned on me that a particular, world-shattering news event occurred on the very same day that Lautaro’s Spear closed on—the day after Dallas’s twenty-seventh birthday. It was the sort of event that could not have possibly gone unremarked-on or could not have had a significant effect on Dallas and those around him. So I had to go back and do some re-writing to reflect this intrusion from the outside world.

As you may gather, this third installment of what now appears to be a trilogy is going to be more expansive the previous two in terms of the number of characters, the number of countries, and the number of years covered. In order not to raise hopes or expectations here, I have tried—and apparently now failed—to avoid using the word epic.

Since this book will presumably appeal mainly to readers of the first two books, I have made a conscious effort to include a lot of what these days is called fan service. I’m not certain, however, this it is not actually the same thing as author service. In other words, I’m including a lot of things that I want to see in the book, while working under the impression that it is also what fans (and I use the term advisedly) want to see in the book.

Anyway, I am getting way ahead of myself. At the rate I usually go, we are still a long way from this book—which still does not have a title, by the way, even a working one for my own use—seeing the light of day. D3, as it is called in my notes, for 2020 or 2021?

In the meantime, if you are stuck for a holiday gift for the readers in your life, I humbly remind you that there are still virtually endless supplies, in both paper and digital formats, of this year’s novel, The Curse of Septimus Bridge. I like to think it is kind of epic too.

Links to sellers are somewhere on this page if you can find them.

The Playlist of Septimus Bridge

If you are about to read (or reread) The Curse of Septimus Bridge, here is some good news. Now you can listen to music while you read it. Of course, you were always able to do that, but now you can listen to music that was specifically chosen to invoke the book.

Two years ago when Lautaro’s Spear was published, I shared a Spotify playlist of music I had listened to while writing it. A bit belatedly, I am now doing the same for Septimus.

I do not burden you with the entire list I had playing. That one ran a total of eight-and-a-half hours—enough to ensure that, most days anyway, I did not have to hear the same piece of music more than once. The list I now share with readers is less sprawling and more carefully curated. Comprising thirty-two tracks, it clocks in at just under two hours.

I am not sure if anyone could read the book in two hours, and even if you could, I do not think the various tracks would fall in at the appropriate places, so it is not recommended that you use the playlist as a pacing tool.

Some of the songs were obvious, indeed, inevitable choices. Three—“Maria” by Blondie, “Lola” by the Kinks, and “Bella María de Mi Alma” by Los Lobos—are actually referenced in the novel. Some music is there simply to set the mood. Soundtrack music was included from a couple of television influences, specifically Robert Cobert’s score for the original Dark Shadows series, Danny Elfman’s music from the 2012 Tim Burton movie version, and also a Johnny Jewel contribution to the recent revival of Twin Peaks. Other tracks were included because they tied in nicely with events depicted in the story. For example, who knew that Electric Light Orchestra once recorded a track called “The Battle of Marston Moor”?

A few tracks were selected purely because of their titles and, happily, they also fit in with the general mood of things. How lucky to find suitable tracks with titles like “Septimus” (from the soundtrack of Matthew Vaughn’s Stardust), “Astaroth,” “Justine’s Theme” (from the soundtrack of Ben Wheatley’s Free Fire), “Izanami,” “Koschei,” and “Netherworld.” As it happens, Septimus in Stardust was played Mark Strong, and he would not be a bad choice to play Septimus Bridge. Also, Justine in Free Fire was played by Brie Larson (no relation), and she would not be a bad choice to play, well, just about anyone in the book.

As unlikely as it might seem, one track appears on both the Lautaro’s Spear playlist and on the Septimus Bridge one. Elvis Costello’s “Oliver’s Army” appeared on the former because the song was actually mentioned in the book. It appears on the latter because of its connection to historical events depicted in the story.

As with the previous playlist, interested filmmakers are invited to peruse it for possible soundtrack material after a movie deal has been negotiated. Also, it would be good if you have Mark and Brie’s phone numbers in your rolodex.

Back on the Apology Train

How times flies. This month marks five years since the release of the paperback version of Maximilian and Carlotta Are Dead. That half-decade certainly went by quickly.

The paperback’s appearance followed by nearly three months the book’s debut in Kindle format. As with my latest book, The Curse of Septimus Bridge, I initially published the electronic version of Max & Carly exclusively for the Kindle. That exclusivity period ended three months later with the appearance of other digital versions in other online stores.

The paperback version of Max & Carly was actually something of an afterthought. I had bought into the idea that paper books were on the way out and the future was digital and so had not bothered with a physical edition. Enough people, however, kept asking for a paperback that I finally gave in—and happily so in the end. Still, Kindle sales of my books have always outpaced paperback sales—at least so far. I have to say that at this point the paper edition of Septimus is performing with surprising strength vis-à-vis the digital version.

This month also marks four years since the beginning of my first book apology tour. Partly tongue-in-cheek, partly sincere, the tour was my attempt to make amends to anyone who might have found offense in the narrative—notably bad language and extensive incidences of somewhat toxic adolescent masculinity.

Happily, there is not nearly as much toxic masculinity in The Curse of Septimus Bridge, but inevitably, there are things that could rub some people the wrong way. Allow me now to enumerate them and preemptively excuse myself.

• Gender Appropriation: Unlike my first three novels, the main character—and several others—are female. This made writing the book a satisfying experience for me because it was a welcome change of pace writing-wise and an invigorating challenge for my creative abilities. At the same time, I am aware that there are people out there who feel strongly that characters of certain nationalities, ethnicities, and yes, genders should not be appropriated by others. If that is how you feel, I am sorry. For the record, I myself personally prefer to read female characters written by females, but on the other hand, I am also a believer that there should be no limits on artistic creativity. All people should be able to write about or play on the stage or in film any character. In my next book, though, I will be back to my mostly masculine-centric ways.

• Nationality Appropriation: While I am at it, then, I suppose I better apologize once again for attempting to portray Irish characters. The fact that I have lived in Ireland for 17 years and am married to an Irish woman does not give me any right to put words (awkwardly and inauthentically) in the mouths of fictional Irish people. It gets worse. In this particular book I also appropriate some of the most painful episodes in Irish history for the entertainment of my readers. And it gets worse still. I also owe apologies to the English, Canadians, and Russians and, while I’m at it, Anabaptists, Puritans, and demons from hell (who may actually be more sensitive than one might assume).

• Possible Transgender Insensitivity: There are no transgender characters in the book (that we know of anyway), but there is one sort-of reference in the very first chapter in which the main character, Lola Blumquist, expresses a dislike for the Kinks’ song with which she shares a name. “Well, I mean, it’s not really fair,” she says to Maria Murphy as they discuss eponymous record tracks. “You get a song that goes on and on about how totally cool Maria is, and I get the song about a transvestite.” Responds Maria insightfully, “Transvestites can be cool.” You can reasonably argue that modern young women like Lola and Maria would be more likely to refer to the song’s Lola as transgender, whereas transvestite would have been a more common description when the song was first released in 1970. Of course, transgender and transvestite are not the same thing. My Lola seems to assume that the Kinks’ Lola was a cis-gender man who happened to like dressing in women’s clothing rather than a woman who happened to be born in a man’s body. Is she correct? Only Ray Davies knows for sure, and even by his account he had done a fair amount of drinking when he came up with the lyrics. (A man after my own heart.) There is more dicey stuff about gender as the story proceeds, but that would involve spoilers. In any event and in all sincerity, no offense was intended.

• Insensitivity to the locals: I do not imagine that residents of the Ballard neighborhood in Seattle will have taken offense to how it was portrayed in the book. The residents of Riesgado Island, on the other hand, will probably be far less forgiving. Even less clear, though, is how people along the Galway-Mayo border are taking it. My wife, who never reads my books until a proof copy of the paperback arrives by post, was aghast to find a few local place names littered about the text. “The neighbours won’t like it if you draw Satanists on them,” she warned. I’m keeping my fingers crossed and hoping they will keep things in perspective. In the history of film and literature, I think other foreign writers have done much worse to the Irish. I do not think I quite tipped over into Darby O’Gill territory. Probably the biggest chance I took was having the title character be a fawning admirer of Oliver Cromwell.

There are probably other things I should apologize for, but that will suffice for now. If you have not read The Curse of Septimus Bridge, please do so now and let me know which part in particular offended you.