Mayan Moon by Derek Bullard

Mayan Moon surprised me, delivering much more punch and fluidity than I had expected. I bought it through Amazon, taking a chance, since the author had asked me about using some Venus Vulture music in his book trailer (full disclosure: he did use the music – see the trailer here [nb. not an affiliate link – I don’t get a kickback]).

The book took me by surprise for something from a small press. It can be a bit hit-and-miss with small press books: too often they’re vanity volumes written by friends and relatives (or the press-owner). Then again, big publishing house books can be a bit hit-and-miss too (even with name authors).

In Mayan Moon, the writing is compelling, the action fast and the set-pieces well orchestrated. My one quibble was that the phonetic spelling of some character’s accented dialogue was a little over-done and distracting.

The hero – Jordon – is something of a classic, damaged, anti-bureaucracy loner and he drives the action well. Told in three parts the novel cleverly blends contemporary thriller, with science-fiction and classic archaeology (read “Indiana Jones”) adventure. While characters are not guaranteed survival, the plot does stitch up neatly and in timely manner.

Actually, in terms of reading for writing, I like that structure – the three parts, each with a slightly different tone, but all interdependent, make for a surprising mix of genres. Each part is around 100 pages and that seems to be a length I can write easily while longer is sometimes a struggle. I might just try writing something like this, with distinct yet interrelated parts.

Flat out, but posted a new poem

This is just a progress update, I guess. Marking is in full swing with the courier dropping off early papers to grade. I’m busy writing parts two and three (and four?) of a serial for a publisher who’s interested in seeing where the part one led (and now I’m surprised by how big it’s growing). I’m also drafting a few flash stories, and have some longer drafts I’m coming back to for revision.

Meanwhile I’ve just put a new flash (ie written fast with minimal revision) poem up on the Undead Poets Society – read it here: Silver Bullet Blues.

NNTS – Stroll compilation

Mark from NTNS radio – a show on Still Stream an internet ambient radio station, has made numerous compilations of creative commons recordings, available for streaming and download. Stroll is an eclectic mix of sometimes busy, sometimes very quiet pieces, that runs the length of a decent CD – full disclosure: Stroll includes a Venus Vulture track from Heavy Skies. Certainly for me that is part of the appeal – to hear my own track in a different context, next to pieces by different people.

Stroll is one of four sets making up the best of NTNS radio from April, May and June 2009 – the others, Meander, Trip and Cruise, are all similar in length and tone, all easily available and very listenable.

I’ve burned Stroll to CD and fire it in to write to – after all the reason I first began making ambient music was because I couldn’t find enough readily available to listen to as I wrote (the Internet has really changed that – there’s more than enough now). It was great over the weekend to listen to an hour and a quarter while I worked hard on a longer, pacey dieselpunk story – it was just the right kind of laid back but still edgy kind of music to really help keep the words flowing.

New Shoes, Old Eyes – in Poetry on Palmy

My poem New Shoes, Old Eyes was third equal in a local competition here, and has now been published twice – once in The Tribune, a community newspaper, and again in the Urban Care Poetry on Palmy booklet. It’s neat to have a placing and be published.

Occasionally an author loses control over formatting – usually not a big deal, and editors often have better ideas. Unfortunately in both printings of my poem the formatting has been changed and some of the impact of the poem is lost. Sometimes with poems the first line is also the title – as with Medusa Medusa, so there is a repetition. Other times the title is quite distinct – as with Carnival Cage. The latter is the case with New Shoes, Old Eyes – even if in the booklet the title is not bolded and seems to be the first line, it’s not meant that way – the rhythm is different and it would work better if, as with most of the other poems in the book, if it was in bold and separate.

In both printings the poem appears as a single stanza – without the stanza breaks. As Tim Keeton pointed out with Medusa Medusa, the breaks “make the lines more impactful”. With New Shoes, Old Eyes, those stanza breaks are part of the cadence/rhythm of the poem.

Anyway, enough griping. Here is the poem as I’d intended it to appear:
.
.

New Shoes, Old Eyes

Returning to your frigid grid
of fragile kerbs
and surly kids
where turbined hills
spill spun white glass
above the river’s
placid parks,

I stride straight streets
in crisp new shoes,
cross blocks of grass
and tarmac spurs
to find the clipped green

box now sculpted
trusted
rusted
numbered
and

circuited,
like the slick
stockcar track
by boys and girls
born since
I left.

.
.
Certainly it’s a poem about Palmerston North – aimed at the competition, and loaded with stuff familiar to locals.

Seducer poem

I’ve put a “flash” (as in written really fast, minimal editing) poem – Medusa Medusa at the Undead Poets Society site. I couldn’t help riffing on the same ideas and cadence and have just “flashed” this one up too. I guess it’s kind of related to the UDPS one …

Sensual Medusa
would you accuse her
or bind her and braid her?
Could you mislay her
misplace her
disgrace

your well hidden
eyes,
mirrored, uncertain
uncoiling her lies
succumb to her treasure
between glistening lights
then
slice off her head
to put her to bed

These are both pretty loose and rough. Perhaps one day I’ll pull the pair apart and make something more worthy from the broken remains of both. So much writing to do …

The Forest of Hands and Teeth by Carrie Ryan

Carrie Ryan‘s young adult novel The Forest of Hands and Teeth is perhaps one of the most extraordinary works I’ve read all year. This horror novel is remarkably literate and astonishingly well-paced. Somehow Ryan manages to balance an unusual setting and circumstance – an isolated village – with conflicted relationships – Mary, betrothed to Harry, loves Travis his brother while Cass, Mary’s best friend, betrothed to Travis is keen on Harry (sounds straightforward, but really it’s not and it really adds an enormous level of tension to the book). And, though it’s amazingly well done, it’s a zombie novel, even if the word “zombie” is never used in the text. Actually, the unconsecrated, as they are known, provide a somewhat evil backdrop to the controlling religious order which governs life in the village. Be prepared – the novel is harrowing and intense and a great character and relationship study.

Cool – in checking out Carrie Ryan’s details, I’ve discovered there is a sequel, and a third book coming. Ryan’s also got some stories in anthologies which seem to be set in the same milieu (okay, actually, I think I’d like to see some of her writing set outside that – she’s such a precise and crafty wordsmith that it would be good to see what she’d do with other stuff. Like vampires).

Ghosts in the trees, ghosts in the hall – new Venus Vulture track on Reverbnation

I’ve just uploaded a new track to the Venus Vulture Reverbnation page. This is a quirky thing, with a slight beat, an odd melody. I think I like echo too much, but perhaps that suits the ideas of ghosts.

I had a couple of tracks – Ghosts in the Trees, and Ghosts in the Hall – with a similar feel and similar sound, but neither seemed to really work. So I made this track by taking elements of each and creating a new mix.

Kora! Kora! Kora! – The Cabaret Voltaire Versions

I’ve listened to Cabaret Voltaire since I was a teen – something about their slightly techno/slightly industrial feel really works for me. Their music is at once dark and uplifting. The main protagonists, Mallinder, Watson and Kirk have gone their own way, still making music in their own right, but Cabaret Voltaire continued, with some ambient music, and club disks and odds and ends.

Under the Cabaret Voltaire moniker, Richard Kirk has remixed the album by New Zealand band Kora with very distinctive results.

Kora is a New Zealand roots/reggae act. Four of the five members are the Kora brothers. Their self-titled album was pretty popular in New Zealand and around the world.

The remix album Kora! Kora! Kora! (steamable and available for purchase at the link) is less roots and more techno, with clear elements from the original. To all accounts it’s more popular with Cabaret Voltaire fans than with Kora fans (who probably want that reggae feel, more than is present here).

I love the energy and drive of the pieces, it’s great for rarking up my writing pace, kicking me out of slumber, and at the same time taking me back to the eighties, but keeping me current. Whew.

New Favourite Show – Modern Family

Sunday night, 7.30pm, all new Simpsons. Yeah, still funny and engaging characters and I smiled from time to time. Then, 8pm, Modern Family, and I’m laughing out loud. Again and again. This is one of the few sitcoms without a laugh-track, which honestly helps make it funny. I so often get tired of soundtrack laughter, especially when things aren’t that funny (I’m meaning contrived one-liners, followed by that taped laugh). So, yeah, Modern Family is my new favourite show.

Then again, I watched Gary Unmarried and that’s got a laugh track, but the writing seems pretty supreme – the characters are entertaining and engaging, the situations clever and the one liners actually funny. Okay, I’ve only seen one episode, but got more laughs from that than the total cumulative number of laughs from Friends ever. Okay, I didn’t watch that many episodes of Friends, but still …