April 01, 2025

April Backlist Bonanza: 'The Flowers of St. Aloysius' and 'Hell-Knights'

New month, new backlist sale! And for April, we have two novels from my Arcana Europa collection.

THE FLOWERS OF ST. ALOYSIUS

A dying young mother's desperate hope for her child leads her to a fateful meeting in the clearing of an old wood. A meeting whose otherworldly purpose quietly and gradually takes shape as the child matures. A meeting that has left the wood under a dark spell, unable to rise up in fury to undo what it sees as a violation of natural laws.

Two families from old aristocratic lines agree to end the century-long and bloody feud that has left one side fading and the other flourishing. To achieve such an end, Laurent Veilleux, the youngest of his family, and Brys Lajoie, the last of his bloodline, are forced to marry though still strangers to each other. Marriages of convenience and political marriages are common among the upper-crust, and despite their initial reluctance and disdain, Laurent and Brys slowly allow themselves to open their hearts and minds to each other in hopes that somehow, by some miracle, love would eventually bloom between them.

But their union has awakened something, a fragrant and deadly shadow that leaves a trail of bodies in its wake. Healthy people suddenly fall ill and die after suffering long, excruciating declines marked by symptoms of poison. Plants and flowers wilt, butterflies and birds tumble to the ground dead, and it appears as though this murderous shadow follows the young couple everywhere.

To make matters worse, this threat seems to gather more strength when Laurent and Brys develop the emotional connection they've always hoped for. And somewhere in the French countryside, the woodlands finally emerge from the dark spell, unleash their fury, and seek justice for a past wrong, the trees' reach spanning distances in search of the unsuspecting pair.

Inspired by the poison maiden legend from India, which Nathaniel Hawthorne also adapted in "Rappaccini's Daughter", The Flowers of St. Aloysius is a gothic gay fairy tale set in an alternate universe nineteenth century France.

and HELL-KNIGHTS 

Decima is a centuries-old Italian city on the water, a vanity project meant to be a fairy tale escape for the titled and the privileged. But something in the distant past had turned it into a murky, putrid dreamscape instead, a crumbling city haunted by a scourge of revenants whose origins and purpose now seem destined to be hidden in the shadows forever. Not even the brave, dogged attempts at fighting midnight creatures by the descendants of a select bloodline can rid the city of the near-daily threat.

Michele De Santis is a young minor sorcerer, a reluctant champion who, along with his twin sister and his cousin, has lost too much through the years and has resigned himself to a life of endless midnight hunts while selling healing and protection spells and artifacts during the day. A life of loneliness, of a forced solitude in a desperate bid at keeping collateral damage at a minimum appears to be his only future.

When long-dead corpses suddenly turn without vampire bites, logical patterns no longer hold true, leaving the weary hunters baffled and unsure for the first time. Decima's bronze guardians fall silent for no reason, a dark, binding spell muting their warnings. A long-abandoned church shows signs of life in the most grotesque ways imaginable. And everything seems to point to an unknown threat, one that's long lain dormant but has been awakened by the arrival of a young English heir and his amateur antiquarian uncle.

Romance and the gothic layer Hell-Knights with the dark, rich textures of an alternate universe Europe, a nineteenth century world where magic reigns supreme, and love knows no gender.
Both e-books are 50% off at all online bookstores, and just click the book titles to go to their respective pages over at Books2Read. Preferred listings are over at Smashwords and Kobo. Like before, I'll be posting background stuff about each book sometime in the coming month.

March 30, 2025

Yay, Gothic Horror!

The husband signed up for a month of Peacock streaming because of the upcoming Paris-Roubaix cycling race, but lo and behold, I spotted a few titles I want to watch while I still can -- and that includes Conclave, which I've already seen but still want to go back and watch again. I know some elements of the movie left me wishing for more, but I suspect a second viewing will settle me.

But firstly, I finally got to see Nosferatu, which Peacock streaming has on its list, and it's the extended version, too. Win.


Okay, so my impressions (SPOILERS AHEAD).

Firstly, from a diehard fan of classic gothic horror and of Dracula, I salute Robert Eggers for giving my eyeballs a goddamn FEAST of everything I love about the genre. There's nothing glamorized or romanticized, and that brooding quality that's one of the most basic requirements of gothic horror is elevated further with generous touches of claustrophobia. Every scene feels shrunk down and crowded (even wide shots feel uneasily cramped, if you get my meaning), and I'm here for it.

Now as I'm also a massive fan of Bram Stoker's novel, I was happy to see the story stick closely to the book -- enough to be recognizable as Dracula but also different enough to be clearly Eggers' vision. So the focus on Ellen and her psychic connection to Orlok (also a significant detail in the novel) is main plot of this adaptation and is also explained away not by a vampire's bite but by second sight, which Ellen is born with. As with Mina Harker, who uses her accidental link with Dracula to help Van Helsing and company in their hunt, Ellen uses her connection to destroy Orlok single-handedly. 

I -- am not sold on that approach to the plot's conflict and resolution, to be honest. That was one of the things that kept me from really loving this take (and I really do prefer it over other adaptations I've seen so far though I've yet to watch the original Nosferatu). One of the other issues I had involved Orlok and how un-terrifying he is (but he was so, so close!), likely because of this shift in focus to his single-minded goal to possess Ellen. 

Ellen's seemingly endless fits / seizures and hysterics kept me from enjoying some balance though there were attempts made to give nearly equal treatment to other characters save for Orlok. And I suppose that was what derailed my full appreciation of this film: an imbalance, for lack of a better word. I honestly still can't place my finger on what it was that left me a little cold even though Ellen's desperation actually left me in tears in places. Like -- the movie was both very intimate and unnecessarily bombastic, a combination that didn't sit as well with me as I'd wanted.

That said, though, I did like this movie a hell of a lot more than I expected. The issues I pointed out are insignificant compared to the issues that made me loathe Bram Stoker's Dracula to this day. This version is faithful to the book and is pared down significantly to key moments, and what it struggles with in some places are eased through lush imagery and the sustained tension and brooding atmosphere I crave from gothic horror. The performances are also terrific even if Bill Skarsgård wasn't given much to work with. 

It's also a very bodily fluid-y movie (as an aside: Yikes, Thomas! Lube! LUBE!). I found that to be repulsive and oddly a relief in equal measure, maybe because it helped de-romanticize this take on vampire fiction, which I was hoping for (and am grateful to see).

March 24, 2025

The Cold Caller

New week, more fresh Hells in store, I'm sure.

Thought to post this to get myself going. Tough luck for that kid to run across a pissed off Death. Anyway, nothing like dark comedy to jumpstart my day (and week).

March 23, 2025

2026 Calendar Update

All righty! Revisions and edits for Compline are now underway. I actually considered waiting till April for this, but with so many notes and with the ideas still fresh in my head, I figured now's much better than later. That'll free up more time in the second half of April (or sooner) for additional rounds of edits before I can finally send this baby out for distribution. 

An additional update is this:

This is my publishing calendar for 2026, which isn't the same as what I had on my Book News page for the last year. 

What's missing here is the cover art for The Bells of St. Mark's Eve, which was originally scheduled before Doppelgänger. And it's because I decided to pull the book and declare it dead. 

The reason for that is it follows too closely the same plot beats as Compline, and I didn't even realize it till yesterday, if you can believe it. It was also planned to be a contemporary story that's also a comedy, the polar opposite of Compline, but way too many elements in the current book are needed for the latter book to work. 

I'd rather not start from scratch and redo all my notes for The Bells of St. Mark's Eve. I already have so many planned books in the pipeline, and what'll happen is Camera Obscura will now be a part of my 2026 calendar. At least I can say with confidence that all the books after Compline are unique in plot, and none will echo another. I'd rather have my books be criticized as weird than cookie-cutter. 

To be fair, though, I do gravitate toward certain types when it comes to my MCs, but at least my plots don't give readers more of the same (and I hope they never will). I've updated the necessary pages of my site to reflect these changes.

March 19, 2025

'Deep Rooted' Animated Short

Since I'm loving the fact that an indie animated film using open source software and a comparatively minuscule budget left mainstream animation studios in the dust recently, I figured I'd go back to sharing some hidden gems (no longer hidden now) from my usual trawling over at Youtube. 

I love animated shorts. I love immersing myself in creativity and the arts in any form. Give me film, give me books, give me art, give me music. Just GIVE ME.

Anyway, here's a fun and really well-done short -- also made using Blender, the same open source software Gints Zilbalodis and his team used to make Flow:

This goes to show it's resources that impede creatives, whether or not it's funding or computers and whatever high-tech doohickies are part of them (no, I'm not technical by any stretch). If you have the talent, the vision, and the passion for something incredible and -- above all -- DIFFERENT and UNIQUE, a free software would get you going.   

I mean, hell, I've seen mind-blowing photorealistic illustrations by artists from disadvantaged backgrounds using only either a ballpoint pen or a simple pencil. 

In my recent visits to Tumblr, I also ran across this post that I just have to share here (text in boldface = my emphasis):

not to talk about flow again, but the thing is, a lot of people talk about independent film making and its importance etc, but it's hard to get more independent than flow this year

not only because it was made with a free and open source software anyone can use, not only because it beat competitors from major studios with an average of 3% of the budget they had, not only because it represented a country that had never won an oscar before, not only because it didn't have any star power involved, not only because it didn't come from a filmmaker with past history, not only because it was made by a small team...

but also because it's an animated movie

animators often get the short end of the stick in the entertainment industry and, for the past years, it was starting to look as if the only way to make an animated project happen was to sell your soul to a major studio and see your work transformed into what they need and how they want it marketed

especially for movies from outside the US, from non-English speaking countries, where insanely talented animators tend to be used as freelance cheap labor for major US studios or have to adapt as much as possible to fit into their market in order to find work

passion projects for animation seemed to only be reserved to the shorts category, or needed to be as high brow as humanly possible to be perceived as "high art" to be valued and, even in the spaces of the industry dedicated to the genre, the way in which awards are distributed are a poor reflection of the vast work animators do

it's major for this film to win awards, let alone the oscar, an award which is notably judged badly for animation and often prefers the marketable easy way out of voting rather than genuine interest

this movie used a resource that is open to anyone and, with good storytelling, made an oscar winning film

in a world in which art is constantly being attacked by capitalist greed, I'm happy that a movie with heart and little resources could do something like this, whether or not people care about the oscars anymore

And I'm so happy to hear Zilbalodis turn down suggestions for sequels to his film and also go on record about staying independent. THIS is what I've been hoping to hear about him moving forward after his success. To get sucked into the sequel mindset has corporate-executive-making-shareholders-jizz-in-their-underwear written all over it, and guess what. That's practically all we get from major American studios nowadays. I've already stopped watching Disney and Pixar* and never really got into Dreamworks stuff** (and I saw that The Wild Robot is getting a sequel, so...). 

So I'm wishing all the up-and-coming artists struggling in the bloated shadows of major studios all the best of luck. I hope Flow's win inspires you or keeps those creative passion fires lit. I know I'm not the only one who's cheering you on. 

* I'm only one person, of course, out of billions world wide.

** Ditto.