The Cup of Agamemnon

Yeesh, it’s been a while. So much has happened over here, and we’ve managed to clone the magical girl not once but twice now.

I seriously need to get another novel out. Part of my problem is that I’ve had trouble buckling down on a single project I’ve been drifting back and forth between sequels to my existing work and other things, but I finally grit my teeth and decided to finish The Cup of Agamemnon, a planetary romance I’ve had in the back of my mind for some time.

Below is a teaser from the first chapter. This is rough, of course, and it may be too heavy on info-dumping, so it will likely be trimmed before it sees print:


“Is he dead?” Angelica asked.

“He’s breathing,” I replied.

“Then he’s not dead.”

“Not yet,” said Sam after spitting out a stream of blackish liquid produced by the stuff he’d been chewing, “but he will be if you two stand around jawing.”

“That’s true,” I answered, “but you’re not supposed to move an injured man.”

“Sure. But you ain’t supposed to leave him in the mountains to freeze to death, either.”

“Very well. Sam, grab his legs. I’ll grab—”

“Ain’t no sense in it, him being light. I’ll just carry him myself.”

And Sam, the hulking brute, did exactly that: He bent down, took up the unconscious Gernian, and threw him over his shoulder like a sack of tubers. I winced, but I held my peace. Right now, I wanted to keep my head attached to my shoulders—and considering my situation, that meant holding my peace.

To make a long story short, our interstellar craft had unexpectedly struck atmosphere during a phase-out of its Alcubierre drive’s warp field. An Alcubierre drive is tricky to operate, especially in-system: By compressing spacetime in one direction and expanding it in the other, it can move a ship across the galaxy in a minute without relativistic effects. But traveling such a distance in one go would build up enough energy to produce a nova-sized explosion when the drive deactivated, so it’s necessary to travel in short hops, stretching a minute-long trip into months. Inside a star system, the hops have to be even shorter.

We made a bad hop and collided with our target. The protective ceramics burned off, and the ship hit the dirt hard, so it was now a smoking pile of slag. We were stranded without food and with little water in a barren range of mountains where the air was thin and cold but breathable. There was no snow, either because the wind had blown it away or because the air was too dry.

We were four in number: Three of us were mammals, so our needs were similar, but the fourth was something indeterminate, transcending all mortal classifications. Fortunately, he had his own ways of sustaining himself—ways too disgusting to describe.

The peaks over our heads were rough and came to sharp, needle-like points. The rocks, mostly flint, cut into our feet. But I knew this world was inhabited, or at least had been, and I was confident that we were not the first to walk through this forbidding mountain pass: There were telltale signs of beasts—too many to be random—mostly in the form of droppings but sometimes of churned gravel or overturned stones. At regular intervals, we found trash pits containing steel wire, fragments of what were probably harnesses, and rusted steel cans soldered with lead. All the evidence pointed to pack trains. This was a trade route, and I said so to my companions.

Our de facto leader was Angelica. She told me to shut up, so I did. She had been the ship’s captain, and she was still in charge. Besides, her formidable technology put the rest of us at her mercy. She was our best hope for making it out of the mountains and finding water, and she could also kill us in a nanosecond if she had a mind to.

By the way, she blamed the crash on me.

Continue reading “The Cup of Agamemnon”

Interview in ‘Book Reader Magazine’

Check out my author interview in Book Reader Magazine, where I discuss Rags and Muffin:

Although I don’t like the term, the book is a “deconstruction” of the trope of the child hero who goes to school during the day and saves the world at night. Although almost invulnerable both physically and emotionally, Rags has surrounded herself with other children who aid her crime-fighting efforts. Unlike Rags, those children get the full brunt of their enemies’ brutality. In most stories of child heroes, the villains are buffoons, foolish adults who are so silly that even children can beat them. I wanted to change that formula by pitting kids against genuinely evil and ruthless adults who are perfectly willing to do the most atrocious things to children. For that reason, Rags and Muffin is not only a story with a lot of action and excitement but also a tale of horrifying abuse. Balancing those elements, being careful about what is shown and what is not, and being tasteful, was extremely difficult.

‘Rags and Muffin’ Reviewed on Reedsy

Excellent for fans of dark fantasy anime and manga, though perhaps jarring to those who only read western fantasy.

Jennifer deBie at Reedsy Discovery praises Rags and Muffin:

Broadly speaking, in western literature authors tend to populate their novels with characters the age of their intended audience. A novel full of teenagers going on adventures is meant for the YA market. A chapter-book full of pre-teens is aimed at middle grade readers. A novel full of women in their 30s and 40s is largely geared towards women in their 30s and 40s, and any readers from outside that demographic who buy and enjoy the book are a nice bonus for the author, publisher, and bookseller.

This is a book almost entirely populated by children, but please do not give it to children. These are child soldiers fighting a graphic war in a city waiting to swallow, exploit, and destroy all of the children it can sink teeth into.

This is not a book for children, or the faint of heart.

That said, D. G. D. Davidson’s Rags and Muffin, the first entry in his Deus ex Magical Girl series, is a complex sequence of interlinking narratives, following various members of the titular Rags’ gang as they go through a particularly perilous few days. While the kids’ adventures unfold, Davidson takes readers through a whirlwind tour of Godtown itself and the complex native religion, centered almost entirely on maintaining caste and worshiping powerful girls born from the union of a human and the native marjara, a race of cat people. These daughters, or hybrids, the only viable offspring from such couplings as far as we are told, are born with an innate connection to the Goddess and thus her power and are destined by their genetics to die before they reach adulthood, preferably after spending the majority of their short lives being worshiped in a temple as an incarnation of their Goddess on earth.

Rags, the Ragamuffin to her enemies and Miss Anne to adults, along with her gang of child-disciples, is on a mission to save her fellow hybrids from those who would exploit or enslave them for their power through a combination of acrobatic hand-to-hand combat and heavy artillery. This never-ending battle for the soul of Godtown is further complicated by the soldiers of the occupying Elysian Empire, would-be colonizers who enforce their laws with war machines called runebots, and an iron fist.

If all of that sounds complicated and potentially violent, the answers are yes, and very.

Luckily, Davidson is an able storyteller with a knack for describing his chosen world and crafting his characters. Sights, smells, and sounds are brought to life with startling clarity, as are every bruise, broken bone, and bleeding wound the children experience. The children themselves are drawn with unerring precision, each characterized by their own linguistic quirks and subconscious drives. This is an author with a true talent for bringing his work to life, even if the results are potentially jarring to an audience accustomed to western narratives, novels, and tropes.

However, readers with experience in eastern media, particularly manga and anime from Japan, will notice a more than passing resemblance between Rags and Muffin and several franchises from that quarter. Most notably certain “girls with guns” properties, like Shikabane Hime and Black Lagoon, as well as dark fantasy/urban fantasy series like Soul Eater/Soul Eater Not, Dance in the Vampire Bund, and Blood-C.

Head over to Reedsy Discovery to upvote the review, which will help me promote the novel! And buy your copy here.

The First Review of ‘Rags and Muffin’

We are just days away from the December 10th release of Rags and Muffin, and the first review has just arrived.

Over at Scripts and Reviews, I have given an author interview, and they have had the following things to say about the book:

I have to say, this is the best book I’ve read in a while. Usually, depending on the book, I fly through them. This book was so richly worded and heavy in world-building and creativity it took me a little longer to get through but was totally worth it.

Rags and Muffin is filled with epic fights and detailed landscapes. The ragtag group of heroes is each unique with their lifestyles and struggles. Seeing glimpses into their past and their lives tugs at your heart, but then other scenes are riddled with comic relief. So while you’re reading, you get a full range of emotions that keep you hooked and turning pages until the very end.

This story was incredible to read, filled with Gods and intrigue. This is a book you won’t want to put down. This book is easily one of the top 5 books I’ve read all year!

A Commentary on ‘Jake and the Dynamo’

Over on my Facebook page, a reader has left an interesting comment. Admittedly, I don’t interact with my Facebook page as much as I should because I’ve had a heck of a time figuring out the interface. Every time I try to see reader comments, it kicks me to a different part of the site … it makes me want to strangle Zuckerberg in Minecraft.

Anyway, regarding Jake and the Dynamo, a reader writes:

I’ve been rereading the book, and you have got some horror fantasy gold here. Your stuff is like Stephen King’s—American culture is built out of trash, and while his trash is b-movies and comic books, yours is anime and kid videos. That’s a good thing. We’ve had a lot of pop culture lately with comic books being elevated into the status of the a new Western or Cowboy genre, but your stuff, and King’s, recognizes that superpowers and fantasy adventure would be less like a Saturday morning cereal fest and more like a living nightmare.

Of course, magical girls are a Japanese riff on a specific type of all-American fantasy to begin with—the magical wife, whether she is a witch, or a genie, or what have you. Now, there are writers, like Fritz Leiber, who dialed in on the fearsome possibilities of how supernatural powers could distort a relationship, in his Conjure Wife. But you’ve opened the magical girl genre up to horror in many, many ways. It’s a real treat. Take body horror—adolescence is disturbing enough for a normal child, but what if the steel hard hide and augmented strength your contract gave you has the effect of not only protecting you from harm, but also making it possible to hurt people you love, or keep love and friendship, ironically, forever at bay, shielded by terrible powers?

The magical girls close up are terrifying. Are they children wearing costumes that give them powers? You get the impression that they are actually costumes that wear children—a demonic concept indeed! The competent arrogance of Pretty Dynamo becomes grotesque because it is inhuman. The brash neediness of Sukeban becomes a behavioral loop that traps a youngster in a state of arrested development. Rifle Maiden is compelled to become a cartoonish mass murderer, which may have begun as a fantasy of unconquerable strength. Not to mention the nightmarish depiction of Kaiju destruction your narration supplies—in some way, the magical girls are implicated in the mayhem, because they and not armies, are participants in the carnage. (Incidentally, the best descriptions of the trauma inflicted by falling buildings that I’ve read is in Pietro di Donato’s Christ in Concrete, which I recommend.)

The horror of nightmare is especially strong in your writing, with the reality of the fact that the magical girls are all witches who have sold their souls to demonic powers, and who face a reckoning of some sort, whether it is from the Kronos-like spaghetti monster en route to make the universe a tomb, or God, who is forgotten in the crush of trying to survive in a universe bent on humankind’s demise. The irony of this spiritual ignorance is deeply rewarding to the reader. In a world of cheap heroics, what will true heroism be? I’ve never read anything like this before.

My comments:

I am humbled and flattered. I also admit to being perplexed: This is the second reader who has informed me that Jake and the Dynamo and its sequel are horror novels. I was honestly unaware of that, and it makes me think I need to redirect my marketing plan. I have always thought of these books as action-comedy.

Part of my confusion may simply stem from the way I see the magical-girl genre. This reader flatters me by attributing to me things that I thought I was merely borrowing. The idea that the magical girls are “costumes that wear the children,” for example, is not unique to me. That magical-girl transformation entails a loss of self is already hinted in Sailor Moon, which first introduced the concept of the reluctant magical girl, and it is further developed in titles like Princess Tutu and Shugo Chara, the latter of which was Jake and the Dynamo’s immediate inspiration. When I depict the girls as uncertain about their true identities and as having distinct personalities when in their magical forms, I am (to my own mind) merely following the formula. I am also doing that for my own convenience: In my head, Dana acts differently when in and out of costume, so I wrote her that way.

The hint of demonic contract and Faustian bargain does, I admit, deviate from the norm, in which the bargain between a girl and her talking animal is benign. Phantom Thief Jeanne first proposed the idea that magical-girl contracts were dangerous and potentially diabolical, but it was of course Puella Magi Madoka Magica that finally developed it. To me, it seems obvious in part because the magical girl’s animal mascot resembles the familiar of the classic witch. That’s why I use the word familiar in Jake and the Dynamo.

My most original contribution to the genre may be the antagonist of the series, whose true nature has not yet been revealed. Though one may find him lurking behind the arch-nemeses of some anime titles such as Neon Genesis Evangelion or Gurren Lagan, the resemblance is coincidental: Those anime deal with some Stapledonian concepts that I already had churning in my mind for a long time, long before I became interested in anime. In fact, “Lord Shadow” is a version of a villain (if he can really be called a villain, or a he for that matter) that I invented for another work, and whom I will undoubtedly use again in a different guise.

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I Drink

This is an excerpt from one of my favorite “poems.” I put that in quotation marks because I discovered, after the fact, that these are actually song lyrics. They are probably under copyright, so I quote only in part:

I drink to drive away all the years I have hated,
The ambitions frustrated that no longer survive.
I drink day after day to the chaos behind me,
Yes, I drink to remind me that I still am alive.

So I give you a toast to the endless confusions,
To the lies and delusions that have swallowed my life.
Yes, I give you a toast to the wine and the roses,
To the deadly cirrhosis that can cut like a knife.

For the children unborn, for their dead, phantom faces,
For our sterile embraces in the tomb of your bed.
I drink, and I mourn for the harvest that failed,
For the ship that has sailed, for the hope that is dead.

Yes, I drink till I burst in my own degradation,
To the edge of damnation that is waiting below.
Yes, I drink with a thirst that destroys and depraves me
And cuffs and enslaves me, and will never let go.

To me, these lyrics are so stark, so raw, that they deserve to be read in a muted tone, surrounded by dead silence. I was shocked not only to learn that they come from a song, but also that the song sounds … well, in my opinion, too upbeat. The song is by Charles Aznavour, a Frenchman who had mastered several languages and produced a wide range of music. He also has a great voice and clearly writes pretty good poetry in English.

Here he is:

With all due respect, I just don’t find that crushing enough. The music and the voice are too beautiful for the ugly content. These lyrics, by themselves, are one of the poems I turn to from time to time for catharsis, but the song, I admit, I don’t care for. Of course, my knowledge of music is limited, so there may be something here I’m missing.