Happy Beltane! I hope this finds you all still safe and well 🙂
Well camp NaNo is over and instead of finishing this ‘short story’ … a-hem… I seem to have turned it into a novel, working in all manner of complex shit from my time on the streets as a teenager to my issues and hangups about love, religion and gods know what else! I should probably be shot or lynched or something but hey ho here I am still prattling on! 😉 So I’m well over 30k now ‘filling in the gaps’ I’ve split the book into three parts : A time for heroes / Stone the crows / The end of the world (no prizes for guessing what music I’m listening to right now.. a-hem…) and each has about three short chapters but they’ll be interspersed with those lil monologue reflections from Spyro and some from his nemesis the mysterious Man In The Moon.
So, all that’s gone so far has been chapter one and two now we move on to chapter 3… if you are still managing to cling on to this crazily careering ship full of monsters then thankyou from the bottom of my heart!
“I’m having a problem with cats.” Colonel Gerrhard Hogarth didn’t look up from perusing the antiques on display. He picked up a closed umbrella and tried it in a thrusting motion back and forth a few times, finally giving it a rather swashbuckling flourish before frowning in dissatisfaction and returning it to its stand.
“Cats?” Ros asked perplexedly.
“Mm, cats,” Hogarth said, turning and fixing her with a rather hard stare. “Got anythin’ for ’em?”
“Um…” Ros spread her hands “…cats aren’t really our domain, Colonel?” she ventured, wondering what on earth was really going on behind this sham of senility. The colonel often played the fool, usually in order that he might delight himself and his ordinance with some fine joke he was building up to, but very occasionally he had a different motive, and then, Ros reflected, he could be a teensy bit dangerous. She hoped this time it was joke.
The colonel did another slow, tortuous circuit of the shop and then came to rest at the counter, his fists balled against the glass, arms locked straight, cold blue eyes fixed on Ros’s dark pools of innocence. ‘Oh dear’ she thought, and gave him her very sweetest smile.
“Funny thing,” the colonel said, “cats not being your domain. I was rather under the impression they constituted a large portion of your business..” Ros opened her mouth but shut it again quickly as the colonel ploughed on “…vermin, is what I call them. Oh, I know you ladies have a great love of the blighters, my wife is just the same, but the trouble is they get everywhere.” He raised his eyebrows as if Ros should now be completely aware of what he was talking about.
Ros’s sharp mind raced with possibilities but she came up blank – as far as she was aware, neither she, nor Sypro, had any connection to cats in any way shape or form and she was absolutely certain that neither of them had any active operations which might have rattled the colonel’s cage.
The colonel stared at her for a long time and Ros just stared helplessly back.
“Hmph. Don’t know what I’m talking about eh? That’s interesting. Fine, here’s the rub – a couple of your precious little kittens have been on my roof, and they didn’t stop there, understand? They made off with some of my wife’s favourite jewellery – for which you can give them my thanks and this to buy themselves a drink.” He handed the stunned looking Ros a couple of coins. “If they’d stopped there I’d have campaigned to have them knighted, old girl’s in an absolute fit over the thing and for my part it’s highly entertaining. But they didn’t stop there. Cats never do. Greedy is what cats are. And disloyal, m’dear, never forget it.”
“What exactly did they take?” Ros asked, aware the colonel had drawn a fine line between the humour and the gravity of the situation and uncertain on which side she was about to fall.
The colonel leant in and whispered in her ear “Four vials of demonsong.”
Ros’s eyes grew wide and then narrowed to dangerous slits. She drew herself up, smoothed the front of her black silk shirt, adjusted her hair slightly and smiled in a reassuringly professional manner. “Leave it with me colonel.” she said crisply “I will see that your goods are safely returned to you and the… cats in question never bother you again.”
The colonel stood frowning at her for an uncomfortably long moment before nodding and stepping back from the counter. “Appreciated.” he said “But, you must appreciate in turn that a line has been crossed. It is the role of the mother to teach her kits where the lines are and as I know that you are not a neglectful teacher, my dear, so I cannot help but wonder …” he raised his eyebrows again and this time Ros caught his meaning precisely as he turned and headed for the door. “Tell all your little kittens” he said gruffly “I’m buying a mastiff.”
So that is the colonel and we’ll meet his wife Agathri soon as well. Blessings on your new season, I hope it is filled with all the love and hope it possibly can be and that you feel able, despite the madness, to remain always utterly yourself! 🙂
Happy Mythpunk Monday! That’s a lot of promises in one title isn’t it? (wicked giggles) let’s see if I can deliver then…
In the introduction to Silk and Steel (My CampNaNoWriMo project this year) we meet the main protagonist Spyro Mendicci and one of the running themes through the entire story is ‘Who the hell is this guy?’
He doesn’t seem to fit in with all the others, who have a very obvious reason why their souls could not ascend to heaven or descend to hell at the end of the world.
So who is Spyro Mendicci? Well, only read on if you don’t mind the spoilers!
Spyro Mendicci is the sidekick friend of the Polish sorcerer Pan Twardowski whom Pan turned into a spider when he met him in a tavern.
Spyro was running for his life from someone and Pan promised to save him if in return he became his faithful servant.
He told the spider that he wanted him to change the deal he had made with the devil Zcerneboch to say that Zcerneboch could only take his soul when he was in Rzym (a far off city).
Pan then turned Mendicci into a spider which hid him from his enemies and let him sneak about and change the contract.
Pan had made a deal with the Zcerneboch many years ago and this had enabled him to do many wonderful things, including raising spirits from the dead. Because of how the spider had changed the contract, Pan was able to make fool of Zcerneboch many times as well!
But in the end the cunning devil arranged to meet him in a tavern, concealing from Pan the fact the this particular tavern was called Rzym.
Zcerneboch thought he now had him cornered but Pan managed to escape by praying as hard as he could to the great godesses of life and death – Kyselica and Vesna – who loved him dearly.
They answered his prayers by summoning a giant rooster (See, I promised you a giant cock, don’t you just love the randomness of old folk lore!?!) to fly him away to the moon with his spider friend.
So Pan Twardowski is the original ‘Man In The Moon’ and sometimes lets his spider friend down on a silver thread to earth where he turns back into human form to plot and scheme and spy.
But when the world ended Spyro wanted to come down to earth and be human again and see what opportunity he could make of it, so he cut the silver thread back up to the moon and this angered Pan who vowed he would one day come down and get his revenge.
The word Pan means Sir and this is why Spyro always refers to his old master as My Good Pan / My Good Sir.
This is the blend of myth and mischief that sits at the core of our little tale Silk and Steel. Next Monday I will look at the actual myth of Pan Twardowski and its variant forms as this is just my punk’d version of it.
Happy #MythpunkMonday! Here’s our first seasonal Mythpunk writing prompt for December, all the way from Iceland, Jólakötturinn – The Yule Cat.
“The Yule Cat is a huge and vicious cat who lurks about the snowy countryside during Christmas time (Yule) and eats people who have not received any new clothes to wear before Christmas Eve.” – wikipedia
There you go, run with it – poem, flash, short story, novel, if it inspires you to write some marvellous mythpunk do come back and tell me about it in the comments! And of course you can still share your own and others Mythpunk creations either using the hashtag or in the comments here!
Blessings on your first week of Advent!
Good Morning Ladies and Gentlemen, welcome to Max and Collin’s rambunctiously raucous and chi-chi to the core parlour located high above it all on board our beautiful rainbow-sailed ship, The Harlequin Ladybird. Our tentacles are all of a quiver this morning and our china cups are chattering because we are honoured to have our good friend Mr David Lee Summers joining us for elevenses this morning, authour of the Clockwork Legion series which we very much adore.
Do please have a seat, David, (Max, get off the chaise and let him sit down … hm? … no he can’t sit on a cat, cats are not cushions Max how many times must I remind you?)
I do apologise, David. Would you like tea? Earl Grey? Lapsang? Assam? Darjeeling? (We are all out of oolong Max so don’t even think about making that joke again.)
I do believe a nice robust Assam would be just what I need to get this day off to a splendid start. Thank you.
There you go.
Now then, we are deeply concerned about our puppet mistress, Penny; there are rumours that she has a secret laboratory where she takes stories (and I’m talking about ancient, respected myths, legends and Moral Tales here, David, the backbone of what you humans call ‘Sophisticated Society’ I believe?) and does unspeakable things to them so that when they emerge they are… forgive me an affected shudder… changed! Warped! Twisted – almost out of recognition…but not quite, which I think is even more disturbing. Certainly I, as an octopus, am disturbed. We are certain that it is some sort of illness and we wondered if you might have heard of it?
I have indeed heard of this condition though fear not, I don’t believe your mistress is more ill than most writers. Though she might suffer from an excess of making connections in stories the original writers did not see or intend, or connecting them to new and different time periods. The condition is not especially dangerous as long as your mistress is allowed to explore her thoughts in writing.
But tell me that this is not normal human behaviour, I mean, do you know anyone else who behaves so disrespectfully towards the written word?
I know a few such authors who have looked at legends and fairy tales through new lenses and seen new meanings. Such people as Jody Lynn Nye, Jeff Young, and Danielle Ackley-McPhail have all explored these ideas. A grand example is the anthology Gaslight and Grimm which Danielle edited.
Of course, Catherynne M. Valente coined the term “Mythpunk” to explain such behaviour and has engaged in it a few times herself. Neil Gaiman and Theodora Goss are a couple of other authors who have done this.
Hm, I’m becoming a little suspicious here, David, please tell me you are not one of these fiendish writers yourself who thinks that ancient, sacred tales are merely cadavers that you can dissect and use to create new life?
Oh dear, it seems you have found me out. Though I will say that I do not see these ancient and grand tales as cadavers at all. Rather it’s because they live and breathe that they are so adaptable to new kinds of characters and different situations.
Oh. I see. Um, oh how remiss of me I haven’t offered you any cake! (Max, I’ll keep him talking while you run and find some sedative to slip into his tea, it seems these writers are all as mad as each other)
No need for the sedative. Yes, I heard you, Collin, but I will take a little cake, thank you very much.
Hm, but what is the point of it? What do you all hope to achieve? I mean, aren’t the old stories perfectly fine just the way they are? And even if they aren’t, can’t you just write something entirely new?
Of course, the original stories are timeless and beautiful. However, they are, sometimes, rooted very firmly in the times and places they were written. Not everyone can read one of these stories and see themselves reflected in the story, so it doesn’t seem relevant to them. Rewriting them with new characters can help a more diverse audience find the stories. Sometimes those stories are rooted in prejudices of the time they were written or collected. Rewriting them from a different point of view allows one to see the story through a new lens and perhaps bring out different or new meanings on top of the lessons one might see on the surface.
Ah, I think I’m starting to understand… (No not now, Max, just hold off with that laudanum-laced-sugar bowl for a moment..) So it can actually be a good thing to re-tell or re-imagine stories from the past?
Indeed, I have taken classic stories and turned them around so the “villain” becomes a hero, which allows you to see the story in a new light such as I did in “The Griffin’s Tail,” which appears in Jennifer Brozek’s anthology, Human Tales. In “The Vrykolakas and the Cobbler’s Wife,” which appeared in Cemetery Dance magazine, I substituted a vampire husband for elves in the story of the “Elves and the Shoemaker,” which made it a story about relationships. When I wrote “The Slayers,” I wanted to get past the madness of Ahab, which dominates the novel Moby-Dick, and look at what the story says about hunting beautiful, intelligent creatures we don’t always understand. By setting this story on an airship and using dragons instead of whales, it freed me from the expectations one might have when reading Melville’s novel. So, yes, I think retelling stories allows an author to examine aspects of a story that might be overlooked by a casual reader.
Hm, I think you’re starting to win me over, but I do have one last concern – I mean, we Octopuses have a great store of oral tales but very few of us are up here on the land to share them with you humans – this Mythpunk makes me almost afraid to share them in case they end up being ‘re-imagined’ by some mad-mythpunker and what then eh? How would people know the original version from the new? Or what if – Devon forbid – I should perish in some act of great daring heroism (stop giggling Max it is very rude) and the stories die with me… I suppose what I am asking is, do you think writers have some sense of responsibility to the cultures whose tales they chose to play with, or is it one big free-for-all?
I agree, authors do have a responsibility to respect the original tales and the cultures from which they come. I own a collection of the original Grimm Fairy Tales in German, complete with notes about the stories by the Grimm Brothers. All of my Grimm Fairy Tale retellings have involved me translating the stories myself and reading those notes to understand where they came from. I don’t think one always needs to go that extent, but I do think one needs to understand the stories and the cultures where they came from.
It’s common advice that a writer should “write what they know.” If a story goes beyond the life experience of an author, the author has a responsibility to conduct research to become familiar with the culture and time period they’re writing about. This is true whether you’re writing mythpunk, steampunk, fantasy, or science fiction.
I see. Well, I think I have been quite hasty in my initial judgement of this mythpunk phenomenon, I would very much like to find out more. Can you point us at some worthy works of marvellous mythpunk (including your own of course)?
My works of mythpunk have appeared in two anthologies, which present works by many authors whose work is worth seeking out. These include:
Gaslight and Grimm edited by Danielle Ackley-McPhail and Diana Bastine https://www.amazon.com/Gaslight-Grimm-Steampunk-Faerie-Tales/dp/1942990316/
and Human Tales edited by Jennifer Brozek is available at: https://www.amazon.com/gp/product/B00563YEBW/
My story “The Vrykolakas and the Cobbler’s Wife” is in Cemetery Dance, issue 66, available at: https://www.amazon.com/gp/product/B00BBJVJVI/
My story “The Slayers” is available as a standalone short story at: https://www.amazon.com/gp/product/B00A9H1BSO/
I also highly recommend the novel Baba Ali and the Clockwork Djinn by Danielle Ackley-McPhail and Day Al-Mohammed. As we’re speaking, the book is in the last days of the Kickstarter campaign to fund a beautiful new edition. I’ll share the link as it will no doubt tell people when the new edition is available for purchase. https://www.kickstarter.com/projects/e-specbooks/discover-the-magic-of-baba-ali-and-the-clockwork-djinn/description
I have some new works coming out in the not too distant future including a story called “Horse Feathers” where witches under the tutelage of Russia’s Baba Yaga have an encounter with marvels from the Arabian Nights. Watch my blog at http://davidleesummers.wordpress.com for news of new stories and the anthologies they’re in!
Thank you, that should keep our tentacles occupied for a while! Ah, the kettle is boiling again, more tea?
Yes, please. This is a delightful Assam.
Did I hear someone say there was laudanum in the sugar? Hmmm… perhaps just one lump.
Oh dash it all Max, I told you to lay off with that sugar bowl; and now we have yet another authour out cold on the parlour floor. Oh well, just add him to the pile over there and we will drop them all at the next port, which I believe is The Night Market in Bohemia? I’m sure they can find their way home from there…
Thanks so much for journeying along with me so far, or if your new then very much welcome aboard!
A lot of my own stories centre around the strife and tension suffered by cultures who come seeking refuge, fleeing war and persecution, when the host country fails to welcome and respect them as human beings with established beliefs, values and ways of life.
These deserve to be valued wherever possible, just as those of the established culture are already, but so often they instead become embedded in a strange juxtaposition of both shame and ferocious pride.
When our beliefs, culture, language, skin colour, clothes and ways of being are treated as strange or unnatural by others (especially if they are outlawed, as in the case of the original Rromani refugees in Europe) those precious things which are innately ours can become a source of shame and we can feel the need (perhaps in fear of our lives or liberties) to hide them.
At the same time, in hiding them there is a sense of ritual preservation – a keeping close, a treasuring – and that can become obsessive and unnatural in itself as the evolution of ideas which would take place naturally over time with each generation is now not allowed to happen.
Sacred things die. They are not passed on. Partly out of fear – putting the young ones in danger. Partly our of pride – this knowledge will die with us, the last pure ones, it cannot be trusted to anyone else now, it will become diluted and destroyed or turned against us all.
I’m going to share with you an extract from ‘Mulengi Sinija’ which means Table For The Dead. This is a small shrine of sweet treats laid out for the ancestors to encourage them to remember the next generation, the little ones, and watch over them and visa versa to encourage the young children to enjoy communing with their ancestors.
Here though, the celebration is taking place in a strange new land where the characters are forced to hide who they truly are (firebirds living secretly amongst a population of spiders) and the irony is that the precious link between young and old, past and present, ancestors and living is being lost as the generations pass and so the title is more a lamenting ; a saying goodbye, rather than the celebration it was meant to be….
Mulengi Sinija Extract:
There is a weight, more than the fabric, of that long black skirt and the high necked lace shirt she heaves up over her fire form. Here are the white-beaked masques now with their golden glitter and their gaudy plumes, here are the capes of scarlet velveteen, the sun is sinking with a sigh to the guillotine.
One more cup before we have to go? We drink it slow. Drink deep the thousand stories calligraphed in dark amber there against the white. And when it is all gone, step out into the night.
If you liked the extract you can read the rest of it on my sister site here:
Thankyou for joining me for MythpunkMonday! I really hope you’ve enjoyed it and if you have, feel free to join in and share some Marvellous Mythpunk that you have written, created or enjoyed. You can share using the #MythpunkMonday hashtag or in the comments here below if you like and I will continue to make this a regular Monday thing 🙂
Happy Mythpunk Monday!
I’ve always been haunted by the story of The Little Match Girl. Clarissa Pinkola Estes compares it to The Red Shoes and I (in my own small humble opinion) agree with her – how easy it is to spend our days staring at false lights, false hopes, striking match after match to gain a few seconds of cold brightness and the illusion of warmth ; a futile ritual of protection against what lurks in the dark both inside and out… when really all we are doing is burning the hope we do have. The girls in stories like this all have things of worth, things they can use to take care of themselves, but they exchange them / discard them / burn them up / let well-meaning others take them away or brand them ‘useless’ or ‘dirty’ … and they end with nothing.
I’ve worked this theme into several of my Mythpunk stories and I’m going to share one of them with you today. It’s called Matchless but I didn’t want the ending to be as hopeless as the original tales always are ; they always end with the girl dying and the reader is left to take the wisdom away with them but at the end of my tale, because I wanted the reader to be drawn right in and become a part of the story from the outset, I also wanted wisdom to call to them at the end from within the story itself. So we have the old woman, the wildish nature, the instinctual self, the soul-grandmother, the quick little bright snake that says ‘eat my fruit, open your eyes, see the truth of the matter.’
Here’s a little snippet for you, if you like it, you can read the rest for free on Vocal.
Strike one. Strike and you will see us. Strike and know you are not alone and glimpse in an eye blink that we are all the same. True our limbs do not twist and gnarl the same way, true there are washes of muted colour in our sunken orbs and those do vary. True the tails, the talons, the scales, the teeth and claws, the hair all are not identical and we are ancient and new born and have seen the world birthed and have lived but not even a day. But strike again and see us, strike, strike two, you know we are just like you. You know that once upon a time each of us fell down and this, this gap between the lives of all the others, this skipped heartbeat, this caught breath, this missing note, this blind spot in the corner of the universal eye is where we all go.
Matchless also features in the Mythpunk collection, Mahrime: Mythpunk For Monsters
Thankyou for joining me for our third MythpunkMonday! I really hope you’ve enjoyed it and if you have, feel free to join in and share some Marvellous Mythpunk that you have written, created or enjoyed. You can share using the #MythpunkMonday hashtag or in the comments here below if you like and I will continue to make this a regular Monday thing 🙂
Today I’d like to share with you a little extract from one of my own own Mythpunk stories ; this is from The Star Talers – a short poem spun from elements of the original Grimm fairytale.
It was inspired by the historic treatment of Rromani slave dancers during the 13th to 18th centuries and the parallels between this and the modern cycle of poverty and exploitation that I have witnessed in the red light districts of British cities today. As such, it touches on issues of slavery, abuse and recovery, sexuality, identity and self-discovery and ends with the hopeful thought that, ultimately, we can survive and journey on from our past…
THE STAR TALERS
The boy had been hollow rose
Carved out from the hip bones of his mother
Beautiful as a choked out sob against silk pillows
Beautiful as a neck bent back swanlike to display the pulse
Beautiful as an eggshell is to crush and feel the yellow juice spill down
Once. Once he had been that hole
A space to fill with so much Other Blood
Now he stands on the banks of a bright river, Old,
Full, frayed, and spilling out onto the bank
No one comes near
The fear of all the screaming demons, stench and blade sharp thorns that close around him
Holds the world away
But still he will stay
He heard a story once; a whisper, rumour, gossip or snatch of song that clung like a butterfly to his sleeve – there is a land across the river, where you can see the stars fall to earth and in their fierce, full, burning beauty there is peace…
Thankyou for joining me for my second MythpunkMonday! I really hope you’ve enjoyed it and if you have, feel free to join in and share some Marvellous Mythpunk that you have written, created or enjoyed. You can share using the #MythpunkMonday hashtag or in the comments here below if you like and I will try and make this a regular Monday thing 🙂
If you enjoyed The Star Talers excerpt, you can read the rest of it here on Vocal:
Good morning Ladies and Gentlemen, thankyou for joining us for elevenses this morning! Today you find us burning the candle at both ends. We have just returned from laying bets on a splendid spot of hex-slinging over at The Angel where we ran into a very dear friend of ours, Jack and Marjory, who used to work in the treacle mines over at Chobham (before we liberated them and the other orphans who had been enslaved there that is)
We should probably explain to any non-UK residents that, here in Britain, we mine our treacle out of the ground. This has been the case for centuries and William Cobbet, recently visiting Crumbria in 1816, wrote:
“This place I found to be a fair and healthy place, the women and children well fed and happy. Most menfolk were at work upon the Land but that evening in the excellent Crown and Thorns Inn I was surpassingly surprised to see many men brown of hue. On enquiry I determined that these were miners of Treacle and what a jolly crew they turned out to be. That night I repaired to my bed thanking our maker that there was at least one happy parish in the land.”
You see, when rain water falls over Birch forests any residual sap on the sides of the tree trunks becomes dissolved in the rain water and is carried down under the ground. The rainwater seeps into the bedrock where it pools and eventually evaporates, leaving behind the black sticky birch sap , or treacle. Over thousands of years the treacle hardens into veins which can be mined out of the rock in the same way as coal. Occasionally, the pressure of large deposits causes the rock to crack and the treacle to ooze, or sometimes rocket, to the surface, in fact this is how the treacle hot spot in Chobham was discovered – much to the embarrassment of the courting couple who were caught in the explosion.
Treacle mining has, in the past, controversially employed boggarts to retrieve the ‘black gold’ (as we call it over here) but the government now ‘employs’ street children to do the dirty work as the boggarts, along with all other magical beings, disappeared after the goddess was defeated.
Of course Max and I are communicating with you via the wonders of aether-technology from the year 1842 but Penny tells us that in fact the last known treacle mine in Britain closed in 2012, which begs the question…if you are still eating treacle, where is all your treacle coming from? Hm? Because if you are depending on the one and only European Treacle Mine in Bergues, you may find your post-Brexit desserts have come to a sticky end.
The Bergues Treacle Mine was founded when Frittenden pit boss Harrold Gray was forced to close his mine after a plague-like infestation of Fritts (small insects which live below ground and destroy the wheat crops of neighbouring farms). Gray decided to take a trip down to the cliffs at Dover and reflect on which direction his life now ought to take. Gazing out to see he happened to glance down and saw a gentleman of similar age standing perilously close to the cliff edge. Harry called out to warn the fellow but in doing so alarmed him and the young man slipped, falling into the waves below. Without thinking, Harry leapt after him and, clinging to eachother for dear life, the two were quickly swept out to sea. Fortunately they were picked up by a schooner running buns out of Calais but as the smugglers were on their return trip they could only agree to drop the two men in France. Stranded with no means of getting home, Harry and his new chum Herbert made their way by happenchance to Bergues where they discovered that the local forester, Majolica Luneville, had recently struck a treacle gyser and had no idea how to exploit the vein. Harry stepped in with his expertise and together the three treacleteers opened the first and only ever French Treacle Mine. Since all the British mines are now closed, we can only assume that all the world’s treacle now comes from there.
Still it is possible that the British monarchy have already forseen this problem and made the first move – The Prince Of Wales has apparently recently laid claim to the treacle mining rights in the Duchy of Cornwall, much to the anger of Talskiddy Treacle Mining Corporation.
Luke Bazeley, the mine boss at Talskiddy said “Although it’s said that nothing will come of this, I think that as the current climate is cold as far as Talskiddy treacle’s market value is concerned, this worried some local employees.”
Talskiddy residents first heard about the claims in a letter sent to them by the Land Registry. It said the registration did not mean it had any intentions of mining the land but residents and workers are naturally concerned.
Mayor of St Columb David Swindells said: “The Duke of Cornwall is trying to claim the land and minerals of the people of Talskiddy, but this is a Mad Hatter idea. This isn’t Alice In Wonderland and if he continues, he might find himself in a sticky situation.”
A Cornwall Council spokesman said they would try “ to keep the local community sweet”
So there you have it, will there still be treacle after Britain leaves the EU? Will the crown seize the day and cash-in by re-opening the mines of old Blighty? Or will treacle deposits be discovered elsewhere and instigate world war five? Who knows. In the meantime here are some interesting articles exploring the plight, decline and politics of the treacle industry in Britain , you know, in case you thought we were making it all up… oh ye of little faith…
Treacle Mines Of Britain: http://www.treacleminer.com
Treacle Tax: Dunchideok Mine Treacle Tax
Trevithick re-opnes – https://trevithick-society.org.uk/cornish-treacle-mine-re-open/
Miners convention: http://www.treacleminer.com/
Kent closures: http://www.treacleminer.com/
Saben mine closure: https://www.duedil.com/company/gb/02159301/sabden-treacle-mines-limited
Mrs Baker will be talking Steampunk India with Suna Dasi in her soup kitchen tomorrow and Peril flings wide the doors of his Lovely Library on Friday to bring you his latest piece of anthropological research – ‘Tales From Steampunk’d Lancaster Part 1: Tales Of The Hex Slingers’ . And of course Max and I will be back on Monday with some more excellent fiction and tea so, until then please remain always,
Good morning ladies and gentlemen, thankyou for joining us once again on the swelteringly sultry streets of Steampunk’d Lancaster as we attempt to sell bottles of illegal home brewed lemonade in a desperate bid to pay our rent.
At least that is our ruse for loitering on this street corner this morning, but shhh, step closer, we have something to show you…
If you’ve been with us for some time you’ll probably be aware that our mistress, Penny, as well as leading a secret double life as an incorrigible octopus and his unnerving gentleman friend (that’s us by the way and we’re not sure we care for the description!) also writes short stories, poems and prose with a far less frivolous flavour in the Mythpunk genre.
If you weren’t aware, you can read some of them here for free: PENNY BLAKE ON VOCAL POETS
Mahrime – Mythpunk For Monsters is a collection of mischievously mutilated and punk’d-up folk tales heavily influenced by Penny’s Rromani cultural heritage. Each poem, story or prose piece explores the themes of identity, power and love by putting the monsters, the outsiders, the outcasts, the ‘unblessed’ right at the heart of the narrative.
It’s available now to pre-order on Kindle, free with Kindle Unlimited or 0.99 without and also in paperback if that’s what you prefer (the paperback is full colour with black pages, white text and beautiful white mandala art work by ArtsyBee and comes with a free Kindle copy)
“And what is Mythpunk?” we hear some of you ask…
Mythpunk can be as simple as taking a traditional tale and re-working it to produce something fresh, inspiring and new , or it can be a far more complex synthesising of cultural and mythological evolution; a deep exploration into the cultural psyche or an unflinching dissection of archaic archetypes. A lot of Steampunk involves some Mythpunking along the way and a lot of Mythpunk has a decidedly Steampunk flavour.
So, now that we know exactly what we’re letting ourselves in for , lets take a little sneak peek at just some of the things inside the cover…
Mahrime means ritually unclean / unblessed in Rromani language, it is akin to the word Unseelie in Celtic lore but it is applied to people. The title story in this collection draws heavily on the experiences and mythology of Rromani People and explores the historical out-casting of certain groups and types of people who are branded as ‘monsters’ because their existence is at odds with a dominant cultural or religious ideal. It also goes deeper to hint at the aspects of self which we choose to lock away because we believe them to be unlovable or unacceptable.
The Road Back Lost
This Mythpunk’d version of The Company Of Wolves is a response to the ideal that we all have both an internal and external collective of wise guiding voices who can teach us our culture, our heritage, our purpose and our place in the world; these voices, intuitions, bodies of lore, family, elders, clan-folk etc are supposed to teach and guide us safely through the wild woods of life and all the dangers therein but what if we don’t have them? What if our family or culture or bodies of lore or even our parents and home have been lost to us? This is the situation for many people today as war and poverty tares children away from their families and cultural white-washing tares culture away from people and places it in the hands of the fashion industry. So what can we do? Try to go back? Try to move forward? Or stay and become the wolf?
Damao means ‘to overcome’ ; the final piece of prose in this collection echoes the hopeful thought that is embedded throughout the book – with solidarity and support for eachother we can overcome the problems inherent with being labelled ‘outcast’ or ‘monster’, we are not alone and we will endure.
So there you have it, Mythpunk for Monsters, we hope you enjoy it, and now I think we will just sit back on this soap box here and sample some of our own lemonade, this day is far too hot to be doing any work and my tentacles are wilting despite the negligee we borrowed from Nimue Brown and her Hopeless Sinners yesterday I think what I really need is a parasol…
Thankyou for joining us on the street corner today, hm? What’s that Max? You think YOU ought to write a book? Honestly, I really don’t think ANYONE is going to be interested in anything you have to say… well alright then I will ‘wait and see!’ … and who exactly do think will publish such an atrocity? Hm? …. oh you’ll ‘find a group of marvelous monsters as mad about tea and tentacles as you are’ will you? Well good luck with that my friend! I shan’t be holding my breath…
While we wait to see what, if anything, comes of Max’s new ambition, let me thank you once again for joining us today and for supporting our endeavors as always and whatever kind of monster you happen to be please, do remain always,