caper_est: caper_est, the billy goat (Default)
[personal profile] caper_est
The silence, it has been long, and I list not rehearse all the reasons at this time. Suffice to say that I've been having something of a simultaneous crisis in art, politics, and lifestyle, and quite possibly a few other things of which I may have lost track in the fog of war. As to the art, however, that is mostly straightforward, and this is where I am:



1) Three Katherines of Allingdale. My new chapters in the revised Fairfields Arc have not proven a success. I have to do something drastic about Fairfields, since this is the one part of the book which I just got through by flailing the first time around, and the existing draft does not really make sense as written. But this drastic thing was not the right drastic thing. I've been doing a lot of reading about the people and movements which answer most closely to Katy Elflocks & Co. in actual English history, and am nearly ready to try again. Meantime, I've kept (barely) in training, with other storytelling.


2) Least Britain/ The World Around The Corner/ Carbonek. Once in a great while, I will be minding my own business when a vision will grab me by the scruff of the neck and shove me knee-deep into a world which I did not at all solicit. St Lucy and Sauron have been the principal culprits to date (not the same vision). This latest episode booted me, and its hero, straight into a world of cosmic horror from the well-tamed estuarine marshes around Valley, Anglesey.

The best way to summarize it is as the arch-liberal counterpoint to Lovecraft's arch-conservative horror of the intolerably alien. The populous, liberal, open society really is as much better than the old ways as it seems. Unfortunately, open minds are open doors to other worlds and timeless Things which must be forever shut out, lest the real old ways devour worlds and souls. Bolshy investigative journoblogger Bill discovers this the hard way, when he absent-mindedly turns down a country lane that isn't there, and has to be rescued from fearful evil by a tweedy middle-aged County Tory, her magic shotgun, and her cast-iron frying pan.

Yet Sabrina and her fellow-guardians are as out of place in the elvishly reactionary Oldshires as Bill is in the City of London. When tragedy strikes past their guard to the heart of Least Britain, it is Bill and Sabrina who must set forth to redeem it, down a trail that leads past the very death of the Sun to the adamantine fastness whence no roads return. Have they come to harrow Hell - or to seek out humankind's last hope of an earthly paradise? And have they brought their own doom with them?


3) The Tale of Trinity/ The Incarnadine Fairy Book/ The Half-Shell Revolution. This one just grew up from existing material and a couple of throwaway lines. Set in the slightly pathological world of Breaking Night Mountain, this was originally just a multigenerational riff on three classic fairy-tales: Cinderella/ Heart of Ash/ La Grande Charmante and the Little Scrubber; Snow White and the Seven Dwarves/ Heart of Fire/ White Snow and Red Fire; and Heart of Ice/ still Heart of Ice/ Sabella Soulless.

But the more questions I asked, the more I had, until I started writing the history of the 'Fairy Godmother' character - the multiple sorceress Trinity - in sheer desperation for answers. There I got them, and discovered that this was no less than the tale of a decisive revolt against the imbecile tyranny of random fairies, gods, and enchanters to which all the local cultures are so excessively adapted. And the characters of Trinity, and most especially the revelation of the final enemy, make it clearly an epic tragicomedy rather than a light series of satirical episodes.

Trinity's second person, called Sara de Lara and Sazzle Dazzle and (most magically and truthfully) Silly Sally Willow Switch, has set up camp in my susceptible bonce, and is extracting regular tributes of words on pain of distraction. It is becoming apparent that a substantial minority of our fairy-tales have direct equivalents in her world, solely because either:

(i) At least one of Trinity finds somebody attractive, e.g. The Princess and the Pea; or

(ii) None of Trinity find death attractive, e.g. The Three Billy-Goats Gruff.

Some unspecified number of these tales will surface in the future. Trinity has or have turned up some interesting perspectives on ethics, to which I shall probably recur later.


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