Category Archives: Artist of the day

Artist of the ‘Week’: Dark Writing 8: David J. Rodger Part two

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Before we get to the story David was so kind as to provide me with for this post I have just a few things to say.

First and foremost I have to apologise to all my readers. The past couple weeks have been hard and made it impossible to do any of my normal activities. I was unable to paint, sketch, writer, or blog. Which is a sham when you think about the fact that I had started a dark short story just to try my hand at it and share it with all of you. It seems when the shit hits the fan it hits all at once, but so goes the life of a mother, wife, and sister. I do not complain when I need to take care of my family physically or mentally but it leaves little time for my self. So Please forgive my absence for I am back and have a great read for you all.

Second I have to say thank you David! David gave me two of his short stories to choose from to post, both fantastic stories. They where both so good I had a hard time picking which one two post, and I wish I could share both with you. I suggest to every reader if you are into si-fi and the dark subscribe to his blog or facebook page or twitter, I leave you a link to both.

http://davidjrodger.wordpress.com/

https://www.facebook.com/#!/pages/David-J-Rodger/10090348898

https://twitter.com/#!/davidjrodger

Now to the story

SIM

By David J. Rodger

Copyright © David J Rodger 2011
David J Rodger has asserted his right under the
Copyright Designs and Patents Act 1988
to be identified as the author of this work.

Sim-Stim
- Simulated Stimulation
 Pre-recorded experience that a user plays back via
SQUID headwear or a direct neural interface.
 Also called sim, socket junk, stim, brain candy; also
{illegal} blackjack, death-rim.
 Users typically experience all five senses, enhanced via
post-production techniques; but can choose to de-select any
of the sensory inputs. It is advised to always be sitting or
lying down during sim-stim immersion.
 Addiction to Total Sensory Immersion is becoming a
growing problem amongst the user-base (Jennings, Wilson,
Cheung; Pharmacology for the Fantasy Gene)
 Sim-Stim is predominantly entertainment based (73%
sex-industry DAglow Market Trends) but there is increasing
applications for training and PR.
 Sim-Stim actors are now the highest paid artists in the
entertainment industry.
 Patent holder: RoGong Corporation; largest market
share distributer of recording/ playback tech: Nascent Virm
[update via BullHype ~ Zendori Corp has recently launched
state-of-the-art SIM-WEAVE bioware, expected to grab
largest market within next 6 months]

Ulrich Drake surfaced back to consciousness with sunlight
spattering his eyelids. Blinking in the mid-morning light he
saw the silhouettes of leaves fluttering back and forth
across the cream-coloured walls of the private room; foliage
of the trees beyond the windows of the clinic caught in a
spring breeze. Lying motionless in the firm but comfortable
bed, it took a few moments to cognise where he was and
what had happened.
“Hello Mr Drake,” a professionally brusque male voice
came from his left.
Turning his head Drake saw a young, serious faced
man, standing by the bed wearing the neatly pressed white
smock of a medic. Drake touched the inside of his cheek
with his tongue, opened his mouth and stretched the
muscles of his face. He’d been unconscious. Anaesthetic.
The medic allowed a brief smile to part his lips, then
nodded once, “You’ll be feeling confused and disorientated
for a few minutes. It will pass, along with any nausea you
might be experiencing.”
His throat hurt and he became aware of an ache
swelling up from the base of his skull, hot, sickly, pushing
out sweat across his forehead.
“We’ll continue pain management for a couple of days
whilst the implant beds in and your brain adjusts to the
new nerves. There’s been some swelling of your
corticobulbar tract so you’ll experience some discomfort and
unusual sensations around your face, head and neck.
Apart from that it’s been a complete success. Mr Warner
wants to see you if you’re ready.”
Warner. Jack Warner. CEO of Zendori Corp. Drake
frowned with the effort of his mind reaching after smoky
memories; he knew Jack but couldn’t quite visualise the
relationship. They were business partners, but there was
something else lost beyond a mental fog that seemed to
form as he tried to recall.
Strange, he mused.
“Well Ulrich, yet again you bounce back with the stamina of
a man thirty years younger,” Jack Warner enthused;
gesticulating with his hands in an easy manner, standing
over the small wrought iron table where Drake was eating
breakfast outside in the garden of the clinic.
Drake smirked; knowing that Warner, with his weedy
figure, narrow shoulders and pot-belly paunch, was secretly
jealous of his athletic build. In his mid-40s, Warner was
only five years younger than Drake yet the man had
obviously done little to look after himself.
“You should get yourself out from behind that desk of
yours and come join me for a spot of Tenko training,” Drake
responded airily; not actually serious. He sipped a tall glass
of freshly squeezed orange juice and allowed his gaze to
soak up the view of wild meadows in the foothills of vast
mountains.
Warner made a tight hum-noise through his nasal
passage then clasped his hands together.
“Somebody has to run the business side of things,
Ulrich. Not all of us can afford to get our hands…dirty.”
There was a strange note to the statement. Drake
glanced up at the CEO and found him gazing back at him
with unusual intensity, brown eyes glittering in the early
morning sunlight.
The moment stretched and became significant; Warner
was searching his face for some kind of response but it
became apparent he wasn’t getting it. Whether this was a
good thing or not, he had no comprehension. Drake felt the
hairs on the back of his neck prickle up.
Then abruptly, with a flicker of intrigue crossing his
face, Warner untangled his hands and moved the
conversation on.
The new implant was a beta-version of an upgrade to
Zendori Corp’s Sim-Weave. Like the launch-version, it
facilitated record and play-back of sim-stims; incorporated a
dispersed WAM (Wet Access Memory) for secure internal
data-storage and was connected to a broadcast chip,
allowing data to be squirted via any phone-tag to an
external storage host.
The upgrade brought a raft of new features but the
unique-selling-point was Life-Ride. Multiple users of the
sim-weave implant could, if they had the upgrade, dial-into
the experience a single other user. The concept was to
experience a live stim-stim feed rather than a pre-recorded
production.
Warner visibly fizzed with anticipation as he predicted
sky-rocketing profits and a blitzkrieg on Nascent Virm’s
market share.
The applications beyond entertainment (adrenaline
sports were a key target) and the sex-industry were
enormous; particularly in the field of intelligence gathering;
checking on the whereabouts of bonded criminals (wealthy
criminals, as they would be the only class likely to afford a
sim-weave implant), and high-spec/high-risk training such
as engineering and technical careers in orbit and deep
space.
Drake finished the orange juice and stretched his long,
thick-set limbs. He was restless. Warner picked up on it
like a coach:
“Time to bail you out of here, Ulrich. Marcus will run
you through the new features of the implant. And I’ve
arranged a little ‘something special’ for you tonight. A town
not far from here. You can drop in as you drive back to the
airport.”
Drake tilted his head and looked at him with a raised
eyebrow, a slow smile curving his lips. Something special
was code for their mutual passion for high-class prostitutes;
that much about their friendship he could recall, although
he was fuzzily aware there were still areas about their
business relationship lost beyond the mental fog: a lingering
side-effect of the surgery, no doubt.
Warner matched his smile then shifted his gaze to the
distant mountains. “She’s a real ball-breaker. There’s a
place by the airport for you to clean up when you’re
finished; I’ve written the details down for you. You’re going
to want to sleep like a baby on the flight after this.”
The address was a private house on the edge of a sparse
forest; the headlights of a nearby main road stuttered
through the intervening trees. It was a small but very
comfortable-looking structure, well-maintained, a lot of
wood and glass. The sun had only set half an hour ago but
the temperature had already dropped enough to make him
shiver; there was also the nerve-tingling anticipation of
illicit gratification ahead.
Drake had left the rental car parked further down the
narrow track and walked to the front door, as instructed.
He suspected there would be cameras watching his arrival
and progress; a woman didn’t work in this line of business
without some form of security – even if clients were only
invited through personal recommendations. There wouldn’t
be a thug in the basement sitting ready with a baseball bat
and a Rottweiler; this set-up was in an entirely upper class.
The woman met him at the front door; introduced
herself as Lorna, wrapped in an outfit of shimmering pink
silk. Slim, quite beautiful, only a touch of make-up, the
underlying hardness to her features softened by balms that
left her skin healthy and radiant; she had the figure and
movements of a ballet dancer and the easy smile of a
hostess.
Once inside, she served him a stiff alcoholic drink whilst
small talk established how much time he had to spend and
a confirmation of his particular taste in pleasure; polite
euphemisms around submission or domination.
Domination was his preferred theme.
He’d noticed that all the mirrors seemed to have been
removed, so asked about it.
“Your assistant made the request when booking me
tonight,” she responded, un-phased; probably used to
facilitating unusual requests. “Some people don’t like to be
confronted by a view of what they’re doing.”
Her comment made him pause.
“Make yourself comfortable,” she told him with a
coquettish turn of her head; “I’ll go and prepare everything
upstairs. Feel free to come and join me in about five
minutes.”
Drake smirked over the rim of his glass and felt the
blood surging around his groin. The drink stung the soft
flesh of his mouth, stimulated smoky buds of his tongue
and seared the back of his throat with twenty-year old fire.
His brain responded with a release of tension.
He watched her climbing the slatted-wooden staircase;
focussed on the tight curves of her arse pressing against the
silk. His pulse quickened, his breathing became shallow.
Then he heard a sound; like a – snick, which could have
come from across the other side of the room or right beside
him. But before he could twist round to check, a sensation
like an insect sting bit into his skull behind his left ear.
Then everything went black.
Drake found himself on the sofa, firm fabric upholstery
pressed up against his skin. There were no lights on.
Broad shafts of moonlight sloped into the room through the
many windows. Trees crowded the space outside.
What the hell happened?
He struggled to recall; grunted as he heaved himself up
with heavy limbs into a sitting position. His head felt
swollen, his thoughts sluggish.
Fragments of memory began swirl into the focus of his
mind. The sharp sting…
Reaching a hand up to the affected area of his skull he
couldn’t feel anything like a puncture mark or insect bite. A
little further up was the tiny scab forming around the scar
tissue of the recent implant.
His fingers did feel strange though; slightly sticky as if
coated in something.
Bringing his hand in front of his face a jolt of shock
ripped through him. His hand was almost entirely black,
smeared in a drying substance that was velvet smooth to
his touch.
His other hand was just the same.
Widening his area of focus, he looked down at his
clothes and saw his once white crisp business shirt was
now heavy and damp with dark fluid.
He pushed himself up onto his feet, glancing rapidly
around him. Confusion riding the beating wings of fear.
Oh my God what is this?
The sofa was stained in places where his hands and
shirt had touched.
More stains on the deep pile carpet, in the shape of shoe
prints, leading to the sofa from the staircase.
Drake staggered over to a lamp poised above a glass
coffee table and flicked the switch.
Electric light flooded this part of the room and a
guttural sound of horror burst through his lips.
In the moonlight the stains were black but now he saw
they were bright scarlet. Blood. He was covered in blood.
Where was Lorna? Where was the woman? Why was the
house so quiet? Why was everything dark?
“Lorna?” He called out her name, coughing
immediately. His mouth was bone dry.
The absence of a response sent a chill shudder down his
spine and left his scalp tingling.
His eyes raked the floor and walls but nothing seemed
out of place. Just the awful blood.
The smudged footprints held his gaze. He followed them
across the carpet to the wooden slatted stairs.
Just beneath the bottom step was a pair of partly
inverted rubber gloves, smeared in blood; as if torn off in
haste and thrown to the floor.
He tried to call out Lorna’s name again but his throat
clenched up with fear at the idea now forming in his brain.
Lurching forwards, he crossed to the staircase and
trudged rigidly up the steps.
The steps ended in a sort of play room build into the
attic space; this wasn’t the main upstairs part of the house
he’d observed from outside; another staircase must have led
there.
The darkness was elevated into an alabaster tainted
gloom, punctured by the bright moon shining down through
skylights overhead.
The air was heavy with the smell of sex, sweat and
something else.
He was straining to identify the smell when his gaze
locked onto the figure of a person, suspended in a nearly
horizontal position from chains attached to the sloping
ceiling. A sex harness. The naked figure was a black
cardboard cut-out silhouette in the moonlight. How could
such an outline belong to a human being?
Lying forwards, straps around the chest and hips, limbs
splayed outwards and held aloft by cuffs and chains. A
strap had been wrapped around the ankles and fastened to
a head-rig, so tight it had the head pulled back at an
impossible angle.
Then Drake saw why and the sight seared itself into his
brain: a savage gap in the silhouette where her throat
should have been.
Ice water was seeping into his veins. His scalp
contracted. Goosebumps rippled across his flesh.
He stared. He noted the long hair hanging down. The
outline of her breasts.
With fumbling, blood-stained hands, he patted the walls
at the top of the staircase and eventually found a light
switch. He flicked it on.
When he saw the mutilated condition of the body his
knees buckled beneath him and he dropped to the floor,
retching and hyperventilating in a twin twist of disgust and
panic.
His eyes rolled in their sockets but his gaze never
seemed to waver from the grotesque sight of the woman’s
dangling corpse. Yet even though he stared with morbid
fascination, the majority part of his mind shrank away.
Coughing, puking, gasping, he fought the fear he might
choke and wrestled to bring his breathing under control.
He was faintly aware he was wailing and making
incomprehensible sounds that might have been words.
Arterial blood sprays were arced and spattered across
the walls and ceiling, all around where she hung. Several
pools of blood covered the carpet below her. There was so
much blood on the carpet the stains were still wet with dark
rings of congealing crust around the edges.
Her throat had been completely hacked away, leaving a
thick sliver of muscle, tissue and spinal chord at the back
connecting her head to her body. Drake could almost see
into her chest cavity through the ruined mess.
The face had been savaged with some type of sharp
instrument that cut crudely, tearing the soft flesh rather
than neatly slicing it.
A sharp knife must have been used where her abdomen
had been sliced open in one deep cut. The edges of the long
wound bulged monstrously with the weight of intestines
ready to fall out of her, although some of the long loops of
vivid coloured innards had already slipped out, or been
tugged loose, to dangle in the blood below; thick bundles of
greasy tissue, a smear of vile colours, pink, yellow, purple
and scarlet.
Drake doubled-over as his guts contracted violently and
he retched with a loud wailing sound, bringing up nothing
but gastric acid and saliva.
Pushing himself backwards and then up into a halfcrawl,
half-crouch, he made it back to the stairs and
staggered down them; close to collapsing, dazed and numb
with the turbulent emotions.
Reaching the bottom he stood motionless, blindly
staring at the sofa unable to decide what to do. He absently
wiped strands of saliva and vomit from his chin with the
back of his wrist.
An icon appeared within his field of vision, ghost-like,
superimposed by the implants interlinking his visual cortex,
sensorium, synaptic bridge, WAM and neural processor. It
told him a new sim-stim recording had been processed and
was ready for viewing.
What…?
His mind trailed off into silence as it registered the
significance of the timing.
The sim-weave implant could record raw data but
playback required processing time. Processing that could
only take place via Zendori servers or the Zendori
application loaded onto a powerful workstation.
Drake reached into the pocket of his trousers and fished
out his PA. He thumbed it out of standby and saw it was
on, with an active phone tag connection. The processed
sim-stim recording had been downloaded from an external
source; but why had he not been prompted to accept it?
Unless you were out of it and accepted it without
knowing, he pondered; or you made the recording.
Sinking down into a sitting position on the step, he
manipulated the icon and launched playback; immediately
his awareness of the hear-and-now was swept aside and
replaced by total sensory immersion within another reality;
a reality recorded in this house.
Oh God, no…
A point-of-view walk from the area of the sofa to the
staircase; past where he would have been sitting now in his
own reality, transfixed like a zombie, up the stairs to the
playroom where Lorna was naked and grinning, easing
herself into the first cuffs of the sex harness.
Drake watched gloved hands come up and help her get
strapped in, hooked up, cinched and slung into position.
Were they his hands? It was difficult to tell. There were
no mirrors. No reflective surfaces to give him a glimpse of
who was making the recording. Lorna murmured sluttish
encouragements to the recorder, but the recorder did not
respond verbally.
He caught a glimpse of muscular forearms and the
sleeves of a crisp white shirt rolled up to the elbows. It
could have been him.
It could have been, but some part of his brain was
picking out flaws in the deception.
It was meant to look like him.
Then the violence began.
There was no sex with Lorna. Just an immediate and
brutal attack that brought out chilling screams of agony,
rage, and then animal terror as she thrashed about
helplessly in the harness.
Drake didn’t want to watch what happened next.
Hurriedly he manipulated the synaptic commands for
the implant and brought himself out of playback. Sweat
beaded his forehead. Wild-eyed he pushed himself off the
staircase and moved over to the sofa. Whoever had made
the recording had done so whilst he’d been blacked out.
Drugged?
But the realisation dawned on him that whoever had
done this could still be in the house with him.
Drake dashed into the kitchen and found a knife to use to
defend himself. He considered searching the house but
decided he didn’t want to instigate any encounter that
might lead to violence.
Trembling, he lifted blood-stained fingers to his ear-clip
and pressed the stud to activate a dial-command; a voiceprompt
whispered to him; he sub-vocalised a name through
his throat implant.
He rang Jack Warner.
His friend and business partner picked up the
connecting call after only a moment; greeted and asked how
Drake was getting along in his clipped but casual manner.
“I’m in deep shit, Jack,” Drake struggled to get out the
first words, a bottleneck of emotions, questions and ideas
almost rendering his mouth useless. “The woman. Oh my
God, Jack. The woman…”
The words just tumbled out after that, in between sobs
of despair and loathing.
Finally, Jack managed to break through the torrent. A
firm, authoritative voice. Jack wanted him to take it easy,
told him to get a grip and calm down. He asked questions:
who else had Ulrich called? Who else had Ulrich told about
the rendezvous with the prostitute?
“Nobody, just you Jack. Just you.” Drake could hear a
tremor in his voice that wouldn’t go away.
“Okay. Now listen, Ulrich. I arranged a place for you
near the airport. Remember that? I want you to go there
and get cleaned up. Call me once you’re there and you’re
calm. Okay? Got that?”
Drake nodded even though Jack couldn’t see him; a
heavy frown was creasing the features of his face. The tone
of Jack’s voice unsettled him, was making him wary; he
couldn’t put his finger on it, just a deep base instinct
kicking in.
“Got it Jack, I’ll call you.”
He closed the connection and his mind started to turnover,
scattering thoughts in different directions. Ideas
forming…
There was something not right.
Drake pulled out the compact PA from his pocket,
thumb-swiped the hardscreen to bring it to life, tapped a
couple of icons and bought up the address by the airport.
An apartment; more like a tiny villa. Part of a corporate
hospitality compound. Electronic security gates, a short
private drive.
“What the hell is this?” he mutter-whispered, the frown
deepening.
He tried dialling Jack Warner again.
The call went straight through to voice-mail; an
interactive, synthetic version of Jack’s personality talking,
giving options. Another one of Jack’s techno tricks; the
kind of thing run by AI-emulation software; he always liked
to tinker with things.
Drake jutted out his jaw and dialled again.
Same response.
Who the heck are you talking to Jack?
Paranoia began to expand into his anxiety riddled state.
The police?
“Fuck…”
He wasn’t certain he could trust Jack.
A vague idea began to form and then snapped into
sharp focus.
Drake knew a woman called Samia. His mind stitched
together an image of her from half-recalled scenes of parties
and hushed conversations in dark places. That weird
mental fog obscured some details, but he knew he trusted
her and that she had criminal connections. She was some
kind of conduit to illegal services.
He found her name in the phone book of his PA. Dialled
it without hesitation. She answered almost immediately.
“Ulrich Drake this is a surprise.”
“Hello Samia.” His voice had regained a semblance of
normality. “I need your help.”
Samia probed the situation with indirect questions; she
sounded cagey but he couldn’t discern if it was a result of
natural caution about un-encrypted conversations, or if
there had been some bad blood between them – some
incident obscured by the fog lingering over this area of his
memory. Either way he’d committed to this line of action.
“I need somebody to come here and clear up a mess,” he
wrapped it up for her, inwardly gritting his teeth at the way
he sounded so helpless and desperate; “Physical stuff but
with digital skills. Somebody who can clear the audit trail
of where I’ve been, of where I am. Is there somebody you
know who can do that? Do both? I don’t want more than
one person involved in this. And maybe trace the origin of a
particular data file that’s been sent to me here. I don’t
know, maybe that’s a nice to have. The important thing is
getting me out of here clean. I’m in serious bloody trouble
Samia. I really need your help.”
Help didn’t come cheap. Twenty-thousand credits was the
minimum fee requested by the asset she’d found to match
Drake’s location. The digital work was likely to cost extra,
depending on risk and complexity.
Samia confirmed the procedure: hold tight and wait,
don’t speak to anybody until the asset arrives, don’t touch
anything.
Drake sat on the bottom step and silently rode out the
hellish interval, trying to ignore the idea of the mutilated
corpse dangling in the room above him. He mulled over
what had happened and what he would do next. Why
would somebody want to make it appear he’d committed the
murder? Why send him the file and then go quiet?
Psychological torture to soften him up before the inevitable
ransom demand? Was this even blackmail? Maybe the
killer or killers had no intention of asking for money?
Maybe it was a favour they wanted from him? Or just to see
him locked away in jail for the rest of his life?
His thoughts twisted round, slid over each other and
knotted together like this for what seemed like an eternity.
Eventually he heard feet crunching on gravel and a
confident knock on the door.
The asset sent by Samia was male, stocky and heavyset,
functionally short black hair flecked with grey; a neatly
trimmed beard going a frosty white around the chin.
Dressed in a plain dark knee-length jacket he carried a
generic hiking satchel casually over one shoulder. The face
was friendly but in a superficial way; olive complexion; deep
lines around the eyes and across the brow that suggested
laugher or concentration.
There was no shaking of hands. No idle banter. The
asset noted Drake’s bloodied clothing and hands without
comment, then stepped inside and began to survey the
scene.
“Where’s the body? Upstairs?” The asset queried, his
eyes following the staircase.
Drake moved in front of him. “Yes but look, before you
go up there…”
The asset regarded him coldly, unimpressed by his
proximity; “Is there more than one?”
“No.” Drake responded almost plaintively.
“Problem?”
Drake rolled his lips together then bared his teeth in a
tense smile. “Before we deal with the physical stuff…”
He explained about the sim-stim recording that had
been deposited after he found the woman dead: the data
would have been processed externally; could the asset trace
the file to its source? More importantly for Drake, he
wanted to make sure the block of muscle had the skills
required to complete all aspects of the job; not just clear up
blood and badly sliced guts. Distantly, some part of his
mind registered a dull shock at the callous clarity of these
thoughts.
The asset shrugged indifferently. Dumped the satchel
and extracted a workstation and some dark green moulded
modules of non-descript hardware with mustard yellow
markings; military.
It took a while. There was a surreal sense of waiting in
the lounge of a chic tech-clinic, if you ignored the blood
stains. Drake retook his position on the bottom step and
quietly squirmed as the nameless asset sat in an armchair
and frowned into the electronic glow of the workstation; he
was surprised the man was using a hardscreen, would have
expected him to be plugged into some interface, meshing
with the data within a virt. But he didn’t interrupt to ask
questions. Just watched as subtle ripples in the asset’s
otherwise fixed expression of intense focus revealed
moments of discovery; it was clear a story was unfolding.
Finally the asset closed down the workstation and began
to pack all of the hardware away; the man’s features were
set with grim determination.
Drake couldn’t contain the questions any longer. “What
did you find? Where did the stim recording come from?
Have you been able to wipe away the digital prints of me
even coming here?”
The asset paused and looked at him for a long moment,
before resuming packing; he answered: “I didn’t need to.
This whole location is clean.”
“Clean? What do you mean, clean?”
“There’s another drill-head at work here. Your phonetag’s
active but leaving no trace. All the security here is
disabled. This whole place is a killing zone.”
Drake felt the features of his face fold together as he
tried to make sense of what he was hearing. The asset
continued, neutral, business-like.
“The recording in your skull came back to you from
Zendori corp. But that’s because you made it.”
A chill breeze seemed to settle on the back of Drake’s
neck. He shuddered as the sensation sank through his
flesh, freezing him to the core, making him suddenly feel
very light, intangible, as if he wasn’t really there.
“I made it…”
The asset shook his head with mild disdain. Zipped up
the satchel and placed it carefully on the floor. “Samia said
you sounded fucked up.”
“Explain,” Drake snapped, aggression edging the word.
“Right now Zendori Corp is going through panic and
lockdown. They’re shifting files. Changing passwords and
isolating whole chunks of core system. Somebody there
must have figured you’d blown a fuse.”
“The implant… it went wrong? I did this?”
The asset shook his head to indicate the negative; “I’d
say the implant worked a treat, considering what you
recorded. You really don’t know what you’ve done, do you?
What you are?”
“No… no I don’t know what you’re talking about. Please
what do you know?” Abruptly Drake felt utterly alone and
vulnerable in a big grown up world with hard-faced men he
didn’t understand.
“Fucking weird,” the asset chuckled. “Maaan, the blakk
bunkers are dripping with stuff you’ve recorded. I had no
idea Zendori was behind so many of them.” The asset
sounded strangely delighted by this knowledge.
“Them?” The question was weak, feeble-voiced.
“Sure, black-jacks, death-rims, anyone who wants to
find them can get hold of them somewhere on the Internet.
But your work…” The asset puffed out his lips and made
an explosive gesture with both hands. “You blow the game
apart. It must be the sim-weave, the way the algorithms
convert the nerve-impulses or whatever because there’s
almost a sense of the emotion you’re feeling when you’re
slicing those poor women up.”
The last sentence came like an accusation, hostility and
judgement only barely held back by the business
proposition now forming in the man’s smirk and glistening
eyes.
Drake tried to swallow but he couldn’t; his back teeth
where clenched down tight. He glared at the man in mute
rage. It was an anger fuelled by the vague, ghostly
memories now rising up and seething beyond the mental
fog.
The asset clapped his hands together, his smile
stretching across his face. “Zendori are going to have to pay
me a small personal fortune to keep me quiet.”
Then the back of the man’s head erupted in a spray of
brains, splintered skull and gore; a dark hole punctured
through his forehead. The gunshot must have come before
the wound but in Drake’s confused mind the events got
mixed up.
Startled, nearly paralysed in shock, he snapped his eyes
to the source of the sound even as the asset’s body
crumpled to the floor like a puppet with its strings cut.
Jack Warner stood in the shadows of open plan kitchen
area, adjoining the hallway and lounge. The gun held
calmly in his hand wasn’t particularly large; just black and
featureless.
Not dissimilar to the expression on Warner’s face.
A moment of silence formed and Drake stared at him,
open mouthed.
“I’m sorry, Ulrich,” Warner stated in a clipped and
acutely strained tone. “I don’t think it worked entirely as
planned.”
“What didn’t work?”
Warner lowered the gun to his side. Gazed back at
Drake like a man who was trying to make out the nature of
a ship far out at sea. He sighed. “You’re our best asset.
The way you do… what you do, makes you
incredibly…valuable. But you were having issues. Guilt.
Feelings of persecution from invisible… from ghosts.
Flashbacks. You asked if I could fix it, so you wouldn’t
remember.”
Drake mouthed the words and it was if they came from
somebody else. “So I wouldn’t remember killing these
women?”
“Yes. It’s what you do. And people pay a lot of money to
watch.”
“I felt something sting me…” his words trailed off when
he saw Warner shake his head.
“It was the implant kicking in. Locking part of you out
of the experience. Shutting out your higher-self, I suppose,”
Warner explained. He glanced at the gun in his hand and
back at Drake. “We should get going. I’ll have people come
to clear up the mess.”
“Samia knows.”
“It doesn’t matter.” He did something with the gun and
then stuffed it into a pocket. “She can be silenced with
money and influence. I’ve cancelled your flight. I’d like to
bring you back into surgery, Ulrich. Make it right.”
“I’m not sure I want to,” Drake replied, anger frothing up
inside of his mouth. Whatever he was – a killer – he didn’t
like the idea of being used by this rodent-faced man.
Warner frowned, concerned, and began to walk towards
him holding his hands out in an open, placating gesture. “I
can fix it, Ulrich. I can make it work.”
Drake heard a sound; like a – snick, which could have
come from across the other side of the room or right beside
him.
Just before everything went black he smiled thinly at
the conscious thought, that when he woke up he’d find
another sim-recording waiting for him.

The End

Artist of the week: Dark Writing 7: David J. Rodger (Part One)

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David J. Rodger

David was born in Newcastle Upon Tyne on August 30, 1970. He started writing at the age of 19. He is a British author and game designer, best known for his novels set in a near-future world of corporate and political intrigue. His novels include God Seed, Dante‘s Fool, Iron Man Project, Edge, and soon to come Living in Flames. He has also written multiple short stories. He has also published Yellow Dawn, a role playing game set in the same world as his novels, ten years after it has been ravaged by a horrible mutagen. Dog Eat Dog is the first to be set in the post-virus era of his future world.

Rodger’s novels often combine high-tech intrigue and political/corporate machinations with elements of the Cthulhu Mythos, as created by H.P. Lovecraft. Rodger’s contributions to the Mythos include the creation of a new Great Old One in Edge, and use of the Outer God Nyarlathotep in God Speed. In Yellow Dawn Rodger’s interpretation of the Mythos, particularly the Great Old One Hastur, is a major part of the background material. He has published Shadows of the Quantinex, a large scale campaign expansion for Yellow Dawn.

He has also written a children’s story, Cloudy Head, illustrated by Kenn-Ole Moen. Also a murder mystery game, Murder at Sharkty Point. Rodger spent 8 years working for the Environment Agency (non-departmental government agency), developing a virtual communications service within the IT Division, before moving into commercial project management for a major UK publisher. Rodger’s presence on the Internet got him a place in the BBC documentary Through The Eyes of the Young, directed by Chris Terrill in 2000.

He now lives in Bristol, England, with his longtime girlfriend, She is also his editor.

Novels

God Seed (1996)
Dante’s Fool (1999)
Iron Man Project (2005)
Edge (2008)
Dog Eat Dog (2010)

Games

Yellow Dawn 1st Edition (2006)
Murder at Sharky Point (2007)
Yellow Dawn 2nd Edition (2008)
Shadows of the Quantinex (2009)

Children’s Stories

Cloudy Head (Illustrated, 2007)

Scripts

Salo IV (2007)

Short Stories

Angel Police
Arnos Vale
Blue Boy
Cloudy Head
Corrupt Moon
Cypher
Demi Bhagwan
Devil’s Spring
Dilemma
Eden
Flinch
House of Heavenly Light
Killing Candy
Masters of Chaos
Merchant of Oropas
My Bloody Valentine
Oracle
Psycho Rave
Pain
The Tainted Moor

Links

http://www.davidjrodger.com/

http://www.sfx.co.uk/2009/11/18/interview_with_self_published_writer_david_j_rodger

Part two of this post will be a short story by Rodger, and then Part three a Q&A With Rodger.

Artist of the day 3/8/12: Dark Writing 6: Alexandre Dumas (part three)

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So it terns out it is impossible to read Kindle books on a computer. I wanted to give you an example of Alexandre Dumas’ book The Count of Monte Cristo. Not all of Dumas’ books are dark but when I was little My mom read me a shortened version of this book and I loved it. I have never read the full book, but I plan to now. So here is the first chapter of this fantastic book.

Alexandre Dumas

The Count of Monte Cristo

Chapter 1.
Marseilles — The Arrival.


On the 24th of February, 1815, the look-out at Notre-Dame de la Garde signalled the three-master, the Pharaon from Smyrna, Trieste, and Naples.
As usual, a pilot put off immediately, and rounding the Chateau d’If, got on board the vessel between Cape Morgion and Rion island.
Immediately, and according to custom, the ramparts of Fort Saint-Jean were covered with spectators; it is always an event at Marseilles for a ship to come into port, especially when this ship, like the Pharaon, has been built, rigged, and laden at the old Phocee docks, and belongs to an owner of the city.
The ship drew on and had safely passed the strait, which some volcanic shock has made between the Calasareigne and Jaros islands; had doubled Pomegue, and approached the harbor under topsails, jib, and spanker, but so slowly and sedately that the idlers, with that
instinct which is the forerunner of evil, asked one another what misfortune could have happened on board. However, those experienced in navigation saw plainly that if any accident had occurred, it was not to the vessel herself, for she bore down with all the evidence of being skilfully handled, the anchor a-cockbill, the jib-boom guys already eased off, and standing by the side of the pilot, who was steering the Pharaon towards the narrow entrance of the inner port, was a young man, who, with activity and vigilant eye, watched every motion of the ship, and repeated each direction of the pilot.
The vague disquietude which prevailed among the spectators had so much affected one of the crowd that he did not await the arrival of the vessel in harbor, but jumping into a small skiff, desired to be pulled alongside the Pharaon, which he reached as she rounded into La Reserve basin.
When the young man on board saw this person approach, he left his station by the pilot, and, hat in hand, leaned over the ship’s bulwarks.
He was a fine, tall, slim young fellow of eighteen or twenty, with black eyes, and hair as dark as a raven’s wing; and his whole appearance bespoke that calmness and resolution peculiar to men accustomed from their cradle to contend with danger.
“Ah, is it you, Dantes?” cried the man in the skiff. “What’s the matter? and why have you such an air of sadness aboard?”
“A great misfortune, M. Morrel,” replied the young man, — “a great misfortune, for me especially! Off Civita Vecchia we lost our brave Captain Leclere.”
“And the cargo?” inquired the owner, eagerly.
“Is all safe, M. Morrel; and I think you will be satisfied on that head. But poor Captain Leclere — “
“What happened to him?” asked the owner, with an air of considerable resignation. “What happened to the worthy captain?”
“He died.”
“Fell into the sea?”
“No, sir, he died of brain-fever in dreadful agony.” Then turning to the crew, he said, “Bear a hand there, to take in sail!”
All hands obeyed, and at once the eight or ten seamen who composed the crew, sprang to their respective stations at the spanker brails and outhaul, topsail sheets and halyards, the jib downhaul, and the topsail clewlines and buntlines. The young sailor gave a look to see that his orders were promptly and accurately obeyed, and then turned again to the owner.
“And how did this misfortune occur?” inquired the latter, resuming the interrupted conversation.
“Alas, sir, in the most unexpected manner. After a long talk with the harbor-master, Captain Leclere left Naples greatly disturbed in mind. In twenty-four hours he was attacked by a fever, and died three
days afterwards. We performed the usual burial service, and he is at his rest, sewn up in his hammock with a thirty-six pound shot at his head and his heels, off El Giglio island. We bring to his widow his
sword and cross of honor. It was worth while, truly,” added the young man with a melancholy smile, “to make war against the English for ten years, and to die in his bed at last, like everybody else.”
“Why, you see, Edmond,” replied the owner, who appeared more comforted at every moment, “we are all mortal, and the old must make way for the young. If not, why, there would be no promotion; and  since you assure me that the cargo — “
“Is all safe and sound, M. Morrel, take my word for it; and I advise you not to take 25,000 francs for the profits of the voyage.”
Then, as they were just passing the Round Tower, the young man shouted: “Stand by there to lower the topsails and jib; brail up the spanker!”
The order was executed as promptly as it would have been on board a man-of-war.
“Let go — and clue up!” At this last command all the sails were lowered, and the vessel moved almost imperceptibly onwards.
“Now, if you will come on board, M. Morrel,” said Dantes, observing the owner’s impatience, “here is your supercargo, M. Danglars, coming out of his cabin, who will furnish you with every particular. As for me, I must look after the anchoring, and dress the ship in mourning.”
The owner did not wait for a second invitation. He seized a rope which Dantes flung to him, and with an activity that would have done credit to a sailor, climbed up the side of the ship, while the young man, going to his task, left the conversation to Danglars, who now came towards the owner. He was a man of twenty-five or twentysix years of age, of unprepossessing countenance, obsequious to his superiors, insolent to his subordinates; and this, in addition to his position as responsible agent on board, which is always obnoxious to the sailors, made him as much disliked by the crew as Edmond Dantes was beloved by them.
“Well, M. Morrel,” said Danglars, “you have heard of the misfortune that has befallen us?”
“Yes — yes: poor Captain Leclere! He was a brave and an honest man.”
“And a first-rate seaman, one who had seen long and honorable service, as became a man charged with the interests of a house so important as that of Morrel & Son,” replied Danglars. “But,” replied the owner, glancing after Dantes, who was watching the anchoring of his vessel, “it seems to me that a sailor needs not be so old as you say, Danglars, to understand his business, for our friend Edmond seems to understand it thoroughly, and not to require instruction from any one.”
“Yes,” said Danglars, darting at Edmond a look gleaming with hate. “Yes, he is young, and youth is invariably self-confident. Scarcely was the captain’s breath out of his body when he assumed the command without consulting any one, and he caused us to lose a day and a half at the Island of Elba, instead of making for Marseilles direct.”
“As to taking command of the vessel,” replied Morrel, “that was his duty as captain’s mate; as to losing a day and a half off the Island of Elba, he was wrong, unless the vessel needed repairs.”
“The vessel was in as good condition as I am, and as, I hope you are, M. Morrel, and this day and a half was lost from pure whim, for the pleasure of going ashore, and nothing else.”
“Dantes,” said the shipowner, turning towards the young man, “come this way!”
“In a moment, sir,” answered Dantes, “and I’m with you.” Then calling to the crew, he said — “Let go!”
The anchor was instantly dropped, and the chain ran rattling through the port-hole. Dantes continued at his post in spite of the presence of the pilot, until this manoeuvre was completed, and then he added, “Half-mast the colors, and square the yards!”
“You see,” said Danglars, “he fancies himself captain already, upon my word.”
“And so, in fact, he is,” said the owner.
“Except your signature and your partner’s, M. Morrel.”
“And why should he not have this?” asked the owner; “he is young, it is true, but he seems to me a thorough seaman, and of full experience.”
A cloud passed over Danglars’ brow. “Your pardon, M. Morrel,” said Dantes, approaching, “the vessel now rides at anchor, and I am at your service. You hailed me, I think?”
Danglars retreated a step or two. “I wished to inquire why you stopped at the Island of Elba?”
“I do not know, sir; it was to fulfil the last instructions of Captain Leclere, who, when dying, gave me a packet for Marshal Bertrand.”
“Then did you see him, Edmond?”
“Who?”
“The marshal.”
“Yes.”
Morrel looked around him, and then, drawing Dantes on one side, he said suddenly — “And how is the emperor?”
“Very well, as far as I could judge from the sight of him.”
“You saw the emperor, then?”
“He entered the marshal’s apartment while I was there.”
“And you spoke to him?”
“Why, it was he who spoke to me, sir,” said Dantes, with a smile.
“And what did he say to you?”
“Asked me questions about the vessel, the time she left Marseilles, the course she had taken, and what was her cargo. I believe, if she had not been laden, and I had been her master, he would have bought her. But I told him I was only mate, and that she belonged to the firm of Morrel & Son. `Ah, yes,’ he said, `I know them. The Morrels have been shipowners from father to son; and there was a Morrel who served in the same regiment with me when I was in garrison at Valence.’”
“Pardieu, and that is true!” cried the owner, greatly delighted. “And that was Policar Morrel, my uncle, who was afterwards a captain. Dantes, you must tell my uncle that the emperor remembered him, and you will see it will bring tears into the old soldier’s eyes. Come, come,” continued he, patting Edmond’s shoulder kindly, “you did very right, Dantes, to follow Captain Leclere’s instructions, and touch at Elba, although if it were known that you had conveyed a packet to the marshal, and had conversed with the emperor, it might bring you into trouble.”
“How could that bring me into trouble, sir?” asked Dantes; “for I did not even know of what I was the bearer; and the emperor merely made such inquiries as he would of the first comer. But, pardon me, here are the health officers and the customs inspectors coming alongside.” And the young man went to the gangway. As he departed, Danglars approached, and said,  “Well, it appears that he has given you satisfactory reasons for his landing at Porto-Ferrajo?”
“Yes, most satisfactory, my dear Danglars.”
“Well, so much the better,” said the supercargo; “for it is not pleasant to think that a comrade has not done his duty.”
“Dantes has done his,” replied the owner, “and that is not saying much. It was Captain Leclere who gave orders for this delay.”
“Talking of Captain Leclere, has not Dantes given you a letter from him?”
“To me? — no — was there one?”
“I believe that, besides the packet, Captain Leclere confided a letter to his care.”
“Of what packet are you speaking, Danglars?”
“Why, that which Dantes left at Porto-Ferrajo.”
“How do you know he had a packet to leave at Porto-Ferrajo?” Danglars turned very red.
“I was passing close to the door of the captain’s cabin, which was half open, and I saw him give the packet and letter to Dantes.” “He did not speak to me of it,” replied the shipowner; “but if there be any letter he will give it to me.”
Danglars reflected for a moment. “Then, M. Morrel, I beg of you,” said he, “not to say a word to Dantes on the subject. I mayhave been mistaken.”
At this moment the young man returned; Danglars withdrew. “Well, my dear Dantes, are you now free?” inquired the owner. “Yes, sir.”
“You have not been long detained.”
“No. I gave the custom-house officers a copy of our bill of lading; and as to the other papers, they sent a man off with the pilot, to
whom I gave them.”
“Then you have nothing more to do here?”
“No — everything is all right now.”
“Then you can come and dine with me?”
“I really must ask you to excuse me, M. Morrel. My first visit is due to my father, though I am not the less grateful for the honor you
have done me.”
“Right, Dantes, quite right. I always knew you were a good son.” “And,” inquired Dantes, with some hesitation, “do you know
how my father is?”
“Well, I believe, my dear Edmond, though I have not seen him lately.”
“Yes, he likes to keep himself shut up in his little room.” “That proves, at least, that he has wanted for nothing during
your absence.”
Dantes smiled. “My father is proud, sir, and if he had not a meal left, I doubt if he would have asked anything from anyone, except
from Heaven.”
“Well, then, after this first visit has been made we shall count on
you.”
“I must again excuse myself, M. Morrel, for after this first visit has been paid I have another which I am most anxious to pay.” “True, Dantes, I forgot that there was at the Catalans some one who expects you no less impatiently than your father — the lovely Mercedes.” Dantes blushed.
“Ah, ha,” said the shipowner, “I am not in the least surprised, for she has been to me three times, inquiring if there were any news of
the Pharaon. Peste, Edmond, you have a very handsome mistress!” “She is not my mistress,” replied the young sailor, gravely; “she is
my betrothed.”
“Sometimes one and the same thing,” said Morrel, with a smile. “Not with us, sir,” replied Dantes.
“Well, well, my dear Edmond,” continued the owner, “don’t let me detain you. You have managed my affairs so well that I ought to allow you all the time you require for your own. Do you want any money?”
“No, sir; I have all my pay to take — nearly three months’ wages.” “You are a careful fellow, Edmond.”
“Say I have a poor father, sir.”
“Yes, yes, I know how good a son you are, so now hasten away tosee your father. I have a son too, and I should be very wroth with those who detained him from me after a three months’ voyage.” “Then I have your leave, sir?”
“Yes, if you have nothing more to say to me.”
“Nothing.”
“Captain Leclere did not, before he died, give you a letter for me?”
“He was unable to write, sir. But that reminds me that I must ask your leave of absence for some days.”
“To get married?”
“Yes, first, and then to go to Paris.”
“Very good; have what time you require, Dantes. It will take quite six weeks to unload the cargo, and we cannot get you ready for sea until three months after that; only be back again in three months, for the Pharaon,” added the owner, patting the young sailor on the back, “cannot sail without her captain.”
“Without her captain!” cried Dantes, his eyes sparkling with animation; “pray mind what you say, for you are touching on the most secret wishes of my heart. Is it really your intention to make me captain of the Pharaon?”
“If I were sole owner we’d shake hands on it now, my dear Dantes, and call it settled; but I have a partner, and you know the Italian proverb — Chi ha compagno ha padrone — `He who has a partner has amaster.’ But the thing is at least half done, as you have one out of two votes. Rely on me to procure you the other; I will do my best.”
“Ah, M. Morrel,” exclaimed the young seaman, with tears in his eyes, and grasping the owner’s hand, “M. Morrel, I thank you in the name of my father and of Mercedes.”
“That’s all right, Edmond. There’s a providence that watches over the deserving. Go to your father: go and see Mercedes, and afterwards come to me.”
“Shall I row you ashore?”
“No, thank you; I shall remain and look over the accounts with Danglars. Have you been satisfied with him this voyage?”
“That is according to the sense you attach to the question, sir. Do you mean is he a good comrade? No, for I think he never liked me since the day when I was silly enough, after a little quarrel we had, to propose to him to stop for ten minutes at the island of Monte Cristo to settle the dispute — a proposition which I was wrong to suggest, and he quite right to refuse. If you mean as responsible agent when you ask me the question, I believe there is nothing to say against him, and that you will be content with the way in which he has performed his duty.”
“But tell me, Dantes, if you had command of the Pharaon should you be glad to see Danglars remain?”
“Captain or mate, M. Morrel, I shall always have the greatest respect for those who possess the owners’ confidence.”
“That’s right, that’s right, Dantes! I see you are a thoroughly good fellow, and will detain you no longer. Go, for I see how impatient you are.”
“Then I have leave?”
“Go, I tell you.”
“May I have the use of your skiff?”
“Certainly.”
“Then, for the present, M. Morrel, farewell, and a thousand thanks!”
“I hope soon to see you again, my dear Edmond. Good luck to you.”
The young sailor jumped into the skiff, and sat down in the stern sheets, with the order that he be put ashore at La Canebiere. The two oarsmen bent to their work, and the little boat glided away as rapidly as possible in the midst of the thousand vessels which choke up the narrow way which leads between the two rows of ships from the mouth of the harbor to the Quai d’Orleans.
The shipowner, smiling, followed him with his eyes until he saw him spring out on the quay and disappear in the midst of the throng, which from five o’clock in the morning until nine o’clock at night, swarms in the famous street of La Canebiere, — a street of which the modern Phocaeans are so proud that they say with all the gravity in the world, and with that accent which gives so much character to what is said, “If Paris had La Canebiere, Paris would be a second Marseilles.” On turning round the owner saw Danglars behind him, apparently awaiting orders, but in reality also watching the young sailor, — but there was a great difference in the expression of the two men who thus followed the movements of Edmond Dantes.

Artist of the day 3/6/12: Dark Writing 5: Alexandre Dumas (Part two)

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Alexandre Dumas

Career Continued

Dumas made extensive use of the aid of numerous assistants and collaborators, Auguste Maquet being the best known. Maquet outlined the plot of The Count of Monte Cristo, and substantial contributions to The Three Musketeers as well as it sequels,and several of Dumas’ other novels. When working together Maquet would propose plots and write drafts, while Dumas added all the details, dialogue, and final chapters. There is an essay by Andrew Lang done in 1891 giving a accurate description of their collaborations, titled Alexander Dumas—in his Essays In Little.

Dumas’ writing earned him a great deal of money, but he was frequently insolvent as a result of spending lavishly on woman and sumptuous living. The large Château de Monte-Cristo that he built was often filled with strangers and acquaintances taking advantage of his generosity.

Dumas was not looked upon favorably by the newly elected President Louis-Napoléon Bonaparte when King Louis-Philippe was ousted in the revolt. Dumas fled to Brussels, Belgium in 1851 to escape his creditors, from there he traveled to Russia, Where French was the second language, also where his writings were enormously popular. He spent two  years in Russia, before moving on to seek adventure and inspiration for more stories. In March of 1861 the kingdom of Italy was proclaimed,  With Victor Emmanuel II as its king. The next three years Dumas was involved in the fight for a united Italy, He found and lead a newspaper named Independent. He returned to Paris in 1864.

Alexandre Dumas Had success and aristocratic background but his being of mixed race affected him all his life. He wrote a short novel in 1843 called Georges, it addressed some of the issues of race and the effects of colonialism. Once he remarked to a man who insulted him about his mixed race background :”My father was a mulatto, my grandfather was a Negro, and my great-grandfather a monkey. You see, Sir, my family starts where yours ends.”

Personal Life

February 1, 1840 Dumas married actress Ida Ferrier (Born 1811, Marguerite Joséphine Ferrand, died 1859), but he continued with his numerous liaisons with other women, fathering at least four illegitimate children. One of those children, a son named after him, whose mother was Marie-Laure-Catherine Labay (1794—1868), a dressmaker, would follow in his footsteps, also becoming a successful novelist and playwright. Because of their same name and occupation, the father is often referred to as Alexandre Dumas, père, and the son as Alexandre Dumas, fils. His other children were Marie-Alexandrine Dumas (March 5, 1831—1878) who later married Pierre Petel and was daughter of Belle Krelsamer (1803—1875), Micaëlla-Clélie-Josepha-Élisabeth Cordier, born in 1860 and daughter of Emélie Cordier, and Henry Bauer, born of an unknown mother.

Death and Legacy

In June 2005 Dumas’ recently discovered last novel, The Knight of Sainte Hermine, went on sale in France. Within the story Dumas describes the Battle of Trafalgar, in which the death of Lord Nelson is explained. The novel was being published serially, and was nearly complete at the time of his death. A final two-and-a-half chapters were written by modern-day Dumas scholar Claude Schopp, who based his efforts on Dumas’ prewriting notes.

Although he was originally buried where he had been born, in 2002 French President, Jacques Chirac, had his body exhumed. During a televised ceremony his new coffin, draped in a blue velvet cloth and flanked by four Republican Guards (costumed as the Musketeers Athos, Porthos, Aramis, and D’Artagnan), was transported in a solemn procession to the Panthéon of Paris, the great mausoleum where French luminaries are interred. In his speech President Chirac said:

“With you, we were D’Artagnan, Monte Cristo, or Balsamo, riding along the roads of France, touring battlefields, visiting palaces and castles—with you, we dream.”

During that speech Chirac acknowledged the racism that had existed, saying that a wrong had now been righted with Alexander Dumas enshrined alongside fellow authors Victor Hugo and Emile Zola. The honor recognized that although France has produced many great writers, none has been as widely read and known as Alexander Dumas. His stories have been translated into almost a hundred languages, and inspired more then 200 motion pictures.

Alexandre Dumas’ home outside of Paris, the Château de Monte Cristo, has been restored and is open to the public. The Alexandre Dumas Paris Métro station was named in his honour in 1970.

Dumas appears as a character in the Kevin J. Anderson novel Captain Nemo: The Fantastic History of a Dark Genius. He encourages Jules Verne to find his own voice and write about his friend Captain Nemo’s exploits rather than emulate Dumas’ historical fiction.

Works

Fiction
 
Alexandre Dumas wrote stories and historical chronicles of high adventure that captured the imagination of the French public, who eagerly waited to purchase the continuing sagas. A few of these works:
 Charles VII at the Homes of His Great Vassals (Charles VII chez ses grands vassaux, 1831) – drama, adapted for the opera The Saracen by Russian composer César Cui
 Othon l’archer
 Captain Pamphile (Le Capitaine Pamphile, 1939)
 The Fencing Master (Le Maître d’armes, 1840)
 Castle Eppstein; The Specter Mother (Chateau d’Eppstein; Albine, 1843)
 Georges (1843): The protagonist of this novel is a man of mixed race, a rare allusion to Dumas’ own African ancestry.
 The Conspirators (Le chevalier d’Harmental, 1843) later adapted by Paul Ferrier into an opera
 Ascanio (1843?); Written in collaboration with Paul Meurice (1820-1905): France — History — Francis I, 1515-1547 — Fiction.
 Louis XIV and His Century (Louis XIV et son siècle, 1844)
 The Nutcracker (Histoire d’un casse-noisette, 1844): a revision of Hoffmann’s story The Nutcracker and the Mouse King, later adapted by Tchaikovsky as a ballet
 the D’Artagnan Romances: The Three Musketeers (Les Trois Mousquetaires, 1844)
 Twenty Years After (Vingt ans après, 1845)
 The Vicomte de Bragelonne, sometimes called “Ten Years Later”, (Le Vicomte de Bragelonne, ou Dix ans plus tard, 1847): When published in English, it was usually split into three parts: The Vicomte de Bragelonne, Louise de la Valliere, and The Man in the Iron Mask, of which the last part is the best known. (A third sequel, The Son of Porthos, 1883 (a.k.a. The Death of Aramis) was published under the name of Alexandre Dumas; however, the real author was Paul Mahalin.)
 
The Corsican Brothers (Les Frères Corses, 1844)
 The Count of Monte Cristo (Le Comte de Monte-Cristo, 1845–1846)
 The Regent’s Daughter (Une Fille du régent, 1845)
 The Two Dianas (Les Deux Diane, 1846)
 the Valois romances The horoscope : a romance of the reign of François II (1897?)
 La Reine Margot (1845)
 La Dame de Monsoreau (1846) (a.k.a. Chicot the Jester)
 The Forty-Five Guardsmen (1847) (Les Quarante-cinq)
 
the Marie Antoinette romances: Joseph Balsamo (Mémoires d’un médecin: Joseph Balsamo, 1846–1848) (a.k.a. Memoirs of a Physician, Cagliostro, Madame Dubarry, The Countess Dubarry, or The Elixir of Life)(Joseph Balsamo has a length of about 1000 pages, and is usually separated into 2 volumes in English translations: Vol 1. Joseph Balsamo and Vol 2. Memoirs of a Physician.)
 The Queen’s Necklace (Le Collier de la Reine, 1849–1850)
 Ange Pitou (1853) (a.k.a. Storming the Bastille or Six Years Later)
 The Countess de Charny (La Comtesse de Charny, 1853–1855) (a.k.a. Andrée de Taverney, or The Mesmerist’s Victim)
 Le Chevalier de Maison-Rouge (1845) (a.k.a. The Knight of the Red House, or The Knight of Maison-Rouge)
 
The Black Tulip (La Tulipe noire, 1850)
 Olympe de Cleves (Olympe de Cleves, 1851-2)
 The Page of the Duke of Savoy (Catherine Blum, 1853-4)
 The Mohicans of Paris (Les Mohicans de Paris, 1854)
 The Wolf-Leader (Le Meneur de loups, 1857)
 The Gold Thieves (after 1857): a lost play that was rediscovered by the Canadian Reginald Hamel, researcher in the Bibliothèque Nationale de France in 2004
 The Companions of Jehu (Les Compagnons de Jehu, 1857)
 Pietro Monaco sua moglie Maria Oliverio e i loro complici, 1864)
 Robin Hood (Robin Hood le proscrit, 1863)
 The Count of Moret; The Red Sphinx; or, Richelieu and his rivals (Le Comte de Moret; Le Sphinx Rouge, 1865–1866)
 The Whites and the Blues (Les Blancs et les Bleus, 1867)
 The Knight of Sainte-Hermine (Le Chevalier de Sainte-Hermine, 1869): This nearly completed novel was his last major work and was lost until its rediscovery by Claude Schopp in 1988 and subsequent release in 2005.
 The Women’s War (La Guerre des Femmes): follows Baron des Canolles, a naive Gascon soldier who falls in love with two women.
 
Drama
 
Although best known now as a novelist, Dumas first earned fame as a dramatist. His Henri III et sa cour (1829) was the first of the great Romantic historical dramas produced on the Paris stage, preceding Victor Hugo’s more famous Hernani (1830). Produced at the Comédie-Française, and starring the famous Mademoiselle Mars, Dumas’ play was an enormous success, launching him on his career. It had fifty performances over the next year, extraordinary at the time.
 
Other hits followed. For example, Antony (1831)—a drama with a contemporary Byronic hero—is considered the first non-historical Romantic drama. It starred Mars’ great rival Marie Dorval. There were also La Tour de Nesle – 1832, another historical melodrama, and Kean – 1836, based on the life of the great, and recently deceased, English actor Edmund Kean, played in turn by the great French actor Frédérick Lemaître. Dumas wrote many more plays and dramatized several of his own novels.
 
It is worthwhile to note that Dumas founded Théâtre Historique at the Boulevard du Temple in Paris, which later became Opéra National (established by Adolphe Adam in 1847). That in turn became Théâtre Lyrique in 1851.
 
Non-fiction
 
Dumas was also a prolific writer of non-fiction. He wrote journal articles on politics and culture, and books on French history.
 
His massive Grand Dictionnaire de cuisine (Great Dictionary of Cuisine) was published posthumously in 1873. It is a combination of encyclopedia and cookbook. Dumas was both a gourmet and an expert cook. An abridged version (the Petit Dictionnaire de cuisine, or Small Dictionary of Cuisine) was published in 1882.
 
He was also a well-known travel writer, writing such books as:
 Impressions de voyage: En Suisse (Travel Impressions: In Switzerland, 1834)
 Une Année à Florence (A Year in Florence, 1841)
 De Paris à Cadix (From Paris to Cadiz, 1847)
 Le Journal de Madame Giovanni (The Journal of Madame Giovanni, 1856)
 
Travel Impressions in the Kingdom of Napoli/Naples Trilogy (Impressions de voyage):
 Impressions of Travel in Sicily (Le Speronare (Sicily – 1835), 1842
 Captain Arena (Le Capitaine Arena (Italy – Aeolian Islands and Calabria – 1835), 1842
 Impressions of Travel in Naples (Le Corricolo (Rome – Naples – 1835), 1843
 
Travel Impressions in Russia:
 Adventures in Czarist Russia, or From Paris to Astrakhan (Impressions de voyage: En Russie; De Paris à Astrakan: Nouvelles impressions de voyage (1858), 1859–1862
 Voyage to the Caucasus (Le Caucase : Impressions de voyage; suite de En Russie (1859), 1858–1859

Artist of the day 3/2/12: Dark Writing 3: Edgar Allan Poe (Part three)

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As I suspectedd at the start of this segmant ‘Dark Writing’ will run more then just a week. I knew Edgar Allan Poe would take up two or three posts, I don’t have to do this thired post but I always like to add some of the artist work. Now I know most people are formiluer with his work, Poe is requiered reading in most High schools. But as I have said before I love Poe’s work. Tomorrow I will post on someone new, but today enjoy one of my favorite short stories by Poe.

The Tell-Tale Heart

Copyright 2000, by the Rector and Visitors of the University of Virginia.

TRUE! nervous, very, very dreadfully nervous I had been and am; but why WILL you say that I am mad? The disease had sharpened my senses, not destroyed, not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How then am I mad? Hearken! and observe how healthily, how calmly, I can tell you the whole story.
It is impossible to say how first the idea entered my brain, but, once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! Yes, it was this! One of his eyes resembled that of a vulture — a pale blue eye with a film over it. Whenever it fell upon me my blood ran cold, and so by degrees, very gradually, I made up my mind to take the life of the old man, and thus rid myself of the eye for ever.
Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded — with what caution — with what foresight, with what dissimulation, I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night about midnight I turned the latch of his door and opened it oh, so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern all closed, closed so that no light shone out, and then I thrust in my head.

Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly, very, very slowly, so that I might not disturb the old man’s sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! would a madman have been so wise as this? And then when my head was well in the room I undid the lantern cautiously — oh, so cautiously — cautiously (for the hinges creaked), I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights, every night just at midnight, but I found the eye always closed, and so it was impossible to do the work, for it was not the old man who vexed me but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he had passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.
Upon the eighth night I was more than usually cautious in opening the door. A watch’s minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers, of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was opening the door little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea, and perhaps he heard me, for he moved on the bed suddenly as if startled. Now you may think that I drew back — but no. His room was as black as pitch with the thick darkness (for the shutters were close fastened through fear of robbers), and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.

I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in the bed, crying out, “Who’s there?”
I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed, listening; just as I have done night after night hearkening to the death watches in the wall.
Presently, I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief — oh, no! It was the low stifled sound that arises from the bottom of the soul when over- charged with awe. I knew the sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him although I chuckled at heart. I knew that he had been lying awake ever since the first slight noise when he had turned in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could not. He had been saying to himself, “It is nothing but the wind in the chimney, it is only a mouse crossing the floor,” or, “It is merely a cricket which has made a single chirp.” Yes he has been trying to comfort himself with these suppositions; but he had found all in vain. ALL IN VAIN, because Death in approaching him had stalked with his black shadow before him and enveloped the victim. And it was the mournful influence of the unperceived shadow that caused him to feel, although he neither saw nor heard, to feel the presence of my head within the room.

When I had waited a long time very patiently without hearing him lie down, I resolved to open a little — a very, very little crevice in the lantern. So I opened it — you cannot imagine how stealthily, stealthily — until at length a single dim ray like the thread of the spider shot out from the crevice and fell upon the vulture eye.
It was open, wide, wide open, and I grew furious as I gazed upon it. I saw it with perfect distinctness — all a dull blue with a hideous veil over it that chilled the very marrow in my bones, but I could see nothing else of the old man’s face or person, for I had directed the ray as if by instinct precisely upon the damned spot.
And now have I not told you that what you mistake for madness is but over-acuteness of the senses? now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well too. It was the beating of the old man’s heart. It increased my fury as the beating of a drum stimulates the soldier into courage.
But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could maintain the ray upon the eye. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder, every instant. The old man’s terror must have been extreme! It grew louder, I say, louder every moment! — do you mark me well? I have told you that I am nervous: so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me — the sound would be heard by a neighbour! The old man’s hour had come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once — once only. In an instant I dragged him to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. But for many minutes the heart beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eye would trouble me no more.

If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I worked hastily, but in silence.
I took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly so cunningly, that no human eye — not even his — could have detected anything wrong. There was nothing to wash out — no stain of any kind — no blood-spot whatever. I had been too wary for that.
When I had made an end of these labours, it was four o’clock — still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart, — for what had I now to fear? There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbour during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises.
I smiled, — for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search — search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim.
The officers were satisfied. My MANNER had convinced them. I was singularly at ease. They sat and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears; but still they sat, and still chatted. The ringing became more distinct: I talked more freely to get rid of the feeling: but it continued and gained definitiveness — until, at length, I found that the noise was NOT within my ears.
No doubt I now grew VERY pale; but I talked more fluently, and with a heightened voice. Yet the sound increased — and what could I do? It was A LOW, DULL, QUICK SOUND — MUCH SUCH A SOUND AS A WATCH MAKES WHEN ENVELOPED IN COTTON. I gasped for breath, and yet the officers heard it not. I talked more quickly, more vehemently but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why WOULD they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men, but the noise steadily increased. O God! what COULD I do? I foamed — I raved — I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder — louder — louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God! — no, no? They heard! — they suspected! — they KNEW! — they were making a mockery of my horror! — this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! — and now — again — hark! louder! louder! louder! LOUDER! –
“Villains!” I shrieked, “dissemble no more! I admit the deed! — tear up the planks! — here, here! — it is the beating of his hideous heart!” END.

Artist of the day 3/1/12: Dark Writers 2: Edgar Allan Poe (Part two)

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Edgar Allan Poe (Part two)

Edgar Allan Poe

Part one contained Early Life and Military Career.

Publishing Career

After the death of his brother Poe began more earnest attempts to kick start his writing career. He chose a difficult time in American publishing to do so. He was the first well known American to try to live by writing alone, but hampered by the lack of an international copyright law. Publishers would often pirated copies of British works rather then pay for new works by American writers. The industry was also particularly hurt by the Panic of 1837 (The Panic of 1837 was a financial crisis or market correction in the U.S. built on a speculative fever. The end of the Second Bank of the United States had produced a period of runaway inflation, but on May 10, 1837 in New York City, every bank began to accept payment only in specie (gold and silver coinage), forcing a dramatic, deflationary backlash. This was based on the assumption by former president, Andrew Jackson, that the government was selling land for state bank notes of questionable value. The Panic was followed by a five-year depression, with the failure of banks and then-record-high unemployment levels.) Despite a booming growth in American periodicals around this time period, fueled in part by new technology, many did not last beyond a few issues, and publishers often refused to pay their writers or paid them much later then promised. Throughout Poe’s attempts to live as a writer he had to repeatedly resort to humiliating pleas for money and other assistance.

After Poe’s early attempts at poetry he turned his attention to prose. He placed a few stories with a Philadelphia publication and began work on his only drama ‘Politian’. In October 1833 Poe was awarded a prize for his short story ‘MS. Found in a Bottle’ by The Baltimore Saturday Visiter. The story brought Poe to the attention of John P. Kennedy, a Baltimorean of considerable means. Kennedy helped Poe place some of his stories, and introduced him to Thomas W. White the editor of the Southern Literary Messenger in Richmond. August 1835 Poe became assistant editor of the periodical, but within a few weeks discharged for being caught drunk by his boss. He returned to Baltimore and secretly married his cousin Virginia Clemm on September 22, 1835. At the time he was 26 and she was 13, though she was listed as being 21 on the marriage certificate. After promising good behavior White reinstated Poe, He returned to Richmond with both Virginia and her mother. He remained at the messenger untill January 1837, claiming that it’s circulation increased from 700 to 3,500 during his two year there. He published several poems, book reviews, critiques, and stories in the paper. On May 16, 1836 Poe and Virginia had a second wedding ceremony in Richmond, this time in public.

Virginia Clemm Poe

The Narrative of Arthur Gordon Pym of Nantucket was published and widely reviewed in 1838. In the summer of 1839 Poe became the assistant editor of Burton’s Gentleman’s Magazine. He published numerous articles, stories, and reviews enhancing his reputation as a trenchant critic that he had established at the Southern Literary Messenger. Tales of the Grotesque and Arabesque was published in two volumes in 1839 as well, though he made very little money off it and it received mixed reviews. Poe left Burton’s after about a year and found a position as assistant at Graham’s Magazine.

In June 1840 Poe published a prospectus announcing his intentions to start his own journal ‘The Stylus’. Originally he had intended to call the journal ‘The Penn’ as it would have been based in Philadelphia, Pennsylvania. Poe bought advertising space for his prospectus in the June 6, 1840 issue of the Philadelphia’s Saturday Evening Post : “Prospectus of the Penn Magazine, a Monthly Literary journal to be edited and published in the city of Philadelphia by Edgar A. Poe.” The Journal was never produced before his death. Around this time Poe attempted to secure a position with the Tyler administration, Claiming he was a member of the Whig Party. He hoped to be appointed to the Custom House in Philadelphia with the help of President Tyler‘s son Robert, an acquaintance of Poe’s friend Fredrick Thomas. However Poe failed to show up for a meeting with Thomas to discuss the appointment in mid September 1842, claiming he was sick, though Thomas believed he was drunk. He was promised an appointment, but all positions were filled by others.

One evening in January 1842 while singing and playing the piano Virginia showed the first signs of consumption, now known as tuberculosis. Poe described it as breaking a blood vessel in her throat. She only partially recovered. Poe began to drink heaver under the stress of Virginia’s illness. He left Graham’s and attempted to find a new position, for a time angling for a government post. He returned to New York, where he briefly worked at the Evening Mirror before becoming editor of the Broadway Journal, and later sole owner. There he alienated himself from other writers by publicly accusing Henry Wadsworth Longfellow of plagiarism, Longfellow never responded. Poe’s poem ‘The Raven’ appeared in the Evening Mirror on January 29, 1845 becoming a popular sensation. Though it made Poe a household name almost instantly he was only paid $9 for it’s publication. It was concurrently published under the pseudonym ‘Quarles’ in The American Review: A Whig Journal.

Poe Cottage

The Broadway Journal failed in 1846. Poe moved to a cottage in the Fordham section of The Bronx, New York. That home is known today as the ‘Poe Cottage, located on the southeast corner of the Grand Concourse and Kingsbridge Road. There Virginia died on January 30, 1847. Biographers and critics suggest Poe’s frequent theme of the “death of a beautiful woman” stems from the repeated loss of woman throughout his life, including his wife.

Increasingly unstable after the death of his wife Poe attempted to court the poet Sarah Helen Whitman, who lived in providence, Rhode Island. Their engagement failed, purportedly because of Poe’s drinking and erratic behavior. However there is also strong evidence that Whitman’s mother intervened and did much to derail their relationship. Poe then returned to Richmond and resumed a relationship with his childhood sweetheart, Sarah Elmira Royster.

Death

Edgar Allan Poe's Grave

On October 3, 1849 Poe was found on the streets of Baltimore delirious, “in great distress, and…. in need of immediate assistance”, according to Joseph W. Walker who found him. Poe was taken to the Washington College Hospital, where he died on Sunday, October 7, 1849 at 5:00 in the morning. He was never coherent long enough to explain how he came to be in his dire condition, and oddly, was wearing clothes that were not his own. It was said that Poe repeatedly called out the name ‘Reynolds’ on the night before his death, though it is unclear to whom he was referring. Some sources say Poe’s final words were “Lord help my poor soul.” All medical records, including his death certificate, have been lost. Newspapers at the time reported Poe’s death as ‘congestion of the brain’ or ‘cerebral inflammation’, common euphemisms for deaths from disreputable causes such as alcoholism. The actual cause of death remains a mystery; from as early as 1872 cooping was commonly believed to have been the cause, and speculation has included delirium tremens, heart disease, epilepsy, syphilis, meningeal inflammation, cholera and rabies.

Griswold’s “Memoir”

The day Edgar Allan Poe was buried a long obituary appeared in the New York Tribune signed “Ludwig”. It was soon published throughout the country. The piece began, “Edgar Allan Poe is dead. He died in Baltimore the day before yesterday. This announcement will startle many, but few will be grieved by it” “Ludwig” was soon identified as Rufus Wilmot Griswold, an editor, critic, and anthologist who had borne a grudge against Poe since 1842. He somehow became Poe’s literary executor and attempted to destroy his enemy’s reputation after his death.

Rufus Griswold wrote a biographical article of Poe called “Memoir of the Author”, which he included in an 1850 volume of collected works. He depicted Poe as a depraved, drunk, drug-addled madman and included Poe’s letters as evidence. Many of his claims either lies or distorted half-truths. For example, it is now known that Poe was not a drug addict. Griswold’s book was denounced by those who knew Poe well, but it became a popularly accepted one. This occurred in part because it was the only full Biography available and was widely reprinted and in part because readers thrilled at the thought of reading the works of an “evil” man. The letters that Griswold presented as proof of this depiction of Poe were later revealed as forgeries.

Artist of the day 2/29/12: Dark Writers 1: Edgar Allan Poe part 1

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For my first post in ‘Writing the dark side’ I choose a writer I grew up reading. There was a short time when I was little all I wanted to here was stories of princesses and knights in shining armor come to save the day. But that changed, when most girls still wanted to hear those stories I asked for Poe and Weird Tails. Weird Tails was a magazine when my father was a kid that dealt with stories of the dark and strange, but a compilation book when I was growing up. I wish I still had the copy my father got me, I loved that book.

Yes this man is long gone, but his work forever remembered by young and old.

Edgar Allan Poe

Born January 19, 1809 in Boston, Massachusetts and died October 7, 1849.

Poe was an American author, poet, editor and literary critic. He was considered part of the American Romantic Movement. Poe is best known for his tales of mystery and macabre, he was one of the earliest American practitioners of the short story and is considered the inventor of the detective fiction genre. Poe is further credited with contributing to the emerging genre of science fiction. He was the first well known American writer to try to earn a living through writing alone, resulting in a financially difficult life and career.

Early Life

Born Edger Poe, the second child of English-born actress Elizabeth Arnold Hopkins Poe and actor David Poe Jr. He had an elder brother William Henry Leonard Poe, and younger sister Rosalie Poe. Poe may have been named after a character in William Shakespeare’s King Lear, a play the couple was performing in 1809. Poe was orphaned at the young age of one when his mother died of consumption (pulmonary tuberculosis) shortly after his father abandoned the family in 1810. He was taken in by John Allan, a successful Scottish merchant, and his wife Frances Valentine Allan living in Richmond, Virginia. John Allan dealt in a variety of goods including tobacco, cloth, wheat, tombstones, and slaves. The Allan served as a foster family and gave him the name ‘Edgar Allan Poe’, though they never formally adopted him.

The Allan family had Poe baptized in the Episcopal Church in 1812. John Allan alternately spoiled and aggressively disciplined his foster son. The family, including Poe and Allan’s wife, sailed to Britain in 1815. Poe attended the grammar school Irvine, Scotland (where John Allan was born) for a short time in 1815, before rejoining the family in London in 1816. There Poe studied at the boarding school in Chelsea until the summer of 1817. He was subsequently entered at the Reverend John Bransby’s Manor House School at Stroke Newington, then a suburb four miles (6 km) north of London.

Poe moved back with the Allan’s to Richmond, Virginia in 1820. In 1824 he served as the Lieutenant of the Richmond youth honor guard as Richmond celebrated the visit of the Marquis de Lafayette. In March 1825, John Allan’s uncle and business benefactor William Galt, said to be one of the wealthiest men in Richmond, died and left Allen several acres of real estate. The estimated inheritance was $750,000. By the summer of 1825 Allan celebrated his wealth by purchasing a two story brick home named Moldavia. Poe may have become engaged to Sarah Elmira Royster before he registered at the one year old University of Virginia in February 1826 to study languages. The university, in its infancy, was established on the idea of its founder, Thomas Jefferson. It had strict rules against gambling, horses, guns, tobacco and alcohol, but these rules were generally ignored (no surprise there). Jefferson had enacted a system of student self-government, allowing students to choose their own studies, make their own arrangements for boarding, and report all wrongdoing to the faculty. The unique system was still in chaos, and there was a high dropout rate. During Poe’s time there he lost touch with Royster and also became estranged from his foster father over gambling debts. Poe claimed Allan hadn’t given him sufficient funds to register for classes, purchase texts, and procure and furnish a dormitory. Allan sent additional money and clothes, but Poe’s debts increased. After only a year Poe gave up on the university, and not feeling welcome in Richmond, especially when he learned that his sweetheart Royster had married Alexander Shelton, he traveled to Boston in April 1827. Poe sustained his self with odd Jobs as a clerk and newspaper writer. At some point he started using the pseudonym Henri Le Rennet.

Military Career

Poe unable to support himself enlisted in the United States Army as a private on may 27, 1827. He claimed he was 22 year old using the name ‘Edgar A. Perry’ even though he was only 18 at the time. He first served at Fort Independence in Boston Harbor for only five dollars a month. That same year Poe released his first book, a 40-page collection of poetry ‘Tamerlane and Other Poems‘, attributed with the byline “by a Bostonian”. Only 50 copies were printed, and the book received virtually no attention. (all writers have there bad start, even the grate ones). On November 8, 1827 Poe’s regiment was posted to Fort Moultrie in Charleston, South Carolina and traveled by ship on the brig Waltham. Poe was promoted to ‘artificer’, an enlisted tradesman who prepared shells for artillery, and had his monthly pay doubled. After two years in service and attaining the rank of sergeant major for artillery (the highest rank a noncommissioned officer can achieve), he sought to end his five year enlistment early. He revealed his real name and his circumstances to his commanding officer, Lieutenant Howard. Howared would only allow Poe to be discharged if he reconciled with John Allan and wrote a letter to him, Allan was unsympathetic. Several months passed and pleas to Allan were ignored (Allan may not have even written to Poe to inform him of his foster mother’s illness. She died on February 28, 1829, ans Poe visited the day after her burial. Perhaps softened by his wife’s death, John Allan agreed to support Poe’s attempt to be discharged in order to recive an appointment to the United States Military Academy at West Point.

Poe was finally discharged on April 15, 1829, after securing a replacement to finish his enlisted term for him. Before entering West Point Poe moved back to Baltimore for a time. He stayed with his widowed aunt Maria Clemm, her daughter (Virginia Eliza Clemm, Poe’s first cousin), his brother Henry, and invalid grandmother Elizabeth Cairnes Poe. Meanwhile Poe published his second book, AL Aaraaf, Tamerlane and Minor Poems, in Baltimore in 1829.

Poe traveled to West Point and matriculated as a cadet on July 1, 1830. October 1830, John Allan married his second wife, Louisa Patterson. The marriage and bitter quarrels with Poe over the children born to Allan out of affairs led to Allan finally disowning Poe. Poe decided to leave West Point by getting court martialed. February 8, 1831 he was tried for gross neglect of duty and disobedience of orders for refusing to attend formations, classes or church. Poe tactically plead not guilty to induce dismissal, knowing he would be found guilty.

Poe left for New York in February 1831, and released a third
volume of Poems, simply titled Poems. The book was financed with help from his fellow cadets at West Point, many of whom donated 75 cents to the cause, raising a total of $170. They may have been expecting verses similar to the satirical ones Poe had been writing about commanding officers.[30] Printed by Elam Bliss of New York, it was labeled as “Second Edition” and included a page saying, “To the U.S. Corps of Cadets this volume is respectfully dedicated.” The book once again reprinted the long poems “Tamerlane” and “Al Aaraaf” but also six previously unpublished poems including early versions of “To Helen”, “Israfel”, and “The City in the Sea”. He returned to Baltimore, to his aunt, brother and cousin, in March 1831. His elder brother Henry, who had been in ill health in part due to problems with alcoholism, died on August 1, 1831.

Artist of the day 2/27/12: Graffiti 6: Lady Pink

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Sorry for not posting an artist of the day yesterday everyone. It terned out to be a very hectic day. But I am very happy to say I hit a record yesterday, 99 views for one day! Thank you to all my readers!

Lady Pink

Lady Pink’s birth name is Sandra Fabara. She was born 1964 in Ambato, Ecuador, and raised in Queens, New York.

She started her graffiti career in 1979 after the loss of a boyfriend who had been sent to live in Porto Rico after he was arrested. She worked through her grief by tagging his name all over the city. Soon after she started to use the name Lady Pink. The name was inspired by her love of historical romances, England, the Victorian period, and the aristocracy. She studied at the High School of Art & Design in Manhattan. While attending the school she was introduced to graffiti. This was when she was 15, when she lost her boyfriend, and started tagging.
Within a few years she began running with TC5 (The Cool 5) and TPA (The Public Animals) crews. She was soon well known as the only female capable of competing with the boys in the graffiti world.

Lady Pink painted subway trains from 1979 through 1985. In 1980, at only 16 years old she was included in the landmark New York show “GAS: Graffiti Art Succes” at Fashion Moda, which traveled in a modified form downtown to The New Museum of Contemporary Art.

Young, approachable, quick-witted, and one of the only female graffiti writers, Lady Pink became among the most photographed and interviewed graffiti artist of her time.

In 1983, 19 years old, she appeared in theaters in the starring role in Charlie Ahearn’s fill Wild Style as Rose. That same year she worked on a series of large scale paintings with artist Jenny Holzer, The two have since collaborated many times.

So while she was still in high school she was already exhibiting paintings in art galleries, by twenty-one she mounted her first solo show “femmes-Fetales” at the Moore College of Art & Design in Philadelphia.

After 1987 she took a hiatus from painting outdoors, but she returned in 1993 after meeting her future husband, fellow graffiti legend SMITH, with whom she collaborates on murals and commercial work.

Lady Pink’s studio paintings often incorporate images of New York subways weaving and winding through decaying, POP-surrealist cityscapes. They have been widely exhibited throughout the United States and abroad.

Lady Pink is one of the leading participants in the rise of graffiti-based art. Her canvases have entered important art collections such as those of the Whitney Museum of Art, the Metropolitan Museum of Art in New York City, the Brooklyn Museum, and the Groningen Museum of Holland. She has established herself in the fine art world, her paintings highly prized by collectors.

Today she continues to create new paintings on canvas that express her unique vision. She also shares her 30 years of knowledge and experience by holding mural workshops with teens and actively lecturing college students throughout the northeast.

Lady Pink’s website http://www.pinksmith.com/

Her work

Artist of the day 2/25/12: graffiti 5: Banksy

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Banksy

Banksy has his hands in many artistic treasures as a pseudonymous England-based graffiti artist, political activist, film director, and painter. His artistic works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world.

According to the author and graphic designer Tristan Manco and the book Home Sweet Home, Banksy “was born 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s.”

Banksy is known for his contempt for the government in labeling graffiti as vandalism, as such he displays his art on public surfaces such as walls and even going so far as to build physical prop pieces.

Banksy does not sell photos of his street graffiti directly himself. However, art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder.

Banksy’s first film Exit through the gift shop, billed as “The world’s first street art disaster movie” made its debut at the 2010 Sundance Film Festival. The film was released in the UK on march 5, 2010. In January 2011, he was nominated for the Academy Award for Best Documentary for the film. Now who said “The world’s first street art disaster movie”? I think its safe to say they where wrong.
From Banksy’s page http://www.banksy.co.uk/ :

Frequently asked questions

Is it cheating to use stencils?
Stencils are good for two reasons;
One – they’re quick ; two – they annoy idiots.

Why are you such a sell out?
I wish I had a pound for every time someone asked me that.

Is Banksy just a big brand these days? Do you even paint your own pictures?
It’s not supposed to be a brand, which is why people in advertising think it’s such a good one. I paint it all myself unless its illegal, in which case I’ve never seen any of it before, your honour.

Is Exit Through the Gift Shop real?
Yes.

Are you still friends with Mr. Brainwash?
I like to think so. When I asked him what he thought about the film he said “This is a cult movie, this is a classic movie, this movie stands alone – like The Godfather.”

Did you paint over Robbo’s piece and have him beaten up?
His piece in Camden had been dogged for more than five years by the time I painted that spot. It’s a real shame about his accident and I hope he fully recovers. I would never deliberately cuss Robbo – he’s a graffiti legend.
And he’s bigger than me. Click Here

Did you rip off Blek le Rat?
No, I copied 3D from Massive Attack. He can actually draw.

Do you need an intern?
No thanks.

Why are you so annoying?
It’s not all my fault, sometimes they make it up – I’ve never vandalized a war memorial, painted Kate Moss’s kitchen or visited the Playboy club with Ashley Cole wearing a skull mask.

What artists do you rate?
Käthe Kollwitz is my favourite. Partly because her drawing style is so beautiful, and partly because she thought being an artist was self-indulgent crap and became a doctor in an orphanage instead.

Can you donate a picture for my charity auction?
What are you? Blind? In which case maybe. I mostly support projects working to restore sight and prevent eye disease. Or as I like to call it ‘expanding the market’.

faq@banksy

Please don’t follow me on facebook or twitter because I’m not on there.

Some of His work

I love this one

A lot of Banksy’s fans have gotten tattoos of his work :)
link to an article about this photo go check it out, its a good one. About people petitioning to keep his work up in a town where graffiti has been outlawed http://www.westendextra.com/news/2011/may/westminster-council-remove-banksy-art

Artist of the day 2/24/12: Graffiti 4: Xenz

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Graeme Brusby AKA Xenz

Brusby was born in 1974. He became a graffiti artist at the age of 14, inspired by films and books documenting the sub culture of New York. He developed the tag “sense” which evolved into what he does today – Xenz (pronounced “zenz”)

Brusby practiced graffiti art for 20 years, developing a unique approach to the well known art form.

If I may say so. He has beautiful work with true depth, color, and invoking feeling. He is now one of my favorite graffiti artist I have seen.

(origin of quote unknown) He has said and I must agree “I paint stuff that floats and stuff that flies, on a mission to capture the ethereal vision behind my eyes”

His early paintings where inside the derelict warehouses of Hull in Yorkshire England. This encouraged a very experimental approach to graffiti, to the point that the simple word graffiti no longer sufficiently describes what he does.

His imagination shows through in the landscapes he paints, using a spray can to capture fragments of memory and ever changing subjects, often drawn from the natural world and enhanced in his eye.

He lived in Bristol where he painted many pieces alongside one of the UK’s longest standing and most respected graffiti crews TCF( twentieth century frescos), He was one of three in the group, and artists such as Banksy, Inkie and Massive Attack’s 3D.

Quote from his web site (about TCF) “I painted with two friends called Eko and Paris, we were known as “The TCF Crew”( twentieth century frescos). If we had a vision we painted it, we did the wackiest stuff possible and really tried to be unique. We expanded our influences and started exploring different styles of painting even sculpture and printing, we always pushed each other’s ideas as far as possible being critical and particular about ideas and aesthetics sat in a small bedroom in the cold North Eastern part of England in a city called Hull.”

Xenz has been shown in exhibitions and art fairs in the UK, Miami, New York, Basel, Ibiza and Sydney. He has had sell-out London solo shows, and his limited edition prints are in huge demand. His work is in private and corporate collections worldwide. He studied at Edinburgh College of Art. He lives and works in London.

Solo Exhibitions

2011 – “Cloud Cuckoo Land” , December 1- 4, 2011, Blackall Studios, 73 Leonard Street, Shoreditch, London, England

2011 – “Pecking Disorder” , Lazarides, Outsiders, Newcastle upon Tyne, England

2010 – “Birds Butterflies and spraycans” , Wk exp, New Delhi, India

2010 – “These flowers grow wild” , La Hora Azul, Santa Gertudis, Ibiza, Spain

2010 – “Wonderlust” , Bicker gallery, Sydney, Australia Sidney Morning Herald

2009 – “Unforscenery” , Forster Gallery, London

2007 – “The Law Of Attraction” , Forster Gallery, London

2007 – “For The Love”, Workshop Gallery, Bristol

2006 – “Big City of Dreams”, This way up gallery, London

2002 – E Shed, Bristol, Uk

1999 – Avant Graff, Chicane, Bristol

Group Exhibitions and events

2011
Urban in Ibiza – Atzaro Ibiza
Ghosts of gone birds – Liverpool school of art and design

2010
Rise of the non conformists, Whitecross street, London

2009
Flying Eyeball, Gallery 24 Mayfair London
Friend & co Bristol
Bristollisboa gallery, Lisbon,
Tunnel 228, Waterloo, London
Meeting of styles, London

2008
Visual Street Performance, Barrio Alto, Lisbon
Artists 11, Truman Brewery, London
Big Chill, Festival
Glastonbury, Festival

2007
The Bad Note, Dragon Bar, London
One in ten, Forster Gallery, London.
Lattitude Festival
Write for Gold, London

2006
One the Seventh Day, Pimp Magazine, London

2005
Natural Selection, British Graffiti Alsopp Contemporary, London
Meeting of styles, Padova ,Italy

2004
Meeting of styles, wintertur ,switzerland

2003
Meeting of styles, Pori , Finland

2002
Attitude festival, Montpellier France,

1999
What’s in a Name, Retrospective of Hull’s Graffiti Scene, Quay Art, Hull
Walls on Fire, Bristol

1996
By Any Means, Wasps Gallery, Edinburgh
His web page http://www.xenz.org/site/ is a must see if you find his work as butiful and inspiering as I do!

Some of Xenz’s Work