Regolith, by H. William Glenbrook: A Review

I am of two minds about this book (a debut science fiction novel by author H. Williamregolith Glenbrook), because I liked half of it but not the other half. Two interconnecting stories make up Regolith: one is a fairly standard ‘spaceship crew fighting aliens’ story; one is a tale of corporate research, in-fighting, and one-upmanship that provides the climax and ultimately the back-story to the other half.

The half I liked is the ‘battle against the aliens’ story. It’s a pretty standard shoot-em-up for the most part; while set in space, it could have been set in any troubled area of the world, with a few changes in technology.  Written in spare, staccato prose, it still manages to convey emotion as well as action.

The corporate half, while ultimately necessary for the denouement, I didn’t like. Subject to too many clichés and wooden characters, as well as awkward dialogue, it might have been better addressed as a prologue to the main story, dealt with in a few pages of exposition until necessarily being reintroduced near the end of the main narrative.

While overall the story could be read as a metaphor for every misguided intervention in world politics made by various governments and countries over the centuries, three stars is the best I can do, and perhaps generously, for this debut novel.

I received a copy of this book in exchange for an honest review.

Comments wanted!

Here’s a look at the proposed cover for Book II of the Empire’s Legacy series, Empire’s Hostage, alongside the very well received cover of Book I, Empire’s Daughter.  While I know there are a few tweaks needed – border size for one – I’d appreciate feedback on the background colour, tag lines, or anything else.  Thanks!

 

 

Introducing Geoffrey Saign

In today’s blog, I’m chatting with award-winning  author Geoffrey Saign, whose newest book, Wyshea Shadows, is the first in his new series, Divided Draghons. Geoff is, as well as a writer, a biologist, teacher and sailor…I’m not sure how he finds time to write! His first novel, WhipEye, won the International Book Award; Readers’ Favorite Children’s Fantasy; Outstanding Children’s Fiction in IAN Book of the Year Award; Top Choice, LitPick.com; a Bronze in the eLit awards; and Notable Indie—Best Indie Book, Shelf Unbound. His second novel in the WhipEye Chronicles, Gorgon, was selected as a Finalist, Midwest Book Award; Outstanding Children’s Fiction in IAN Book of the Year Award—third place in Book of the Year, and Top Choice, LitPick.com.wyshea-shadows

Geoff, tell us a bit about yourself. 

I love to bake/cook healthy food, hike, swim out to the center of lakes, snorkel, am a black belt in kung fu, and sail big boats, around 42’, to islands and beaches to swim. I don’t watch TV, but I love movies—stories. I spent 11/2 years traveling in the South Pacific, and it taught me that beauty is everywhere and you don’t have to go anywhere to find it—as long as nature is present. I teach in special education to very bright young adult students, which is both gratifying and worthwhile.

What is the premise of Wyshea Shadows?

Wyshea Shadows is an epic fantasy with three main women characters whose lives are intertwined with war, mystery, a common enemy, and love. As a thriller, it also has enough elements of romance, world building, and mystery that it probably is one of my best books. The wyshea are able to be around animals without scaring them—kind of like our world on the Galapagos Islands, and have a special relationship with nature. There are also elements of old mythology, like precursors to unicorns, wood sprites, and faeries that are only hinted at. The stories build dramatically, and the intertwining of characters is some of the best writing I have done. Each book (two others are written and will be released this year) has a very climactic ending, which always brings emotion out of me even after reading it 100 times. This is because the characters have so much at stake in the story, including protecting those they love. Nature and wildlife have major roles in all my writing.

Wow, that’s complex. How do you conceive your plot ideas?

Usually I think of one line, one situation. In WhipEye I imagined a boy walking into a pet store to talk to an animal. That became an 80,000 word award-winning fantasy novel. In Wyshea Shadows, I envisioned divided races, with good and evil in all the races, and the antagonist an evil that used individual weaknesses of greed and power to his advantage. Once I have a beginning, the rest seems to develop organically.

 Are any of your characters based on real people?

I have a character in WhipEye that reminds me of special needs young adults. All characters probably have bits and pieces of people I know. In WhipEye, the main character is grieving, and is in love with nature. I drew upon myself for both of those attributes at the time (I experienced a loss of not being able to be outside due to a difficult health problem for years, and when I got better, I grieved that loss.)

 Given how you describe Wyshea Shadows, you must have needed to do a fair bit of research!  Tell us about that. 

I usually have to research wildlife, nature elements, and also some of the weapons to understand limits and abilities. The world building is solid, and the magic in this world is concrete and explainable in a scientific kind of way. That doesn’t mean it’s based on science, but there is cohesion in understanding the underlying principles of energy in this world.

 

Do you outline your books or just start writing?

I write about 1/3-1/2 of the book, or at least the first few chapters, and then I might do a quick, one line outline for successive chapters to see where I’m going. It changes depending on the book and what type of story it is.

Given everything you do, how do you find time to write?

I write almost every day. Three hours or more in the evening after my education job, weekends 8 hour/day. There are breaks, friends, socializing, family, and play time. But I’m pushing 3 series now, plus 2 thrillers that I will come out with this winter, so 2017 will be a big year for me.

Is there a specific place in the house (or out of the house) that you like to write, or a specific mood you try to create with music?

The mood is in my head. I don’t mind listening to birds outside, or children playing, but music is distracting when I’m writing. Every writer is different in this aspect. I write at home, at my desk, and it’s comfortable and cozy.

Have you started your next project? If so, can you share a little bit about your next book?

I just finished 4 new books less than 2 months ago; Bubblegum Mike, Book 1, the YA epic fantasy, Wyshea Shadows, Divided Draghons, Book 1, the 3rd WhipEye Chronicles book, Drasine, and a stress reduction book (I teach that in my school)—so I’m taking a little break with marketing and rewriting an adult thriller. In the next 3-4 months I plan on finishing the 2nd Bubblegum Mike Book and 2nd Divided Draghons book, two thrillers, another young children’s book, and a nonfiction book. It’s a lot to do in one year. I also have some school visits in Minnesota and Chicago. It’s all very exciting!

And exhausting, I would think!  Links to Geoff’s social media and book sites are below. 

 

https://twitter.com/geoffreysaign?lang=en

https://www.goodreads.com/book/show/33259256-wyshea-shadows?from_search=true

https://www.facebook.com/geoffrey.saign

https://www.amazon.com/dp/B01NCQ0X8P/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1

Empire’s Hostage: Status update and an excerpt.

Yesterday I typed the last words of the first draft of Empire’s Hostage, Book II of the Empire’s Legacy series. Beginning about eighteen months after the end of Empire’s Daughter, the book opens with Lena serving at the Wall, as the war with the north continues.

Now, finishing the first draft isn’t the same as having a publication-ready manuscript; there’s a lot of work to do still. I will now go through the book scene by scene, adding detail (or taking it away), delving further into the emotions and reactions of my characters. Then I’ll do an analysis of each scene: what purpose does it serve? Is it consistent with previous action, reaction, character traits? (including what happens in Empire’s Daughter) – and make the requisite changes. Have I carried themes and images through the book? Is Lena’s horse the same colour in every scene? Large things and small: they’re all important. Finally, I’ll do a copy-edit, looking for formatting errors.

Once I’ve done that – all on the laptop – I’ll print a copy, go through it at least twice, and then and only then, prepare the copies for my beta readers. I’m hoping to have that all done by April.

I’ll do a cover reveal in a couple of weeks (that’s a little dependent on my cover artist), but for now, here’s a look into the opening scenes of Empire’s Hostage.

Chapter 1

The rain slashed down unceasingly, half ice, stinging exposed skin and making it nearly impossible to see anything in the grey light. When the sun, hidden now behind the thick layer of clouds, set–not long now, I estimated–the stones of the Wall and the native rock would lose what warmth they held, and begin to ice over. Night watch would be treacherous, tonight. I counted it a small blessing that my watch had begun after the midday meal.

I wiped a gloved hand over my eyes yet again and scanned north and eastward, not focusing on anything, but looking for motion, or for something that didn’t belong, as Turlo had taught me; something that moved against the wind, or a shadow that hadn’t been there yesterday. I listened, too, to the sounds beyond the noises of the fort and the babble of the stream behind me: the hoarse cry of a raven, the soft chatter of sparrows settling into their roost: no alarm calls. I walked the few steps across the watchtower and began my scan again, to the northwest.

Footsteps sounded on the wooden steps. I did not turn; only when my relief stood beside me, looking out, could I look away.

“I think the minging gods have forgotten it’s the first day of spring,” Halle said. “Anything I should know?”

“There’s a raven in the usual tree,” I answered, still looking outward, “but it’s not alarmed, just making conversational croaks occasionally. I saw a fox about an hour ago, when I could still see, and its mind was on finding mice in the rocks. No owls today but maybe they’re not hunting in this rain. But there could be forty northmen out there, and as long as they moved with the wind and stayed low, I wouldn’t know. But I don’t think so; I’m guessing there is one, or maybe two, watching us, no more.”

“Wrapped up in their cloaks, under some rocks or furze,” Halle said. “I’d rather be here.”

“So would they,” I reminded her.

She laughed, but without mirth. “Go and get warm,” she said. “The hunting party brought back a deer, so there’s venison stew to be had.” I glanced over at her; her eyes were on the land beyond the Wall, watching.

“Good luck,” I said, and turned. I took the stairs down from the watchtower as quickly as I felt safe; the movement warmed me, slightly. At the bottom, I stepped over the gutter, running with rainwater, and onto the cobbled walkway that ran along the inner side of the Wall. The Wall itself broke the wind, and the rain fell with less force. Still, I pulled the hood of my cloak over my head as I walked to the camp.

All the discipline of the Empire could not build a finished fort in a time of war, and while the tents and a few stone and timber huts stood in orderly rows, the roads and pathways between mostly were earthen – or mud, right now. Since the skirmishes had died down, some weeks earlier, work had begun on paving the main thoroughfares through the camp. A narrow, cobbled track ran from the Wall to the centre of the encampment, just wide enough for two people to pass, and I noticed it extended a few feet further into the camp than it had when I had left for watch duty. I stepped off its comparatively clean cobbles onto the slick surface of the hard-packed earthen path. It had been built to drain, and two ditches ran on either side of it, but I could feel mud sticking to my boots.

At the kitchen tent, I scraped the mud off my boots on the iron blade mounted outside, and shook the worst of the rain off my cloak. Ducking inside, I met a blast of welcome heat. I stripped off my gloves and cloak, and the thick tunic I wore beneath the cloak and piled them on a bench. A gust of cold air told me someone else had come in; I turned to see Darel already loosening the clasps of his cloak. He’d been on watch duty at the tower east of the camp.

“Quiet?” I asked. He nodded, concentrating on pulling his tunic over his head.

“Very,” he answered, when his tunic was off. His red hair, streaked with rain, stood up in clumps. He sniffed the air. “I hear rumours of venison stew,” he said. Caro, on servery duty, spoke up.

“More like thick soup,” she said, “but, yes, it’s venison. With some root vegetables and barley in with it. Sit down, and I’ll bring it over.” We did as directed, and soon enough two bowls of soup, or stew, stood in front of us, with a loaf of dark, hard bread. Darel cut the loaf in half with his belt knife, and passed one piece to me. I ripped off a chunk, and dipped it in the soup, and ate hungrily.

Caro brought over two mugs of thin beer, and for a space of some minutes we did nothing but eat. Others had come in as we ate, and the smell of damp wool began to overpower the scent of venison stew in the tent. No-one said much; another day of rain and cold and mud dampened spirits as much as it did hide and stone. The rain drummed on the tent, ceaselessly.

Caro put more fuel in the brazier and then slipped onto the bench beside me. We had ridden north together, from Casilla, half a year earlier, when Dian had come south to requisition food and horses and other supplies for the army. I hadn’t really known her there; she had worked at one of the small food stalls near the harbour, and sometimes on my way to or from my work on the boats I had bought something from her.

“How’s the soup?” she asked.

“Fine,” I said. It was; thick enough to be satisfying, and reasonably spiced.

“It was only a yearling,” she said. “Not enough meat to go around, really, so we had to make soup.”

Food, I knew, was becoming a problem. At the end of the winter, with almost all the army ranged along the length of the Wall, game within a day or two’s hunting was scarce. Sending men – or more likely women – south to the villages for provisions meant fewer of us to defend the Wall if another raid occurred. The truce, called ten days ago, could end at any moment; the Emperor and his advisors spent their days at the White Fort, east of our camp, negotiating with the leaders of the northmen. Fifteen months of war: eight to drive the invaders back beyond the wall; another seven, now, keeping them there, until the ravages of winter, little food, and the deaths of so many, on both sides, had led to the request, and agreement, to parley.

“Who brought it in?” I asked idly.

“Dian,” Caro replied. “They got two, both yearlings, but one went to the White Fort. Have you had enough to eat?”

I shrugged. “Enough,” I said. “Is there any tea?” Darel looked up.

“I could eat more,” he said, “if there is any?” In truth, I could have too, but knew I shouldn’t. Darel was so young, and growing, and thin as a starveling cat. All the cadets looked the same.

“There’s a bit,” Caro said judiciously. “Give me your bowl, and I’ll bring it back, and your tea, Lena.” She slid off the bench and went back to the servery. Darel stretched. “Dice?” he suggested. “After we’re done eating?”

I shook my head. “Not tonight,” I said. “My tunic needs repairing; one of the shoulder seams is splitting.” Caro came back, and Darel fell on his bowl as if he hadn’t eaten the first helping. I curved my hands around the mug of tea. It smelled of fruit: rosehip, I thought.

I sat, sipping the tea. Darel finished his soup, wiping every trace of liquid from the bowl with the last piece of bread, and pushed his bench back. He took his beer and joined a pair of cadets at another table, pulling out his dice. They would sit here, playing, all the rest of the evening, if Caro let them; the servery tent was warmer than the barracks, and there was always the chance of some scraps of food.

I finished the tea, idly watching the dice game. “Minging dice,” one of the cadets growled.

“Language!” Caro warned. She allowed no obscenities in the kitchen tent: another slip and she’d make the cadets leave, and they knew it. I’d got used to the casual swearing among the troops; ‘minging’, a lewd term for urination, was one of the most frequently heard. I even said it myself, now. I stood to take the mug back to Caro, along with Darel’s forgotten bowl. Suddenly, the clatter of hooves on the cobbles rang out in the night. “Who?” Caro breathed. The cadets dropped the dice, and stood. The tent flap parted, and Turlo – General Turlo, now, and advisor to the Emperor – strode in. Darel straightened even more; the presence of his father always made him conscious of his decorum.

Turlo blinked briefly in the light of the tent. “General?” Caro said. “Would you like food, or drink?”

He smiled at her. “We ate well enough at the Fort,” he said, “but thank you. No, I came in search of two soldiers, and I’ve found them. Guard Lena; Cadet Darel: please go to your barracks; pack your possessions and come back here as quickly as you can. You two – Cadets Lannach and Samel, am I right? – go to the horse lines, please, and bring back two mounts. And then retire to your barracks,” he added. “Go!” he said, not unkindly; Lannach and Samel scurried to do his bidding.

Darel had not moved, but looked over at me. “General?” I said. “What is happening?”

“I will tell you,” he said, “when you return with your packs. Bring anything you cannot live without, and your warmest clothes and boots, if you are not already wearing them. Quickly, mind!” It was mildly said, but still an order. I glanced at Darel; he had already turned to put on his outdoor clothes. I did the same, conscious of the racing of my heart.

If this has piqued your interest, follow this blog for upcoming information on the release. The first book in the series, Empire’s Daughter, is available from Amazon as an e-book or paperback.

Lena’s World:  The Empty Land:  Empire’s Daughter Backgrounder V

The setting for Empire’s Daughter, as I have written before, is mostly informed by the landscape of Wales, northern England, and Scotland.  But there is one aspect of Lena’s world that comes directly from the place where I currently am writing this (the East Anglian county of Norfolk, my winter home), and that is the underpopulation of the land.

East Anglia is that part of England north-east of London that juts out a bit towards Europe.small-uk-map Norfolk (North Folk) is the most northerly bit of that section. In the 14th century Norfolk was the most densely populated and most intensively farmed region in England. Now, it ranks 40th of the 48 counties in population density, the number of people per unit of land.

The depopulation of Norfolk is evident in its countryside: huge churches in tiny hamlets; many lost medieval villages, now only lumps and bumps in the fields; roads degraded to footpaths and bridleways. Its relative emptiness, huge fields, hundreds of miles of paths and trails, and bird-filled skies are what bring me here to escape the Canadian winter, along with a deep familial relationship with this land. It has nothing in common with the part of the Empire Lena inhabits, except the depopulation.

The depopulation of the Empire is hinted at, addressed obliquely but never directly. But it’s an empty land Lena inhabits, villages scattered and distant, too few men to defend the land against threats from two directions. The reasons for the Empire’s depopulation and that of Norfolk are pretty much the same, although the mechanisms behind them are different. (And no, I’m not going into any more detail…not at least until Empire’s Hostage, due in mid-2017, is published!  You can always google it, if you’re curious.)  None of this is fleshed out in Empire’s Daughter, although it will become much more evident and developed in Empire’s Hostage. But it’s still there, a history that even Lena isn’t truly aware of, but that will influence her actions and choices, the way the stories we carry around with us influence what we choose and think and do, without us always knowing it. I wove Norfolk’s emptiness into the Empire unconsciously, only recognizing what I had done after it was written.

But as all writers condense and relive their own experiences when writing, there is one scene in Empire’s Daughter that has nothing to do with the landscape of Britain. When Lena stops at the top of the hills and stares down at the the rolling grasslands in front of her, awakening in her a longing she didn’t know she had – well, that is an almost literal transcription of my feelings the first time we drove east out of the Rockies in Colorado and I saw the High Plains spread out in front of me, all that space, all that emptiness, all that sky.

Lena’s World: Sexuality in the Empire. Empire’s Daughter Backgrounder IV

This is the fourth in an occasional series on the history and geography that lies behind and informs my historical fantasy series, Empire’s Legacy.  Book I, Empire’s Daughter, is available on Amazon: Book II, Empire’s Hostage, will be released around June of 2017.

 

In Lena’s world, the world of the Empire, sexuality is varied and fluid.  This is, I hope, presented simply as part of the background and the culture of this world, but to some extent it is also based on history.

Sexuality is both innate, sexual preferences and gender identity something we are born with (and that do not necessarily conform to the gender identity we are assigned at birth) but the strength of sexuality as a basic human need can also mean that sexuality can be situational.  Men or women deprived of the company of their preferred sexual partners for long periods will seek and find sexual release and comfort where they can.  In the Empire, the structure of the society, where men and women live separately for all but a couple of weeks per year makes situational sexuality a normal and accepted practice in the lives of both men and women.

But of course, there is a wide range of sexual preference within this society, as there is in any, so the partnerships range from the men and women who prefer their own sex: Finn, the young officer; Siane and Dessa, at Tirvan; those who prefer the opposite sex: Tali, whose love for Mar keeps her living alone throughout her life; and those who are more fluid: Lena, the protagonist;  many of the women of the villages, many of the men of the army.  One or two characters may be construed as transgendered: Halle would be one.  My intent was not to define the characters by their sexuality, but let them be whatever they are, incidental, for the most part, to the story.

Where did this come from?  Greek and Roman societies were well known for accepting sexual love among athletes and soldiers of the same sex.  The Oxford Classical Dictionary, paraphrased on Wikipedia, states:

The ancient Greeks did not conceive of sexual orientation as a social identifier as modern Western societies have done. Greek society did not distinguish sexual desire or behavior by the gender of the participants, but rather by the role that each participant played in the sex act. (Oxford Classical Dictionary entry by David M. Halperin, pp.720–723)

The Sacred Band of Thebes was a 4th Century BCE troop of elite soldiers, comprised of 150 pairs of male lovers from the city of Thebes in Greece.  The troop, whose historical existence is accepted by most scholars, given its mention by classical writers such as Plutarch, was destroyed by Philip of Macedon (Alexander the Great’s father) in 338 BCE. Indeed, some military commanders of the classical era believed troops of lovers fought the hardest, because they were defending those whom they loved, not just the state.

Less is known about female same-sex relationships.  The Greek poet Sappho was head of a thiasos, an educational community for girls and young women, where same-sex relationships were part of life. The same may have occurred in Sparta.

Moving forward to the Roman era, many of the same attitudes regarding male to male sex continue, with the exception being within the military. In the Republican period (4th to 1st centuries BCE) soldiers were forbidden, by penalty of death, to have sex with each other, although sex with male slaves appears to have been acceptable. In the Imperial period, this prohibition may have been lifted, as marriage was forbidden to soldiers.

Hadrian, the Roman Emperor from 117 – 138 CE, whose British wall is the model for the

Wall in Empire’s Daughter (and the upcoming sequel Empire’s Hostage) had a lover named Antinous, one, likely, of Hadrian’s ‘harem’ of both male and female lovers.  But when Antinous drowned, Hadrian mourned him publicly, founding the Egyptian city of Antinopolis in the boy’s memory and having him deified, suggesting (strongly) that his attachment to him was deep and serious. In the British Museum’s exhibition marking fifty years since the decriminalization of homosexuality in England and Wales, the heads of Hadrian and Antinous stand side by side, honoring their relationship. (Hadrian’s the one with the beard.)

So, like most of the cultural structures in Empire’s Daughter, the sexuality is rooted in historical fact, although I do not pretend it is historically accurate. I write alternative history, or historical fantasy, (choose your category), not historical fiction!  But I also chose to honor the existence of these relationships in history, because so many books of this type seem to gloss over or totally ignore love that is not heterosexual, and that’s just not the way it was, or is.

For the previous installments in this series, click the links below:

Part 1

Part 2

Part 3

Democracy Melting….

This is a link to the incomparable Neil Gaiman’s website, and a video he and his wife Amanda Palmer and a lot of other talented people did of Leonard Cohen’s Democracy. It’s stunningly beautiful and moving, and all proceeds from purchase of the track (you don’t need to purchase to see it) go to Pen America.

http://journal.neilgaiman.com/2016/12/watch-democracy-melting-in-water-colours.html

Lena’s World: MidWinter Celebrations (Empire’s Daughter Backgrounder 3)

The Empire is a northern nation, analogous to Britain or northern Europe.  In common with its real-world cultures, Midwinter is a time of celebration.

“…Midwinter’s Eve being a traditional time of fun and feasting. I thought about the games and song and food I would miss tonight in the meeting hall at Tirvan. Even the littlest babies came, and toddlers fell asleep on benches or the floor as the night progressed.”

While religion is a background element in Empire’s Daughter, not a component of the plot, its world would not have felt real to me without including some acknowledgements of how its culture marked the turning points of the year, especially Midwinter.  The darkest days of the year and the rebirth of the sun – far enough north, that’s literally true, as the sun disappears for several weeks – have been marked by cultures around the world: by Jul, or Yule in pre-Christian Germany and Scandinavia; by Saturnalia in Roman culture, and in the cult of the Roman ‘soldier’s god’, Mithras, as the birth of the Unconquered Sun. It is this god that the Emperor Callan addresses when he says “The god of soldiers receive you, my brother, or I will know the reason why when I stand before him myself.”

So, both the women’s villages and the military celebrate Midwinter, although the women’s celebrations have more in common with Jul, and the military’s with Mithraic ritual.  The Empire’s tradition of making major proclamations at Midwinter, however, is based on the later Christmas Courts of the monarchs of England, when many political decisions (including coronations, notably of William the Conqueror) occurred (but not necessarily so formally as at the Emperor’s Winter Camp proclamations).

And here it is December 21st….at home in Tirvan, Lena would be partying at the Meeting Hall, eating and drinking, dancing and singing.  The Jul log, a massive root, would be burning in the hearth, the fire started with a piece of last year’s log.  Some of the women would stay awake until dawn, to greet the newly-born sun.

The military too has its Saturnalia: food and drink, dance and song, which Lena is happy to participate in, but somewhere outside the camp, a more secret ritual is taking place, acknowledging the birth of the soldier’s god. (This is neither mentioned nor described in the book, by the way, as it had no place in the story. But likely both Casyn and Callan are there.  Turlo?  Probably not.  I think he’s out on the hills with Pan, personally.)

Of course, Midwinter is a plot device, in that it is a turning point in the year, and a turning point in the story, for both the Empire and for Lena. The book begins roughly on May 1, May Day, Beltane, traditionally the day when young women can see their future husbands by various divinations (or, in the book, meet the man who will change their lives) and ends at Midwinter and the dawning of a new year.

The land has its rhythms and pacings, its periods of calm and its periods of change, reflected and acknowledged in the rituals and celebrations of pre-Christian northern Europe, which in turn provides the background structure to the action in Empire’s Daughter. Did I set out to do this, consciously?  No.  It seems that my own internal rhythms, which are set far more by the natural world than by the artificial calendar we have imposed upon it, simply insinuated themselves into the writing.  That doesn’t surprise me: so much of what we write comes from places inside us we barely know.

Blessed Yule, Happy Solstice, Merry Christmas, Happy Hanukkah, Joyous Kwanzaa.  (If I’ve left your celebration out, it’s due to me not knowing about it, not a deliberate oversight, and I wish you joy.)

Sunrise photo: By Fabolu (selbst aufgenommen von Fabolu) [GFDL 1.2 (http://www.gnu.org/licenses/old-licenses/fdl-1.2.html)%5D, via Wikimedia Commons