Here’s a little taste of Empire’s Exile (due out late 2018) just for today:

My doubts….were meaningless; they were as unfounded as if he had doubted me because I could shoot a bow, or navigate a sunless sea. I had touched on the truth, the first night at the lake:  the darkness within us both was more than one night, or many, would assuage. The man struggling to control himself last night, his fear expressed in cold, cutting anger, was still the reviled and terrified seven-year old, sent away from all he loved for safety. Too proud, or perhaps, in his child’s mind, too culpable, to beg not to be abandoned; too hurt to allow himself to love again.

And I? Violence done, by me and to me, and my own deep doubts about my ability not to betray. The last was gone, I thought, that decision made. I could not change the choice I had made at Tirvan, but I had not repeated it. But the scars of violence, the revulsion and the fear, would be with me always, and more savagery lay ahead.

In each other we had found healing, but neither of us were whole. If time, and the gods I did not believe in allowed, perhaps, but that grace was unlikely to be given in a time of war. I did not know where need ended and love began, for either of us, and I did not think it mattered.

I turned toward him. The moon was a week past full, but the night was clear, so enough light shone through the shutters that I could just see his face, untroubled in sleep. I touched his cheek with one fingertip. “Käresta,” he murmured, not waking, and reached out, pulling me closer. I settled against his chest, and closed my eyes.

“I wonder the wonder, freedom of freedoms,
play for you nightly and sing in the rain.
I pray for your ghosts to let you off lightly,
lessen and get rid of your terrible pain.”

Welcome to today’s guest post, from Frances Wasserman-Bildner, promoting her new book, Expressions of an Artist: The Whole Shebang

The publisher describes the book this way:

“This book is not a novel, nor a book of short stories.

It is a collection of writings and paintings.

It encompasses the human condition by covering topics such as love, loss, living, fear, political, outsider and belonging.

Each piece of writing is written automatically and quickly. The writing actually writes itself and the author is a vehicle for her work. The paintings are done in the same way. There are no preconceived ideas in either paintings or writings.

Although the work is produced this way, it does touch the subjects that we are all concerned with. This is because the artist/author is a product of the human condition and will therefore hold these subjects in her subconscious.

Some of the work is quite dark, all of it is filled with energy and emotion and an appreciation of life in all its facets.

The book has been collated into these topics by a reader. One can easily dip in and out or read it cover to cover.”

Set a few years in the future, The R.E.M. Effect combines cutting-edge genetic research with fast-paced action, resulting in a science-fiction thriller that kept me turning the pages.  Ocula, a drug that promises a good night’s sleep by silencing a specific gene that causes insomnia, is highly effective in trials, but for a few people, the effects go far beyond the purpose for which it was designed.  One rogue executive wants to harness those side effects…even if the participants in the drug trials are unwilling.

Author J.M. Lanham has done his research, and he does a pretty good job of condensing and explaining the science in a manner that is accessible to the reader without talking down to them.  There are a few debatable points around interpretation and generalizations, but until I asked my resident Ph.D in genetics to read the relevant pages and comment, it just niggled at me a little (I’ve only got an master’s degree in the same field, and I haven’t used it in a very long time.) So, I think it’s safe to say most readers won’t notice, or care –and it’s a lot more accurate than the science in Jurassic Park!

The story is well paced and the characters likable; the writing is competent and appropriate to the genre.  I lost track of one story thread, but that’s as likely to be my fault as the writer’s.  It was only the ending that confused me: it left a lot of unfinished questions, and I had to dig around a bit to find that there is a sequel in the works. For that reason only, my rating is four stars rather than five.  I’d definitely recommend The R.E.M. Effect for fans of the science-based thriller.

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

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. 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 40^th 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.