Immortal II: The Time of Legend

(Excerpt)

“Why are they holding them?” Karla whispered.

“It’s against the law to violate curfew!” Mark said sotto voce. The rest of the Others had climbed to the top and gathered around them: concealed for now in the shadows of the house. “They can be detained for up to two years and that’s just for starters! By the time those bastards finish with them they’ll charge them with drugs, resisting arrest and anything else they can dream up!”

“The pigs knew we were gathering here!” Joan hissed. “Maybe one of their snitches told them! They’ll use the curfew violation as an excuse to question them! But they don’t give shit about curfew! They just wanna destroy the movement!”

“The first ones to leave must’ve got away,” said Consuela, “thank the One for that!”

“We can’t just leave them!” Joseph protested.

“We’re not going to leave them, Joseph!” José whispered fiercely, “but that’s a lot a pigs – a lot of armed pigs!”

“We gotta think this through!” added Consuela.

The officers had formed a half circle around the prisoners, who were lying on the ground in groups of four. All of the peacekeepers were male and, except for one Amber and one Indigo officer, all were Fuchsia.

A beefy enforcer placed his foot on the Estella’s neck. “Who are the other agitators? Where are they?” he shouted as he ground his heel into her neck. She screamed piteously. “Where?”

The enforcer kicked the activist lying next to her. It was Keith. “Tell us!” When the youth only grunted in pain, he pulled his taser, squatted and pushed it against Keith’s temple “I’m going to splatter your brains all over this pavement! Then I’m going to kill your friends!

An officer with pitted skin touched him on the shoulder. “Hold on a second, I got an idea.” He reached down, grabbed Estella’s arm and dragged her to her feet. “Darkie,” he sneered, “but you’re a pretty little thing.”

Parco cried out and tried to stand. Another officer kicked him in the ribs. “You better stay down if you wanna live!”

The enforcer with the pitted face fondled Estella’s breasts. When she twisted away he slapped her hard and tore her uniform shirt open. “By the time we’re through with you we won’t be able to shut you up!”

Without warning, a growling fury sprinted into their midst on all fours. Thick black hair covered the creature’s face and body. Her ears were pointed and furry. Her eyes, bright yellow and outlined in black. Black talons gleamed at the ends of her fingers and toes – limbs that bore closer resemblance to a wolf’s paws.

Karla snarled, revealing wickedly pointed canines. As she neared the officer torturing Estella the lycan rose and leaped: for moments airborne, to land on his shoulders – a feat that brought gasps from enforcers and prisoners alike – squeezing his throat between her thighs.

He released Estelle… she fell to the ground and scuttled backwards on her heels, her eyes on Karla. The other prisoners scrambled out of the way.

“What the hell is that?” an enforcer shouted.

“Shoot it! Shoot it!”

They edged toward the struggling pair, tasers drawn, while the man clawed at Karla’s thighs – his face now bright red from lack of oxygen. Another werewolf his sculptured muscles covered with burnt sienna hair, loped through the queue and tackled the Indigo enforcer – the one closest to his woman – knocking the taser from his hand.

Joseph roared and jumped astride the man’s chest, his fists a blur as he struck the officer over and over again. He sprang up and clutched another in his lethal embrace – tearing the man’s flesh with his powerful jaws. Blood splattered his fur. . .

www.vjeffersandqveal.com

Smashwords

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Fantastic Books I’ve Edited: Week VI: Recurrence Plot (And Other Time Travel Tales)

rasheedah-phillips-recurrence-plot-and-other-time-travel-tales-2014-cover-shots-10_400wScience is Fictiontimetravelpic

Happy Black Speculative Fiction Month! Tonight, I continue my series of “Fantastic Books…” by showcasing Recurrence Plot (and other Time Travel Tales) written by SF Author Rasheedah Phillips. Recurrence Plot has themes of Afro-Futurism, a sub-genre Rasheedah helped to popularize, and that she continues to champion. This, in addition to themes of time-travel (another of my favorite themes), and Rasheedah’s excellent, surreal writing made Recurrence Plot a pleasure to edit. So without further adieu I present: Rasheedah Phillips!

(Portions of this Interview were previously published in Genesis Science fiction magazine, and also include interviews with Author Alicia McCalla, and The Nobantu Project)

Introduce yourself to our readers?

My name is Rasheedah Phillips. By day, I am a public interest attorney at a nonprofit legal organization, assisting low-income Philadelphians with housing issues. Against the backdrop of night, I explore the fine line between fiction and reality, experiment with time order, reverse cause and effect, turn black holes inside out to create worlds, and rearrange the cosmos to foster favorable astrological conditions my characters. I am also a mother to my teen daughter Iyonna, and the creator of The AfroFuturist Affair, a community for Philadelphia Afrofuturists and Black Science Fictionists.

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Why did you decide to use the theme of intergenerational poverty in your book Recurrence Plot?

As an attorney representing low-income tenants living in public housing, intergenerational poverty is something that I witness daily in both my work and my community, and something I have had personal experiences with. It felt both natural and necessary to weave those topics into my stories, which are speculative re-tellings of real life experiences. Outside of the context of politics and policy, where they are spun and distorted, these complicated tales of intergenerational poverty are rarely heard and rarely analyzed.

Part of the reason why cycles of poverty and trauma perpetuate and repeat because these stories are rendered invisible, go unacknowledged, or are manipulated to suit particular agendas. This theme is an illustration of the ways in which our collective and personal pasts continue to affect us, how we reinforce or manifest negative and positive cycles of experience both in our personal lives and within the larger communities and societies that we participate in, and how we can break or shift these cycles. Fiction, and science fiction in particular, is uniquely suited, with a special language and lens, to tell these tales using raw, lived experiences, and helpful in figuring out the root causes of these issues.

Does your set of shorts, in your eyes, reflect Afrofuturistic feminism or Afrofuturistic womanism or neither?

I was not consciously claiming either feminist or womanist ideologies in writing the stories, but the book definitely seeks to tell the stories and experiences unique to Black women, from a speculative, afrofuturistic point of view. I sought to explore particular intersections of experience that are often missing from mainstream narratives of science and speculative fiction. I wanted to highlight the story of a teen mother, the story of a kid who grew up in foster care, the story of a first generation college student, the story child caught up in the justice system — and how these everyday, real world experiences parallel, or better yet, seamlessly blend into a science fictional world. The sheer weirdness of the societal institutions that we are apart of and how they impact our lives.

Because identities are political in and of themselves, and because my characters stand at the intersections of several identities, you could say the stories involve feminist or womanist concerns. However, these characters, in most circumstances, don’t necessarily have the time, space, or privilege to pick an ideology before they respond to a situation. I also believe that certain ideologies, fully ingrained and integrated into our being, are often unconsciously played out in our actions. Like cycles, they often go unrecognized or unspoken, though they inform how we interact with the world.

Ultimately, I would like to leave it up to the reader to assign those particular lenses, if they find that there. I like the idea of each reader transforming the meaning of the text by their involvement in reading it, and by the act of bringing their own context and experiences to the text.

I love that your science of time travel feels magical and connected to historical objects. In the traditional senses, historical objects help us to reconnect to our ancestors, was that your hope?

Yes, the novel explores the everyday ways in which we “time travel,” simply by touching and interacting with everyday objects. Objects are artifacts of memory and meaning, storing up energy, energy which is neither created nor destroyed in the larger universe. These artifacts of memory tell events as they actually happen, as they have been experienced, while the history that we read about in books are only subjective representations of what historians believe is crucial to remember.

I believe that Black folk need to be more in touch with our cultural and historical artifacts. These artifacts, these puzzle pieces of ourselves and our cultural heritage, are mostly inaccessible, whether they sit in a museum, in the private collection of a wealthy person, have been destroyed, or have yet to be unearthed. We tend not to remember our deeper cultural history, and we believe ourselves to be sure of those things we are taught in school and in history books. If we had access to the objects of our history, living with us and within our reach, we would feel more in touch with ourselves, our past, and will thusly be provided with more guidance for the future.

You have said before that Afrofuturism has always been here and always will be. Can you share with our readers what you mean by that?

When I say that Afrofuturism has always been here, I mean that Black folk have always been futurist, have always been scifi, have always been mythological. Afrofuturism is a modern term to put to something we have always done, but haven’t always been known for or highlighted under.

Despite the term being of recent creation, the phenomenon that is classified as Afrofuturism has been around since humankind has been present to observe it. It was known as the supernatural, the unexplained, witchcraft, paganism, tribalism, spirituality, or mythology. One could infinitely regress until we are left with only observable nature and the most rudimentary forms of communication, mixed with the human tendency to exaggerate or distort memory and the human necessity to interact with our environments.

From the Dogon tribe to the Mayans, from the old negro spirituals to the tunes of Outkast, people of color have forever passed down their accounts of what has come to pass upon our people and what is still yet to come. Exploring the origins of science-fiction and the annals of history shows us that Black folk are a part of that group of humans who have always told stories of a speculative or science-fictional nature, back when it had no name, and even when it did. In my practice of Afrofuturism, I find that it is fundamentally about Africa, about seeking to connect ourselves back to the motherland, back to our ancestors, and back to their lessons and stories, through the vehicles of sci-fi, spec-fic, and all things that fit under that umbrella.

I believe that Afrofuturism will always be here because I see the concepts and phenomenon inherent to Afrofuturism as continuing to evolve from being a lens or critical theory, and into a culture, a lifestyle, a spiritual practice, a tool for liberation, a benevolent institution, and all-encompassing in its scope so that it can touch on all aspects of the Black existence through all modes and mediums of expression.

One critical point underlying Afrofuturism is the persistence of the Black existence into the as yet undefined future, so even if Afrofuturism changes its name, its label, the foundation will continue to persist. We stand at a critical moment in this thing called history where we can freeze the moment and recognize our abilities to manipulate the collective timeline for positive change. Creating the future, defining the meaning of the future, and our existence in it, I believe, is the power of Afrofuturism. And so Afrofuturism and the concepts connected to it, must always be here, if we are to be here. And I believe we will be.

Creative Director Rasheedah Phillips’ independently published debut novel Recurrence Plot (and Other Time Travel Tales) is now available for sale! You can purchase Recurrence Plot online at:
AfroFuturist Affair
Metropolarity Sci-Fi Distro
Recurrence Plot
Smashwords E-book

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Contact Valjeanne Jeffers for editing: sister24moon@gmail.com

Valjeanne Jeffers is the author of eight science fiction/fantasy novels, and she has been published in numerous anthologies. Purchase her novels at www.vjeffersandqveal.com and Amazon

She is co-owner of http://qandvaffordableediting.blogspot.com with poet and artist Quinton Veal. Contact Valjeanne for editing, and Quinton Veal for cover art at: sister24moon@gmail.com Their reasonable prices will shock and amaze you 🙂

FANTASTIC BOOKS I’VE EDITED: WEEK V: Fire and Desire (and Other Erotic Tales)

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The CollectedWorks

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Contact Quinton Veal at his website: www.vjeffersandqveal.com Contact Quinton Veal on Amazon

Happy Black Speculative Fiction Month! Tonight I continue my blog series, “Fantastic Books I’ve Edited,” by showcasing the spectacular erotic art, fiction and poetry of Quinton Veal. I’ve had the pleasure of editing all of Quinton’s books. We also work together: He is co-owner of http://qandvaffordableediting.blogspot.com So without further aideu I present Quinton Veal!

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(A portion of this interview was previously published in Issue #1 of The O.T.H.E.R. S.C.I. F.I. Magazine)

Who is Quinton Veal?
I’m a writer, artist and the author of four books. I’ve also been published in the anthologies: Poetic Gumbo; Hurricane Katrina Couldn’t Break Us; I Want My Poetry To…; and The O.T.H.E.R. S.C.I.F.I. Magazine.

Tell us more about your art?
I’ve designed and created the covers of more than a dozen books. I created the covers for my own four books: Her Black Body I Treasure, United Souls: Stories and Poetry of Seduction; The Collected Works of Quinton Veal; and Fire and Desire. I illustrated Her Black Body I Treasure and The Collected Works… with my own erotic art. I’ve also created the covers for books of speculative fiction by Valjeanne Jeffers, including: Immortal III: Stealer of Souls; Immortal IV: Collision of Worlds; The Switch II: Clockwork; Grandmere’s Secret; The Visitor; Voyage of Dreams; Mona Livelong: Paranormal Detective; and Colony Ascension: An Erotic Space Opera.

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Quinton could you tell us how you developed your style and how long you have been an artist?
I developed my style naturally from years of experience. I’ve been drawing for roughly thirty years, off and on. When I was in the fifth grade, I entered an art contest and I won first place. That was when I discovered I had a talent to draw. I have the gift of seeing an image or images on paper even before I actually draw it, as if its a template I’m using to trace my drawings.

Do you work in watercolors, pen, ink or digital mediums?
I do work in watercolors, oils and acrylic paints; but I prefer to work in digital mediums. Digital art is less expensive to create, and gives me the freedom to share with others the moment I finish a painting.

Where do you hail from and do you do commission work?
I’m a native of East Saint Louis, Illinois. I currently reside in Belleville, Illinois. Yes, I do commission work and I’m very affordable. I’m co-owner of Q & V Affordable Editing with Valjeanne Jeffers and we specialize in reasonably priced cover art and editing services. You can contact us at: http://qandvaffordableediting.blogspot.com
You can also contact me for commission art work at: brothererotik@gmail.com

Did you have an interest in speculative fiction prior to your work with Valjeanne? If so, how did it manifest itself; through viewing films, TV, reading books, comic books, through your own writing, etc?
Yes I did. I’ve always loved speculative fiction books and movies—I dig them all: steamfunk, horror and SF. My genre is erotic fiction and poetry. But I’m a big, big horror fan. I’m actually working on a collection of erotic horror poems (I can’t wait to see how they’ll turn out). Some of my favorite films are Star Wars, Star Trek, Tales from The Hood, Candyman, and Blackula. Some of my favorite books are Valjeanne Jeffers’ Immortal series, Stephen King’s Pet Cemetery and Cujo; and Dean Koontz’s Your Heart Belongs To Me.

Valjeanne Jeffers

Contact Valjeanne Jeffers for editing: sister24moon@gmail.com

Valjeanne Jeffers is the author of eight science fiction/fantasy novels, and she has been published in numerous anthologies. Purchase her novels at www.vjeffersandqveal.com and Amazon

She is co-owner of http://qandvaffordableediting.blogspot.com with poet and artist Quinton Veal. Contact Valjeanne for editing, and Quinton Veal for cover art at: sister24moon@gmail.com Their reasonable prices will shock and amaze you 🙂

FANTASTIC BOOKS I’VE EDITED: WEEK IV: CED PHARAOH

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On this glorious Monday I continue my blog series, “Fantastic Books I’ve Edited,” with the extraordinary Ced Pharaoh. Ced has a written a wonderful collection that falls into an unusual sub-genre: SF/horror poetry. Honestly, Ced has penned some of most frightening poetry I’ve ever read…except perhaps since Edgar Allen Poem. And like Poe, his poems are horrific stories that draw the reader in and make him or her wonder (and fear) what’s peeking around the corner. So without further adieu I present an interview with Author and Publisher, Ced Pharaoh…

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Who’s Ced Pharaoh?

Born in Chicago, IL and married in front of thousands at The African Festival Of Arts. I’m a Father, Husband and a lifelong bookworm. My earliest favorites were, of course comic books/graphic novels but that branched out into mysteries (Encyclopedia Brown, Sherlock Holmes etc), thrillers, poetry, non-fiction biographies and sci-fi/fantasy! However, a book called The Legend of Tarik by Walter Dean Myers really got me. It wasn’t spelled out, but I KNEW that Tarik was a Blackman..it was a thin book but was packed with excitement and adventure…

I’ve used my love of reading and writing in past marketing positions and opportunities from bios, media releases, advertising copy, voice-over scripts, new media interviews and blog posts. I’ve always written poetry and short stories, in particular Sci-Fi/Fantasy where the only boundaries are the limits of your imagination and the only rules are…there are none! The possibilities are endless!

What are your current projects?

My main focus is The Legacy Chronicles. It is series that mixes sci-fi/fantasy, African Mythology, and influences that take place in modern times. The first book, available on Amazon is Watch The Shadows, a digital book of dark urban fantasy poetry that introduces the reader to some of the characters, ideas and concepts in The Legacy Chronicles. If you like Edgar Allen Poe, horror and such, Watch The Shadows should have the flavor to sink your teeth into. I call it an appetizer.

I can’t wait to publish the second Book which is a full novel called URBAN MAGE: The Legacy Chronicles. I have finished writing, and I am in middle of the second editing draft of the book. Once I’m done with that, I will submit it to an editor for the fine tuning and polishing. Urban Mage is about a young activist named GlyphX who wants to make a difference in his community. During a trip to Africa, he finds his Calling, or did it find him? He learns that his ancestors are the The Keys (Immortal descendants of The Ancient Gods), who are waging a war against Demon Sorcerers of the Chaostic Daemoni Ordo.

Now the Fate of the World is at the tipping point and Chicago is right in the middle of it all! Taking activism to another level, GlyphX trains under the Mystery Systems to tap into mystical powers, overcome his fears and unlock his True Potential! He is one of The Keys to Earth’s survival. He must stay vigilante and Watch The Shadows. Evil exists. He has the Power to stop them, if he believes. GlyphX is the URBAN MAGE!

I am very excited and can’t wait for this book to be released!

I’m also penning short stories to submit to a few anthologies. In addition, I have written a few comic book scripts and story enhancements for clients that hopefully will be released in 2015.

What are your inspirations for writing sci-fi/fantasy?

As I stated, my early love of reading comic books, fantasy/sci -fi novels but also for the void that I felt during those times. The void I speak of was and is the lack of Black characters missing in storytelling mediums; books, movies etc. In terms of reading, as Sword & Sorcery author Charles Saunders said, my visits to the authors’ imaginary worlds were enjoyable for the most part. That lesser part, however, grated like a stone in my shoe. That stone was racism. I realized that my ideas were valid, had weight, and held a unique perspective that could be exciting and entertaining.

Also, I’ve taught public school teenagers that they have an important gift and talent to share with the world. Their voice! Once they understood that they have a right to have their voices and stories heard. You can see it in their faces; the confidence found is a game changer and they seek out other voices and faces that look like them.

How important is it for people to see themselves in the stories and movies of the world? I’d say it is tantamount to the psychological well being and continued success of each and every person. For Black youth, it can be a paradigm shifter of thought and behavior; inspiration from a cultural source that can expand their belief in the possibilities of the future. This is why the lack of heroic and/or adventurers in fiction/science fiction and fantasy are important. It runs parallel to the fact of the historical void of Blacks in nonfiction events that have shaped the World, in particular the U.S., where the accomplishments, heroics and adventures of African/Blacks have been either erased, covered up or minimized.

Lastly, my inspiration is my son, who loves reading as much as I do.

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What is your website and other links you can be found?

My author website is http://cedpharaoh.com and you can read my blog and check out some fan fiction that I’ve written.
Also, my Amazon page is: http://www.amazon.com/Watch-The-Shadows-Legacy-Chronicles-ebook/dp/B00EBZ6QNU
And my GoodReads page is: http://www.goodreads.com/author/show/7208727.Ced_Pharaoh

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Contact Valjeanne Jeffers for editing and cover art at: sister24moon@gmail.com

Valjeanne Jeffers is the author of eight science fiction/fantasy novels, and she has been published in numerous anthologies. Purchase her novels at www.vjeffersandqveal.com and Amazon

She is co-owner of http://qandvaffordableediting.blogspot.com with poet and artist Quinton Veal. Contact Valjeanne for editing, and/or cover art at: sister24moon@gmail.com her reasonable prices will shock and amaze you 🙂

Voyage of Dreams

BookCoverPreviewvoyage of dreams
. . .A Collection of Otherwordly Short Stories
Cover art and design by Quinton Veal

Table of Contents
Immortal (excerpt)
Mona Livelong: Paranormal Detective (excerpt)
Awakening
Colony Ascension (excerpt)
The Switch (book I of The Switch II: Clockwork)
Mocha Faeryland
Stealer of Souls (Immortal III excerpt)
Outcasts
Grandmere’s Secret

Immortal

“The caretakers’ offices are on the ground floor.” Karla pointed to each of the four cubicles, two on both sides of the shuttered kitchen. Silver’s application had been accepted with only one dissenting vote. Hung Wai said he didn’t trust him. Now, Karla was giving Silver a tour of his new home.

She gestured to the flat screen mounted to a post in the center of the room. “On this console you can listen to music or watch net shows. If it’s after 11:00 o’clock, just keep the volume settings low.” The youth trudged alongside her, dragging a green knapsack.

Karla pointed to the bag. “Is that your stuff?”

Silver grinned, his teeth were surprising white and even. “Yeah. . .”

Boy, he’s got great looking teeth for a junkie. “Is it heavy?”

“Little bit, but I’m okay.”

She returned his smile. “We don’t have far to go.” They boarded the elevator and got off on the sixth floor. “Seventy-five residents share floors two through six. Every floor with living quarters has a pool table and a weight room, and there’s a library on the third floor.”

“CLEAN doesn’t have an in-house medical staff, but if you have an emergency we’ve got a 24 hour hotline that can be accessed using any console; and a panic button on every floor.” Karla pointed to the red button next to the elevator.

“Or you can tell one of our enforcers. They’re here round the clock.” She waved at the two golden-skinned Telphranes flanking the left wall and they nodded their bald heads in greeting.

“Come on, I’ll show you to your room.” Karla walked him to his cubicle: one among the fifteen, rectangular stalls that lined the floor; followed him inside and settled in one of the two armchairs, while he sat on the bed

She grinned, “Believe it or not, I’m almost finished. Breakfast is served between 9:00 and 10:00; lunch between 12:00 and 1:00. Meditation is at 10:30, and living sessions are from 2:30 to 4:30. Matt’s been assigned as your personal caretaker. During your first week, he’s available to you 24 hours a day.”

“The house rules are posted on every floor, but I’ll go over them because you can be evicted for breaking just one. No drugs allowed unless they’re prescribed. No visits to a resident’s cubicle unless you’re invited—this one’s really important because we’ve got male and female residents living here. You’re adults, we don’t care what you do, so long as it’s consensual and it’s not group sex. No rapes or orgies allowed.”

“No physical violence allowed either. If you’ve got a problem with one of your housemates, see your caretaker. That’s it,” Karla stood, “any questions?”

Silver shook his head. “Naw, I’m cool.”

“So you think you’re gonna like it here?”

He smiled shyly. “I think I’m gonna love it.”

Karla leaned down and hugged him. “Welcome to the family.”

****

Tehotep sprawled on the cushioned divan, one leg thrown over the couch arm, Red and black hued carpets were scattered over the hardwood floors. Black marble columns supported the ceilings. The warehouse was lit by oil burning lamps and scented candles, the walls, decorated with paintings of mortals coupling with daemons.

He eyed the six addicts lounging about the room: four sucking greedily on rush pipes, two others making love in the corner. For weeks, he’d been luring them here. They preferred his house to the dormitories —and even the nightspots. There were no rules here, no credits to worry about. They only had to remember that his commands were law.

Now they numbered 60. Soon, he would have hundreds. For a moment, he gazed feverishly at the two slaves and was sorely tempted to join them. No, it’s time for the ceremony.

Tehotep rose from the chair and spread his arms. Come to me. . .In moments, he was surrounded by his acolytes; surviving for weeks on a diet of little more than drugs, his slaves were emaciated. He wondered if they would all survive the transmogrification.

“Take off your clothing and go to the basement.” They glanced at each another fearfully. He’d threatened to kill them if they ever went into the basement. Now he was ordering them to break his own edict?

“Obey me now.” His voice would brook no refusal. They disrobed and in twos and threes began to board the elevator. When they’d all reached the ground floor, Tehotep appeared in the center of the room. The acolytes jumped then stared at him fearfully.

Yet another sorcerer’s trick to prove he wasn’t human.

But once they got a good look at the room, they were ready to bolt.

The cellar was bereft of furniture or windows and lit by four candles, one in each corner of the room. A huge, half circle had been etched into the floor and painted with a crimson substance that glowed eerily in the dim light. Those standing near the door started to back away, mumbling under their breath.

“If you try to leave, I will kill you where you stand!” His voice held them immobile.

“You!” He called a thin, trembling woman to him, and directed her to mold her body to the design. He ordered a second slave to lie beneath her, so that his fingertips touched her toes. One by one, at his command, they fitted their bodies to the diagram.

Tehotep stepped inside the fractured circle, raised his hands and began to chant: “Transformai edivai, transformai edivai…That which is whole, let it be broken, that which is pure, let it be defiled
. . .”

Ghostly shadows appeared along the walls, their voices merging with his. The chant grew to a roar. His acolytes began to scream. . .

Now available at: www.vjeffersandqveal.com

And smashwords: Voyage of Dreams

The Butler-Banks Book Tour 2014

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Butler-Banks book tour 2014 copy

Valjeanne Jeffers pic for poster2

SPOTLIGHT ON AUTHOR VALJEANNE JEFFERS

Valjeanne Jeffers is a graduate of Spelman College and a member of The Carolina African American Writers’ Collective. She was also a contributing author at the Octavia Butler Arts and Activism Celebration at Spelman College 2014.

She is the author of the SF/fantasy novels: Immortal, Immortal II: The Time of Legend, Immortal III: Stealer of Souls, and the steamfunk novels: Immortal IV: Collision of Worlds and The Switch II: Clockwork (includes books 1 and 2); and the nonfiction volume: The Story of Eve. An inteveiw with Valjeanne also appears in 60 Years of Black Women in Horror Fiction. She was a semi-finalist for the Rita Dove Poetry Award and The Switch (book I) was nominated for best eBook novella by the EFestival of Words.

Valjeanne’s poetry has been published in The Ringing Ear: Black Poets Lean South, Drumvoices Revue, Revelry and Pembroke Magazine. Her fiction has appeared in Steamfunk!, Genesis: An Anthology of Black Science Fiction Volumes I and II, Griots: A Sword and Soul Anthology, LuneWing, PurpleMag, Genesis Science Fiction Magazine, Pembroke Magazine, Possibilities, 31 Days of Steamy Mocha, and Griots II: Sisters of the Spear. An excerpt from The Story of Eve was also published in PurpleMag. She is also co-owner of Q and V Affordable editing.

Her two latest novels: Mona Livelong: Paranormal Detective and Colony: Ascension will be released later this year. Preview or purchase her novels at: http://www.vjeffersandqveal.com
Contact Q & V Affordable Editing at:http://qandvaffordableediting.blogspot.com/

Valjeanne blogs regularly at: https://valjeanne.wordpress.com

She has a podcast as “Crystal Temptress” (with her co-host Quinton Veal as “Loyal Fang”)http://www.blogtalkradio.com/vjeffersandqveal

Here’s an excerpt from her third novel Immortal III: Stealer of Souls:

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Cover art and design by Quinton Veal.

Annabelle sat on her porch, watching them as they shuffled past: the weeping willows and bluish brown waters were a soothing backdrop to their passage. Shacks lined the main road, clusters of the little wooden houses were scattered behind it. To the left, sprawled Master’s hundred acres of farmland. To the right, for a half mile his serfdom continued.

Sharecroppers, ages twelve to fifty, trundled along the dusty road. Jet black, ginger, caramel brown, tofu and butter colored. The men wore patched shirts, and threadbare trousers. The women, calico dresses, their hair tied back with colorful scarves or threaded with string. Fifty years ago, their mamas and daddies had belonged to old Master, now long since in his grave.

Today, the law said they belonged to themselves. But young Master Tom, with his frigid blue eyes and corn silk hair, owned them—like his father before him. Just not in name.

Year after year they planted cane and cotton. They paid Tom rent to live in his shacks. They brought supplies in his grocery. Shoes. Bolts of cloth. Tools. So by the end of the year, they owed their wages to him and had to spend the next paying it off.

They belonged to Master still. Even if that proclamation did free the slaves.

The sharecroppers greeted her as they passed. “Evening, Miss Annabelle,” Lizzy, an ebony skinned girl of twelve, sang as she walked alongside her tired mother.

“Evening, Lizzy… Mabel.”

“Evening, Miss Annabelle.”

The old woman took a wooden pipe from the tin plate beside her and filled it with tobacco. She puffed serenely, watching their exodus as the setting illuminae painted the horizon violet and gold.

Annabelle was dark brown and thin to the point of emaciation, with a wide nose and thick lips. Her bony skull peeked through sparse gray hair, pinned into a bun at the nape of her neck. Her brown eyes were rheumy, her face heavily lined. She looked to be a hundred.

In truth, she was much older.

She’d earned her cabin, free monthly rations and tobacco, as a young woman working in the fields for old Master Henry. That was before she caught his eye, before he brought her into the big house as mammy to his son. Later, she became his lover.

Mistress Sarah always knew Henry had a taste for slave women. After a while, it seemed all he had a taste for was Annabelle.

The slave community had whispered about this. Sarah could be a real hell raiser when she took a mind to it. She’d been known to throw tantrums – that included throwing dishes at Henry—and often had his lovers whipped and sold in his absence.

Now her husband’s favorite concubine was mammy to her son? The quarter held its breath and waited for the fireworks.

But Sarah never raised a hand to Annabelle. And she kept her mouth shut.

So night after night, Henry visited Annabelle’s little shack often not emerging until the next morning. It seemed he couldn’t get enough of her black flesh. Until he was too old to do anything more than dream about it.

She smiled to herself. He never knew he was shortnin’ his own days. The old woman rose gingerly to her feet and hobbled inside to check on dinner.

Pushed against the right wall, was a featherbed. At the end of the bed was a mirror, as tall as she, with a carved, wooden frame: both gifts from Henry.

To the left, iron pots and pans hung from the wall. Underneath, a bucket was filled with dishes and beside it, one for drawing water. Across from the bed was a fireplace; a pot filled with mustard greens and salt pork hung over the glowing coals. Hoecake bread lay amongst the ashes.

Annabelle fished a plate out of the bucket, and walked over to the fireplace to fix a plate. Do it after dinner. After they eat.

***

Darkness had fallen and everyone was asleep except the bullfrogs and crickets. It was a weeknight, and any man, woman or child who had a mind to work tomorrow was in bed.

Except at Elmo’s juke joint, where the night crowd still lounged about—drinking and dancing to the low down Blues—folks brave enough or stupid enough to think that they could guzzle hooch for half the night, and work the next day.

The juke was the only thing in the vicinity that Master Tom didn’t own. It belonged to Elmo, a strapping quadroon. But he paid Master to let him stay in business and Tom, in turn, kept him supplied with corn liquor and beer.

Annabelle stepped out into the warm night air. Above her, clouds billowed past two swollen, orange globes.

Elmo’s joint was two miles down the road, and behind a thicket of trees next to the river. In the distance, beyond the churning waters she could see the lights of the juke. She could see inside too.

Johnny was six feet, two inches of lithe muscles: his skin the color of brown sugar, his hair black and curly; his teeth like rice. He’d been a ladies man before he married and nobody in the quarter could quite believe it when, out of the gaggle of women that surrounded him, he’d chosen Sadie, a timid, little thing with about as much sex appeal as one of the bullfrogs now serenading the lake.

Six months later, everybody knew why. Sadie was so happy to have him she let him do whatever he wanted. Johnny’s affairs with other women were so frequent, they’d become legendary and made his wife the object of pity.

Still Johnny always managed to put in a full day’s work, no matter what he did the night before. The quarter gossiped about this too. His drinking was sure to catch up to him one day—that or the women. It was sure to kill him.

Annabelle shuffled over to the tin and picked up her pipe. She sucked upon it and blew, all the while murmuring softly.

Smoke rose into the air, thickening into a fog. It spread quickly through the quarter and over the river’s churning waters.

To Elmo’s juke joint.

She chuckled. Now they’ll sleep. I ain’t got to worry ‘bout some nosy rascal stickin’ his nose in my business.

The old woman laughed out loud, unbuttoned her calico shift and let it fall to her ankles. Annabelle kicked free of it, and pulled the pins from her hair.

Naked in the moonlight, she whispered his name: “Johnny…”

Now, beyond the forest the faint sound of drums began, invisible hands beating upon skin. Their rhythms swirled around the trees, moving over the river…

In the juke, women and men drowsed with their heads resting upon tables or lying on the floor. Elmo had fallen asleep leaning against a wall. Resting at his feet was a young man with light skin and black hair curled against his scalp.

Suddenly, Johnny lifted his head. Without so much as a glance at his sleeping fellows, the youth got to his feet and stepped out into the fog. He followed the dirt path, his feet floating just above the earth, carried onward by the mist suffusing the night air.

Johnny walked in the midst of a dream. . .

Purchase Immortal III and other novels by Valjeanne Jeffers at www.vjeffersandqveal.com

Her novels are also available at Amazon and Barnes and Noble. Amazon Author’s Page

Fantasy and Horror Synergy: Salty and Sweet


The fantasy genre of fiction is defined as one in which magical or supernatural themes and settings are present, excluding those plots and themes which rely on science. In comparison, horror is defined as a genre based upon terrifying or fighting plots and settings. These elements can be supernatural (e.g. werewolves) or realistic (e.g. serial killer) elements. Actually they can be both as, for example, in the case of the supernatural serial killer, often found in Dean Kootz’s novels.

In reading the above definitions, there is obviously a bit of overlap. Yet many writers take great pleasure in coloring outside the lines. Why? Isn’t it confusing? (“Is it horror? Is it fantasy?”)

I would venture to say that the science fiction/fantasy genre or to use the more cumbersome term, speculative fiction, has such a fluid realm of sub-genres that horror and fantasy often bleed into each other (yes the pun is intentional)…like paint on a canvas.

When an artist is creating a masterpiece, does it worry him or her if the lines are blurred? Doesn’t this after all make a more believable and gorgeous landscape?

In my own Immortal series, I gleefully smudge the lines between genres of erotica, horror and fantasy, as many of my fellow writers have observed. Derrick Ferguson author of the Dillon and Fortune McCall series recently described my work as “imaginatively experimental.”

Other authors whose work I’ve greatly enjoyed mix fantasy and horror–and have done so with a quite bit of success.

Author Tananarive Due, who is dubbed as a horror writer, mixes fantasy quite skillfully in My Soul to Keep. This novel begins with the tale of “Jessica,” a young woman who falls in love, only to discover that the perfect man of her dreams is 400 years old…and the member of an Ethiopian sect of Immortals.

This saga continues through three more novels (The Living Blood, Blood Colony and My Soul To Take) all are built upon a fantasy setting, spiced with bone-chilling horror and suspense.

D.K. Gaston, for example, author of The Friday House, and Lost Hours, while not described as a horror author has elements of it deftly woven within many his plots. Tad Williams does the same, when he inserts a larger than life sociopath in his epic fantasy series, Otherland.

The fantasy framework of these novels is in fact necessary in order to construct “the world right beneath our noses,” that is the mainstay of speculative fiction. When horror is present, it adds a delightful bit of scary suspense to the mix—like popcorn and chocolate. And hey, who doesn’t enjoy a little sweet with their salty from time to time?

This post is brought to you by a knight (me) of the Great Traveling Round Table of Fantasy Bloggers 🙂
To read my fellow knights’ posts, check out Chris Howard’s guest blog.

The Story of Eve: The Early Years… The journey continues

Let us examine W.D. Griffith’s Birth of A Nation (1915): one of the racist movies of all time, as well as one of the biggest money makers in film history. Birth of A Nation was the slavery ideal come to life, and two families: the Cameron and the Stoneman were pivotal to its plot.

“Dr. Cameron and his sons are gently benevolent ‘fathers’ to their childlike servants. The servants themselves could be no happier. In the fields they contentedly pick cotton. In the quarters they dance and sing for their master. In the big house Mammy joyously goes about her chores. All is in order. Everyone knows his place. Then the civil war breaks out and the old order cracks.” (Danny Bogel Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Films 1973 p.12)

The war years are terrible! In the South there is [title card/Birth of a Nation]: “ruin, devastation, rapine and pillage!” Lions, and tigers and bears –oh my! Reconstruction begins and now a band of uppity Northern darkies and low life Yankee carpetbaggers enter the picture.

They corrupt the former slaves — who then turn on their good and loving masters. Who will save the South?

Into this conflict, Griffith introduced Lillian Gish: as “Flora Cameron” as one of the first — if not the first Silver Screen virgins. As Flora Cameroon, Gish played a frail, blond teenager menaced by Griffith’s next creation: “Gus,” the “brutal, Black buck.” Gus was the Southern nightmare of the Black rapist come to life.

Of course, according to Southern mythology, the only reason Black men wanted freedom was so they could rape White women — picking cotton 16 hours (and without pay) had nothing to do with it. Cast beside Gus, Flora became an icon: a blond symbol of virginity.

At the other end of the purity spectrum stood “Austin Stoneman:” abolitionist and all around bad guy. What’s more he has a Black mistress: “Lydia Brown!” Stoneman’s character was actually patterned to resemble Thaddeus Stevens, a true to life antislavery congressional leader and is he’s thus depicted as: the leader who would force the South to grant blacks equal rights.

Lydia as both his housekeeper and mistress is described as the “the weakness that is to blight a nation” (Leab, 1975 P.27). Too Black to pass for White, yet too White to live among her own kind, Lydia is the classic tragic mulatto and a powerful symbol.

She is the femme fatale: the archetypal bitch who leaves death and destruction in her wake. Notice, readers if you will, her “male” characteristics: she is power hungry, aggressive and refuses to humble herself before White males.

Throughout Birth of a Nationshe anguishes over her predicament as a Black woman in a hostile white world (Bogle, 1973; p.14).

And Lydia is (drum roll if you please) sexual. No greater sin hath any woman. In fact, she is Birth of Nation’s only passionate woman. Thus the myth of passion and sexuality as evil, as Original Sin, and of woman as its bearer was recreated on the Silver Screen.

…[Austin] determined to bring the South to its knees after its defeat is momentarily trapped by her Lydia’s animalistic vibes… [She] “is his one weakness and the cause of his downfall (Bowser, p. 44)

Juxtaposed between two polarities of Black and White stood Mammy: the asexual, Aunt Tomasina fiercely devoted to preserving the status quo. Griffith ever the demonic genius added another element to the Mammy configuration: Sapphire, a creature one part Mammy, one part Amazon; the Black woman who is an shrew in her relationship with Black men, the mythic ball buster and castrator of the Black male.

Sapphire would become a full blown myth during the 1930s (Amos and Andy) to be reborn as the Black Matriarch of the 1960s. Whatever else Griffith was, he was a trend setter, and the molds he cast dominated the Silver Screen for decades to come. For example in his portrayal of Mammy as dark skinned, he set the stage for the typecasting of darker Black women as unattractive well into the Civil Rights era.

A dark black actress was considered for no role but that of a mammy or aunt jemima. On the other hand, the part-black woman — the light skinned Negress — was given a chance at lead parts and graced with a modicum of sex appeal…In fact it was said in 1958 and 1970 that the reason why such actresses as Eartha Kitt in Anna Lucasta and Lola Falana in The Liberation of L.B. Jones failed to emerge as important screen love goddess was that they were too dark (Bogle, 1973; p.15).

Copyright Valjeanne Jeffers 1997, 2009, 2012 all rights reserved
Excerpts from The Story of Eve have been published in PurpleMag 2010

Drumvoices Revue 20th Anniversary Celebration!

I’m very, very pleased to be included in this volume and to post this announcment!

FROM: Southern Illinois University Edwardsville English Department/
Eugene B. Redmond Writers Club: 618 650-3991; eredmon@siue.edu

TO: All Media, Poets & Writers, Musicians & Music Students, Visual Artists & Photographers, Citizens

May 25 in East St. Louis (IL):
“DA-DUM-DUN”: Homage to Miles, Dumas & Dunham
Combines with Book Release Party for “Drumvoices Revue”

An annual multi-arts festival in honor of three world-class creative geniuses whose expressions influenced—and were profoundly influenced by—East St. Louis (Illinois) will be held on Friday, May 25, at 6:00 p.m., in Room 2083-84 of Bldg. “B” on the SIUE-ESL Higher Education Campus, 601 J.R. Thompson Dr., East St. Louis. Included in the celebration will be a book release party for “Drumvoices Revue,” a 700-page volume co-published by the Eugene B. Redmond Writers Club and SIUE, co-sponsors of “Da-Dum-Dun”–a free family event. The 200-plus writers in “Drumvoices” range from Maya Angelou to Derek Walcott. Amiri Baraka to Andrea Wren, Gwendolyn Brooks to Richard Wright.

Miles Dewey Davis III (1926-1991), Henry Lee Dumas (1934-1968) and Katherine Dunham (1909-2006)—musician, poet-fictionist and dancer-anthropologist-choreographer, respectively—will be celebrated in music (the Bosman Twins, saxophone virtuosos); literary expression from Drumvoices “poetrees” (Pacia Anderson, Michael Castro, Roscoe “Ros” Crenshaw, Angela Cureton, Byron Lee, Susan “Spit-Fire” Lively, Charlois Lumpkin, Patricia Merritt, Treasure Shields Redmond, Mary Z. Rose, Darlene Roy (Club president), Cheryl D. S. Walker, Dr. Lena Weathers, and Jaye P. Willis); dance and percussion (Sunshine’s Community Performance Ensemble); and a multimodal exhibit (DavisDumasDunham) from the EBR/SIUE Collection. Book sales and autographing will open and follow the expo.

Born in Alton (Illinois), Davis was raised in East St. Louis, graduating from Lincoln Senior High School in 1944. That same year he joined Lincoln classmate/pianist Eugene Haynes at New York’s Julliard School of Music. As a trumpeter, composer and true “original,” he is revered across the globe as a leader and shaper of musical directions, tastes and styles. Drumvoices Revue, a multicultural journal, often honors Davis in poems and photographs.

Writer Dumas, born in Sweet Home (Arkansas) and raised in New York’s Harlem from the age of 10, taught at SIUE-ESL’s Experiment in Higher Education in 1967-68. At EHE, he mentored local poet Sherman L. Fowler and was a colleague of Redmond (EBR has been HD’s literary executor since 1968). Nobel laureate Toni Morrison called Dumas “a genius, an absolute genius.” Patron saint of the Writers Club, Dumas’ writings and photographs appear in multiple issues of Drumvoices Revue.

A Chicago area native, scholar-artist-author Dunham returned to her home state after several decades of studying, performing and teaching in more than 60 countries. Becoming an East St. Louis resident in 1967, she taught in EHE and founded the Performing Arts Training Center and namesake Dynamic Museum and Children’s Workshop. This adopted matriarch of ESL has also been the subject of several volumes of Drumvoices Revue.

Founded in 1986 and chartered by Fowler, Roy and Redmond, the 25-year-old Club meets twice monthly in ESL. Trustees are Maya Angelou, Amiri Baraka, Avery Brooks, Haki R. Madhubuti, Walter Mosley, Quincy Troupe, Jerry Ward Jr., and Lena J. Weathers. Margaret Walker Alexander (1915-1998), Gwendolyn Brooks (1917-2000), Raymond Patterson (1929-2001) and Barbara Ann Teer (1937-2008) were also trustees. For information about the Club or “Drumvoices Revue,” call 618 650-3991 or write the Club at P.O. Box 6165, East St. Louis, Illinois 62201.

To order “Drumvoices,” send an $18.00 check/money order ($15.00 + $3.00 shipping/handling) to the above address. Email: eredmon@siue.edu. The ESL-based Black River Writers Press is also a “Da-Dum-Dun” sponsor.

Grandmere’s Secret

“One by one, the loa appeared and rode their human horses. The sisters watched wide eyed as a woman fell to the ground and became a serpent, as another transformed into a growling panther…”

Grandmere Angelique was a powerful Vodoun Mambo. Her house, though ravished by Katrina, is a place of precious memories. Her granddaughters are fiercely divided over the sale of Grandmere’s old mansion. But they will soon uncover a terrifying secret that will settle all debts.

Cover art by Quinton Veal
Now at Amazon Kindle & Barnes & Noble Pubit 🙂