Content: revolution

Summary:

sequel to Impetuous Heart, a novel about a 15 year old Irish girl from Kerry who learns to weave, visits a cave, communes with spirits from Tir na Nog, relates to rebels, waits for her sweetheart to come from from WWI France and helps her mother with raising a dozen children. I.H. had a long run on TNBW and is now in the hands of Levellers Press in Amherst, Mass. In this sequel, Nora goes to Dublin to try out Trinity College, a British university for ascendancy Irish. She is shocked by the post-rebellion destruction she sees in Dublin. While living with Milly Bloom, daughter of Molly and Leopold Bloom, she sees first hand how terrible the British occupation is. She also sees that the rebels are still very active after the Easter Rising. Many have been jailed or interned, poverty is rampant and Dublin is a lot like Calcutta. Milly is a photographer who roams Dublin taking pictures and helping Sinn Fein resist the British occupation. Nora must decide whether to stay or return to the west of Ireland. Psychological conflict tears her apart. She is both attracted and repelled by conditions in Dublin. She bonds with Milly but misses Tim Keane who is home recovering from war wounds. This novel is being written now so you can actually influence its development. Many kind friends here had a big influence on Kilkenny Curse, aka Nora's Farewell, aka Impetuous Heart. Eternally grateful to all. Patti, Dags, Mish, Dill, RAK, Sonny, et al. You know who you are.

Chapters:

Summary:

WHAT KISS DESERVES TO BE TRADEMARKED? You'll find out in this literate, comedic, romantic, aphoristic, ten-years-in-the-writing, sci-fi thriller. Only the first page is posted below, since that's all I need feedback on at the moment. I'm mostly interesting in sentence-level commentary, not global suggestions. Which lines catch your eye, for better or worse, and why? I put a lot of pressure on sentences to provide immediate pleasure to the readers, not just the accumulative thrill of character and plot development. Novels are often mostly empty space, wasting their readers' time by deferring pleasure through over-focus on plot and character development. Sentences, though, can provide immediate pleasure--as evidenced in "money lines," those beautifully struck sentences that, even in the best of writers, can be found only a few times a chapter. Novelists can do more to thrill immediately by putting more energy into sentences. You'll see what I mean in the brief descriptions of the main characters below (copied from the novel's opening chapters). If lines like these appeal to you, you'll enjoy the rest of it . . . because the texts is filled with 'em. :-) Maya Lyon: "Maya smiled, her face a feature-rich Brazilian package of calligraphic piercings, lash-black hair, museum-quality aquamarine eyes, and unretouched asymmetrical scars." Hannah Mays "[Hannah's clothes] were mostly shot up and torn off, leaving her body on full topographic display. Her muscles were ornate and well-detailed, a variable geography of curves and cables and shadowed cross-cuts that made regular bodies look like tube arms hanging from an egg foundation." Poor Tom: "Just sitting, [Tom] was a few amputations shy of sharing the circle Da Vinci drew around the Ventruvian Man; standing, Tom made Michelangelo's statuesque David appear like a previous species of underfed teen; and in both positions, his hands were notable, large enough to palm a liter of water and, of late, having been all over her." ----- As mentioned, I'm mostly interesting in sentence-level commentary, not global suggestions. Which lines catch your eye, for better or worse, and why? THANKS IN ADVANCE FOR COMMENTARY! ~john

Chapters:

Summary:

Ancient Egypt. With the Pharaoh's regime on the cusp of crumbling, the world's first detective looks into a series of murders.

Chapters: