Wednesday, January 9, 2019

Why I wrote The Son of Thunder


I wrote Son of Thunder partly because of the absence of respect for faith in Rick Riordan's multi-million copy selling Percy Jackson series. In the first book, a principal character describes God as "metaphysics" and a corrupt preacher deceased is judged by Hades.
My writing isn't for the immature and here is an excerpt of a goddess discussing the spiritual with the protagonist. C.S. Lewis also had pagan concepts like wood nymphs but subordinate to God.

One of my key characters is a Valkyrie; Norse and Greek mythological concepts and figures are in the novel. I have excerpted a scene below.

Of course, the way I depict my character isn't the same as this artwork but perhaps it will give a reader an idea of the nobility and power I wish to portray, and the war between force of light and darkness.

Link to Kindle:

https://www.amazon.com/dp/B01F4GMGTM




Excerpt:

           I heard her shout to them, “WHICH ONE OF YOU GOONS SHOT OUT MY TIRE?”
            She pointed to the Ferrari’s dented fenders.
            “I swear by the sacred waters of Gjöll I will send you all to Náströnd!”
            Looking even more monstrous as they got closer and closer, the seven all laughed together—an ugly, grating, feral sound. One rider came in closer and his bike skidded to stop. I could see t

he cloud of dust he’d raised, even in the fading, gloomy light.
            His voice was guttural, worse than an angry WWF wrestler—deep, rumbling, and bestial, exactly as he appeared. His face looked wolfish; there’s no other way to describe it.
            He snarled, “Hand over your cargo!”
            Cargo?
            My mind screamed, “What cargo?”
            What the devil—literally—was he talking about?
            The “leader” of the gang—if that is what he was—then got off his bike and strode forward. I couldn’t get over how tall he was, like a pro basketball player except he was incredibly bulky. And how he could stay cool wearing that heavy black coat billowing in the wind I’d no idea.
            Still, at least I didn’t see him wield a gun or any sign of a weapon. Yet his whole posture and attitude was arrogant and cruel. Even through the goggles he wore, the yellow viper-like slit pupils of his eyes were pretty much a dead giveaway that the monster was utterly evil.
            “I’M WARNING YOU,” Val shouted, “REMEMBER MY OATH IF YOU TAKE A SINGLE STEP CLOSER!”
            His strides got even longer, and he laughed low in his throat.
            In a brilliant flash of light that stunned me, Val transformed to become exactly as I’d remembered her the other day except—amazingly—I thought she was even taller, stronger and more beautiful. To look directly at her actually hurt my eyes.
            In her right hand she grasped a silver-handled sword of incredible splendor; I didn’t think Excalibur could look any better—if Excalibur is out in the world somewhere. Its long, sleek blade seemed to have been forged not just from steel but from diamonds. Eerily translucent, it shined with a light all its own.
            While she brandished the sword and then began making it sweep around her head in whirlwind fast arcs so that her arm became a blur, the other evil riders kept circling, circling, their throats rumbling laughter as deep as their motorcycles’ engines.
            The wolf-monster actually tilted his huge ugly head back and howled—but with sheer, ugly animal pleasure—and from somewhere, probably deep in his cloak, a midnight black broadsword appeared in his enormous hands, a sword almost as long as I was tall.
            And then without warning, Val charged. She moved at least as swiftly as a cheetah, becoming just a blur.          

Saturday, November 3, 2018

The Immortal Maria Callas

Maria Callas was one of the greatest opera singers of the Twentieth Century. What made her unique was her ability to bring life to the tragic heroines as no other artist could. No one else, to me, could convey the power of the joy and anguish of love.

As this Atlantic appreciation of her art makes clear:

IN a Callas performance no syllable of the text, no note of the score, went unexamined. Singers so attuned to dramatic nuance -- there are not many -- are liable to come across as nervous and infirm of purpose, like writers who italicize everything and thus stress nothing. Art means choices, as we all know: to play up A, we give up B. In defiance of this incontrovertible theory, Callas could on occasion sculpt a passage instant by instant without losing sight of her target. At the opening of Act Three of the studio recording of Medea, taped in 1957, she honed each word of the invocation of the gods of hell to an edge of ferocity. Her usual practice, though, was to set the mood and then place expressive accents sparingly. Lucia's frisson by the fountain was only that, and that was all it needed to be. In the part of the doomed Anne Boleyn, in Donizetti's Anna Bolena, Callas fired off bull's-eye zingers at Henry VIII, well aware that Anne is on thin ice, as the tremor in her anger showed. In the "Miserere" from Il trovatore she smiled at grief. The finale of Medea, in contrast, had to be tremendous, and so it was. In a live performance in Florence in 1953 Callas rode the last phrases as if they were tidal waves surging to the abyss. (The passage is a bonus track on the complete 1958 Dallas Medea, on Gala, an excellent budget label.)

However deep their gifts of sympathy and self-transformation, actors privileged to test themselves against a gallery of the great roles reveal over time the bedrock of their own hearts and souls. As the constant in Callas we discover a rare nobility, a proud, unflinching submission to fate. How apt, one might say: according to a dictum espoused notably by Puccini, the very essence of opera is to torture the heroine. But Callas never conveyed masochism, still less some cold-marble high-mindedness. The worlds of her heroines turn upside down in a moment, in many cases several times in short order. As Callas played them, they waste no time sniveling or frittering away their lives in second thoughts. Always her element was the unconditional.
 ***
Most mysterious among her many gifts, Callas had the genius to translate the minute particulars of a life into tone of voice. Her Cio-Cio-San, in Puccini's Madama Butterfly, is a marvel. As the child bride of the first act, Callas worked in fragile, chiming timbres that she was able to maintain even in the swelling raptures of the love duet. In Act Two a veil of grief descends, but still her voice was the voice of a child. Only in the final scene, in the prelude to Cio-Cio-San's suicide, did Callas disclose her full, tragic richness. By way of contrast, consider the final act of La traviata, in which Violetta hangs on by a thread, singing in blanched sounds already brushed by death. For the thought of death, the singer had a quite different color, audible in the second studio Norma (1960) and in her Carmen. We hear it again in the Dallas Medea, where Callas fulminated in cries so clipped, so dark, so wild with rage, that they scarcely seem human.


Thanks to 21st century technology Callas' art lives in a way one wouldn't have thought possible. There were too few filmed or videotaped performances of Callas but Base Holograms has found a way to bring her back to the stage over forty years after she died.

Here is a video excerpt of the the Base Hologram concert and I hope it comes to more cities so that a generation never blessed to see her in concert has a new opportunity to do so. Of course the recordings are wonderful but Maria's artistry was most apparent on stage.






I have a social Media account here on UtterZ.

I'm just getting used to it. Here's the link

Yvonne Lorenzo

Saturday, June 16, 2018


Follow the White Rabbit?

Read my latest post discussing the "Q" phenomenon here on Lew Rockwell's site:

"Follow the White Rabbit?" 

I hope this gets followers to think and not trust blindly. 


 




Wednesday, March 21, 2018

 Black Hole

The Black Hole in the Heart of Stephen Hawking

 This is my latest for LewRockwell.com on an alternative to Stephen Hawking's perspective on the universe.

Monday, December 11, 2017

My Latest for LewRockwell.com


 Here's my latest for Lew's site: Zhuravli 


And a tribute to one of the great singers of our time: Hvorostovsky



Wednesday, November 22, 2017

Happy Thanksgiving!


I want to wish my readers and friends the happiest and healthiest Thanksgiving.

I'm hard at work on the final book of my trilogy, The Well of Mimir. I hope it will be published in 2018.


Tuesday, August 8, 2017



 ITHAKA




Lew Rockwell introduced me to the Z Man’s blog, when he reposted this wonderful essay on “Essential Knowledge.” Among the several profound truths discussed, the Z Man noted that:

            For the student of history, the habit has been to start at the beginning and read forward, thinking about how each era led to and shaped the next. The tides of history have carried man to the place he is today, not by chance, but through the great chain of causality. Each new civilization was built on those that came before it. In this way, history is a stack of blocks and the story of man is a tower reaching to the heavens. To know what comes next means knowing every block in the stack and why it is there…
            You cannot be an educated man without having read Homer. You can get the Iliad and the Odyssey for close to free as an eBook.
              
            I am quite certain that the so-called elites whose number include the fanatic Cultural Marxists and the Social Justice Warriors want to expunge history and Homer from our consciousness; they can only do so if we let them. For our past is not only the guide to choosing a better future; it allows us to understand and be aware of the tyrannies of the present, to resist those who seek to limit our liberty, who promote war, who have no sense of the spiritual and only believe in the material, who believe in the rightness of might, the ones who are featured on the daily headlines posted on LewRockwell.com and whose mentality appears so alien to anyone with a sense of common sense, not to mention common decency.
Perhaps Edith Hamilton is no longer in fashion; yet she is someone who appreciated the best creations of the best minds of the Ancient Greeks and how their greatest gift was not just civilizational but an insight into the human spirit and into that which makes life beautiful, despite its moments of pain and suffering, grief and despair. She wrote in her The Greek Way:

Before Greece the domain of the intellect belonged to the priests. They were the intellectual class of Egypt. Their power was tremendous. Kings were subject to it. Great men must have built up that mighty organization, great minds, keen intellects, but what they learned of old truth and what they discovered of new truth was valued as it increased the prestige of the organization. And since Truth is a jealous mistress and will reveal herself not a whit to any but a disinterested seeker, as the power of the priesthood grew and any idea that tended to weaken it met with a cold reception, the priests must fairly soon have become sorry intellectualists, guardians only of what seekers of old had found, never using their own minds with freedom. There was another result no less inevitable: all they knew must be kept jealously within the organization. To teach the people so that they would begin to think for themselves, would be to destroy the surest prop of their power. No one except themselves must have knowledge, for to be ignorant is to be afraid, and in the dark mystery mystery of the unknown a man cannot find his way alone. He must have guides to speak to him with authority. Ignorance was the foundation upon which the priest-power rested. In truth, the two, the mystery and those who dealt in it, reinforced each other in such sort that each appears both the cause and the effect of the other. The power of the priest depended upon the darkness of the mystery; his effort must ever be directed toward increasing it and opposing any attempt to throw light upon it. The humble role played by the reason in the ancient world was assigned by an authority there was no appeal against. It determined the scope of thought and the scope of art as well, with an absolutism never questioned…
That is what happens when one course is followed undeviatingly for ages. We are composite creatures, made up of soul and body, mind and spirit. When men’s attention is fixed upon one to the disregard of the others, human beings result who are only partially developed, their eyes blinded to half of what life offers and the great world holds. But in that antique world of Egypt and the early Asiatic civilizations, that world where the pendulum was swinging ever farther and farther away from all fact, something completely new happened. The Greeks came into being and the world, as we know it, began…

Thus, I would describe our controllers, the ones who fight against liberty and knowledge of history very much in the mold of the ancient priestly cast—without any sense of spirituality of course. If I may return to the Z man he makes a distressing point in his most recent essay:

While it is entertaining, these orgies of destruction are killing Western civilization. The culture of the West is not a single thing, but a series of waves from Greece to the present. As each wave crashed, the next wave built upon what was accomplished by the previous wave. The current waves breaking on the rocks of reality are leaving nothing but rubble, as Progressive culture furiously erases our past. To call it a suicide cult is to give it too much credit. It is cultural nihilism that will usher in a new dark age.

            I cannot be as pessimistic as the Z Man on the murder of Western civilization; I do not say that every reader of Lew Rockwell or Z Man’s blog share the same goals yet I think among the billions of souls living on our enemy occupied planet, there are a great many—even if a minority—who value liberty, beauty, life and realize the importance of our cultural heritage. Thanks to this site and the Internet, I have encountered likeminded souls. And I have reason to believe that we few, “we happy few,” we band of brothers and sisters will do our best to remember and to spread the word, not just through social media, but in what we create, what we value, what we hold dear.
           
I had no idea that Sean Connery was a friend of the composer Vangelis; from the polis of the Internet I learned they collaborated on a work of art together: a reading of (Edmund Keeley’s translation of) C.P. Cavafy’s poem Ithaca set to Vangelis’ original music. While I suspect the original CD is very difficult to obtain, a kindred spirit created this video on YouTube:
           
Our modern day Laistrygonians and Cyclops are not the true dangers; only those if:

            you bring them along inside your soul,
unless your soul sets them up in front of you

            Life is a journey; the poem Ithaca captures not only our heritage and the gift of Homer but speaks of eternal truths; remembering Ithaca’s gift to us and avoiding Scylla and Charybdis, life’s journey can be a beautiful one. And that is why it’s so important that we honor and remember the past, remember our shared history, celebrate it, share it, and never forget, despite the efforts of the blind whose goal is for us to blind ourselves and deny our common humanity. There is neither peace nor joy in their “vision.” Their view of life is ugly, grey and one of continual strife and conflict; in other words, they do not see the truth.
For they suffer from a hubris that most likely will bring retribution from a higher power, if only in the fullness of time.

Monday, July 3, 2017

Have a Happy Fourth of July

As part of the celebration, read my latest for LewRockwell.com on a wonderful book that's perfect patriotic reading and a celebration of liberty.

Here's the link: