Sentence from Today's WIP, The Super Hero and the Coffee Goddess

(This is from the yet untitled steampunk-new weird-horror piece which I’m thinking will be the first week’s Writeathon story and which I also think may end up at novelette length.)

Doctor Larch has a pet crow named Jonah. He says he raised it from a chick, but I have trouble imagining Doctor Larch patiently nursing anything, feeding it mealworms or bits of meat or making sure it was warm or sheltered. If he has such a faculty for tenderness, he doesn’t exhibit it towards any of the patients.

Today he made an appearance to supervise Mr. Abernathy’s removal from his chair.

They should have realized Abernathy was never moving from it, but the orderlies probably welcomed not having to lift him back and forth. They left him in there till his flesh grew into the wicker, and today he screamed while they cut it away and Doctor Larch watched. He wears a pad on his shoulder for the crow to shit on, but it misses a great deal of the time, and the Doctor’s black coat is clotted with gray and white on its backside.

It’s hit or miss whether or not Abernathy will survive. I don’t know that he cares, either way. Before this, all he did was stare out his window, day and night, looking eastward, towards the mountains the white men call the Cascades.

There was thunder last night. Not natural thunder, but echoes from the battle being waged far out to sea and among the San Juan Islands. We’re close enough to those battlelines that many people have fled Seattle. Others have stuck it out, saying that the lines will shift again, in a different direction.

I have stayed. But where else would I go?

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I had a wonderful time talking to Shaun Duke and Jen Zink of the Skiffy and Fanty Show last week. The podcast is up here. If you enjoy it and use iTunes, show them a little love with a rating on there.

A reason the interview wa so enjoyable was that they asked really interesting, incisive questions about the stories in Near + Far, in that way a writer desires and dreads at the same time, where they’re seeing some of your psyche’s underpinnings shaping the stories that you create. I’ve been mulling over some of those questions since then, and was thinking about one on the bus home the other day.

They pointed to many of the stories being about the need for connection, with characters like the protagonist of “Angry Rose’s Lament” being addicted to a drug that makes him feel connected, the hero of “Therapy Buddha” projecting all his needs onto a toy, or Sean Marksman’s ultimate fate in “Seeking Nothing.” Going through other stories in my head, I see the theme of connection coming up in various forms throughout. I think that’s a basic human need, one born of monkey roots, an instinct to be with the other monkeys.

Connection’s been something I’ve sought throughout my life. I was a brainy and isolated child, and still am to some extent. NowadaysI work in a profession that requires stretches of isolation in order to produce. So I value my time spent with other people, and particularly writers and likeminded people. I know that I’m happiest when I’ve got a group of interesting and lovely friends doing wonderful things and setting the world afire, just as I know that without some of them I would be a much different person.

Still, it’s not something I’m alone in exploring, as a writer. Human connections — gone awry, gone swimmingly, mistaken or acute, agape or philia or eros — are what fiction is made of.

At a panel at this year’s Worldcon, a fellow panelist got quite huffy when I mentioned the idea that fiction teaches us about being human. He found the idea outmoded and far too 19th century. Perhaps the divergence lay in our conceptions of what the word “teach” means — and perhaps “demonstrates” or “discusses” would be a better verb there, but I don’t know. We’re all just flailing about trying to fit into our own particular monkey packs and we’re watching the other monkeys to see what they’re doing and what we’re supposed to be doing. Don’t we read fiction to find some of that information? Perhaps we don’t say to ourselves, “I will be like character X in Book Y,” but we do think about heroes. We try to be better human beings sometimes because we have their examples. Or perhaps to avoid whatever fictional fate they fell prey to.

So, yeah. Connections. In fiction, the connections between characters, the way they choose to interpret word or gesture or telepathic scream. In the absence of human (or perhaps, intelligent, rather than human) connection, they make imaginary ones, creating fiction within fiction. That’s one of the things I’m looking at in the book I’m currently working on, focusing on the connections between the main character and the beings around her. It’s let me plunge into her head in a way I haven’t before, and I’m enjoying the heck out of it, connecting with her.