Check out the book trailer for Nina Munteanu’s newest space adventure thriller, “Outer Diverse“. To the brooding longing notes of Rachmaninov, it previews a haunting paranormal tale of mystery and discovery …
Rhea Hawke discovers there is far more to the massacre of a spiritual sect, mysteriously linked to Dust, the contraband drug “of the gods” and a devastating prophesy of a catastrophic End of Age, triggered by the joining of twin souls. She unravels secrets of fractal geometry, deja vu, dreams and clairvoyance, multiple universes and space-time … and ultimately the greatest secret: herself …
“… a master of metaphor, Munteanu turns an adventure story into a wonderland of alien rabbit holes … a fascinating and enthralling read.”–Craig H. Bowlsby, author of Commander’s Log
You can pick up Outer Diverse at Amazon.com, Amazon.co.uk, Barnes & Noble, Borders and other quality bookstores near you. For those of you in Toronto, Bakka Phoenix Books is carrying Outer Diverse as well as Nina’s “Darwin’s Paradox” duology (set in Toronto) and her guidebook “The Fiction Writer: Get Published, Write Now!”
Nina’s latest book Angel of Chaos (Dragon Moon Press) was selected as a finalist for the Foreword MagazineBook of the YearAward for 2010 in the Science Fiction category.
In 2095 Darwin’s Evolution Kills…
…In this dystopian future, Julie Crane seeks the cure to Earth’s deadliest disease. But is she its cause?…
“Angel of Chaos is … a gripping blend of big scientific ideas, cutthroat politics and complex yet sympathetic characters that will engage readers from its thrilling opening to its surprising and satisfying conclusion” —Hayden Trenholm, Aurora-winning author of The Steele Chronicles
Angel of Chaos is the first of a duology on humanity’s co-evolution with intelligent technology and intelligent nature. The second book is Darwin’s Paradox and both are available on Amazon, Chapters, and Barnes & Noble.
Finalists were selected from 1400 entries in 56 categories. Finalists were determined by a jury of judges consisting of editors and reviewers of ForeWord Reviews, booksellers, librarians, and other industry professionals.
First, second, and third place winners will be awarded in each category. A $1,500 cash prize will also be awarded to Best Fiction and Best Nonfiction as determined by the editors of ForeWord Reviews. Finalists were announced in their weekly email newsletter, ForeWord This Week, in March 2010.
Winners in each category and overall fiction and nonfiction prize winners will be announced at Book Expo America and on the Foreword website.
Yes, I’m a successfully published author with acclaimed novels, short stories and essays published all over the world. But I almost didn’t get there. What if I told you that I never read as a kid, I was the worst speller in my school and I used bad grammar? I didn’t excel in typing class and practically failed English 101. Based on my Career Aptitude Test score, the school counselor recommended that I go into some trade like car mechanic. Believe me, I started from behind.
I’ve experienced your disappointment and your fear—and prevailed.
I’ve battled the gridlock of time and schedule conflicts, priority problems and lack of support from family and friends—and forged a way.
I’ve felt lonely and depressed because no one understood my dream or took it seriously—and found a community.
I’ve been lost in a sea of unfocused ideas, undirected plot, excessive—even boring—characters—and created a masterpiece of tense page-turning excitement.
I understand your pain, your moments of hesitation and lack of confidence, your yearning. I’ve been rejected and rejected and rejected—and then published!
Are you a storyteller? Because that’s where it all starts. With a story. The rest is window dressing. Every author is on a journey, a hero’s journey, really. Because that’s what most writers are: heroes. We journey into the dark frightening abyss and return with the prize for the world: truth. The writer’s life is not really romantic, like many believe. It is rife with doubt, rejection, betrayal and disappointment. But it is also graced with the richness of joy, satisfaction, energy and fulfillment. When a writer writes what he or she is passionate about, there is nothing better. Absolutely nothing. So, let me tell you a story now, about how I almost didn’t become a writer but did because it was what I had to do. Like most stories, this one has a beginning, middle and an end…
The Beginning: The Sweet Promise
When I was ten years old, I knew what I wanted to be when I grew up: I was going to be a paperback writer. It was 1964 and I’d taken my favorite rock group’s song to heart, the Beatles’ “I Want to be a Paperback Writer”. It was an incredible moment of clarity for me and despite being challenged by my stern and unimaginative primary school teacher, who kept trying to corral me into being “normal”, I wasn’t going to let anyone stem my creativity and eccentric—if not wayward—approach to literature, language and writing. I was a confident, but lovable, little brat and I knew it. She and I didn’t exactly get along, as a result. But I did okay anyway, and, despite her acidic commentary (I didn’t cross my “t”s the way she wanted me to), Miss House begrudgingly awarded me my due A’s and B’s.
Nina pretending to read
I wrote some fan fiction but quickly found my own creations far more interesting and less limiting. As a teenager, I wrote, directed and recorded “radio plays” with my sister. When we weren’t bursting into riotous laughter, it was actually pretty good. She and I shared a bedroom in the back of the house and at bedtime we opened our doors of imagination to a cast of thousands. We fed each other wild stories of space travel, adventure and intrigue, murmuring and giggling well into the dark night long after our parents were snoring in their beds. Those days scintillated with liberating originality, excitement and joy. I also enjoyed animation and drew several cartoon strips, peopled with crazy characters as I dreamt of writing graphic novels like Green Lantern, Magnus, Robot Fighter and Spiderman. My hero was science fiction author and futurist, Ray Bradbury; I vowed to write profoundly stirring tales like he did. Stories that mattered. Stories that lingered with you long after you finished them. Stories that made you think and dream and changed you imperceptibly.
I had found what excites me—my passion for telling stories—and I’d inadvertently stumbled upon an important piece of the secret formula for success: 1) having discovered my passion, I decided on a goal; 2) I found and wished to emulate a “hero” who’d achieved that goal and therefore had a “case study”; 3) I applied myself to the pursuit of my goal. Oops… the third one, well…
…It went downhill from there…
Life got in the way.
I grew up.
The Middle: The Struggles & Confusion of “Reality”
Well, that, and the environment intervened. In several ways. It started with my parents. Recognizing my talent and interest in the fine arts (I was pretty good in visual arts), they pushed me to get a fine arts degree in university and go into teaching or advertizing. They made it obvious that fiction writing was not a viable career or a forté of mine (I was lousy at spelling and, despite my ability to tell stories and my love for graphic novels, I didn’t read books!). I can still remember my father’s lecture about how perfect the teaching or nursing profession was for me. I wasn’t enamored by either. The second blow to my author-ego came in the form of a school “interest-ability” test, meant to prepare us for our career decisions. I remember the test consisting of an IQ portion (spatial, English and math), and a psychology portion (including problem-solving and scenarios meant to tease out our affinity for a particular career). Secretly harboring my paperback novelist dream, I filled out my forms with great excitement. I still remember the deflating results, which suggested that I was best suited to be a sergeant in the army! LOL! Remember what I said about my spelling and grammar. “Writing” as a career barely made it on the graph, and scored well below “computer programmer” and “mechanic”; none of which interested me.
Forest road near home
Dante’s Forest
I began to see a career in advertizing as a viable option; my love and abilities in cartooning seemed to naturally tie in with this pursuit. I also had an affinity for graphic design. So, I deferred to the “wisdom” of others and let myself be diverted and distracted by clever reasoning and an appeal to logic. I did what I thought I should do, not what truly excited me.
I still quietly held my dream of being a paperback novelist close to my heart, even if it was closeted in my subconscious. But self-expression had dwindled to a trickle; the creative flow of stories dried up and in its empty wake I discovered a cause worth investing a fervent energy: the well-being of our planet. With the cause came my relentless pursuit of a science degree. I left home and surprised and disappointed my parents by electing on registration day at the university to go into science rather than pursue a fine arts degree in advertizing. Although I wasn’t “expressing”, I was nevertheless inspired. I obtained several degrees in science, including one in Limnology (the study of freshwater), which were all to prove worthwhile in my ultimate “calling” and self-expression: that of making science accessible to the lay-public and eventually writing hard-science fiction stories and novels of substance about the environment. The latter didn’t happen for several years after I acquired my Masters of Science degree and did a long stint of teaching at university (yes, I DID teach after all!) while successfully publishing articles for magazines.
The End: Fulfillment
Nina outside Bakka Books in Toronto where her novel is for sale
My non-fiction pieces became my entrance into the world of fiction (much harder to break into) and I used this venue to polish my writing skills in fiction (don’t let anyone tell you that non-fiction can’t be exciting, bending to many of the same rules as in fiction writing). Once I began publishing fiction stories, I never looked back. And as far as I’m concerned, the sky’s the limit now.
Not too long ago, I quit my day job and moved across the country to an artistic community on the east coast. I am currently travelling the world and pursuing my dream as a full-time author and writing coach. It’s not an easy life. And it can be lonely at times. But it is so incredibly fulfilling and blessed with meaning.
Come, walk with me and pursue your dream. It’s for the taking.
You’ve landed on the website of Nina Munteanu, internationally published Canadian SF author and ecologist. Nina is living her dream of the writing life! She is currently putting the finishing touches on her next science fiction novel. And if you’re lucky, you might catch her at one of her writing workshops where she coaches great fiction writing!
The Mentor: Nina is frequently sought after for one-on-one mentoring as well as personal coaching and group workshops on all aspects of writing and publishing. Because she has published frequently in both fiction and non-fiction, she knows exactly how to help her clients succeed in getting their works published.
TheEcologist: Nina currently does research and gives talks in science and limnology (No! That isn’t the study of limbs! She studies freshwater) and is driven by a passion to help keep our planet’s environment healthy. In April 2010 she participated in talks with the Dalai Lama as part of the Mind and Life XX Conference on Altruism and Compassion in Economics in Zurich, Switzerland, where she participated in discussions on the use of ecological relationships in economic policy. Nina is a passionate traveler, and has tasted her way around the world from Bangkok to Paris.
TheAuthor: Nina has published award-nominated short stories all over the planet (with translations into Greek, Romanian, Polish, and Hebrew). Two of her several novels, “Angel of Chaos” and “Darwin’s Paradox” (science fiction ecological thrillers by Dragon Moon Press), explores humanity’s co-evolution with machine intelligence and Nature’s intelligence. She also writes critical essays and reviews, several of which have appeared in Strange Horizons, IROSF, and The New York Review of Science Fiction. Her personal heroes include Dr. Lynn Margulis and author Ray Bradbury. Nina’s guidebook on writing, The Fiction Writer: Get Published, Write Now! is currently used in schools and universities across North America.
The Blogger: Nina is also The Alien Next Door, author of the award-wining blog which hosts lively discussions on pop culture, travel, science, writing and philosophy. Nina co-authors an environmental blog on climate change, Climate of Our Future. She frequently guest-blogs on Toulouse LeTrek, her feline friend’s travel blog.
Over twenty-five years after the first Star Wars motion picture blasted its way through our movie screens, the saga continues to live strongly in literature and cinema. To date, six films and three animated series for television were made, with a live-action series and a 3DCGI animated series in pre-production as well as a 3D CGI full-length theatrical movie, The Clone Wars, scheduled for U.S. release on August 15, 2008. The six films alone have generated over $4.3 billion in revenue to date, making them the third highest grossing film series.
Although the current Star Wars New Jedi Order series (its 27th and last installment released in spring of 2004) leaves much to be desired from a literary standpoint, loyal fans of the Star Wars phenomenon, including, alas, yours truly, have persisted with the series, helping it maintain a place in the New York Times Bestsellers list. How did this come to be? Why do we read on despite our better judgement about literature and art? To understand the enduring success of a shallow plot-driven adventure series is to understand the basis for its creation: the original Star Wars concept as realized by George Lucus. The answer lies in one word: myth.
In his original “Star Wars” trilogy, George Lucus fashioned for us a long awaited 20th Century myth. He captured the current North American zeitgeist and portrayed a deep and abiding truth about the deeper meanings of what lies beneath our daily lives. Lucus did this by “taking the symbols gathered from his own experience of the world and transforming them into a metaphor that revealed something about the mysteries of human existence” (Mary Henderson, author of “Star Wars: the Magic of Myth”). According to Henderson, Lucas dramatized the eternal struggle of good versus evil and, by suggesting a way to emerge victorious from that struggle, fashioned a tale with all the elements of myth. Lucas’s modern myth resonates with scores of earlier myths from around the world including the classic myths of Siegfried, King Arthur, Odysseus, Theseus and the Minotaur, Dante and Beatrice, David and Goliath, and a host of others. Lucus takes elements of all these ancient classics and stirs them up with technology into a retro-punk-rock cyber-version never before seen on screen.
If, as Joseph Campbell said, “The artist is the one who communicates myth for today,” then Lucas is a great artist. It starts with his intriguing and quirky ‘alternate reality’ of ancient archetypes within a highly advanced technological world that begins “A long time ago in a galaxy, far, far away . . .” Swords, sorcery and chivalry meld with robots and zooming rocket ships . . . a dark lord wearing flowing robes looks — and sounds — like an android . . . a damsel in distress, who packs a laser gun, sends a message through a cocky droid . . . a young “Siegfried” embarks on a quest armed with his father’s sword, a lightsaber that bites through metal, and whose ‘steed’ is an X-wing spaceship. Medieval legend meets space and technology. Says Henderson, “. . . it is in illo tempore, a timeless eternity, both now and forever.”
Lukas paints his myth with rich archetypical characters–princesses, knights, dragons, fools, and wizards who help or hinder the hero on his journey–and archetypal images that resonate with traditional mythical constants. To unfold his hero’s transformation as he discovers his deeper nature, Lucas sheds subtlely for bold strokes, which includes the use of allegorical names: Luke (Lucas’s alter-ego) Skywalker is destined for the stars; Han Solo is an independent, self-reliant cynic; and Leia Organa is leader of the living, organic Rebellion against a mechanized, lifeless system. In Leia, Lucas takes the passive damsel in distress and elevates her to a kind of “Joan of Arc”. She is Luke’s inspiration and by the end of the second movie (“The Empire Strikes Back”) she will rescue him, playing “Beatrice to his Dante”.
Lucas makes it very clear that the heart of the Star Wars story lies in the central conflict of paired and linked opposites such as good vs. evil, light vs. dark, love vs. hate, compassion vs. fear. Which brings us to one of the principal threads of this particular hero’s journey: the Force, itself made of opposite pairs: dark and light sides. The Force is something sacred, powerful and intangible. Ben, Luke’s mentor and a Jedi Knight tells Luke that to become a Jedi, Luke must know the Force: “The Force . . . surrounds us and penetrates us. It binds the galaxy together.” In order to use his father’s old lightsaber, Luke must quiet himself from his desires and fears and tap into the spiritual network that connects us to all things. The Jedi and their use of the Force incorporate concepts of major religions and much of Eastern philosophy, while remaining true to a classic Western value: the importance of the individual. Biblical elements also abound. Darth Vader’s slide into the dark side of the Force is a fall from grace, like a fallen angel, who must be redeemed through atonement and reconciliation; while Luke, his son, struggles with the shadow of the dark side of the force as it creeps into his mind. Like a captivating samba, the pairs of opposites step in rythmic syncrony between mind and heart.
According to Henderson, 20th Century myths are obliged to incorporate the machine. Lucas’s dystopian vision in Star Wars marries the technological zeitgeist with a totalitarian dialectic, portraying the state as a fascist machine striving for ultimate order. Technology is itself an archetype, providing an extension of humanity’s power to control and manipulate itself and its world and in so doing, lose a critical part of what it means to be human. In Star Wars, the Empire uses technology as a malevolent instrument, with Vader, himself largely made of machine prosthetics, additionally subverting the life-supporting qualities of the Force to ensure Imperial domination. Vader’s human spirit has been consumed by the Imperial machine. Luke must resist the lure of “the system”, and the lure of his father’s invocation to join him, and revolt against the status quo.
Lucas’s visionary myth is ultimately appealing because it can be interpreted at so many levels from personal to societal. In striving for utopian order, the Empire’s totalitarian oppression of freedom of expression (and to be human) is played out through the relationship of Luke, Darth Vader and Leia. Inspired by his beloved country and people (Leia) our warrior poet (Luke) confronts and rebels against the system that helped “make” him (Darth Vader, his father). Only, in this galaxy, the damsel-in-distress is quite capable of taking care of herself.
Ellen Goodman, in her review of Star Wars in 1977, summed it up very neatly: “It’s not just about bad guys and good guys, but about bad technology and good technology. The good guys are on the side of truth, beauty and the cosmic force, but they aren’t opposed to machines. Nor do they fight missiles with stones. The real battle is between one technological society that supports a Lone Rider and praises his instinct, and a technological society that overrules individuals and suppresses instinct.”
Scoffed by literary snobs as space-opera fluff, Star Wars is no less visionary and relevant than any “real life” drama you could care to mention. This allegorical 20th Century myth explores good vs. evil in its truest sense, indeed, in a biblical sense. Says Luke Skywalker in the first page of “Refugee” (NJO): “There will always be people who are strong for evil. The stronger you become, the more you’re tempted.” This saga explores faith and the power in believing in something you can’t see. Says Yoda, Luke’s wise mentor (and himself someone who is not what he first appears to be): “There is no try; only do and do not.” This saga is about temptation (the dark side is always easier and looks more appealing to those lacking patience and vision) and overcoming fear and its cousin, impatience, toward wisdom. Star Wars is a classic “hero’s journey of enlightenment” and portrays in a rich tapestry of images and metaphor the hero’s classic struggle of paired opposites: love vs. hate; compassion vs. fear; forgiveness vs. retalliation; grace and humility vs. vain-glorious hubris.
Since the release of the Star Wars trilogy twenty years ago, George Lucas made two prequels. The third is scheduled to release summer, 2005, and will explain how the dark Jedi, Darth Vader, came to be. The most recent Star Wars movie, “Star Wars 2: Return of the Clones”, which chronicles the adolescent years of Luke’s father, Anakin, was released in May, 2002 to an audience agog with Star Wars fever. It would seem that ironically, the movie’s shortcoming and its strength is one in the same: special effects. In a stunning comment to me shortly after viewing the film, my then-eleven year old son told me that he found the movie too dazzling, so much so that it spoiled the story for him and he pined for something more simple (for the eye as well as the mind). I found this incredibly inciteful coming from the generation that tends to be “bored” with lengthy stories that lack non-stop action. Although the effects accomplished that of providing us with incredibly vivid and stunning settings, such as Coruscant as seen from several spaceships entering its atmosphere, I had to agree with my son: there is no surrogate for a well told tale. No amount of razzle-dazzle can replace this. What my son pointed out to me is that even a well told story can be lessened by distracting elements, such as special effects.
A decade since the trilogy a fast-growing Expanded SW series by Bantam/Spectra made its way to fans, eager to read about some of the most memorable characters in fiction and has swollen to over 100+ books by various authors (not including the 25+ books of the New Jedi Order series by Lucas Books (Del Rey) and a host of books set before “A New Hope”). Written by as many writers as there are books, this series provides rich detail of the Star Wars universe. But, the original myth of the hero’s journey slides beneath the details of adventure, conflict and war. Most books focus on plot-driven space conflict, hard-boiled humor and clichéd prose, their success relying on fan’s love of established characters and scenarios. The role of the Force in shaping humanity and the universe is all but invisible. Only the occasional author elevates one or more characters into a marriage of personal theme with the greater arena of myth. So why do we keep reading? Perhaps it is simply to linger with characters who have previously resonated with us so deeply. And it is still worthwhile to peruse the mineral for a glance at the occasional jewel.
References: Campbell, Joseph. 1973. “The Hero with a Thousand Faces”. 2nd edition. Nollingen Series no. 17. Princeton, N.J. Princeton University Press. Henderson, Mary. 1997. “Star Wars: the Magic of Myth”. Bantam Books, New York, N.Y. 214pp. Goodman, Ellen. 1977. “A ‘Star Wars’ Fantasy Fullfillment”. Washington Post, July 30.