VISIONARY FICTION: A DISCUSSION.

FOUR YEARS AGO MY SECOND BOOK OF FICTION, 'THIS STRANGE AND PRECIOUS THING' WAS PUBLISHED. I WAS ASKED BY BOOKSHOP MANAGERS TO CATEGORISE IT; WHICH SHELF IN THEIR STORE TO PUT IT ON. WAS IT NEW AGE, FANTASY, SCIENCE FICTION? I WASNT SURE. THE 'NEW AGE' TAG DIDNT SUIT; NEW AGE AS FAS AS I WAS CONCERNED HAD MOVE ON, AND ME WITH IT. I WASN'T COMFORTABLE WITH 'FANTASY' EITHER. A LOT OF RESEARCH HAD GONE INTO IT AND QUITE SOME  EXPERIENTIAL  EXPLORATION OF CUTTING-EDGE SCIENCE.

TO MY MIND IT WAS PARTLY SCI-FI, YET MOST WRITERS IN THAT GENRE WOULD PROBABLY HAVE FELT UNEASY HAVING MY BOOK INCLUDED ALONG-SIDE THEIR OWN WORK. 

One male friend at my launch, picking up the book and inspecting the cover, turned to me with a wry look, and said 'I guess This Strange and Precious Thing is love.' Is he wary of taking home a Romance? I wondered. I assured him the strange and precious thing which found its way into my title didn't refer to Love, nice as that though might be; it was in fact a nick-name given to Finn, one of the main characters in his childhood - a childhood, in this case, set two hundred and fifty years in the future.

Eventually I came up with a category suggested to me some years ago, Visionary Fiction, but wasn't sure. What exactly is the definition of this new genre? There has been some discussion in the last few days on writer's groups I subscribe to of that very question. On writer Eleni Papanou's website I found a great definition that says it well: -----

Visionary Fiction embraces spiritual and esoteric wisdom, often from ancient sources,  and makes it relevant for our modern life. These gems of wisdom are brought forth in story form and in a way that readers can experience the wisdom from within themselves. It emphasizes the future and envisions  humanity’s transition into evolved consciousness. While there is a strong theme, it in no way proselytizes or preaches. 

Visionary is a tone as well as a genre. The ‘visionary’ element can be present in any genre and set in any time. The emphasis is on our limitless human potential, where transformation and evolution are  entirely possible.

This is a definition I can aspire to - one, I hope, that I come close to reaching within the pages of This Strange and Precious Thing. By the time I dotted my final chapter with its final full stop, and agreed with my editor that I was happy  - or happy enough - to send it off to the printer for publication, I felt it embodied, as near as possible, most of the elements present in Eleni's definition above.

In 2008 when the book was first published, I hadn't read  a definition of Visionary Fiction. However, this preliminary review below, (from which I've removed sections where  the reviewer points out places where I need to rewrite and make changes,) seems to me to come close to the same conclusions. I regard this book, not only as an entertaining read, not only as a vehicle for teaching, both of which I hope it includes, but as something more. Transformational, certainly. But something else, perhaps indefinable. As my celestial friend and ascended master  Kuthumi told me; in the new genre we call New Writing, New Consciousness, New Energy, this kind of creation carries an energy which goes beyond the words on the page, an energy of transformation that is absorbed, breathed in, and which goes on expanding within the consciousness of your readers long after they've put down the book.

Although, at the time I was writing Strange and Precious, I had not yet met Kuthumi, and the later book I wrote, Dreaming Worlds Awake, and which to some extent was co-written with him, had not been consciously envisioned, I think that his observations were never-the-less coming to birth.

This below, is the review by Crysse Morrison; Writer, Dramatist, Performance Poet and Novel Mentor, from which I have removed several lines where she made invaluable suggestions for improvement. Having followed her good advice and implemented them, I feel it OK to show the main body of her review. 

This is an invitation for comments on the discussion or on how you see this review as Visionary Fiction. The comments button is at the bottom of the page. Alternatively, please comment on Writers who believe in supporting Writers, Writers doing what they do best, Twitter, Goodreads, or any other venue.

THIS STRANGE AND PRECIOUS THING

(working title)

by Esme Ellis

Genre Adult fantasy

Aim Publication - commercial or individual

Length 95,000 words (est.)

Central characters Annya, Manfred, Finn, Mandlebrot - alternating viewpoints

Theme Possibilities of resolution in human and environmental relationships, through supernatural and elemental energies of which we are currently unaware.

Overview

As I'm more familiar with the genre of psychological realism in fiction I was unsure whether I'd find aspects of this difficult, but the contemporary setting and character portrayal ensured enjoyable reading. I found the descriptions of setting superb - visually graphic and hauntingly evocative. Dialogue is, for the most part, credible and effective to move the story forward. The underlying messages are subtly clarified, and I liked the mood shifts and the lightness of touch, so profound points are made without overt moralising.

Initially I was wary of a novel without a clear protagonist, but as the story progressed I felt the balance between Annya and Finn is important, and has been well maintained. The love story at the heart of the book is beautifully expressed and moving in its inference of hope for us all, gods and humans alike.

The narrative pace is very good, varied and with great cliff-hanger endings to most chapters. .... sections describing Finn's experience do benefit from slow(ish) assimilation, as this is unfamiliar territory to the reader,..... in those chapters describing Annya's responses .... we can readily empathise with her - very human - reactions.

My final reservation is regarding the viewpoint itself. While in a book of this length, where several perceptions and timescales are involved, it is quite acceptable to use different points of view in narrating, it is better practice to maintain one for as long a section as is possible. Towards the end of the book there are lots of short edit cuts as Simon is rescued by Finn and Mandlebrot through the intervention of Jamil, Khaled, and Ahmed, while Annya worries at a distance; here I think the constant viewpoint shifts work well, creating a pattern almost like that of the carpet as the loose threads are gathered up. 
(Refers to key scene in carpet weaver Ahmed's workshop. E.E.)

I really liked the opening -- very filmic and sensual also, visual and kinaesthetic and with a sense of the pulsing of the ocean. This sets the scene at a profound level, as elemental energies will become as important as characters in the unfolding tale.

Finn is well introduced, but there is an inevitable difficulty in leaving Annya's drama on pause while his backstory is unfolded, which means that the main interest lies in beautiful writing and the power of the theories articulated and implied. These are both strengths, but tightening the early sections would enhance the narrative energy too. (DId do. E.E.)

Much of the dialogue -  especially in later section - is great: interesting, imaginative, informative and often humourous. I really like the sensuous moments between Annya and both her lovers - especially Finn. I did wonder whether as a love story this would work even better if Simon was Annya's brother rather than lover, but by the end was convinced; the second, more human act of love is important.

In conclusion: The complex layering is carried successfully by a strong and simple plot: Finn recalled to earth to help humanity - and ironically bring about the train of events that will lead to his own conception - combined with a 'Chekhov's gun' sub-plot - a dramatic hook (Simon's mission) which comes into significant focus towards the end of the story. Thank you for giving me the opportunity to have an early look, and I hope you find these comments helpful and encouraging.

Crysse

AN EVERYDAY MIRACLE

In my last post I wrote ‘Everything that could go wrong, went wrong.’ A few days later - today, in fact - I report something rather different.              

 

I dreamed a dream last night. Nothing unusual in that. I dream a lot; I keep a dream journal; I share some of my most interesting dreams with friends - mutually, because they reciprocate in the sharing; and I write about dreams. I even wrote a book with Dreaming as part of the title. So maybe it’s not so much of a stretch to call myself something of an expert in dreams. 

I studied way back when - back then - in the 60s with a Jungian, himself an ‘expert’ in that he had studied with the great man, C G Jung himself. But even well before that I intuitively understood that dreams, though sometimes trivial or muddled, were capable of bringing vital insights into our consciousness from a part of ourselves which is free from the control of our waking mind. And being free, they are likely to deliver vitally important messages - messages  which our everyday self has censored. Our ego self likes to see us in a more idealistic light and develops strategies which deny or avoid its more unpleasant aspects. Many of the monsters of fiction arose from the world of the unconscious; Jekyll and Hyde, Frankenstein and his Creature, as examples from past literature, with our multimedia today constantly throwing up ever more exotic visions for our delectation.


On the other hand dreams may also reveal parts of ourselves that are more courageous, smart, talented, or spiritual than our every-day self. Their scope is endless, revealing glimpses both too brilliant to see clearly, or so deep in the shade we can't see that aspect either. 

Then of course there is Lucid dreaming. This is where, with a part of our mind still on the edge of sleep we train ourselves to capture elements of a dream and manipulate it, thereby taking back control again. And there may be something in this approach which could benefit us. But this opens up a whole new area for discussion. Maybe one for another day.


But returning to this day and the dream I dreamed last night.......

In last night’s dream ‘Everything that could go right, went right.’


How did I move from 'Everything that could go wrong' to Everything that could go right? What happened? I need to retrace my steps ........


My dreams of late have changed .... in the last few nights they no-longer carry messages from my unconscious which need to be interpreted by my conscious mind. There's a subtle but important difference.


Finding myself now a nightly traveller knowing myself as a new person. I have left the old me behind, and with her, all the old stuff she has carried from the past. And not only from her life of yesterday, but all the yesterdays down the ages, along with their karmic baggage. I observe myself, this new woman, a complete stranger, with interest -- fascination even. She is quietly confident, competent, taking everything she meets in her stride. Intellectually sharp and technologically savvy, yet she is relaxed and serene, soft, warm hearted. As I observe her in this moment, she is in the midst of a highly complex piece of work. This, she has either undertaken herself to been commissioned to carry out.


The me, Esme, the self who observes her, knows she would be out of her depth if she had been given this task. So she looks on in awe, marvelling that a woman so young and normal-looking has been entrusted with such a commission. We exchange glances. I understand from this that she is as aware of me as I am of her, and this look somehow fixes in me a 'knowing' that I am being challenged about what I hold onto as my identity and my 'reality'.


I wake soon after this and feel slightly troubled that I haven't been able to capture the full extent of what I understood whilst dreaming.


The following night I dream it again, and wake in the same way. Several nights in a row I dream the same dream, waking with a sense of frustration because I haven't 'got it,' but letting it go as I connect with the 'reality' of today and my need to get on with that. It's so comforting to return to my old self and the day-to-day reality I've always known. I don't have to bother with disturbing and incomprehensible challenges. I can let this strange new woman continue with whatever she's doing. At the same time I realise I will have to take up the challenge soon, and this creates a painful tension in my body. 


I won't run away from it, yet even acknowledging it intensifies the pain.

___________________________________________________________________________              




HERE IS PART TWO FOR ANYONE WHO'D LIKE TO READ THE WHOLE PIECE (WHICH I FIRST POSTED IN THE BLOG OF JULY 22nd.)

"Fear not," said the angel.

(This particular angel being that part of myself we variously call, our Higher Self or our Divine Self, Soul Self, Angelic Self. I wrote this down in my journal at periods in the middle of the two or three nights following the dream where I saw the complete stranger, my New Self.)

'And so, let us continue on this journey of ours, and this conversation where you commune with your divine self.

You dream once again of the New person, a not-yourself woman, and waking, you find your body reacting by seizing up. I have told you many time before that this painful and extremely uncomfortable sensation is a reaction to fear, and we have been trying out a few exercises to help you develop your own understanding of the phenomena you are meeting. A simple exercise -- we gave you an example of two people, let's call them ...  it doesn't matter, it could be X and Y or whatever you choose.

X is the Old you, the familiar, everyday you. She has your identity, (which, by the way, is just another illusion,) she has your memories, all your past in this life, the family, friends, events and incidents - everything that shaped your present life. X is constantly remembering details from the past, comparing and contrasting herself with others, "This is what happened to me; I made such mistakes;  if I do this I'll miss out on that; if I don't do that I'll be sorry because look what happened last time; he is much better than me at... ; she has the advantage of a better...  better luck, better body, more attractiveness, greater talent... " on and on it goes. I'm not saying this picture is exactly you, you've more sense, more balance that that, haven't you! but just giving an illustration. X, the old you, lives in the present but is fearful of the future because of her experience of the past. You see the linearity of that? Yes, living this way we do create our reality, but we have created it out of our past experience and it is biased towards victimisation and lack - insufficiency of some kind, be it self-worth or health or wealth.

Let's carry on with this exercise and look now at Y.

Y is the same person but she looks at the past that she created and takes responsibility for it. She knows she gave her permission at some level for all that she experienced as she travelled her pathway. And what a lot of experience she did gain! Now she has arrived at that place where she looks in the mirror and sees herself, values herself, loves herself, and feels much better about herself all round. Her future is now filled with promise; new potentials are there on the table ready to be picked up. She lives in the Now, but it is a Now filled with compassion, love, understanding and self-awareness.

Think of it this way: This New Person lives now in the centre of a circle, no longer in the old linear manner with the Past behind, the Future ahead, and the Present You restricted by that continuum. Instead, by being in the Now, you're in the centre of a circle where you move on and up from level to level as your consciousness expands, and it's like being in a living, spinning spiral  -  a circle which is a spiral - hard to describe - but because everything around you moves at the same time and at the same rate, you don't notice yourself changing. You feel the same Self to yourself, but we see you as we've always seen you, from outside the illusion of linearity. With delight we see you 'becoming' - not the right word, but for now....taking up more and more of your real self - expanding into your Divinity, the I AM.

Out of this realisation a new Creativity flows in, and it is an energy which is changing the planet -  for you can't separate your human self from your planet. As your consciousness shifts and expands, so does the Earth's. Even though the Earth shakes, as it does - I'm sure you've all noticed - at the moment, weatherise -- extremes of heat or cold, rain or drought, fire and flood --  these are but her rebirthing contractions that you feel. But now you feel safe within your own knowing that You are the Creator. You have moved from Victim to Creator.

You stand upright in this New situation about to step forward - you take a step into unknown territory. You are about to encounter something you've never seen before, The Great Unknown - full of promise - a wonderful revelation. But there is no map drawn out for this new territory which opens up at your feet as you go forward into it. This shows what a powerful person you are. You forge ahead, and it comes to you that you have just given birth to something  - but at this moment you can't see what it is you've given birth to. And suddenly all your fears come flooding back - all the dangers, the traps, the sharp snags that you imaging you might encounter. Your fear of making mistakes. You are not done with the Old You yet. But this is as it should be. These are unknown waters, and the unknown is your creative territory - your playground. Step into it  - dive in - and discover the wealth of resources awaiting you, Shaman, Alchemist, Artist. There is more and more to come.....'

ANOTHER DAY------ ANOTHER and Another .....

When nothing works ---  do nothing.

I broke into smile. For this last week- and longer - I've been hitting a brick wall - smashing into the buffers - everything that could go wrong, went wrong. My creativity stifled and the universe is not co-operating. I want to get on and DO, but everywhere I turn I'm met with non-cooperation and stupid, automated, non-human systems, or if there's an actual human lurking behind the system, they're behaving like a stupid automaton just to wind me up. I want to do things with my website - make changes, bring it unto date, add some new art and take away some of the older stuff;

I want to revise my book, Dreaming Worlds Awake, on Lulu - improve the colour quality and proportions of the cover design plus add the dollar price to the UK price. Also I want to include a new illustration to the interior and a new poem. But after going through all the steps, successfully uploading all the revised content and improved cover, when I went in to actually buy a couple of review copies I discover that Lulu have somehow upped my cover price by quite some. It's now priced something like $2.50 higher than the price on my cover -- the price which I entered as I went through the revision procedure -  and the figure which it had been priced at before, the UK £ price, is nowhere to be seen.

The whole reason I decided to give Lulu a try and go Self-Publishing, was so that I could be solely in charge of the procedure. It would give me the freedom as an artist to make these new additions and improvements as and when I felt prompted by my creative urge to do so. And I have to say, until now, I have been very pleased with my Lulu experience. But something has happened. I didn't ask for this hike in cover price - I don't want it. It doesn't match the price stated on the back cover. If someone buys it and sees the cover price they'll wonder who's ripping them off --- and it isn't me.

Is this happening to anyone else? No-one but me seems to have noticed. Or if they have no-one has brought it up on Lulu's system. It's a system where you don't get answers easily. You're given all those FAQs to look at, and a list of virtual 'experts' who, it turns out, shower you with a load more of other poor  b******s unsatisfactorily answered questions, plus an email help, which again no-one ever responds to -- or was that just my experience?

I went back through the 'revision' process and tried again -- and again - to get it to accept the dollar price I wanted. Made sure I'd entered UK and not US as my country of residence and entered my UK cover price as priority. Still nothing changed. Then eventually I managed to do an online chat in which I was told that because production costs in the US are higher than in England, that would probably account for the hike in price. YET, and tell me if I'm wrong -- when my revised copy arrived, it seems to have been printed and despatched from within the UK. Am I being ripped off? It feels like it, and if Lulu's policy has changed, no-one told me. I can't get through this barrier and I can't get any sensible information.

This is just one of the barriers I've crashed into these last few days. My webpage inaccessibility is another. My Amazon Author page another. And there are others I won't go into (including a hellish bout of cramp, my whole body seizing up.)

All of this happening down at the physical level, the real-life in-the-body everyday existence level. But this is not the whole story. This is not the whole ME. My whole reason and purpose -- call it what you will - in living and writing and creating art, is a spiritual one. Whenever I hit brick walls I talk to my 'friends in higher places'. Not only when I crash and dive, of course; I talk to them every day come whatever. I have many such friends. A large family of guides, helpers, healers and advisers  on 'the other side'.  Some of them I have known in this lifetime, others from lifetimes in the past, as well as my Soul-Self, Divine Self. One of these friends, ascended master Kuthumi, last night reminded me of something he'd told me months ago. ' Whenever you're feeling stuck and unable to move forward, things are not always as they seem. A lot is going on beneath the surface. Let go the feeling that your not doing enough and can't move on. It's time for an energetic Time Out with your self. Rest and recuperate, let go.'

And this is why I smiled this morning. I opened a book lying beside my computer, 'Duck Soup for the Soul' by Celestial comedian, Swami Beyondanander who I'd met staring on stage at a Mind and Consciousness conference in Albuquerque some years ago. Top of the page it said, When Nothing Works --- Do Nothing. I'd suddenly seen the double meaning. Nothing Works!

(By the way if anyone is interested in buying my book(s) at cover price plus P&P, they can still be got from my website www.esmeellis.co.uk  or email me at esme.ellis@btinternet.com )

ANOTHER DAY, ANOTHER CAVE. My blue heaven!

This time I was in Rome - or this is where it started. Back in about 1958/9 after leaving the RCA, (Royal College of Art) I'd applied for a prestigious scholarship, The Prix de Rome. And I'd been accepted as one of 12 post grad. art students and given 6 months to complete a life-sized sculpture with the title, Youth. Hiring a furniture van was the only way to get the finished work to the venue in South Kensington, (Imperial College) where it was to be exhibited and judged. Nail-biting days went by until we were informed who had won. Unlike the several scholarships available to students from the Painting School, there was only one prize for sculpture, and I was bitterly disappointed to find I'd been placed 2nd. (I'll make this short and to the point, but I'd been told this by my tutor who'd been on the judging committee. I'd tied for 1st place with a student from the Salde School of Fine Art, and my tutor had tried his best, arguing for me, but the R.C. had won the year before and the view of the committee was that it was the Slade's turn this year.)

Eventually, though, I'd travelled to Rome with Rose, my friend from the painting school who'd been given an Abbey Major (or Minor, can't remember, anyway a scholarship for one year.) She was later to marry the much older-than-herself, well established painter Roger Hilton. Rose, a fine artist, lived for years in his shadow, although teaching herself at Falmouth College of Art in Cornwall. Roger is now dead and Rose has now blossomed forth in her own right.

Back then and long before Roger came on the scene, she and I shared a flat for some time, right by the Spanish Steps. We lived there together until September when her studio in the British School at Rome became vacant, at which point I would find another flat for myself. I would then try to get a part-time job, and continue with my studies. In the meantime, in what was left of the summer, we decided to adventure, taking several trips hitch-hiking around southern Italy. At a youth hostel in Sorrento, we were picked up by 2 Italian male students from Naples university and asked out for a whole day. They planned to hire a rowing boat and take us down the coast, stopping off mid-day at a beach restaurant, where they would buy us a meal and continue down along the coast. There was something special they wanted to show us.

Sorrento was near Capri, noted for its Blue Grotto, but these two could show us something better and what's more it wouldn't cost us a lira! After leaving the pleasant stretch of beach where we'd stopped for a slap-up lunch, far more luxurious then we could have afford of ourselves, we set off once more rowing southwards along the coast line. This fine, sandy bay left behind, we were soon travelling beneath a stretch of towering, high, very high cliffs with no further landing places or beaches in sight. On and on we went. Beautiful day, blue as blue sea, but where were they taking us? Rock-face, after forbidding rock-face reared up, and no let up. Not a soul in sight. Were we mad to trust them? Oh, my God! If they had something untoward in mind, even if we jumped over board and made a swim for it, there wouldn't be a snowball in Hell's chance of escape.

They stopped rowing. "This is it."

Did they say that, or did we think it out loud? We two girls smiled at each other uneasily. They shipped the oars. "Now what?"

"This is the place,' they said. "our secret. You can both swim, can't you?" they asked. "Just follow us. Swim until you see us disappear, and then dive down. Follow our legs, keep close. OK?"

They dived in -- we followed suit. Swimming fast towards the towering cliff before us, panting hard we tried to keep up. The boys disappeared from sight, and we gulped a big breath and dived down after them. A trail of bubbles in the bluest of blue water, and two pairs of thrashing feet. Breath running out, feet in front getting fainter as they seemed to dissolve into an indigo underwater blur. Follow, follow. Then....

I can see it now. Feel it, sense it. It all comes alive. We're surrounded by the most luminous, ethereal blue. An underwater heaven. A cavern filled with great Breath of sighing, singing Light, and we gulped it, filling our lungs with something indescribably Celestial. We had been taken into a secret Blue Grotto. Our smiling faces a luminous cerulean blue; blue mermaid hair streaming out; we'd become transparent, more areal than solid flesh. We lifted our arms into the air, spread wide out fingers in a gesture of pure rapture.

Dive in in Faith and Trust. Many years later, writing the Fish tale/tail at the end of my book, Dreaming Worlds Awake, the same thing was said to me by the ascended master, Kuthumi."Dive into your creativity. Dive even deeper. Like the fish being released into unknown waters - keep moving because you know your surrounds intimately even though you have never been in them before. There are just more resources and more to explore. The gates are open and you are stepping through. Namaste."