Sunday, December 27, 2015

The Hottest Woman in the World

CHAPTER 1                                         Electricity


Sulfur Toughlove, hater of love, was in temperament and physical composition indeed all things blue fire and yellow brimstone. As he concentrated, vivid blue wisps licked around the ball of his smooth yellow scalp. His yellow eyeballs popped in puckering yellow eyelids, and blue flames the color of chicory flowers burned within his irises. Cladding him in an aging citrus yellow suit, a chintzy second skin tailored in the same hue as his actual skin, nature rendered him a plump piece of fruit gone bad. What tree this elemental monster had fallen from could only be named inevitability; for in a universe where each action had an equal and opposite reaction, someone had to hate love.
A round gray shadow claiming the grand mass of the grotesquely yellow, elemental man hovered like a cosmic cape over the black slate chalkboard in front of him. Yellow chalk comprised of pure sulfur squeaked, and a frenzy of bright blue sparks charged out from him while he furiously wrote in bold capital letters the name of a woman whose love for love he despised in particular, a woman who just happened to be the hottest woman in the world and was aptly named:

ELECTRICITY.

The haunting chalk squeak died off, then snuffed under the imprisoning vastness of the mine he used as his headquarters. The chalk he poised high between his ghastly yellow-stained and pudgy fingers while he paused in deep thought. His hands too were a bright yellow, his skin palpably sulfuric. He rolled the stick once, triumphantly, and his powdery yellow skin marked its contours.
A window into the human world swiveled around him, a ghostly optometrist’s assembly of examination lenses. Two binocular lenses hardened in tandem with his thinking, extended toward him from the subatomic television contraption and fixed to his eyes. Through the lenses he spied on the hottest woman in the world, discovering she was affixed to a wall of ice, her silver ice-climber suit rendering her into a reflective sideways profile, into a slick chrome decal shaped almost like the iconic trucker mudflap girl. She clung in this sideways position by the dint of metal claws bolted to her silver boots and specially engineered gloves, which reminded him of steel dinosaur jaws.
Sulfur thought hard about smiting her from the face of the ice cliff as much as one might flick an ash from a sleeve, but this thought tumbled uselessly. He did not have the power to harm human beings, not directly anyway, and so he mulled other options that would relieve this woman from her quest to find love.
A small animated pin on his lapel encased in a clear vial a singular atom of sulfur; it was not visible to any human naked eye and barely so to the human electron microscope. In addition, on a much larger scale, embroidered in sulfur crystals on the lapel of his sulfur chintz suit—which otherwise looked a lot like a business suit—was the identifying capital letter S with a smaller numerical denomination of 16. S16. Three atomic rings stitched around the S16 and, being animated with real electrons, whirled around the neutrons comprising his tiny heartless heart. By these markers he was, in the elemental world that functioned inside human reality, encyclopedically identified with the element sulfur.
This elemental male-mannish-entity was thusly named Sulfur. He had, after a few billion aeons of hating love, watching several spaghetti westerns during the advent of human cinema—and later becoming rather fascinated with the rise of the New York City mafia and Murder Incorporated in particular—brocaded in his imagination a vision of himself as a sulfur desert dwelling, train robbing, mafia don of hatred. Subsequently he enjoyed pulling his hand out of his pocket with two fingers pointed gun-style and playing imaginary target practice with human hearts. Eventually, though he really had no one to call him by it, the weird yellow loner had taken on the last name of Toughlove.
Performing his hateful deeds in the expansive sulfur bowel located in an anti-terrestrial nowhere, Sulfur further christened the cave which had birthed him, Toughlove Incorporated. Here the Element—which was what all of the other Elements recognized him as—strategized how to keep amorous people apart. What elicited from his elemental chalk upon his elemental slate always came into play in the world of human love. Such was the power of his hatred and its reach outside of his bright yellow darkness.
If the human loveless and lonely knew who they could blame for their plight, it would be Sulfur Toughlove, the King of Bad Timing. But humans did not know, so they blamed the causal effects of their world—Newtonian mechanics and its gravitationally guided rotten apples—on the hopeless condition of their solo hearts.
Sulfur, himself an aforesaid funky fallen fruit, performed his hateful acts simply by thinking them, or if he was feeling especially brilliant, by conjuring them up. Sulfur Toughlove’s negative vibes spasmed through the subatomic ocean of human reality. His tentacled intentions darted viciously into the positive juju of love just like wicked jellyfish stinging drowning divers straight in the heart.
His black art of bad timing was known keenly to the other beings of his atomic ilk: the much more charmed group named The Elements. Each Element also took his or her name from the periodic table of elements and his or her gender from somewhat superficial—even stereotypical—qualities each possessed. There was Hydrogen, whose explosive personality kept him away from events likely to split him in two. There was Carbon with her diamond eyes and tapering black nano-fingers that could reach through dimensions. There was youthful, androgynous Neon who loved to light things up, especially night and parties. And indeed there was within the aether forming the human universe every other Element. Together their atomic interactions comprised the sails upon which the terrestrial blue marble circumnavigated the incredible solar system.
At least some forty millennia after the Neanderthal phase, when burying the dead developed into the more specific culture of wearing black to bury the dead—and then black suits became a fashion rage for the serious and the artsy—the Elements voted to take on human form. Carbon, with her surplus abundance, helped tailor black nanotube skins for the Elements. Within the suit lapels a small pin with their uniquely identifying atomic insignias, borrowed from the human periodic table, were embroidered. With the exception of denuded Sulfur, who had outcast himself and whom Carbon refused to clothe, each other Element wore their full black carbon suit during business hours. Just as glass vessels in a chemist’s lab gave shape to the earthly forms of the elements—mercury in a triangular vial was triangular for example—so did the suits contain each Element’s equilibration between crystal, liquid and gas and provide them with their human shapes.
The black suited Elements assembled frequently in a United Nations stylized great hall. Here below the scalloped seating but above them all in pure power, reigned the eternally youthful Lord of Chemistry himself: Cupid.
Three Element seats had become vacant in the past five hundred years after the rise of romanticism. Sulfur, again, was the principal contrary one, having defected from the group after a coup, during which he had stolen an atomic pocket watch, which was key to orchestrating the timing of the human heart—not just its beating but its curious nostalgia for romantic company, indeed the timepiece governed even the precious aching and precocious swooning of the human heart. Sulfur had stolen this critical timepiece from his foe Cupid, and on his way toward building his own kingdom, he had managed to sway both Oxygen and Arsenic to join him in his poisonous quest: namely, to disrupt human love whenever possible. It was simply his bilious nature to hate love.

The cavernous Toughlove Incorporated echoed with an insistently sinister ticking-tocking, amplifying the atomic pocket watch now neatly fastened to Sulfur’s yellow waistcoat by a yellow crystal chain. against Sulfur’s bulk the watch was really no larger than a grain of sand. Through this watch rippling gold and silver energy danced, obeying an atomic waltz of love—perhaps even Strauss’s Voices of Spring. Indeed the potent and trade secret chemical formula for love was intricately wound and orchestrated inside its fine metallic machinations, which geared together like a Swiss watchmaker’s design of the human heart. Tiny titanium heart-shapes literally pumped liquid mercury, emitting the pulsating tick-tock, and as they did, nanoscale arrows filigreed from platinum shot around the interior body of the watch.
As much a Sulfur loathed the cutesy ornamentation and its lovey dovey soundtrack, he put up with it as he would an irritating pet bird. After all, whoever possessed this watch possessed perfect timing.

Sulfur pulled back from spying on Electricity, and the collection of lenses surrounding him withdrew, giving him ample space to review his chalkboard once again. Struck by a novel idea, he leaned forward. The sound of the pocket watch’s careful temporal precision was momentarily overwhelmed by another shriek of chalk against the board. Spidery blue flames skipped from Sulfur’s fingers as he etched out a plan. His face twisted with plotting, and with the intensity of a general commandeering a winning war game move, Sulfur slashed out a simple X then rounded out an O over the word Electricity. Under the X symbol, respectively, he wrote the name Lucky. The two words sat side by side, like yellow strangers on an expansive black plane of nothingness, too afraid to peer at one another: 

O                               X
                                                       ELECTRICITY             LUCKY

The words looped out in his generous, even baroque penmanship. He stood back, his seven-fold yellow chin bullfroggishly billowing over his tight collar. His bugging eyes clacked together like angry billiard balls as he contemplated his next move.
A soft felt-block eraser, rampant with dusty yellow handprints—indicating his intimate relationship with the object—snagged his attention. This was the special tool he applied when he wanted to erase attraction between two people. When he reached for the eraser, the fabric of elemental space and time, a quixotic puzzle of atoms and atmosphere, rippled violently around his girth into an eddy of energy, shoving him backwards into his cave. He grimaced and shouted, “No!”
Within the air engulfing him, the frenzied molecular world rapidly chilled, capturing Sulfur in an aetheric rain storm.
A teeny-tiny man-boy—Cupid—zoomed past him on wings beating as fast as a hummingbird’s. He even seemed to be a small bird from a distance, such was his size in proportion to Sulfur. He paused in front of the slate chalkboard with hummingbird stealth, his little plump body suspended in freeze-frame while his wings beat about seventy times per second. His black carbon suit was tightly tailored, and a heart woven of ruby crystals was woven into the fabric directly over his own heart; he looked like a baby meets a Wall Street heart broker. An incision between the shoulders allowed for the free range of movement from his wings that were at once jeweled in pink and red gemstones and woven together with fine gold crystals. His cherubic lips puckered and shimmered like sugar-coated crimson apples under white and flecked gold irises. In every way he was a candy box, Valentine version of himself come to life.
Cupid rotated from the chalkboard, focused with consternation on his heisted pocket watch, muttered the phase change equation for turning water into ice as if it were some form of abracadabra, then zipped around and around Sulfur, making a dizzying spiral. In response, crystal snowflakes illuminated and spun all around the cave. The air grew colder and colder until the criss-crossing snowflakes solidified into a blown out blizzard. Sulfur imploded into a yellow fleck, and after a moment he was buried deep within an inverted mountain; nothing but the sharp spit of white snow flakes blew in from every direction. Magnified, each flake proved to be shaped into one of Cupid’s arrows, and the mountain proved to be the peak known throughout the human world as the Shark Fin of the Himalayas.
Though the personified Element named Oxygen had crossed over to Sulfur’s yellow side, she was so abundant that Cupid easily harbored a reserve of her atomic power. This reserve, mingled with humble Hydrogen, produced molecules of water on such a vast scale that life and eventually love evolved out of the aquatic realm. Winter sports too.
Through this terrestrial snowstorm, two eyes as brilliant as diamonds pierced the white out. Steely striations radiated from the pupils, tightening to pinholes against the raging white out. These were the eyes of Electricity, the hottest woman in the world. The snowflakes covered her silver suit, wrapped sleekly around her curves and after a moment each miniature crystalline arrow, comprised elementally of chilled hydrogen and oxygen, melted. What other physics came together, what accident of natural intelligence, birthed both the mountain ranges and the woman who would climb them, birthed the majestic Mt. Everest and the Sherpas who would guide through them, surely played some role in the making of this woman.
Her irises seemed to be every known human color; at once they were blue and glinting with amber or star bursting emerald and flickering with white gold. Her black eyelashes were at once Asian and sub-Saharan, high-stepped, Eskimoan and Polynesian or a splash of Caucasian. Her lips were as full as Cupids. She was every woman, somehow, all at once.
The seemingly supernatural genes that had made her an every woman had, for reasons unknown to all, also wired her body temperature a little too high. A startling anomaly, she was in many ways simply too physically hot. The silver suit cloaked the color of her skin, but it was indeed a tangibly human skin—one could go so far as noting it as amber in color, slightly resinous and glowing as sunlight struck her face, exposing her body heat. Her bane: she was too hot for any man to touch.
She heard her name being called, “Electricity!”
Through the billowing snow layers the wind whipped back upon itself, and she spotted a fellow mountaineer submerged in a pristine and deadly drift. Black goggles with amber lenses shielded his eyes, but by the way his face sunk, she knew he had just fallen unconscious. She plowed toward him, the arrow-headed ice melting around her, and she dug the man out with her thinly gloved, hot hands. A sunlight shaft, a natural golden spear as finely wrought as any inside the pocket watch, shot through the thick gray snow clouds and bounced off her silver clothing, bathing her in a warm celestial glow.
Distracted by it, she looked up at the sky for a moment. Behind her she heard her name again. “Electricity!” She turned her head, squinted and saw a Sherpa, his face a slit inside the foxy blossom of fur around his head. He witnessed the woman, visually isolated in the orange-gold glow, and he was hypnotized—as if the howling wind was a siren singing love’s lost lament. But then the shrill wind pierced his numbing mind, and he snapped to. The sudden storm was the most alarming he, a native to the Himalayas, had ever witnessed, and he clocked his fear. “We must turn back! There is no way to make it to the summit!”
Within the origami-like folds of space and time, in his own headquarters within the elemental world, Cupid watched the scene in a kind of living, microcosmic box, and his candy-apple red lips pouted into a smile. He flew to his chalkboard, which was a circumference of slate literally miles long. It was riddled with endless equations sputtered out in his own tiny handwriting. Centered within it all, were written in his ornate penmanship:

 Electricity     Lucky.

He quickly halted and hovered, his wings spangling with vivid red light, revealing that the webbed scales were in fact overlaid heart shapes. He held up his own pink chalk stick—made of rose quartz calcite—and rapidly, within the beat of his own hummingbird-sized heart, he wrote out a plus sign:

Electricity + Lucky.


The very air throughout the entire earth became charged with pink static electricity, and a ferocious wind blew through the pursed lips of a gray cloud. A rose pink bolt of lightning ejected and splashed over Electricity, who might have paused again to reflect upon the majesty of nature if she was not otherwise engaged in saving several men’s fiercely frozen and soon to terminate lives.

Monday, October 19, 2015

Note from a Homo sapiens: AUDIO ART or Voices Uttering in between Brooklyn Black Noise

A couple of days ago I completed audio narration of my very involved, convoluted cybernoir epic, Black Hole Butterfly. I had dreaded the undertaking, as it had occupied much of seven years on weekends and stolen moments between the rest of life to write the thing. I was not enthusiastic about reading aloud every word of it and essentially reliving it. Not that I don't love the story; I just have so many others I long to tell.


I planned out a month during the summer, however, to do just that. Prior to the 4th of July I commenced the undertaking, just in time for the new landlord to commence construction, six days a week, which is still ongoing. This made the undertaking a journey against the noise current, prompting me to push against the churning noise of Brooklyn, localized in hammers and airplanes making their landing at LaGuardia airport. In between barking dogs and knife fights, I sought moments of silence or near silence, and word by word I spoke aloud the entire story. So, not only did I relive the story in extreme slow-motion, I became incredibly intimate with my voice and then not even my voice but the position of my mouth and lips and tongue and teeth. Many times I pictured my skull resonating these sounds, and I began to relive the emergence of language in all of its complexities via my species. I wondered from time to time what the whole story would sound like if it was read aloud in Japanese. Or Spanish. Or Navajo. Sometimes I drifted so far away from the meaning of the sounds that I felt like an alien soundbox. Ultimately I marveled at the complexity of imagination woven out of 26 simple letters my species uses in the English language. And of course over the four months that it took me to record the book, I'm certain my dogs wondered why I was talking to myself in the closet.

Should you chance upon this post, please take a listen for free, and be forewarned, I've been called a female Tom Waits. This is not just some pass-the-time audiobook. This is a work of audio art. If nothing else, I will pirate radio station it out to the cosmos in hopes some other species will receive my transmission. After all, we are all here to discover why we are here. I just tucked my discovery into something named detective fiction... Listen to salem x on Soundcloud here.

Wednesday, September 16, 2015

Free Alien Abduction TODAY!

Get abducted by alien music.

Yes, folks, if you own a Kindle get your free copy of Joe4, a science fiction novella, today through September 18th:

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BR: http://bit.ly/1Evp1KS

MX: http://bit.ly/1O5wDUr

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Not a Kindle owner? Win a paperback and a conductive bookmark via Goodreads here:


Goodreads Book Giveaway

Joe4 by Salem

Joe4

by Salem

Giveaway ends September 23, 2015.
See the giveaway details at Goodreads.
Enter Giveaway
In October my exclusive deal with Amazon will expire and the iBook, interactive version will become available. More soon!

Monday, September 14, 2015

Zoonomia: A Manual for a Hyperconscious Homo sapiens

The concept of evolution is recent but its catch-phrases dominate how my generation perceives its place in the universe and the pecking order of species.  Much as the Batman phenomenon is a pop culture trend floating on the top of the oil slick of consumerism, the language stemming from Charles Darwin's theory percolates to the surface of our current worldview in bumperstickisms: survival of the fittest and natural selection being the two most succinct phrases we use daily to boil down the how and why, not just of our genetics, but of the very rationale for our existence.

This document is a step toward giving evolution some new language. If you watch the most recent Cosmos series with Neil DeGrasse Tyson, you'll find the producers scripted his narration by relying on bumperstickerism. This is how he explains why polar bears are white like snow: gene mutates white, nature selects white fur that blends in with snow because it protects the species. End of story.

Really? How does consciousness fit in to evolution?

We have reached a place in our history where we can transcend self-consciousness and gain a mastery of our neurophysiology. Consciousness, a condition of advanced life, is becoming more conscious. It was a mere 140 years ago that the cataloguing of physical trends led to the theory of evolution and only in the last 100 or so that psychology rose up from the ashes of astrology to generate more "scientific" language for describing mental qualities and conditions and providing a newish basis for dream interpretation.


With technology bringing brainwave analysis to the consumer, we have reached a fold in the evolution of consciousness, a self-retiterative fractal cove where the mirror-like nature of consciousness can take a look at itself from a new perspective. Technology is the harbinger of this perspective, and I propose that first and foremost the concept of what is technology and, subsequently synthetic, be re-examined. We can start by returning to earlier senses of the word "plastic," a word Darwin utilized to describe the malleability of life forms.

Revolutionize your world by revolutionizing the language you utilize every day. If you dumb your life down through bumperstickerisms borrowed from Darwinism or from any other dilution of pop culture science, you may not be able to seize the grandeur of your existence and capitalize on your consciousness. Let's revolutionize language and make a manual for proactive evolution.

In my novel-in-progress, titled Zoonomia, the main character becomes a new species by insisting to those around him he is not a Homo sapiens but a plastic monster. In what some might call my field research, I have thoroughly enjoyed taking the subway trains in New York City and looking at people as nothing other than plastic monsters.

This novel is really an exploration, even a work of philosophy, regarding how we acclimate ourselves to "reality" through language and ultimately explain our lives away. This is a problem of the current paradigm, in which monetizing and data mining is paramount to exploring and even exalting in being alive and conscious.

Language, however, is extremely plastic, just like consciousness.

In our new paradigm of future now, where someone like me can fabricate my own EEG equipment with a 3D printer and simple microcontroller--and explore deeply, for example, the narrative light phenomenon known much more simply as the dream, I think we will have the opportunity to reintroduce plasticity to the language of evolution. Not as something cheap and recyclable but eternally malleable.

Go look at yourself in the mirror. Are you not a plastic animation? Perhaps even a plastic monster?

More about my work is here: www.metapulp.com

Monday, September 7, 2015

Paperback Hack

My fiction is filled with conductive ink and its quantum prowess. While only in imagination am I able to summon the passion of dead writers such as William Shakespeare, the pop culture trends of the maker movement have at the very least introduced affordable conductive ink to the marketplace. I do like to believe, and quantum physics does allow it, that the essence of an author's motive is sustained in their actual writings. Most pencils and pens, inks especially, are prone to conductivity.

As an author, paper and ink are my main media. I have no qualms about investigating the carbon basis of my media, and I especially enjoy investigating the other side of written language, namely the oral tradition from which it descends. This side of my art leads me into sound, the bio-acoustics of our languages. Cool stuff indeed.

When I first saw the Bare Conductive Touchboard, I knew I was fated to own one. This is a simple Arduino based micro controller that incorporates mp3 player sensibility, so basically anything that can send an electrical impulse to it, from tomatoes to their own Bare Ink, can be used as a sound generator.

I decided to incorporate this into a novella I wrote, in which essentially the protagonist gets abducted by alien music. Yup. I also decided to insert a keyboard into the paperback. This blog entry is basically a how to for hacking a paperback.

1: Get a paperback, for example Joe4 by me.
2: Add conductive buttons or sensors or even a keyboard to it, like this:
3: Connect to a micro controller which houses mp3 audio data and hit the buttons like this:


I employed a Kickstarter campaign to fund my fledgling audio studios, and this enhanced paperback/conductive ink/audio book package was the maker package most backers selected. I somehow knew in advance it would be difficult making a nice conductive ink screen print on the paper that comes with these print-on-demand books. And I was correct, so I had indicated I would make a "bookmark" midi-synthesizer on wood veneer to go along with the package. After stumbling my way through learning screen printing and playing around with techniques to get nice quality conductive ink prints, I was able to make a clean screen print and the bookmark as pictured here:

In addition I recorded each chapter and produced my first audiobook. An initial reviewer laments my voice as a kind of bad impersonation of William Shatner. Since I've frequently gotten comparisons to Tom Waits, I say this is a good thing. Voices are unique bio imprints for most certain!

I had promised my backers that I would also include alien music with this keyboard, so I did go ahead and generate some tunes via Ableton, the audio program I use for all recording and for midi work. I don't expect these to be the greatest alien hits of the universe any time soon, but feel free to listen to them on my Soundcloud channel:


And if you're in the mood for some bad William Shatner, please feel free to listen to the evolving Black Hole Butterfly mega-novel on Soundcloud or even pay good hard-earned money to listen to my to-be-abducted-by-aliens-voice via Audible. Have a great night!

Thursday, August 6, 2015

Hiroshima My August Apology by The Atom

Recently I watched a documentary about Hiroshima, not in preparation for the 70th anniversary of the World War II bombing but because I like documentaries and as an amateur chemist and physicist, I have a keen interest in nuclear fission. I am especially fascinated by the phenomenal energy inherent in our universe, inherent in the fabric of space-time, inherent essentially as a kind of cosmic and very deadly fire.

I don't know who could watch this BBC documentary and not be touched by the devastation. This morning as I read the news online I came across this thread in the New York Times, where people can submit their own theory as to whether the bombs needed to be dropped on Hiroshima and Nagasaki.

I certainly am no military buff and could not, in the 200 words allotted by the Times, persuade as to why the bombings were not necessary. But I had already, after watching the BBC documentary and then a trailer for Hiroshima Mon Amour, decided to write a short story from the perspective of the underlying power inherent in the atom. Why not ask it how it feels about what it did, I thought.


This story comes in the way of an apology as told by the atom that did the dirty work at Hiroshima. It is written down by an interpreter, an entity- let's call it an alien sentience -who is charged with writing a history of planet Earth for its people. The only information this intelligent being has about our world is a radio transmission of the trailer Hiroshima Mon Amour.


I have watched the trailer and not the movie, and I thought it would be interesting to posit someone trying to understand Homo sapiens through this fragment of our culture. One key thing this being would share with us is the elemental universe, meaning the periodic table of elements. And since quantum physics in many ways posits the underlying, and rather intelligent union, of the subatomic, I thought why not have this alien talk to the atom itself that first split inside Little Boy through the movie trailer? In fact, why not talk to the atom through a bouquet of bottle caps as imaged in the trailer?

And so, I titled my short story 

A Bouquet of Bottlecaps

It starts like this:



My name is Uranium. Also pitchblende. Darkly lustrous, daggery in gemstone, I inherit the virile awakening of energy. I am the blackberry-like, electrical tongue of the swallowing serpent binding what makes us all and destroys into a nothingness that cannot go away. I am the atom, the dark mother, and I apologize. I apologize for the ecstatic topology inherent in my nucleus, and I apologize for the T-shaped bridge, which made it so easy to find you. I apologize for the bouquet of bottle caps. Hiroshima, I am the black rain you drank, and this is my August Apology.

Meriot reviewed the journal entry he had just written on behalf of the atom speaking to him. He was the historian assigned to the planet Earth, with which he was only familiar through radio signals that had been netted by his world’s radio vacuum system. These had been designed to enfold the radioactive waves that undulated through his solar system from the angry black flares of his native sun. But they had begun picking up informed transmissions in the past years, and he was one of many who took it upon themselves to catalog the information and make sense of it.

Meriot was, in the terrestrial human language, an animist, as was common in his culture. His people had cracked the code of nature’s language some epochs prior and discerned that the fabric of space and time, like a conscious chiffon, was speaking to them in static whispers, hushing consonance and even in the lukewarm froth of pop culture's voices. Earth’s transmissions were collected and collated like leaves wrapped around a woody stem, except in this case the leaves were melted, metallic bottle caps. In this fashion he carried with him a “book” about Hiroshima. And this book, he understood, wanted to apologize.

Hiroshima, I am the soda pop you did not drink from the bottles that were never capped, and this is my August Apology.

Thanks for stopping by Salemwire. Find out more about my writings at www.metapulp.com.




Tuesday, July 28, 2015

Romance Novel Covers De- and Re-constructed

Romance novels are not exactly on my radar in general but recently I've taken an interest. A Nuyorican friend of mine tells me his mother's Harlem apartment is filled with Harlequin paperbacks. My own mother was a devotee of The Days of our Lives soap opera, and my early years recall the voiceover artist recounting how our lives are like sand in the hourglass. For better or worse I go to my grave with this audio artifact from pop culture engraved into my memory and a deep sense of the futility of time's passage.

When I received a lunch invite from Random House's newish digital-only romance imprints (not sure how I got on their radar), I threw it into my digital trash. But later I thought, doesn't Metapulp, my publishing company, have a romance novel in the line-up? So, I retrieved the invite and signed up. After all, I only had to leave my front door, take the uptown A train to Columbus Circle and walk a few blocks to the New York City headquarters of Random House to pull this off. Any hopes I had that the other romance novel lunchers might prove to be old spry men or other stereotype shattering folk who banged out romance novels under pen names, was dashed against the floor like china in a, well, in a soap opera. The ladies in attendance looked like they wrote romance novels. Bright green eyeshadow and matching skirt. Check!

I feasted on my quinoa salad while the Random House editorial staff introduced themselves and basically sold the imprint to the writers. I started googling on my phone the moment they said they also had a scifi imprint named Hydra. Really? That had not been on my radar either. Right away a flurry of negative posts came up regarding the disemboweling tactics of the imprints. (Basically, these imprints are trying to snag the potential breakout indies before they go viral and the contracts pretty much steal off with the copyrights. That's if you believe what you read in blogs anyway.)

Back to my believable blog! I returned my attention to the editors in front of me. A cover "artist" was discussing how she dug through stock photo images of muscly men and nearly naked women to composite the covers, and how even the author got to play a role in choosing the final cover. Want to wrap your stud in green plaid or red? You choose! Nevermind that no one seems to be collecting these covers that all look the same.

Well, let me get on with the deconstruction part of this blog. Aren't all stories just variations on a theme anyway? The romance novel cover is the same freaking cover over and over and over again but so are our stories, no matter what the language. There's a lot of sex and bananas, if you know what I mean, in Gravity's Rainbow.


It's all a signal to a potential reader that a hot dude and chick or some combo is waiting between the pages, waiting to be discovered by you. It seems a little bit of a hellish job, placing an abdomen on a book cover format day after day, though the Random House artist seemed to relish it. Here's some from me:


Horny yet? Let's get down into the deconstruction, which is a bit like adding a halftone dot effect to a stock abdominal image in order to boil it down to its dotswhich we will now connect.









If the romance novel really is a latter day roman a clef, then escaping into sexual fantasy is the foundation of the modern desire to read and to write. And what is the sexual fantasy based upon but a hormonal urge to procreate? And why the hell does life want to go on living anyway? Let me use these all important questions to segue to Metapulp's new romantic title, to the titular point.





And here is our cover, sans abdomen:

Yes, I've cowritten a romantic novel with my buddy X.Y. Zero, who has a sense of humor whereas I do not (but I'm willing to hammer out the words as he dictates). It's about the hottest woman in the world who just got lucky. Yep! Metapulp had insisted on an abdominal cover, but we settled for Puerto Rican flag colors instead, striking an agreement between the heavy drinking parties. I ended up pitching the concept to Loveswept and Flirt, Random House's imprint, and their acquisitions editor Shauna said they could brand around me, (I mean us X.Y.), that they did indeed have flexibility that print does not have. I popped a bonbon into my mouth and took a pleasant walk along Central Park West, dreaming of the cover of my latest roman a clef. Why do we write? We write so that people who aren't getting laid can pretend they are, halftone dots and all.

Thanks for stopping by, yours, salem and X.Y. Zero. More at www.metapulp.com.

And by the way Random House and everyone else, everything here is copyrighted by me, salem.  So hands off!