Trumpeting My New Project

I’m excited to announce I’ve signed a contract for another novel.

Gabriel’s Trumpet is based my short story of the same name, which will appear in the upcoming anthology Speakeasies and Spiritualists from 18th Wall Productions.

The anthology features supernatural stories set against a 1920s backdrop of spiritualism, prohibition, and jazz culture. Expect not only horror but also adventure, mystery, fantasy, and pulp with supernatural elements.

Mississippi Delta plantation

Mississippi Delta plantation

Gabriel’s Trumpet is a supernaturally-tinged mystery telling the story of two men. Gabriel Gibbs is a Delta trumpeter who, tales claim, has returned from the dead with extraordinary musical prowess, and is shadowed by rumors of crossroads deals, grave robbing, and other occult dealings. Hot on Gabriel’s trail, seeking the truth about the musician’s background and abilities, is Dr. Marcus Roads, an investigator for the Boston Society for Psychical Research.

Action takes place across a broad swath of 1920s America: Boston, the Mississippi Delta, New Orleans, and Harlem at the height of its renaissance. Along the way, Roads confronts truculent authorities, hostile locals, rival investigators, and, just possibly, supernatural agents and their mortal minions.

In his travels, Roads encounters a colorful cast of characters, some stepping out of the pages of history books: Langston Hughes, Harry Houdini, King Oliver, Charles Fort, Walter Franklin Prince, and NOLA photographer E.J. Bellocq. There may even be a character borrowed from classic Weird Tales canon, no names … but your hint is Iä! Iä! Cthulhu fhtagn!

Look for both the short story and novel versions of Gabriel’s Trumpet sometime in 2017 from 18th Wall Productions.

How to “Dr. Frankenstein” Extinct & Poorly Documented Languages for Fiction

The Pictish language (or dialect, see below) was spoken in what is now northern and eastern Scotland approximately between the Fourth and Tenth centuries, when it was eclipsed by the language which evolved into modern Scotts Gaelic. Very few records of Pictish language have survived, mostly as brief mentions in Irish or Welsh sources.

That presents certain difficulties for one of my w

orks in progress, a novel tentatively titled Caledfwlch, the second book in my historical fantasy/progressive pulp series Bel Nemeton. The Picts feature very prominently in Caledfwlch. As part of bringing that people and their land to life, I wanted to be able to use some “Pictish” in the story.

I’ve turned that quest into a blog post not only because some of my readers may find it interesting but also in hopes it might be useful to other writers seeking to use a poorly documented extinct language in their work.

First, a few caveats on the scope of my project. I am not so ambitious as to try to go Tolkien/Star Trek on the problem and create a fully functional language. My goal is much humbler, to be able to drop the occasional word or phrase into the text for effect. Also, I am not attempting to recreate the actual, historical Pictish language. With such a miniscule sample size, that task has proven beyond the abilities of the world’s best linguists. I know I have no hope of doing so (nor do I have the time or inclination). Rather, my objective is creating plausible facsimiles of fragments of Pictish for use in fiction.

Here is how I tackled the problem.

I began by looking at how Pictish relates to other languages, living and dead:

Yes, there are a few claims that Pictish was a non-Indo-European tongue…or other outlier hypotheses. But the overwhelming academic consensus is that Pictish was an Insular Celtic language and a member of the Brittonic/Brythonic (P-Celtic) sub-family. From there, opinion appears about evenly divided whether Pictish was a dialect of or a sister language to Common Brittonic. Either way, that means the surviving languages descended from Common Brittonic (Breton, Cornish, and Welsh) are the closest living relatives to Pictish.

From there, I made an assumption (a well-reasoned one, I hope): geographical proximity suggests, of those three living languages, Welsh is likely to have been the most similar to Pictish. That geographical argument is strengthened if one considers the now extinct Cumbric dialect of Welsh, which was spoken in northern Britain and southern Scotland.

So I used Welsh (Old Welsh or Middle Welsh when available) as my jumping-off point for Pictish. There are a number of sources for Old and Middle Welsh online. When I couldn’t find relevant Old and Middle Welsh information, I turned to the plethora of Modern Welsh resources as well as good ol’ Google Translate.

Locating a Welsh translation for the word or phrase I wanted, sometimes I used it directly as Pictish. Other times I shifted a few sounds. Again, I understand this is not a linguistically sound way to actually recreate an extinct language. But I am hoping it creates a plausible, if utterly fictitious, facsimile that helps bring that fascinating people to life in my novel.

So, my solution to using a poorly documented extinct language was to identify the closest living language (or nearest well documented extinct language) and use it as inspiration for the language I was trying to recreate.

So, yes, at the end of the day, I am not so much trying to “Dr. Frankenstein” the language as I am making a hand puppet out of the corpse’s fist and hoping that will engage the suspension of disbelief of my readers. Nevertheless, I hope this has been entertaining and possibly useful for my readers.

Follow Jon at @BlackOnBlues on Twitter.

Eggs of Horror

on the second book (still tentatively titled Caledfwlch) in my historical fiction/progressive pulp series is significantly ahead of schedule. So, with the intent of not putting all my writing eggs in a single genre basket, I am dusting off four stories I wrote earlier in the year. While none of them are quite horror, they all nibble at its edges.

In the tradition of Lovecraft’s Arkham and its environs, three of the stories are set in Junzt County, a fictional county within the Texas Hill Country. One of the most historically rich regions of the state, the Hill Country also has the advantage of being an area I’m highly familiar with and offering the right cocktail of isolation and mystery.

The Eye Teeth: Set in the 1940s, is classic weird fiction with strong Cthulhu Mythos overtones. As with my series, historical sources and research play a prominent role. A well-known politician from Texas also puts in a guest appearance in the role of quest-giver.

Pioneer House: This flashback to the 1980 blends weird fiction with an “outsider” archetype protagonist, portrayal of small town ennui, and the question of free will.

So Lonesome I Could Die: Is a 1920s Western Gothic ghost story with nods to “The Legend of Sleepy Hollow.” The story draws heavily upon my background in music journalism for mood and atmosphere.

The fourth story, and the only contemporary tale, is The Renewal Room, the tale of a music journalist (write what you know, right?) whose quest for a forgotten bit of music history leads him to a town on California’s Salton Sea which is equal parts Arkham and Twin Peaks.

With the exception of So Lonesome I Could Die, these stories were submitted elsewhere and rejected. I will spend the next few weeks retooling and strengthening them prior to submission for other upcoming anthologies or magazines.

So, wish me luck … oh, and Ia, Ia, Cthulhu fhtagn!

Follow Jon at @BlackOnBlues on Twitter.