Synopsis (from Goodreads):
A girl undergoing a terrifying transformation goes on an epic quest to find a refuge from her ruthless father.
Nymphosis, a disease that turns Humans into Chimeras, is ravaging the land of Gashom. The More-Than-Pure, determined to protect themselves, have seized power and enacted segregationist laws.
The daughter of a high dignitary, young Neria learns she is afflicted by the very disease her father is determined to eradicate. Forced to surrender her privileges, she must flee her home in the capital and traverse the strange wilds to seek refuge with her fellow kind.
Will she have the courage to fight oppression to emancipate the Chimeras from the yoke of the More-Than-Pure?
Excerpt
One moment, she had been enjoying the security and comfort of her family home. The next, she was left helpless in a deserted square. An oil lamp rested in Neria's hand. A clay container, filled with a greenish-yellow liquid. A wick, coiled within its heart, snaked up to the groove that guided it into the open air. A flame danced on its tip, a paltry defense against the darkness of that night, one of those gentle nights that often follow the heat of the day. The moon watched her with a wry smile.
Neria suddenly felt she was going to collapse, crumpling like a sheet that had fallen to the ground. Without the warmth of the hand curled inside hers, she would have indeed done so. She remembered the last time she had seen Arhel's hand, crimson and reaching out of the covers. Who knew what the disease would do to her? But before she succumbed to it, she would save Anaëlle.
She breathed in, then out, and took a step forward. Her aching limbs strained at first, but after a few minutes, she was walking briskly, her head bowed like a servant, the child in tow. First, she had to find the secret passage her mother had told her about and cross the wall of the High District without going through the ever-guarded gates.
She came to a dead-end and saw the dried-up well and a withered pistachio tree lined with shrubs of rosemary leaning against the perimeter wall. It concealed a narrow, low opening. She went in first, crawled into a tunnel bereft of cobwebs and emerged behind an olive tree, also surrounded by shrubbery. Crouching down, she peeked between the branches. No one was there. She called to Anaëlle in a hushed voice, the child joining her. They emerged from their cover and arrived on the street. Before long, they had made their way to an impoverished part of town they had never been to before. The hovels were huddled together, separated here and there by narrow, randomly arranged passageways. The first on the left... The second on the right...
“Hey there, little lady! Where are you off to in such a hurry?”
Three guards had concealed themselves in a nook to drink to their hearts’ content.
“Lady Yarine’s sent me on an urgent errand.”
She hoped they would be too drunk to do anything and turned away. She tried to maintain her composure, a technique that had worked for her that morning. Yet heavy footsteps came ever closer behind her before her arm was seized by a coarse grip.
“You’ve got more than enough time to come give us a little cuddle.”
One of the guards looked at her, a yellow smile spread across his brown beard. He reeked of alcohol and nauseating filth. She tried to pull away from him, but his grip tightened.
“Stay still or we'll give you a good hiding. It’ll go better for you if you don’t put up a fight, believe me. Leave the kid here and come on.”
The two others approached.
The lamp fell and shattered. Neria took out her knife and stuck it in the arm restraining her. The guard howled in pain and let go of her.
“You’re going to regret that you whore.”
The guards now surrounded her. She threatened them with her bloodied weapon. She couldn’t believe she’d been so stupid not to have stabbed him in the stomach. Her assailant barely seemed bothered. She spun around, Anaëlle clinging to her clothes. The girl was sobbing.
One of the men drew his sword, “Drop the knife or I kill the kid.”
Neria’s hand trembled. The knife fell on the dusty ground with a dull thud.
“Run, Anaëlle, get out of here!”
The wounded guard threw himself on her, seized her elbow, slipped behind her, and choked her with his good arm.
The child, small and spirited, ran away. Just as Neria thought she was going to make it, the man with the sword grabbed her mid-flight.
Neria struggled, hitting the arm that choked her. His hold tightened. Her mouth gasped but the air would not come, and her movements weakened. Suddenly, the guard holding her let out a yowl of pain and released her. She collapsed, heavily panting gulps of air on all fours. Her assailant lay there with his throat slit. The coarse, black-nailed hand that moments before had clamped down on her arm now clawed at the earth. The corpse's glassy eyes stared up into the starry sky. His red tongue in his gaping mouth, his fleshy lips, his fat cheeks swallowed by his beard... like a giant sea urchin washed up from the sea, his insides hanging open. A shrill cry rang out and she covered her ears.
A monster, half-man, half-beast, had ripped open another guard and had now set its sights on the third. The remaining guard was still holding Anaëlle hostage and keeping the beast at bay with his sword.
While the tiger and guard danced their macabre dance, Neria, still on all fours, fumbled for her knife. She grasped its hilt, ran towards the soldier, raising her weapon, a wild howling in her throat. The monster took advantage of the diversion to pounce on its adversary. Neria sheathed her knife, picked up the child who had fallen to the ground, and fled, pursued by screams of agony.
Dear monsters
The construction of the cathedral of Notre Dame de Paris started in the 12th century. At the beginning, water flowed from the roofs onto the streets, splashing the walls of the building. Gargoyles in the shape of fantastic winged animals appeared in the early 13th century. They served as gutters and became decorative elements inspired by the medieval bestiary.
Portrait Of A Man - 1957
"I have a great interest in madness, and I am convinced art has much to do with madness," Jean Dubuffet
On a trip, about ten years ago, I admired these motionless and threatening gargoyles without the faintest idea of the journey they would later take me. Premier and medieval art seem to possess an evocative power that the more modern arts, bogged down in their technicality and theories, have lost. I’m not sure that, as the painter Dubuffet wrote, “Art has much to do with madness,” but clearly art, like fairy tales, often finds its inspiration in our fears and anxieties.
Bored Gargoyle of Notre Dame de Paris
According to art historian Michael Camille, “To protect himself from the demons he is charged with sculpting, the medieval artist mocks them.” No doubt that the attentive observer will be able to perceive, barely masked by ferocity, a sense of saving humor. For isn’t it through humor that we tame our fears?
I myself have developed an obsession for these magical creatures. They have crossed time and borders. From superstition and religious beliefs, they have invaded popular culture and can be found on the Internet, in archaeological or modern art museums, fantasy books, Marvel movies, Disney cartoons, Japanese manga, video games, and elsewhere.
In ancient Greece, the word Chimaera referred to a hybrid creature capable of breathing fire, a lion with a goat’s head and a serpent’s tail. Such a mosaic of animals leaves one dreaming. Dracula seems so conformist in comparison.
Manticore of a medieval bestiary
The manticore, a legendary monster of Persian origin and imported in Europe by a Greek doctor, has the body of a red-furred lion, a man’s face, and a tail with poisonous spines that it projects on its prey – preferably human. It devours them, bones included, thanks to its three rows of teeth, going from one ear to the other. It symbolizes evil. Over the years, it seems to have evolved into the Sphinx. Of all these characteristics, the mouth is the most frightening to me. Human-like at first sight, until it opens wider and wider to reveal too many sharp teeth…
Ancient Nue versus modern one
The Japanese have their Nue with the head of a monkey, the limbs of a tiger, the body of a tanuki and the tail of a snake. Now it stars in a Baruto anime.
Forg, cover detail of the French version. Don't be fooled by appearances.
I decided to paint these hybrid creatures, to invent some of my own, and to tell their stories. In the 19th century, Violet-le-Duc added chimeras to the roofs of the Notre Dame de Paris cathedral. They received a lot of praise at the time and inspired me to create a gargoyle people, fierce, mischievous, and tender.
I’ve only brushed this vast and complex subject, and I’m sure that you too have your favorite chimera. Which one do you prefer? Which one scares you the most?
Author Bio:
L.M. Rapp has lived in different countries and practiced several professions: dentist, web developer, artist, aikido teacher, farmer. Eager to learn and discover, she uses her experiences to enrich her stories. She has also written a thriller, Of Flesh and Tears.
Website: https://www.lmrap.com/
Facebook: https://www.facebook.com/L.M.Rapp
Instagram: https://www.instagram.com/l.m.rapp/
Twitter: https://twitter.com/LMRappAuthor
Author Marketing Experts tags for social media:
Twitter: @Bookgal
Instagram: @therealbookgal
Amazon: https://amzn.to/3JrBPFS
Goodreads: https://www.goodreads.com/book/show/60560084-dreadful-beauty
Comments
Post a Comment