Epilogues to The Sixth Labyrinth
January 7, 2017
Spoiler warning! Don’t read these if you haven’t yet read The Sixth Labyrinth!
“You’re hurting my ears, child. Where have you been?”
“Walking by the bay.”
“I wish you’d come back before dark, Sophie.”
“Because of the selkie?”
Eleanor laughed. “Because I don’t want you getting lost, or falling and hurting yourself.”
“Auntie, listen to me!”
“I saw it!”
“The selkie! It came out of the water and turned into a man.”
“Ah, well, it must have been a selkie then. What did he look like?”
“He was old. His hair was white. Long, like a king’s. He was tall.”
“And what did he do?” Eleanor pushed her great-niece into a chair and brought her a slice of orange marmalade cake.
“He went over to that old blackhouse by the bay.”
“Aye. He was greeting, Auntie!”
“Was he? And what did you do?”
“I watched and didn’t make a sound.”
“Aye, thank you. Olivia Ramsay says it’s bad luck to go to the beach at the full moon.”
“That’s a well-worn tale meant to get children home before dark.”
“She said anyone who does it is cursed. She said only fools walk on Glenelg’s beach during the full moon.”
“Olivia Ramsay has an imagination.”
“She said the selkie is her da’s brother.”
“So Curran Ramsay has a selkie brother, does he?”
“She says the selkie cries for the human girl he loved and lost.”
“Is that so?”
“Auntie, I don’t want to go home.”
“You must. If you never went home, your mam and da would miss you and be sad.”
“Like the selkie?”
“Aye. Like the selkie.”
“Why is it sad? Did it really lose its true love?”
“How would I know?”
“You know everything.”
“Oh, child, I wish I did.”
“You do know, though. I can tell. You look sad, too.”
“I can pity those who suffer, even when they might deserve it.”
The first of September became the traditional date for holding an annual charity fundraiser at Kilgarry for the orphan project, as the weather was generally beautiful and the Michaelmas daisies were in bloom. It soon became the social event throughout the surrounding Highland counties, drawing Curran’s wealthy friends and associates from Glasgow, Edinburgh, and even as far as London. Every year the guest list grew, until Glenelg had to build a new inn to accommodate those who couldn’t fit into Kilgarry. Extra help was hired from Fort William and Mallaig to assist with cooking, cleaning, and serving; musicians were brought in for the evening balls and dances, and the manor house nearly burst its seams with so many people.
The first of September 1883 cooperated with warm sunlight and gentle breezes. Pavilions and tables were set up around Kilgarry’s pond, near the old oak. Guests wandered in and out of the gardens, enjoying lemonade, tea, and whisky, and there was a great deal of food for anyone who was hungry, as well as horseback riding, hunting, fishing, archery, and of course the ballroom was in great demand every night. The ferryman was kept busy transporting explorers to Skye for sightseeing, and for the most intrepid, there was mountain climbing. Interspersed with all the entertainment were the speeches, promises, and donations.
Morrigan, Eleanor, and Diorbhail sat together upon cushioned chairs beneath the oak, a table between them holding lemonade and cakes.
“You haven’t taken your eyes off Mr. Abernathy,” Morrigan said to Eleanor, only half teasing. “Are you going to marry him and leave us?”
With one of her signature snorts, she replied, “The most he’ll get from me is a night or two. He is rather handsome.”
“Eleanor!” Morrigan pretended shock then giggled with Diorbhail at the midwife’s brazen ways, but a moment later, she winced and rubbed the side of her stomach.
As usual, Eleanor didn’t miss it, and questioned with raised eyebrows.
“It’s fine,” Morrigan said. “Just my bones being stretched. I remember this from Olivia and Eirene.”
“It won’t be long now,” said Diorbhail. “We’ll have another wee lass to spoil.”
“I do think Curran might want a son. Can you arrange that?”
“No,” Diorbhail said with a wide smile. “You’ll only ever have girls. Girls and more girls. If you were having all the babies, the world would die out for lack of boys.”
At that moment wee Seaghan ran up to them, nearly falling as he hadn’t quite mastered running yet, and placed his fists on Morrigan’s knees. His right hand was stuffed with daisies, and he turned up his face, seeking approval.
“Are these for me?” she asked, taking them.
He nodded. She picked him up and placed him on her lap. “You’re a grand lad,” she said, kissing his cheek, and he nestled in as best he could against her.
To think what might have become of him, if he hadn’t been found two years ago in that awful place in London, barely six weeks old, sold by his father. Now he lived at Kilgarry, and had twenty other orphans for playmates, along with the local children, and since he’d had no name, he was called Seaghan in honor of Morrigan’s father, even though hearing it made her suffer his loss all over again.
Seaghan’s body was found, stuffed under a pile of rocks, a week after the events on Mingulay. Someone had murdered him with a knife, and a local man went missing right after, but he was never found, and the investigation languished. Right when Morrigan learned she had a true father, he was taken from her; not being able to speak to him as his child remained an unrelenting anguish and regret.
Soon Sophie joined them. Eleanor’s great-niece was a little lady, at ten. She and Olivia were the same age and the best of friends, though very different, with Olivia being a wild boyish child who, more often than not, could be found in the branches of the oak rather than sitting demurely beneath it. Sophie came to Glenelg every summer at her own insistence to stay with her aunt. She never wanted to go home to Edinburgh, though she loved her mother and father, and often wept for missing them. Her dream of a perfect world was one in which her papa agreed to move to Glenelg.
She perched on the edge of a chair and sipped tea.
“What is it?” Eleanor asked, in her usual perceptive way.
The girl didn’t answer immediately, but pursed her lips and frowned.
“Well?” Eleanor pressed.
“Livvy’s telling that story again,” the child said in her soft Edinburgh brogue.
“Which one?” Morrigan asked. Olivia loved making up tales. She was turning into Kilgarry’s own seanchaidh.
Sophie would only say that she wasn’t supposed to tell, but she hated the story because Livvy always refused to give her a part in it.
“Where have those lasses gone off to?” Diorbhail asked then. “I haven’t seen any of them in an hour.”
It was true. There was no sign of the local girls. “We’d best find them,” Morrigan said, “before they get up to mischief, if they haven’t already.”
Sophie wanted to stay, have cake, and admire the pretty dresses, so the three cronies left Seaghan with her and went off in search of the missing girls. They weren’t at the pond, nor the walled garden, or the gazebo. Guests stopped them to chat and ask after Morrigan’s health as she neared her ninth month of pregnancy, hampering their search. Lily found them and reported happily that Sir John Beechforth had promised to donate a building in Soho that had been in his family, unused, for years. She whispered that the old sot hadn’t been able to take his eyes off her bosoms, so she credited them for the prize.
Eventually, the three took note of a striped pavilion set some distance away from the others, and Diorbhail remembered that Olivia had asked Kyle and Logan to erect it for her and her friends.
They couldn’t see the children as they walked up, but heard a flurry of female chatter, and paused outside the pavilion to listen.
“How many sisters do you have?”
Morrigan recognized the voice of Rachel’s daughter, Jean.
“I don’t know,” she heard Olivia reply. “Lots.”
“Am I there?” This was asked by Eirene, Olivia’s younger sister.
“Of course you’re there,” Olivia said impatiently. “I told you already. The new sister will be there too. All my sisters will be there, all, from the first.”
“But how, if they’re dead?” This was Jean again. Though she was only nine months older than Olivia, she often expressed disdain for what she called the younger girl’s silliness.
Olivia huffed. “The lady says they’ll come back to life and we’ll be together.”
“People don’t come back to life,” Jean said.
“My sisters will. The lady promised.”
“How can they be your sisters? Your mam’s only had the two of you.”
“I want to dream of my other sisters!” Eirene said plaintively.
“Maybe you’re not old enough,” Olivia said. “I only started having the dream two months ago.”
“Tell us their names again,” Jean asked. She sounded disbelieving, like she thought she might catch Olivia in a mistake and prove the tale was make-believe.
Olivia gave a sigh and Morrigan heard a whimper, probably from Violet’s baby, Grace. Olivia loved that child, and was always running off with her.
As she began to speak, a large eagle landed on a nearby rowan branch. It made no sound but cocked its head and leveled the women with a fierce stare.
“There’s Romy and Claire and Evie. There’s… oh aye, Rosabel. And the ones with the unco names— Xanthe and Pasithea. And Iphiboë. And Alecto. And the new baby. The lady said her name will be Willow.”
Morrigan had sagged against Diorbhail as Olivia spoke the first three names. Her legs felt too weak to support her.
“Alecto,” Diorbhail whispered.
Morrigan took in a breath and straightened. The three women regarded each other, their eyes shining, and reached out, placing their hands on each other’s shoulders, creating a perfect circle.
The jeweler frowned upon seeing the items. He spent a long time studying them with his magnifier, turning them over repeatedly.
“What is it, Philip?” Curran finally asked. “Are they sham? Stolen?”
“No, Mr. Ramsay. Well, I know nothing about any theft. I do not believe they are imitation. Excuse me, sir.”
He went through a curtain into the back and soon returned with another man, who also inspected the knife and necklace carefully.
They spoke together in low, rapid Greek. Curran understood only a few words, having lost most of the Greek he’d learned at university.
“Will one of you tell me what is so interesting?” he interrupted.
The two men exchanged glances. Philip, whose surname, Curran suddenly remembered, was Christopoulos, said, “I believe these are ancient, truly ancient, but I would like the opinion of an expert. There is a fellow connected to the new museum in Athens, the National Archaeological Museum. With your permission, I would like to take these items there for him to examine.”
“You want to take them to Athens? I don’t know. They belong to my wife. It took her years to agree to this appraisal.”
The men exchanged another glance.
“You aren’t telling me everything,” Curran said.
“How did she acquire these pieces, may I ask?”
“They were gifts.”
“From a collector, perhaps?”
“No. Just a man.”
Christopoulos stared at him, frowning deeply.
“They are stolen. Is that what you are not saying?”
“No, no, Mr. Ramsay. Please forgive me. It is odd, of course, how pieces of such antiquity could spend years in… your wife’s possession? These should be in a museum.”
“And you have now suggested that twice. What guarantee do I have, Philip, that they will be returned if you take them to Athens?”
The door at the front of the shop opened just then and Morrigan came in, flanked by Diorbhail.
“There you are.” Curran held out his hand.
She came forward, clasping his hand and smiling at the two men behind the counter. “We’re finished with our errands,” she said, and perused the knife and necklace. “Well? Is there a verdict?”
“Not really. These men want to take your antiquities to Athens.”
Morrigan did not react as he’d thought she would. She blinked, but her smile didn’t falter. “They are wonderful, aren’t they?” she said.
“Yes, Lady Eilginn,” Philip said. “In fact, they are astonishing.”
The other man came out from behind the counter. “I am Spiro Michelakis, Mrs. Ramsay,” he said. Philip sounded like a native Londoner, but Spiro’s Greek accent was pronounced.
She held out her hand and he took it briefly. “May I tell you about our new museum in Athens?” he asked.
“There’s a new museum? I would be very interested,” she replied, and the two walked over to another counter, where he brought out several cases as he spoke to her.
“Mr. Ramsay, sir,” Philip said, “Greece has a moral right to her artifacts.”
“You are certain these are Greek.”
“The meander on the necklace suggests it might be Cretan. There have been other items found there with this pattern.”
“Does that mean something to you, Mr. Ramsay?”
“How was the knife broken?”
“It was dropped. I suppose that hurts its value.”
“I suspect nothing could harm the value of these pieces.” He picked up the knife, very carefully, and ran his thumb over the sheared-off edge. “Obsidian,” he murmured. “The hilt is ivory.”
“My wife believes the figure is Athene.”
“Oh yes, no doubt of it. The owl and the aegis tell us this.” His eyes filled with tears.
“Philip?” Curran said. “What have I done?”
“Oh, sir, it’s just that… look here. You can see the tool marks. I feel certain I am holding something in my hands that was created thousands of years ago, in my country, by men just like me, perhaps. Artisans. I feel them, you see, in my flesh. I feel I am looking through their eyes as they carve this image. I can almost smell their forge fires.”
Curran didn’t know what to say. It was odd, for he too sometimes saw flashes of things when he held the necklace and the knife.
“Is your wife knowledgeable about our history?” Philip asked.
“Very much so.”
Morrigan returned to his side. “Curran, I have an idea. You know how Livvy has always wanted to see an excavation. Let’s gather up the weans and go with these gentlemen to Athens and see their museum for ourselves.”
“We can take the lasses to see Schliemann’s Troy and his other excavations, at Mycenae, and Tiryns.”
“I would be honored to escort you to Crete,” Spiro said as he joined them. “Sixteen years ago, part of a building was dug up beneath a mound there, and many of our antiquarians believe this is the actual palace of Knossos— the legendary place named in Homer’s Odyssey! And as I was just telling your wife, sir, I am most intrigued by the pattern on your necklace, for it matches the pattern on coins that have been discovered nearby.”
Morrigan’s excitement was clear to see, as was Diorbhail’s. Curran felt excitement rise inside him as well, almost as though he was contemplating going home.
His wife was looking at him in that way she had, communicating without words.
He realized he was nodding.
So be it. They would embark on a new pilgrimage— this time with their children.
Bringing Color into The Sixth Labyrinth
April 4, 2016
“I have a little shadow that goes in and out with me.” ~~~~Robert Louis Stevenson
In The Child of the Erinyes, a series dealing with reincarnation, only one of the main characters retains memories from previous lives. Because the others come back with a clean slate, so to speak, I’ve had to work out how they find each other in every new experience.
One of several methods I use is the aura. It’s part of what draws the triad and keeps them together.
Auras are interesting phenomena. Described variously as “a breath,” “an emanation,” “a vibration,” and an “electromagnetic field,” these are colors that circle around people, invisible to most of us, but seen or sensed by some. Individual colors mean rather specific things, though there isn’t always agreement on what.
Brilliant, clean colors envelop people who are farther along on the spiritual trail, “higher beings,” while muddy, dark colors point to trouble—a person mired in distress, hate, or sickness.
Thoughts and feelings can alter the color and density of the aura. When colors flash and change swiftly, it’s an alert that thoughts and emotions are in flux.
Generally, auras are made up of a mix of colors, though one will be dominant.
Since our auras come in a wide panorama from subtle pastel to blazing primary, I needed to understand these characters and their desires/motivations on a deep level in order to choose the most appropriate aura. Here are the ones I used and why.
Stranraer, Scotland, 1872: the first time Morrigan Lawton sees the stranger Curran Ramsay, he is standing inside a train getting ready to step off, and is in shadow. She’s looking up at him from the outside.
“A mist of color surrounded the being on the step, like a rainbow glimmering through watery clouds, but this rainbow offered only the blue spectrum, with hints of violet.”
Blue signals a person who is visionary, intuitive, and sensitive. But an aura isn’t simply “blue.” There are different shades of blue, and Curran (Menoetius from the Bronze Age) has them all in abundance. His aura communicates his ability to accept others and love deeply. Vivid blue tells us he is generous and spiritual. Indigo deepens that. Violet reveals that he is idealistic, even somewhat magical.
Curran Ramsay also sees Morrigan’s aura. He describes it as pure gold, glittering like a sea of mica, with entwining whispers of lavender.
Gold is a rarely seen aura, so of course I reserved it for the high point of the triangle, Goddess Athene’s child and brightest hope, Aridela—Morrigan Lawton in this incarnation. A person washed in gold is protected by divine beings. He or she walks a special, guided path. Lavender affirms that Morrigan is as much a visionary as Curran, but also a daydreamer—someone with a very active imagination.
Later, in Glenelg, Morrigan is introduced to the local midwife and healer, Eleanor Graeme, whose aura is a restful green. Green is not only a healer’s color but a teacher’s, a person who wants to help others. As Eleanor is the reincarnated Themiste from the Bronze Age, it makes sense. Themiste’s most ardent desire was to follow Aridela, to help her and make amends for the things she felt she had done wrong.
Chrysaleon of Mycenae is the problem child of the series, and in The Sixth Labyrinth, his aura displays this. Here he is Aodhàn Mackinnon, a guy with plenty of secrets—and the only character burdened by previous life memories. Perhaps that’s why his aura is red, with accents of orange, and sometimes mud! A red aura suggests a person who is not so advanced spiritually. He or she is stuck in earthly interests like jealousy, anger, sexual obsessions, and amassing power. It’s not always a bad color: it can mean dedication, and as noted in The Sixth Labyrinth, can be the prevailing color in rebels, ascetics, and artists—anyone who is passionate about something. Orange combined with red announces Aodhàn’s deeply rooted need to control things. It has, after all, kept his defiance alive and fired up for over three thousand years at this point.
Lastly, we have Diorbhail Sinclair—the reincarnated Selene. Selene is arguably the most resplendent champion of my saga so far: I actually refer to her in my own mind as the “Samwise Gamgee” of The Child of the Erinyes, and not surprisingly, she has the most complex aura. Hers is overwhelmingly white, and this is the color I had the most trouble researching. On the one hand, white can be interpreted as undiluted potential, a personality in transcendence. Some say angels themselves are cloaked in white. It represents not only spiritual qualities but also concentrated truth. On the other hand, there are those who believe white alludes to disease, near death, or a disordered noise, a failing of balance and harmony. After reading these opposing definitions, I knew white was the perfect choice for Diorbhail. She ardently wants to help her friend, Morrigan, but her allegiances are conflicted by her love for Curran, who is Morrigan’s husband. Loyalty fighting desire fighting resentment—as it was in the Bronze Age. She is on the verge of ascendance, but is held back by these earthly factors.
Curran’s aura also turns white during times of high emotion, for instance when the submerged Menoetius responds to the submerged Selene. They are, and always will be, connected.
The contrary qualities of Diorbhail’s white aura are set off by traces of pink—a promise that this woman is close to achieving the highest balance of all. Diorbhail’s is the most dazzling of all the auras in The Sixth Labyrinth. It nearly blinds Aodhàn.
It was quite fun learning about auras. After researching them, I pondered their influence outside of novels. Perhaps they play a part when we meet someone for the first time and are inexplicably repelled or attracted. It could be we are subliminally seeing and responding to that person’s aura.
So… the next time someone seems to be avoiding you, or you feel strangely turned off by a new acquaintance, maybe it’s not because of the onions at lunch. The reason could be a far more subtle influence—the influence of color!
Pre-order at the following places:
Will be live on Friday, April 8, at Barnes & Noble, HERE
The Child of the Erinyes is an eight-book journey spanning 4000 years. Beginning in the Bronze Age, it follows the lives of two men and a woman as they are reborn seven times through history. The Sixth Labyrinth, Book 5 of the series, is being released 8 April, 2016.
Celebrating The Sixth Labyrinth with a sale!
March 30, 2016
To celebrate a consequential birthday and the release of this book that has taken so many years to complete, I’m discounting The Sixth Labyrinth for the last week of its pre-order period and a week after. It will go live on April 8, 2016: now through April 15, you can get it for $2.99 (regularly $4.99). Links to pre-order are below the graphic.
Worry not: all of you who have already pre-ordered it will get it for this special price!
Amazon Multi-regional link || iTunes || Kobo || Tolino
Barnes & Noble won’t allow us to set up a pre-order, but Nook readers will still get The Sixth Labyrinth at its sale price after it goes live, through April 15th. HERE is my author page, which will have The Sixth Labyrinth as soon as it’s released. Mark your calendars!
Thank you to my readers!
The Sixth Labyrinth: Live in Two Weeks
March 24, 2016
The Sixth Labyrinth
Arriving in 2 weeks!
Finis… or in other words, The End. A sublime combination of words I was beginning to doubt I would ever be able to type, but all edits have at last come to “The End.” It took so much longer than I expected, but I do believe I made the right choice to go through The Sixth Labyrinth one last time. I feel certain this will result in a smoother, more pleasant read.
Thank you to my beta readers… my editor… my copy editors… the cover image artist… and my Gaelic speakers. This was a Team Effort that was years upon years (upon years) in the making.
Cover talk: As soon as I saw this image by Eve Ventrue, I knew it was perfect. It was Chrysaleon, in every way. Angry, somber, and defiant, after three millennia of being reincarnated, forced to suffer the loss of the woman he loves, over and over again. He is deeply scarred, and I think that shows in every inch of this face.
The image is unfinished: Chrysaleon, too, is unfinished.
But this story is not just Chrysaleon’s. It is Aridela’s. It is Menoetius’s. And it is Selene’s and Themiste’s. All have reunited in 1870s Scotland.
The Sixth Labyrinth is Book Four in The Child of the Erinyes series.
Winter, 1853. Every home in the village of Glenelg is burned, the residents deported or left to starve.
Douglas Lawton refuses to put his family on the refugee ship, though his wife is in labor. She dies giving birth to a daughter whose paternity will always be questioned.
These mountains in the remote West Highlands of Scotland offer a backdrop to the continuing story of three lives linked through time. A silenced but enduring goddess has seen her place in the souls of humans systematically destroyed, but she bides her time. For Athene, thousands of years mean nothing.
Framed within the Clearances that ravaged the Highlands, one woman struggles with the restrictions placed upon her, and all women. Her buried psyche is that of a queen who possessed unlimited power, yet here, she is little more than a scullery maid.
For thousands of years two men have fought for the heart of Athene’s daughter. Will either triumph? What are the consequences of winning? Ancient prophecy is unfolding, leading our triad into the shadowed corridors of The Sixth Labyrinth.
Image via shutterstock
map: The Sixth Labyrinth
Biblio: The Sixth Labyrinth & The Moon Casts a Spell
March 15, 2016
- Research for story of Tristan and Isolde taken from:
- Newman, Ernest. The Wagner Operas, 1949
- The world premiere of Tristan und Isolde was in Munich on June 10, 1865.
- Arnold, Matthew. Tristram and Iseult, 1852
- Auchincloss, Louis. Persons of Consequence: Queen Victoria & Her Circle, 1978
- Auerbach, Nina. Ellen Terry, Player in Her Time, 1987
- Bell, Ian. Dreams of Exile: Robert Louis Stevenson, a biography, 1992
- Bennett, Margaret. Scottish Customs from the Cradle to the Grave, 1992
- Bingham, Caroline. Beyond the Highland Line, 1991
- Brown, Jonathan & Ward, S.B. Village Life in England 1860-1940: A Photographic Record, 1985
- Buchman, Dian Dincin. Herbal Medicine, 1979
- Calder, Angus (Edited by). Robert Louis Stevenson, Selected Poems, 1998
- Cantlie, Hugh. Ancestral Castles of Scotland, 1992
- Carmichael, Alexander. Carmina Gadelica Hymns and Incantations (Collected in the Highlands and Islands of Scotland in the last century), 1992
- Cooper, Derek. Skye, 1970
- Davis, James & Hawke, S.D. London, 1990
- Ewing, Elizabeth. Everyday Dress 1650-1900, 1984
- Fenwick, Hubert. Scottish Baronial Houses, 1986
- Fostor, Vanda. A Visual History of Costume: the 19th Century, 1984
- Fraprie, Frank Roy. Castles and Keeps of Scotland, 1907
- Goldthorpe, Caroline. From Queen to Empress: Victorian Dress 1837-1877, 1988
- Gorsline, Douglas. What People Wore: A Visual History of Dress, 1974, c1952
- Gutman, Robert. Richard Wagner: The Man, His Mind, & His Music, 1972
- Hart, James D (Edited by). Robert Louis Stevenson: From Scotland to Silverado, 1966
- Hawkes, Jacquetta. Dawn of the Gods, 1968
- Hellman, George. The True Stevenson, 1925
- Hendry, J.F. The Penguin Book of Scottish Short Stories, 1970
- Hibbert, Christopher. The Horizon Book of Daily Life in Victorian England, 1975
- Hopman, Ellen Evert. A Druid’s Herbal for the Sacred Earth Year, 1995
- Hunnisett, Jean. Period Costume for Stage & Screen 1800-1909, 1988
- Jackson, Douglas. A Celtic Miscellany, 1951
- Jacobs, Joseph. Celtic Fairy Tales, 1923
- King, Neil. The Victorian Scene, 1985
- Knight, Alanna. Robert Louis Stevenson Treasury, 1985
- Laver, James. Modesty in Dress: An Inquiry into the Fundamentals of Fashion, 1969
- Lister, Margot. Costumes of Everyday Life: An Illustrated History of Working Clothes, from 900-1910, 1972
- Lochhead, Marion. Scottish Tales of Magic and Mystery, 1978
- MacGregor, Geddes. Scotland: an Intimate Portrait, 1980
- Mackie, J.D. A History of Scotland, 1964
- Mackinnon, Roderick. Gaelic, 1971
- Maclean, Charles. The Clan Almanac, 1990
- Mair, Craig. A Star for Seamen, 1978
- Maloney, Elbert S. Chapman Piloting: Seamanship & Small Boat Handling, 1991
- Markale, Jean. Women of the Celts, 1986
- Matthews, Caitlín and John. Ladies of the Lake, 1992
- Maurois, Andre. Disraeli, 1955
- Maxwell, Stuart & Hutchison, Robin. Scottish Costume 1550-1850, 1959 c1958
- McCutchan, Philip. Tall Ships: The Golden Age of Sail, 1976
- McKenna, Terence. Food of the Gods: The search for the Original Tree of Knowledge, 1992
- Moncreiffe and Hicks. The Highland Clans, 1967
- Murphy, Gardner & Kovach, Joseph K. Historical Introduction to Modern Psychology, 1972
- Nicholson, B.E. & Ary, S. & Gregory, M. The Oxford Book of Wildflowers, 1980, c1960
- Norwich, John Julius. Britain’s Heritage, 1983
- O’Brien Educational. Heroic Tales from the Ulster Clyde. 1976
- Pepper, Choral. Walks in Oscar Wilde’s London, 1992
- Plotz, Helen. Poems of Robert Louis Stevenson, 1973
- Prebble, John. Culloden, 1961
- Prebble, John. The Highland Clearances, 1963
- Prebble, John. The Lion in the North, 1971
- Rose, Phyllis. Parallel Lives: Five Victorian Marriages, 1983
- Ross, Anne. The Folklore of the Scottish Highlands, 1976
- Scott, Sir Walter. Manners, Customs, and History of the Highlanders of Scotland, 1893
- Sichel, Marion. History of Children’s Costume, 1983
- Smout, T.C. A History of the Scottish People 1560-1830
- Souden, David. The Victorian Village, 1991
- Swinglehurst, Edmund & Anderson, Janice. Scottish Walks and Legends, 1982
- Thompson, Dorothy. Queen Victoria: The Woman, The Monarchy, The People, 1990
- Tranter, Nigel. Tales & Traditions of Scottish Castles, 1982
- Warrack, Alexander, MA. (Compiled by) Chambers Scots Dictionary, 1911
- Warwick, Christopher. Two Centuries of Royal Weddings, 1980
- Waugh, Nora. Corsets and Crinolines, 1954
- Weintraub, Stanley. Whistler: A Biography, 1974
- Whipple, Addison Beecher Colvin. The Clipper Ships, 1980
- Wilson, A.N. Eminent Victorians, 1989
The Sixth Labyrinth (April 8, 2016)
March 15, 2016
Book Five, The Sixth Labyrinth, is live and available at many sites. You can find purchase links in this post below or in the “Links to Purchase” tab.
Update: Paperback version now available!
Athene first clues in Aridela about what will happen in The Thinara King. Aridela doesn’t understand the message then, but she will, in time. Here’s what Athene tells her:
I have lived many lives since the beginning, and so shalt thou. I have been given many names and many faces. So shalt thou, and thou wilt follow me from reverence and worship into obscurity. In an unbroken line wilt thou return, my daughter. Thou shalt be called Eamhair of the sea, who brings them closer, and Shashi, sacrificed to deify man. Thy names are Caparina, Lilith and the sorrowful Morrigan, who drives them far apart. Thou wilt step upon the earth seven times, far into the veiled future. Seven labyrinths shalt thou wander, lost, and thou too wilt forget me. Suffering and despair shall be thy nourishment. Misery shall poison thy blood. Thou wilt breathe the air of slavery for as long as thou art blinded. For thou art the earth, blessed and eternal, yet thou shalt be pierced, defiled, broken, and wounded, even as I have been. Thou wilt generate inexhaustible adoration and contempt. Until these opposites are united, all will strangle within the void.
The Sixth Labyrinth
Book Five, The Child of the Erinyes series. A new myth from Ancient Greece.
Morrigan Lawton lives a lonely, wearying existence in a land that long ago turned its back on magic and myth.
Curran Ramsay enjoys every advantage and is loved by all who know him. Yet none of his successes can rid him of the sense that he is missing something, or someone. It haunts every moment, awake and in dreams.
Twenty years ago, the sea stole Aodhàn Mackinnon’s memories. Now a penniless fisherman, his heart reels from an agony he cannot quite remember–until the landowner’s new wife comes to Glenelg.
A silenced but enduring goddess has seen her place in the souls of mortals systematically destroyed.
But she bides her time.
For Athene, thousands of years mean nothing.
Ancient prophecy and the hand of a goddess propel the triad into the winding corridors of The Sixth Labyrinth.
The sea claims final possession,
and leaves nothing behind.
Swimming in the Rainbow (Available June 1, 2022)
THE CONCLUSION OF THE CHILD OF THE ERINYES
Following a devastating attack on her home, twelve-year-old Zoë embarks on an epic journey with an extraordinary companion.
Zoë’s odyssey, spanning multiple countries and years, transforms her and challenges every perception of reality she has ever known.
Magic and realism collide as she discovers how the world has been wounded by the loss of dream and myth.
Click HERE to read pre-publication reviews of Swimming in the Rainbow.
Reviews for Swimming in the Rainbow
Image: andreiuc88 Shutterstock
Here are some reviews Swimming in the Rainbow has garnered from readers:
“The writing here is dreamily beautiful; I am reminded of Patricia A McKillip’s marvelous book The Forgotten Beasts of Eld.” Miz Ellen
“Swimming in the Rainbow is poetic prose at its best.” Elise Abram
“Rebecca Lochlann’s Swimming in the Rainbow is among the most beautifully written novels I’ve ever encountered. The content lives up to the magic of the name.” Dora McAlpin
“The lively imagination and intelligence of the girl with a backdrop to the darker events around her reminded me of the deliciously dark tale of Pan’s Labyrinth.” Jarucia Jaycox Nirula
“This is so wonderful I’ll have very little to say about it, I’m afraid. It reminds me of Cornelia Funke, but darker and more mature. Unconventional, sure, but organically unusual, not contrived to impress or shock. I can’t pick out anything to praise in particular, because it’s all praiseworthy. Truly original ideas, beautifully executed. Some readers might not get it, but those who do will treasure the experience. Five stars, unreservedly.” Leah Davidson
“What appears to be an effortless flow of detail, imagery, and pathos captivated me from the start. Engaged by the author’s romantic writing, lyrical flow, and emotionally-packed action, I was brought in close to the empathetic characters and primed for the tragic loss, which I felt intensely. I was hypnotized by the writing. Here, the author describes the moons: “How shyly our heavenly orbs moved, like two bright and wonderful girls chasing each other, believing themselves hidden, but, drifting behind the trees as they did, they merely accentuated their presence.” How desperate the last scene, how tragic the loss of a dear friend. “I felt that Teófilo himself caused the wind to flutter those yellow leaves in farewell.” The sadness lingers even after the excerpt is done. Bravo!” Ann Keeling