Showing posts with label Andrew Leon Hudson. Show all posts
Showing posts with label Andrew Leon Hudson. Show all posts

Thursday, February 12, 2015

An Excerpt from The Southwatch Register

A Morning Spent in Commerce at Street Level
- by Tarek al-Baz, writing for The Southwatch Register


Can you spare a little?” asks of me the man with a noticeably irregular gait and shoulders made lumpen by the self-made crutch beneath one arm, the other hand (twisted, a knot of fingers about the cup of a palm) outstretched in hope of a coin; yet who, it must also be noted, appears well able to negotiate his way through the tightly-packed throng at this intersection of Brick- and Bakerstown.

I shoo him away, and he tugs at a slovenly cap in apologetic deference as I pass—but the coin purse on my belt is faintly tugged. Anticipating just such a move, I see that once malformed hand slip with clever dexterity into the pucker of stringed leather, strong fingers spreading it open and darting in, leaving it just ever so lighter as the beggar hobbles on, back turned, seeking a more kindly donor. One might hardly have noticed.

Hoy!” I call, and magically his crutch lifts, shoulders straighten, and on fleet steps he vanishes into the crowd like a fish slipping between reeds.

A quick check of my purse reveals it three and one half shillings down. I could have baited the hook with pebbles, of course, but I considered myself to be making a purchase: of experience. I did not begrudge him his prize, it was a lesson bought cheap; and, as the cunning “beggar” ably demonstrated via his escape, Competent Negotiation is an essential when one sets foot within the Arastro street market.

In any case, the terms of my agreement with The Register dictated eight competent men in plain dress be within sight of my person at all times. One of them would be sure to collar the thief, and hand him off to an officer of the law to settle his account.

---

It is a difficult thing to trade with a man whose face you cannot see. Difficult to trade fairly, that is, not always your fellow man’s goal. At street level, where the poorer side of Bakerstown’s commercial district fades into some of the less insalubrious twists of the Bricktown slums—and, of course, beneath the smother of the Dark Cloud—bare-faced trustworthiness would seem unlikely in the extreme. However, one would be surprised.

These clogged and over-shadowed arteries at the foot of towering giants are, for half a day, sheltered. Not just stalls are set up: first, strong cables are drawn tight through the air down the length of each street; then, each enterprising rival collaborates with his peers as long tarpaulins of tarred and treated canvas are flung across the line. Secured against the walls to either side, a peaked roof is formed like the long tents of a military field barracks, defence against any residues descending from the city’s sole blight.

Lamps and braziers are hung from the cables to light the gloom; stalls are at last erected, laden down with goods of many a kind and many a quality; thus, protected just enough from the open air, open trade takes place. Hawkers and hucksters and browsers and bargainers put aside their ever-present masks and meet eye to eye, and the man on the street is free to evaluate the worth of not just the produce, but its producer.

---

And what producers, what produce! Every brand of person in the world line the routes, their calls a chaos of accents and entreaties, their dress a riot of distracting, enticing colours—and Southwatch’s native under-classes are present too, as mundane to the eye as are their wares. At first glance, it seems anything is there to be had, though with no rhyme or reason in the moment.

Along Fourth Baron’s Way, I pass: self-made clothiers, offering every material and aping every style; a chrome ornamentor, making obviously discarded goods shiny and “new”; a used-book seller (I pause here a good ten minutes, jostled and cursed by the crawling crowds, and depart with one of my own early pseudonymous works: the dangerous Philip Amberville, Barren of Southwatch, tatty but rare, mine for pennies); and more.

Paste jewellers, whose “rare trinkets” are replaced from beneath their stalls by identically imperfect siblings as fast as they can be sold; a metalmonger—twin of the ornamentor, but touting more honestly second-hand pots and kettles; crystal charmers, selling good health in a glittering stone, or protectives against everything from the likes of my thieving beggar to the fallout from the Dark Cloud itself (though no doubt far less effective than the sheets strung overhead); and more.

And more; and more.

---

I am far from the finest-dressed Sunsider here, chancing his luck shoulder-to-shoulder with more common citizenry (perhaps because I am wiser). I see others descended from Society, drifting like swans amidst fowl, preening at the attention they receive from all sides—little thinking of themselves as targets at a shoot, rich meat for the taking. Yet there is more to the Arastro than trivial things for tourists and those who would prey on them.

Ordinary people buy and sell ordinary things, livelihoods are made, and the pressing needs of small but modest lives are satisfied. Some lament that precious value be recycled this way, instead of added to the limitless coffers of factorymen or lining the pockets of more respectable shopkeeps. It “diminishes industry” they say (I have heard them say it).

I disagree. I say the Arastro is more the pulse of healthy commerce, evidence that the heart still beats, the beast still lives. The difference is only in who rides the beast, and whom is ridden down by it.

---

A footnote: on my departure, I was impressed to learn that the cunning thief eluded all eight of my hired watchmen. Two were led on quite a merry chase and returned from it battered and bruised, having been set upon by my teacher’s allies around the corner of an alley. See the Arastro: barter, deal, risk making a loss; but should you enter into the negotiation of backstreets, always do so knowing what price you are willing to pay.

Andrew Leon Hudson is the author of The Glass Sealing, third book in The Darkside Codex.

Friday, May 23, 2014

Meet Andrew Leon Hudson, Author of TDC 3: The Glass Sealing!

Available today!
1. What aspects of Southwatch are you exploring in TDC 3: The Glass Sealing? 

One of the things I love most in science fiction is the opportunity it presents to reflect facets of the real world, and at the risk of being too typically British I've zeroed in on issues of class--but I didn't want to present a superficial conflict between selfish rich fat cats and hard-working paupers. Although I was partly inspired by the Occupy Wall Street movement (where the participants sometimes feel like they fall into such extreme categories!), in normal life people's ethics and motivations are rarely so clearly defined.

Nobody sets out to be "evil", but when conflicts arise we can all become the villain of someone else's story. In The Glass Sealing I present people from across the social spectrum who each strive for something "good" according to their means--personal improvement, social equality, startling achievement--but who find those aspirations compromised and are changed by the experience, sometimes much for the worse. They may become enemies, but they remain heroes in their own minds. 

But from good intentions can come terrible people...


2. What about the Darkside Codex world made you want to write The Glass Sealing? 

I was already a fan of Steampunk, Weird Westerns and other Alternate History fiction before I encountered the Darkside Codex. I immediately liked the hook of the Dark Cloud, of Southwatch's citizens being starkly divided into the privileged and persecuted by a physical barrier, not just sociological ones. Although this is an original, created world setting rather than the usual pseudo-Victoriana of many Steampunk stories, it seemed to me that it still had a connection to historical England; the industrial revolution created new wealth, new poverty and shook up the established social order, while London's pea-souper fogs could kill anyone caught in them unprepared. Southwatch may be fantastical, but it isn't outright fantasy; there is precedent, echoes of the real world, and I think that gives the series weight.


3. Is it easier or harder to write in a shared world? 

It's tricky to do, certainly, but coming to a world that already existed was a real source of inspiration, and I would say I enjoyed writing The Glass Sealing every bit as much as anything I've written beforehand. Maybe the real question is whether it is easier or harder to edit in a shared world. There may be rules going in, but while you're spinning out the story itself you only have yourself to answer to--it's after you finish that you truly have to toe someone else's line!


4. Who's your favorite character? And why? 

I'm pleased with how both my main protagonists developed, but I have to pick two others as my favourites. I used a number of underworld characters from the Darkside canon and it was great fun making each one distinctive, but the gang leader Black Tom O'Connor stood out. Finding a balance between his being charismatic and amoral, and making him not merely a dangerous criminal but also believably fearful of greater dangers--all that was very satisfying.

My other favourite is one of my characters: Ben Shay, who clawed his way (part way, at least) out of the slums only to find himself in the employ of Black Tom, and is forced to use his knack for going unnoticed by working as an eavesdropper and informant. In The Glass Sealing Ben is given a glimpse of what a better kind of life might be like, and in future stories I'd like to show what happens as he goes looking for one of his own.


5. What is your background as a writer? 

My original dream was to write for the movies. I worked in the prosthetic make-up department of a big budget scifi production straight out of university, got the bug, and spent the next few years writing scripts. Very bad scripts. I then studied a Master's degree in screenwriting and wrote some better ones, until the real world caught up with me and forced me to get a paying job. 

I switched my focus to writing novels in my spare time, then turned to short fiction in order to actually finish something. That made a big difference: I'd had story structure drilled into me, but now my prose improved and I settled on a style that I enjoyed. I got a few stories published and was just starting to tackle longer pieces again when the Darkside Codex came along, so I dropped everything else to give it a go--and I'm glad I did.


6.  How do we find you online? 

I maintain two blogs (that I'm willing to admit to): one with my writing news and links, another where I review books, films and anything else that takes my fancy. I'm not a feverish social networker, but I can also be found on Goodreads and Twitter from time to time.


Twitter: @AndLeoHud


7. Are you a Darksider or a Sunsider? 

Darksider, no question. I burn in the sun but the shadows can't hurt me!

Wednesday, May 21, 2014

The Chronicles of Southwatch: An Article from The Daily Star on Transportation, Architecture, and History

ON CIVIC TRANSPORTATION, ARCHITECTURE AND HISTORY

An Invited Editorial by Tarek Al-Baz



Being a Criticism of the Hasty Revision of Our City’s Physical Heritage, a Celebration of its Unique and Invaluable Present Character, and a Statement of Support Regarding the Establishment of its Glorious Future Potential.

You pluck a thorn from the lion’s paw, you watch it grow from strength to strength.

In the year 2776, Baron Raoul Amberville burned the original city of Thorn from the world. In the years to follow, the great marvel we now know as Southwatch flourished in its place, increasing in a splendid style until she rivalled any other city of the empire, and far exceeding those outside it. Yet, for all her grandeur, this was not some divine gift bestowed from above, and Southwatch is no vision of a perfect creation.

The truer comparison is to the power and beauty of untamed nature: the sunken ship that becomes the foundation for a great reef, vibrant colour and darting, flashing life disguising the rotten timber within; or the jungle, conquering the ancient temples of some forgotten tribe with towering trunks and constricting vines, the crumbling remains hidden forever beneath the distant canopy above. And just as the wreck or the temple leave their traces on what comes to take their place, so too does the reef or jungle consume and build upon itself in ways that a foresightful creator might think of as unlovely, detracting from the whole.

In this way, the inhabitants of each—the fish, the jungle beasts, the citizens of Southwatch—live alongside their own history, even if they do not appreciate it as they should. I hear it often said of the old—for example, of Downtown’s Three Ring Circus—that the best course is to erase these now clumsy-seeming remnants and replace them with exemplars of the new, but I disagree. There is value in preserving our awareness of the past, that we do not repeat its mistakes; but what seems a mistake now was perhaps not one then, and this too is a lesson worth learning, and remembering.

In its heyday, the Three Ring Circus was the beating heart of Southwatch. All six arterial roads came together in these linked roundabouts—where, within each of which respectively, canal boats, trains and trams also disgorged their passengers—the traffic of the day swirling and mixing and issuing forth to their destinations, very much the life’s blood of our youthful city. However, as she rose in stature so she rose above the earth to reach for the sky; what lay below was built upon by what followed; the nature of the surface changed, became the foundation, not the core. Yes, the city’s vitality lies elsewhere today, the Three Ring Circus is a tangled snarl at the feet of grand towers, the old arteries clogged and shrunk and, to briefly abandon metaphor for fact, overhung with walkways and bridges and skyways—but that older heart still pumps on, even if our more pampered citizens are to high above to hear it.

Does the rarefied reader never travel down to the surface from his ivory tower? Perhaps not. Perhaps, failing to visit the past we reside upon—or never deigning to set foot beyond home, club, and whatever private vehicle is used to convey him between the two—he also forgoes appreciation of the modern city’s unique means of public transportation. Take the Mandorean Pylon—not as an example; I charge you, travel upon it!—and the traveller sees Southwatch presented before him in all its challenging glory, and as it can not be otherwise be seen.

The Mandorean is the oldest of Southwatch’s vertical railways and, in the opinion of those who trouble themselves to learn about their home, the best. From the roof of the departure hall at Downtown’s eastern border, six pairs of saw-toothed tracks rise clear to the Aerie, connecting with twelve major promenades along the way. Between pairs of pairs of tracks crawl three unique vehicles, with passenger carriages mounted one atop the other and, to each side, modified locomotive engines set on end, dragging them upward on toothed wheels.

At each aerial promenade awaits an elegantly off-set station, reminiscent in design of the head of the traditional instrument that lends the pylon its name. And where the strings, you say? They are arrayed around the pylon itself, twenty-four cables that hum in the breeze—and with the vibrating movement of the gyrocabs, which race up and down them with all the speed the upright locomotives lack. These grant the means to reach the utmost heights of the city—or to descend and rediscover her old secrets, should one be inclined—in less time than it takes to stroll along South Beach, and in all the comfort of one’s own private carriage.

We citizens should take equal pride in all the aspects of our city, her diamonds, her rough, her functionality as well. There is an importance to Southwatch, a significance to her past and a vigour to her present, an unrivalled brightness to her future. And it is for all these reasons that we should embrace the grand project even now being considered at the highest levels of civic governance, and discussed in both cries and whispers seemingly everywhere else.

Miss Jocelyn Duville’s astounding proposal promises to change the face of Southwatch as it has never been before. Should it receive the baron’s blessing, we should not merely welcome it, but rejoice.

Published in the Daily Mail,
12th Day, Tenth Month, 2958

Editor's Note: Andrew Leon Hudson's novel The Glass Sealing will be released as the third Darkside Codex story on May 23, 2014