Moving Beyond Trauma: An Interview with Author Ilene Smith

 

 

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Have you noticed that no matter how much time you spend in talk therapy, you still feel anxious and triggered? That is because talk therapy can keep you stuck in a pattern of reliving your stories, rather than moving beyond them. But, most of all, it’s because trauma doesn’t just reside inside your mind–much more importantly, it locks itself in other parts of your body. When left unresolved, that trauma continues to live there, impacting your life, your relationships, your sense of safety, and your ability to experience joy in very real ways.

In Moving Beyond TraumaIlene Smith will introduce you to Somatic Experiencing, a body-based therapy capable of healing the damage done to your nervous system by trauma. She breaks down the ways in which trauma impacts your nervous system and walks you through a program designed to process trauma in a non-threatening way. You will discover a healing lifestyle marked by a deeper connection with yourself, those around you, and with everything you do.

 

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INTERVIEW WITH ILENE SMITH

 

What is somatic experiencing?

 

Somatic Experiencing (SE) is a body therapy modality used to heal trauma. When an event happens too fast and we do not have the time or ability for self-protection or defense, this survival energy gets stuck in our body as an incomplete biological reaction. This stuck energy is what causes trauma symptoms and the nervous system loses its ability to maintain a state of balance. The trapped energy from the traumatic experience causes the nervous system to rush to a state of fight, flight, or freeze. SE works to help bring the nervous system back on-line by helping the individual restore their sense of safety. This can only happen when the body has a “biological completion” and the trauma energy has the opportunity to reintegrate back into the body.  

While SE uses talking in the process, the talking is used to track body sensation and meaning attached to experiences, rather than bring the individual back into the event of the trauma. When we bring the body into the therapy process and facilitate a way for the individual to physically move through the experience with a sense of safety, the relationship to the experience changes and the stuck energy will discharge.

 

Why did you want to become a somatic experiencing practitioner?

When I went back to school in my early 40’s for a degree in mental health counseling, I knew I wanted to work with trauma. I was introduced to SE during my internship at an eating disorder clinic and felt as though SE was complimentary to talk therapy. I also felt as though it was the missing link for trauma healing. I became a student of the work as well as a patient because I believe you can only take a client as far as you are willing to go yourself. I was experiencing great results personally and began applying the principles of SE with my clients. The results were phenomenal. Clients with eating disorders and addiction were moving away from their maladaptive behaviors and finding deeper and more meaningful connections with themselves and others. I feel strongly and passionately that the body and the nervous system need to be part of the healing process for real and everlasting change.

 

What type of rewards do you get by helping others heal?

There is nothing more rewarding than watching a person go from surviving to thriving in their life. I have and continue to walk people through incredible healing journeys. I love being part of transformation and nothing feels better than being able to add value to other’s lives.

 

What is the focus on the nervous system related to this type of therapy?

While the nervous system is designed to be self-regulating, it has its limitations around trauma. Unresolved trauma, especially when trauma is chronic and accumulated, can lead to more extensive mental and physical health symptoms. The long-term effect of SE treatment is a restored sense of healthy nervous system functioning, which includes reduction in maladaptive coping skills, resolved sleep issues, and mood stabilization — to name a few. When the body gains the capacity to self-regulate, it restores its sense of safety and balance. In turn, stress hormones are lower and the body can produce more “feel good” hormones such as serotonin and oxytocin.

Unlike most therapy modalities which are considered “top down,” meaning they use our highest form of cognition, SE begins with a “bottom up” approach of sensorimotor processing aimed at guiding the client through the most primitive to the most complex brain systems. The therapist begins by guiding the client to track sensation and movements, helping a patient develop a felt sense of his internal states of tension, relaxation and respiration cycles. This is a powerful mechanism to regulate the autonomic nervous system. 

 

What does unresolved trauma mean and how does it affect our bodies?

When trauma is unresolved our survival mechanisms of fight flight and freeze get stuck in the on position and our autonomic nervous system (ANS) kicks into high gear. These states are only meant for acute situations for defense and protection. Our ANS contributes to how we regulate every state in our body including heart rate, breath, digestion and bladder.  When our bodies are in stress physiology, hormones such as adrenaline and cortisol start pumping through the body causing all sorts of imbalances both emotionally and physically. There have been many studies showing the impact of trauma and stress on the emotional and physical body. The Adverse Childhood Experience (ACE) study showed that the more emotional and physical abuse a person had during childhood the more likely they are to experience mental and physical health issues as adults. This body and mind are intrinsically connected and this is why bringing the body into the healing process is so important.

 

What happens in the brain when trauma is processed, or resolved?

When trauma is resolved a person will begin to see and move through the world with more vitality and ease. They will begin to have a more accurate ability to sense safety and danger and experience a deeper connection to themselves and the world around them. When trauma is resolved a person will feel more present, helping them better express themselves and understand their needs and desires. These changes in the nervous system and brain, reduce anxiety, depression and maladaptive behaviors used to cope with pain and discomfort. Ultimately the individual will feel more curious and resilient to face the ups and down of life.

 

How does this type of therapy build resilience? 

SE works with the bodies most primitive instincts to help integrate trauma memories into the body. When this occurs, a person will experience a greater sense of safety within themselves. In other words, a person gains a sense of mastery over themselves and their feelings. It is a knowing that you can handle and tolerate what you are experiencing. Resilience is a byproduct of knowing you have the internal resources to survive and this is what we teach the body through the process of SE.

 

I love the title of your book, Moving Beyond Trauma. What can a life beyond trauma look like, and what kind of hope does it bring? 

Thank you! When trauma is resolved we gain capacity to live our lives with more presence and intention. We can connect to ourselves and others and feel more curious to explore the things that we like. Ultimately moving beyond trauma allows the space to find passion and vibrance. I like to think of life after trauma as a healing lifestyle. A healing lifestyle is different for each person, but it is a life of self-care with body/mind alignment. It is a life beyond survival where an individual can and has the desire to grow and thrive.

 

Where can people learn more about somatic experiencing?

My book Moving Beyond Trauma is available on Amazon. 

If someone is interested in finding a Somatic Experiencing Practitioner in their area, they can go to www.traumahealing.org. I also have many articles on my website www.ilenesmith.com

 

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A Q&A With the Authors of Robin Hood’s Widow: Olivia Longueville & J.C. Plummer

 

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Don’t miss this unique retelling of the Robin Hood legend!

England, 1154-1194
A kingdom under assault.
A conspiracy born of anarchy.
A hero standing against tyranny.

Robin’s duty to his king sends him on an odyssey that will unfold from the streets of Paris to the banks of the Danube. From incredible triumphs on the battlefields of the Crusade, to harrowing sea voyages, to a desperate dash across the frozen landscape of Central Europe, Robin Hood must ensure that King Richard safely returns to England.

Meanwhile, the outlaws of Sherwood Forest rise again under a new leader—and she is unwavering in her pursuit of justice against the tyranny of Sheriff de Argentan. Marian endures the heartbreak of widowhood only to find strength and purpose as she leads a small band of devoted men in her quest for vengeance while she protects Robin’s legacy.

Sir Guy of Gisborne, tormented by his conscience and enslaved by the sheriff, faces the wraith-like fury of the woman he once loved. How do you find forgiveness when you have committed an unforgivable crime? He must attempt a daunting journey of redemption, while finding inspiration from an unexpected source.

And through it all, Robin, Marian, and Guy are entangled in a web of treachery spun by the King of France and his sinister advisor, Montlhéry, as the plot to dismantle the Angevin Empire and take the throne of England from the Plantagenets boldly continues.

Part two of an exciting three-part retelling of the Robin Hood legend!

Although the books in the trilogy are not stand-alone, they do not end in cliffhangers.

 

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Author Q&A with Olivia Longueville and J.C. Plummer

Robin Hood has been featured in many books, movies, and television shows.  How is your trilogy different?

In our first book, Robin Hood’s Dawn, we re-imagined the origins of the Robin Hood legend, which included exploring his family dynamics: an aloof, selfish father and a kind-hearted mother devoted to ministering to the poor.  One theme is how the consequences of immoral actions and secret sins can reverberate across generations.  This is part of Robin’s legacy from his father.

We cast Robin as a hero fighting against the tyranny of a lawless government official. When Robin is falsely accused of a shocking crime by the new Sheriff of Nottingham, he could have retreated to a safe place beyond the reach of the sheriff.  However, he feels a responsibility to the people because he believes in the intrinsic value of every human being.  Instead of running away, he stays to protect the people from the sheriff.  And this points to another theme: one person can make a difference by taking a stand for what is right.

The second book, Robin Hood’s Widow, picks up where the first book ends. Robin is alive and still with King Richard in the Holy Land, but Marian, the sheriff, and Guy of Gisborne have returned to England thinking that Robin Hood is dead.

Robin Hood’s Widow explores themes of grief and redemption, while featuring Marian’s adventures as leader of the outlaws. Her story is interwoven with Robin’s quest to return home while fulfilling his obligations to King Richard.

In this book, we wanted to explore both the stages of grief and their non-linear nature. Experiencing loss and grief is not like climbing stairs; you don’t complete one stage, progress to the next, and eventually arrive at acceptance. The emotional turmoil of an earlier stage can reappear and reassert itself during the process.

That being said, this story is not sad or depressing; Robin Hood’s Widow is an optimistic tale of triumphing over adversity. 

You’ve emphasized how your Robin Hood story has been re-imagined.  Will fans of the traditional ballads still recognize this as a Robin Hood story?

There is a lot of variety in the many books and screen adaptations of the Robin Hood legend.  We wanted to create a story that was respectful towards fans of the original ballads and legends without adhering to the same story lines that have been previously written.  We hope that all Robin Hood fans will enjoy this fresh retelling of the story.

However, we felt that Marian is a character who deserves more attention.  All too often she is a background character with little to do.  With this in mind, we have focused on creating a Lady Marian who will figure more prominently in the story, especially in Robin Hood’s Widow, where she takes center stage as the leader of the outlaws. She must learn how to lead while finding clever ways to thwart the sheriff and rob those supporters of Prince John who dare enter Sherwood Forest.  We also wanted Marian to be feminine and believable as a woman of the 12th century.    

Do the first two books of the trilogy end in cliff-hangers? Are the books stand alone?  

We have structured the trilogy so that the books do not end in cliff-hangers, and we have endeavored to create a sense of completion in each of the books. 

Although we want readers to start with Robin Hood’s Dawn, we know that some might be more interested in Robin Hood’s Widow. Therefore, we have endeavored to provide enough information in the second book so that a new reader will not be lost.

Both Robin and Marian are guarding secrets that will be revealed in Robin Hood’s Widow!

How did you become interested in writing this story and working together as co-authors?

Olivia:

The story of Robin Hood’s Widow is very special to me, and I wrote the original version after I experienced a devastating personal loss. Readers might be surprised to learn that Robin Hood’s Widow was written before Robin Hood’s Dawn!

I love to tell stories with multi-dimensional characters.  I am multi-lingual, and I enjoy writing stories in different languages.  My first novel is an English-language alternate history featuring Anne Boleyn.

I met Coleen (J.C.) on the Internet, and we decided to co-author a Robin Hood Trilogy with Robin Hood’s Widow as its centerpiece.  

So, you’ve never met, you come from different countries, different cultures, and speak different languages.  How can you co-author a book?  Is it because you have similar writing styles?

Coleen:

Fortunately, Olivia is fluent in English, because that’s the only language I know!

Olivia:

We have found that we have a lot in common—especially our love of writing and of history.  We have to work hard to merge our writing styles, but we have successfully done this. 

Coleen:

That’s true.  Olivia and I have very different “voices” and writing styles.  You might even say they are nearly opposite styles.  

I write in a straightforward, expository style, with a minimum of descriptive elements and metaphorical flourishes.  I am good at explaining things, organizing ideas, and creating natural sounding dialogue.

Olivia:

My writing is characterized by lush romanticism and passionate lyricism.  I love to create metaphors and descriptions which excite the imagination of the reader in a vivid and dramatic way.

Coleen:

In some respects, Olivia’s words are the emotional heart of the story, and my words represent the rational intellect.  Of course, it’s not quite that cut-and-dried, but it is one way to describe how two people with such different styles have come together to create Robin Hood’s Dawn and Robin Hood’s Widow

 

 

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Author Information

Below are the author biographies and social media profiles.  

Olivia Longueville 

Olivia has always loved literature and fiction, and she is passionate about historical research, genealogy, and the arts.  She has several degrees in finance & general management from London Business School (LBS) and other universities.  At present, she helps her father run the family business.  

During her first trip to France at the age of ten, Olivia had a life-changing epiphany when she visited the magnificent Château de Fontainebleau and toured its library.  This truly transformed her life as she realized her passion for books and writing, foreshadowing her future career as a writer.  In childhood, she began writing stories and poems in different languages.  Loving writing more than anything else in her life, Olivia has resolved to devote her life to creating historical fiction novels.  She has a special interest in the history of France and England.  

Having met on the Internet, Olivia and J. C. Plummer, a writer and historian, decided to co-author The Robin Hood Trilogy.  Olivia and J. C. are retelling the Robin Hood story with an unusual and imaginative plot that is solidly grounded in 12th century history. The trilogy incorporates twists and turns which will captivate and entertain readers.

 

Olivia’s social media profiles:

Personal websiteOlivialongueville.com

Project websitewww.angevinworld.com

Twitter@O_Longueville

FacebookOlivia Longueville

Tumblr: http://www.olivia-longueville.tumblr.com

 

J. C. Plummer 

J.C. Plummer (Jennie Coleen) graduated Summa Cum Laude from Washburn University with a Bachelor of Arts degree in History and Anthropology.  She later earned a Master of Science degree in Computer Information Science from Dartmouth College.

Co-authoring The Robin Hood Trilogy has merged J.C.’s passions for history, culture, and technology into one unique, exciting project.

As an author and historian, J.C.’s goal is to provide thoughtful and entertaining storytelling that honors the past, is mindful of the present, and is optimistic for the future.

 

J.C.’s social media profiles:

Project websitewww.angevinworld.com

Twitter@JC_Plummer

FacebookJennie Newbrand

Writing, Publishing, Book Marketing: Q&A session with Joanna Penn

 

TELEVISION TUESDAY

 

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Writing, Publishing, Book Marketing: QA session with Joanna Penn

 

 

 

Facebook: The Creative Penn

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Books by Joanna Penn

 

 

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Getting Into Libraries With Draft2Digital – Dan Wood

 

IT’S TELEVISION TUESDAY

 

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Getting Into Libraries With Draft2Digital – Dan Wood (The Self Publishing Show, episode 221)

 

 

 

PATREON: Self Publishing Formula Show’s Patreon page

 

 

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Legal Thriller: No Truth Left To Tell by Michael McAuliffe an Excerpt

 

 

No Truth Left to Tell

 

February 1994—Lynwood, Louisiana: Flaming crosses light up the night and terrorize the southern town. The resurgent Klan wants a new race war, and the Klansmen will start it here. As federal civil rights prosecutor Adrien Rush is about to discover, the ugly roots of the past run deep in Lynwood.

For Nettie Wynn, a victim of the cross burnings and lifelong resident of the town’s segregated neighborhood, the hate crimes summon frightful memories of her youth, when she witnessed white townspeople lynch a black man. Her granddaughter Nicole DuBose, a successful journalist in New York City, returns to Lynwood to care for her grandmother. Rush arrives from DC and investigates the crimes with Lee Mercer, a seasoned local FBI special agent. Their partnership is tested as they clash over how far to go to catch the racists before the violence escalates. Rush’s role in the case becomes even more complicated after he falls for DuBose. When crucial evidence becomes compromisethreatening to upend what should be a celebrated conviction—the lines between right and wrong, black and white, collide with deadly consequences.

No Truth Left to Tell is a smart legal thriller that pulls readers into a compelling courtroom drama and an illusive search for justice in a troubled community.

 

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An Excerpt

NO TRUTH LEFT TO TELL

By Michael McAuliffe

 

Prologue

July 1920
Lynwood, Louisiana

 

The following excerpt is reprinted from No Truth Left to Tell by Michael McAuliffe, released on March 3, 2020. Reprinted with permission of Greenleaf Book Group. Copyright © 2020 Michael McAuliffe.

 

Nettie glided along the sidewalk in her best dress, her mother’s creation that would soon be too small. That Saturday, however, the colorful outfit still fit and perfectly complemented her wide smile and earnest stride. The dress was spring blue with flower patterns bursting open into full blossoms, quite like Nettie herself. 

She stayed out of the way of the white pedestrians inspecting her with what appeared to be a mixture of curiosity and irritation. “What’s that one doin’ here?” one woman asked as she passed by. So Nettie hugged the buildings as she moved, trying to disappear against the facades. There was something big going on in the square, but Nettie couldn’t see over or through the gathering, since she was just seven years old. 

She had pleaded with her parents to go with her father from their home in Mooretown, Lynwood’s section for blacks, to a nearby town while he delivered a meal to a close friend who was gravely ill. At the last minute, Nettie’s mother had wanted one more item added to the delivery from a store on Lynwood’s downtown square—an establishment that served them only from the back door off an alley. Nettie was supposed to wait in the car, but despite her father’s admonishments, the strange and festive noises drew her out into the nearby crowd where she was protected only by her look of youthful wonder. 

Lynwood’s civic core was comprised of an expanse of lawn with a massive oak reigning over the surroundings. Four perpendicular streets framed the lawn, and they had been closed for several hours so people could mingle without regard to sputtering cars. The attendees had obliged the gesture by swarming the entire area by midmorning. The day’s activities appeared to originate across the street nearer the tree, allowing the spectators along the periphery to wander about with more freedom. From where Nettie was she could see the crown of the tree, and she moved in that direction as if pulled by some invisible force. 

The day was hot and humid. High clouds had gathered through the morning and darkened the midday sky, but the music played on and people chatted in small groups as if they were at an annual parish fair. 

After several minutes of distant rumbling a sprinkle started, and it soon developed into cascading water pouring from invisible pots in the sky. The drenching dispersed the crowd into stores and under awnings. Deserted chairs and soda bottles lay across the lawn. 

The scattering of the masses created large openings around the square. What was an impenetrable wall of people became a flat, open field of vision. The oak, of course, remained right where it had begun decades before as a sapling. 

Nettie couldn’t run into any of the stores like the others caught out in the street during the rainstorm. So, like the oak, she remained standing, although now she had a clear view of the square. Her dress—dripping and heavy with water—would have distracted her in any other setting, but unanswered curiosity kept her searching the square for clues about the day’s festivities. 

The oak tree had long, thick branches, like the heavy arms of a giant. A braided rope was slung over one of these arms, out about ten feet from the trunk. The rope was wrapped once about the branch and secured to a large stake in the ground. The other end of the rope was fashioned into a noose, and suspended from it was the still body of a black man. The man’s neck was grotesquely angled, and the feet were bare. His hands were bound behind his back. 

Nettie leaned forward like she was about to rush toward the oak. But she neither ran away nor went to it. She stared up at what had been until moments before a living, breathing person. She was frozen in place and time—alone in the moment when her world changed forever. 

Her father came running from behind and snatched her up with such force that the dress ripped along a side seam. He covered her with his protective embrace and spirited her away to the car that waited in the alley. They headed straight home using back streets and little-known shortcuts, the car not speeding despite the urgency of the situation. The trip to deliver the meal basket was abandoned as her father kept swearing that he’d never go to the square again. 

Nettie didn’t look outside the car. She kept her head down and stared at one of the dress’s printed blossoms, the flower part of the pattern ending at the hemline to reveal her trembling knees. 

 

 

Michael McAulife

 

 

ABOUT THE AUTHOR:

Michael McAuliffe is the author of No Truth Left to Tell and has been a practicing lawyer for thirty years. He was a federal prosecutor serving both as a supervisory assistant US attorney in the Southern District of Florida and a trial attorney in the Criminal Section of the Civil Rights Division at the Department of Justice in Washington, DC. In 2008, Michael was elected and served as the state attorney for Palm Beach County, leading an office of approximately 125 prosecutors. He was  known for leading the ethics reform movement in county that resulted in the creation of a permanent inspector general, an ethics commission, and new ethics code. Michael and his wife Robin Rosenberg, a US district judge, have three children and live in Florida and Massachusetts. For more information, please visit https://notruthlefttotell.com/

 

 

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The Crew Reviews: James Rollins – THE LAST ODYSSEY

 

IT’S TELEVISION TUESDAY

 

 

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The Crew Reviews: James Rollins – THE LAST ODYSSEY

 

 

 

 

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To save the world and our future, Sigma Force must embark on a dangerous odyssey into an ancient past whose horrors are all too present in this page-turning thriller from #1 New York Times bestselling author James Rollins that combines cutting-edge science, historical mystery, mythology, and pulse-pounding action.

For eons, the city of Troy—whose legendary fall was detailed in Homer’s Iliad—was believed to be myth, until archaeologists in the nineteenth century uncovered its ancient walls buried beneath the sands. If Troy was real, how much of Homer’s twin tales of gods and monsters, curses and miracles—The Iliad and The Odyssey—could also be true and awaiting discovery?

In the frozen tundra of Greenland, a group of modern-day researchers stumble on a shocking find: a medieval ship buried a half-mile below the ice. The ship’s hold contains a collection of even older artifacts—tools of war—dating back to the Bronze Age. Inside the captain’s cabin is a magnificent treasure that is as priceless as it is miraculous: a clockwork gold map imbedded with an intricate silver astrolabe. The mechanism was crafted by a group of Muslim inventors—the Banū Mūsā brothers—considered by many to be the Da Vincis of the Arab world—brilliant scientists who inspired Leonardo’s own work.

Once activated, the moving map traces the path of Odysseus’s famous ship as it sailed away from Troy. But the route detours as the map opens to reveal a fiery river leading to a hidden realm underneath the Mediterranean Sea. It is the subterranean world of Tartarus, the Greek name for Hell. In mythology, Tartarus was where the wicked were punished and the monstrous Titans of old, imprisoned.

When word of Tartarus spreads—and of the cache of miraculous weapons said to be hidden there—tensions explode in this volatile region where Turks battle Kurds, terrorists wage war, and civilians suffer untold horrors. The phantasmagoric horrors found in Homer’s tales are all too real—and could be unleashed upon the world. Whoever possesses them can use their awesome power to control the future of humanity.

Now, Sigma Force must go where humans fear to tread. To prevent a tyrant from igniting a global war, they must cross the very gates of Hell.

 

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Where The Sun Will Rise Tomorrow by Rashi Rohatgi

 

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EXCERPT

Where the Sun Will Rise Tomorrow

 

It’s 1905, and the Japanese victory over the Russians has shocked the British and their imperial subjects. Sixteen-year-old Leela and her younger sister, Maya, are spurred on to wear homespun to show the British that the Indians won’t be oppressed for much longer, either, but when Leela’s betrothed, Nash, asks her to circulate a petition amongst her classmates to desegregate the girls’ school in Chadrapur, she’s wary. She needs to remind Maya that the old ways are not all bad, for soon Maya will have to join her own betrothed and his family in their quiet village. When she discovers that Maya has embarked on a forbidden romance, Leela’s response shocks her family, her town, and her country firmly into the new century.

 

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The next day my cheeks, my eyes, and my hair are as good as they’re going to be when Nash arrives just after breakfast. Instead of inviting us to his family’s for lunch, he is taking Maya and me to Gol Ghar. Everybody, from children to grandparents, loves Gol Ghar, but I wonder if he’s chosen the grain silo so that we will have an excuse to walk hip to hip, shoulder to shoulder up the narrow staircase. As Maya tells him about the good luck we’ve had with the training college’s opening, I study him.

Nash has always been beautiful: his dark skin smooth, his broad lips projecting softness, his lashes longer than mine with three coats of petroleum jelly. Beautiful, and somehow therefore gentle: the Chowdhurys have always been successful, and lucky, and generous. They have nothing to prove, and Nash, a diamond in this fine setting, even less so. And so though he’s always been tall, and always looked at each person as though they were the only one left in the city, he’s always struck me as laughing, comforting, with kindness to spare. In childhood, we hardly saw anything of him, but once we were formally engaged, he withstood the taunts of his classmates and often swung by with ices or samosas or the choruses of songs from the latest films. It was easy for him to love, and as all I’d ever dreamed of was loving someone back, he was perfect.

He’s changed: his lanky frame has tightened, straightened, and as he listens to Maya, I can see in the stiffness of his hands in his lap and of his toes, curled around the edge of his sandals, that he’s kept the tiniest portion of his attention for himself. He is still beautiful, but also…threatening? Is that the right word for the way he makes my body, still seated and composed, feel called to attention against any inclination of its own? His hair is longer, I see—his barber must only have shaved him this morning, rather than give him the accompanying trim—and this imperfection lets me catch my breath.

The carriage is pulling up to the Gol Ghar— our very own Round House, our silly English silo that once held grain and now serves as a pleasure ground for those of us too brown to make use of the club—as Nash responds to Maya’s exclamation that she’s more than ready for us to go back to school next week. “But surely…” he says.

When Nargis and Mawiyya do that to me in school—trail off in the middle of a thought there’s no chance I could finish on my own—it’s to mock me, but Nash doesn’t mock. I realize that while Maya and I have had numerous conversations about my post-marriage life and how to keep it as seamless a transition as possible, Nash and I haven’t had any. “Why don’t you run slightly ahead and check on the crowd?” I ask Maya with our shared look. We trail her, slowly, and I want to throw my arms around him again, but instead I say, “You know I won’t attend the training college from August if you or your parents don’t approve.” I start with what Maya would call a barefaced lie because I suppose that, all said and done, it’s the truth. November, really, is wedding season, but ours is to be held as soon as the weather settles. Some families need time to negotiate; ours will be efficiently put together as Papa has ceded complete control to the Chowdhurys since, as even Koyal Chachi would agree, there’s no chance of their taste being anything less than impeccable.

“Oh, no, of course I wouldn’t dream of stopping you!” he says. He actually stops, and turns to me, and reaches for my hands before he realizes, and stops himself. “Leela, I didn’t realize you wanted to become a teacher, but I should have guessed. You’ve read all of the great histories of Chandrapur, and your Sanskrit is far better than mine. I’ve no right or desire to stop you making the most of yourself.” “Well, that’s good, then,” I say. “Though if I’m being honest, I mostly just want to attend the school to make sure I’m able to see Maya every day. I’m not used to a joint household and I’m not sure I’ll be able to play a dutiful daughter-in-law without her as a sounding board.” I pause, but Nash smiles, and laughs. “And after suffering through a mixed education, I think it will be nice to have the chance to teach in the Hindu school whenever it opens.”

We have only taken a few steps, but already Nash stops, causing the mother and daughter behind us to bump into our calves and mumble apologies. “Leela,” he murmurs, so softly I have to lean in to hear, and the proximity is causing my heart to do a furious dance. But then he keeps walking.

“Leela,” he says again after a few steps. “When I was in Japan, at first it was terribly lonely. We tried to integrate, but without eating fish, we Hindu students found ourselves isolated in the canteen; without much money, additionally, I found myself unwilling to hole up and play cards with boys from Lucknow or Kanpur. I know you didn’t have it easy at Bankipore, either, with your father in trade.”

I nod.

“But after the triumph against the West, it was as though divisions had melted away. Even when we were sent home, I knew I was coming back to something important, and the sight of you in that swadeshi sari running towards me solidified every commitment I’d hardly understood, before Tokyo, that I’d had. I’ve dreamt about you in red for years,” he says, and though I want to faint I press my hands to the wall and keep myself barely upright, “but for the past year, I’ve dreamt about you in white. I’m so lucky that my life partner shares my dreams, not only for us, but for the country.” Nash sees me faltering, and risks censure from the auntie behind us by steadying me, a hand to the small of my back. I am dizzy for so many reasons.

“I just cannot understand why there is no hesitation towards a communal training college that will only lead towards a communalization of the school system itself, when we’re fighting, desperately, against communalism!”

We have almost climbed to the top; I see Maya awaiting us, and when she catches my eye, she winks, but I can’t reciprocate. “It wasn’t a British initiative,” I tell him. “The Director of Schools wanted to keep us girls together, in fact, and then both the Nawab and the Maharani joined together to oppose him. There are surely more than twelve Hindu girls in Chandrapur who may have wanted to get educated alongside us, and soon there will be places, and teachers for them. Education can only help us.”

I am out of breath, but we’ve climbed Gol Ghar, and the view is rewarding enough to let me tear my eyes away from Nash for a minute. And thank heavens, because looking at this new Nash while he is deliberating is… no, not threatening. Unsettling, I decide on. I wink at Maya, and we play our usual game of identifying all of the best places: the fields, in the distance, past the river, where on the way to Gaya we always stop, much too soon, for the best roasted corn; the Rama temple with the most rambunctious monkeys; the Sikh gurudwara that is unquestionably our most beautiful building; the Khudabaksh library where the real scholars spend their days with microscopes, studying the beautifully illuminated manuscripts; the market, where one day soon we must go and see what Indian-made lingerie I will wear to start my married life.

Nash speaks up again, finally. “I’ve missed this place so much.”

There are the beginnings of tears at the corners of his eyes, and I don’t know what to say.

Maya never has this problem. “And didn’t you miss us, then? I didn’t get even one letter from you, Mister.”

She has cracked the gloomy spell, and Nash rifles through his bag until he hits upon a small wrapped package. “I thought you’d prefer the paper,” he says, handing it to her.

“You didn’t have to get her a gift,” I say, knowing what it has cost his family to send him away, and all for a trip with no degree certificate.

“But he did,” Maya says, as though he’d take it back, ripping it open willy-nilly instead of
properly, neatly. I lean over to get a better look, and am glad I did: he’s brought her stationary more beautiful than I have ever seen. The British have their formal, heavy paper to announce their galas, and I’ve coveted that often enough, but this is its opposite: thin, almost translucent, and sparkling, oyster pink with sea-green filigree adorning its edges. Maya is staring at it, and I squeeze her shoulders. “Oh, yes,” she says. “Thank you.”

She walks ahead of us on the way down, staring at it; it is a good thing, after all, that we’ve been here countless times before. Nash and I pretend to watch her, to stop her from falling off the edge, but really we are stealing glances at one another. “Thank you,” I tell him, and just for a moment, before our feet reach the solid ground, he takes my hand.

 

Reprinted from Where the Sun Will Rise Tomorrow with the permission of Galaxy Galloper Press. Copyright © 2020 by Rashi Rohatgi.

 

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About the author:

Rashi Rohatgi is the author of Where the Sun Will Rise Tomorrow. An Indian-American Pennsylvania native who lives in Arctic Norway, her short fiction and poetry have appeared in A-Minor Magazine, The Misty Review, Anima, Allegro Poetry, Lunar Poetry, and Boston Accent Lit. Her non-fiction and reviews have appeared in The Review Review, Wasafiri, World Literature Today, Africa in Words, The Aerogram, and The Toast. She is a graduate of Bread Loaf Sicily and associate professor of English at Nord University.

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Expeditionary Force Blog Tour: SpecOps by Craig Alanson

 

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About Audiobook #2

Author: Craig Alanson

Narrator: R.C. Bray

Length: 15 hours 50 minutes

Publisher: Podium Publishing⎮2017

Genre: Science Fiction

Series: Expeditionary Force, Book 2

Release date: Mar. 7, 2017

Synopsis: Colonel Joe Bishop made a promise, and he’s going to keep it: taking the captured alien starship Flying Dutchman back out. He doesn’t agree when the UN decides to send almost 70 elite Special Operations troops, hotshot pilots, and scientists with him; the mission is a fool’s errand he doesn’t expect to ever return from. At least this time, the Earth is safe, right?

Not so much.

 

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I had no idea how humorous the Expeditionary Force was until diving into the series, but it’s definitely hilarious. It also has an impressive amount of science fiction, technology, that give you a space adventure kind of feel. The author does an excellent job crafting an intricate story with well-defined scenes. The narrator R.C. Bray is in full form, of course, and seems like the characters were written specifically for him.

 

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NARRATOR INTERVIEW WITH R.C. BRAY

 

 

Did you find it difficult to “break into” audiobook narration? What skill/tool helped you the most when getting started?

I had two great champions get me through the door: Pat Fraley and Scott Brick.  Bringing my years of acting experience to narration impressed them enough to make suggestions, introductions, and continued support.  Also, ACX was launched the same time I got into narration. Being able to use that as a means to navigate the process (along with many patient authors, rights holders, and independent publishers), was a godsend.  Several of the titles I did via ACX garnered attention from bigger publishers and off I went.

 

A lot of narrators seem to have a background in theatre. Is that something you think is essential to a successful narration career?

It’s not essential, but it does help.

 

What type of training have you undergone?

I was a CTA (Communications/Theatre Arts) major in college that performed Off-Broadway and at the Edinburgh Fringe Festival.  I also attended the Connecticut School of Broadcasting where, because of my theatre background, I excelled during the voiceover portion.  It was my abilities in voiceover that was a catalyst to getting the job at Kaplowe Studios.

 

How do you manage to avoid burn-out? What do you do to maintain your enthusiasm for narrating?

I keep from burning out by thinking of my past jobs.  I don’t ever want to have to go back to doing any of them.  The thought of that lights a massive fire in me.

 

Are you an audiobook listener? What about the audiobook format appeals to you? 

I used to listen to them nonstop when I was a commuter.       

 

What are your favorite and least favorite parts of narrating an audiobook?

Unless it’s really brilliant writing, my least favorite part is when I get to the middle and realize I’m only halfway done.  My favorite part is being exposed to books I would likely have never picked up.

 

Is there a particular genre you feel unsuited for? Have you ever declined a project because you didn’t think you were right for it?

I’d love to be suited for children’s/YA novels, but I’m afraid my deep voice doesn’t jibe well with them.  

 

How closely do you prefer to work with authors?

Enough to get certain information but definitely not so much they start to direct.  You wrote it, now let me read it.

 

Who are your “accent inspirations”?

Frank Muller, Paul Michael, Scott Brick

 

What types of things are harmful to your voice?

No idea.  I’m not a vocal warm-up kind of guy.  I just go for it. Pneumonia sucks though.

 

Has anyone ever recognized you from your voice?

No, but after I tell people what I do (only if they ask, I don’t like bringing it up) they inevitably “hear it now!”

 

 

 

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About the Author: Craig Alanson

Craig Alanson is a NYT best-selling author. His first audiobook ‘Columbus Day’ was one of five finalists for Audiobook Of The Year 2018 Visit craigalanson.com for FAQs, blog posts, merchandise, etc.

 

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About the Narrator: R.C. Bray

From an early age Audie, Earphones, and SOVAS Voice Arts Award-winning audiobook narrator R.C. Bray despised reading. Truly hated it with a passion.

And audiobooks? Even worse. Those were for people too lazy to read (not to be confused with those like himself who didn’t want to read to begin with).

R.C. eventually got older and wiser (he was always good-looking) and eschewing his capricious convictions fell head-over-heels with reading. Not just to learn words like “eschew” and “capricious” so he could use them in a bio line, but because someone was actually going to give him money to do it.

Note: R.C.’s gorgeous wife and three beautiful children begged him not to make this his official bio. Clearly he misunderstood.

 

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About the Publisher: Podium Publishing

Podium is an industry-leading independent audiobook publisher built upon the foundation of successful partnerships with self-published authors and narrators. With deep share of voice in the genres of Science Fiction, Fantasy and Romance, the company has enjoyed quick commercial and critical acclaim, releasing almost 1,300 audiobooks, numerous best-sellers, winning an Audie Award and 13 Voice Arts Awards. Podium is best-known for supporting, nurturing and discovering independent authors and narrators from the U.S. and around the world. The company gained international notice when it took a risk on one-time unknown author Andy Weir (The Martian) and turned his e-book into the largest audiobook seller in the world.

 

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Expeditionary Force Blog Tour: Columbus Day by Craig Alanson

 

 

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About Audiobook #1

Author: Craig Alanson

Narrator: R.C. Bray

Length: 16 hours 23 minutes

Publisher: Podium Publishing⎮2016

Genre: Science Fiction

Series: Expeditionary Force, Book 1

Release date: Dec. 13, 2016

 

 

 

 

Synopsis: Nominee, 2018 Audie Awards — Audiobook of the Year

We were fighting on the wrong side of a war we couldn’t win. And that was the good news. 

The Ruhar hit us on Columbus Day. There we were, innocently drifting along the cosmos on our little blue marble, like the Native Americans in 1492. Over the horizon came ships of a technologically advanced, aggressive culture, and BAM! There went the good old days, when humans got killed only by each other. So, Columbus Day. It fits. 

When the morning sky twinkled again, this time with Kristang starships jumping in to hammer the Ruhar, we thought we were saved. The UN Expeditionary Force hitched a ride on Kristang ships to fight the Ruhar wherever our new allies thought we could be useful. So, I went from fighting with the US Army in Nigeria to fighting in space. It was lies, all of it. We shouldn’t even be fighting the Ruhar; they aren’t our enemy. Our allies are. 

I’d better start at the beginning.

 

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An extraordinary story that made me feel transported into the cosmos! In this case, the planet Paradise with the Ruhar and the Kristang alien species. The sheer depth of each chapter is remarkable and almost seems like a story in themselves. Narrator R.C. Bray delivers, of course, adding another level of entertainment. I didn’t know how funny this until I got into it. The interactions between the UN Expeditionary Force and the ancient Artificial Intelligence, “Skippy”, is hilarious. Good springboard for the rest of the series. 

 

 

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INTERVIEW WITH NARRATOR R.C. BRAY

 

When did you know you wanted to be an audiobook narrator?

When I heard Frank Muller for the first time (The Dark Tower, Book II: The Drawing of the Three).  I always thought a narrator just “read” the book. When Frank started doing character voices and acting and just all-around engaging me as a listener, I knew that with my background it’s what I’m supposed to do.

 

How did you wind up narrating audiobooks? Was it always your goal or was it something you stumbled into by chance?

My last job before becoming a full-time narrator, was as Senior Producer and Voiceover for a company owned by a wonderful guy named Mark Kaplowe who was the voice of HBO, Butterfinger, Zest, and other big businesses in the 90s.  When his son was born, he wanted to eliminate traveling into NYC so he could be around him as much as possible. So he combined his love for automobiles and voiceover prowess, and began an ad company for local car dealerships. His big thing was “growing his business” and he loved audiobooks that were related to just that.  Since I had a commute of about 45 minutes (both ways) he wanted me to listen to them as well. I listened to countless business audiobooks before I decided to try a fiction title – The Dark Tower, Book I: The Gunslinger by Stephen King seemed like a good, short place to start. George Guidall was an outstanding introduction to audiobooks (Fiction), but it wasn’t until Frank Muller that I actually made an effort to find out more about becoming a narrator.

 

Did you find it difficult to “break into” audiobook narration? What skill/tool helped you the most when getting started?

I had two great champions get me through the door: Pat Fraley and Scott Brick.  Bringing my years of acting experience to narration impressed them enough to make suggestions, introductions, and continued support.  Also, ACX was launched the same time I got into narration. Being able to use that as a means to navigate the process (along with many patient authors, rights holders, and independent publishers), was a godsend.  Several of the titles I did via ACX garnered attention from bigger publishers and off I went.

A lot of narrators seem to have a background in theatre. Is that something you think is essential to a successful narration career?

It’s not essential, but it does help.

 

What type of training have you undergone?

I was a CTA (Communications/Theatre Arts) major in college that performed Off-Broadway and at the Edinburgh Fringe Festival.  I also attended the Connecticut School of Broadcasting where, because of my theatre background, I excelled during the voiceover portion.  It was my abilities in voiceover that was a catalyst to getting the job at Kaplowe Studios.

 

 

 

CRAIG ALANSON 

Craig Alanson is a NYT best-selling author. His first audiobook ‘Columbus Day’ was one of five finalists for Audiobook Of The Year 2018 Visit www.craigalanson.com for FAQs, blog posts, merchandise.

 

 

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