The Mascherari

Hard at work on my second novel with a rigorous self-imposed deadline. The first draft must be finished by mid-May in time for my joyous trip to France (family reasons) and Venice (research purposes).

I have, for now, abandoned the sexy sci-fi adventure I spoke of over a year back, to pen a historical mystery set in Renaissance Venice.

The Mascherari, is the plural form of the word, "mask maker" in Italian. It is the title of my second novel. Mask makers, as artists, along with their creations have always been a fascination of mine. I have a Pinterest wall devoted to masks which I have called "Los Occultos". It more or less means, "The Hidden". I am intimate with the hidden. It inspires and revives me. You could say I am a vampire for what is secret. And what a feast it is to dwell in 'hidden' Venezia. I can't tell you how much it thrills me. I am in my element.

I will situate this novel with just a few boring facts.

The year is 1422, months before the election of the conquest minded Doge, Francesco Foscari, a significant turning point both politically and economically. But for now, there is prosperity. The Venice Republic rules Padua, Verona and a gaggle of other colonies in the Mediterranean including Cypus, Santorini, Mykonos and Crete. It has long defeated Genoa, its main military rival and is in an on-off alliance with Florence with which it remains for the most part, cordial. It trades heavily with Constantinople and  is happy to ignore the Catholic Church if this one interferes with its trade and its ability to draw profit from the Muslim lands. It is a peaceful time for the ruling patricians. 1509 is far. The League of Cambrai has not yet arrived at the Republic's doorstep to bring the Venetians to their knees. We are in a golden age.

But a series of gruesome murders is about to take place on the eve of Carnivale. Enter Antonio da Parma. Tuscan, newly widowed, appointed by the Consiglio dei Dieci to investigate these grizzly murders involving a wealthy and not-so virtuous group of senior patricians. One of them, Giacomo Contarini, has an especially dirty past. And judging from the rumours abounding, the Contarini name is doomed to be soiled. Things are not going too well for Antonio da Parma. As an inquisitor, he is known for being susceptible to occultic beliefs, something which we learn has tainted his past investigations. And the Consiglio dei Dieci want none of that.

Antonio da Parma is a captivating man. He says so little about himself in his letters and in his diary. Incidentally I should mention the epistolary form of this novel. Yet we discover so much of his yearnings and passions through the voices of others. We could say that he is the novel's true mystery. Antonio da Parma is also a mystery to himself until he finally discovers the real reason for his being in Venice.

I am having way too much fun writing The Mascherari and describing all the masks, both material and psychological, that I come across. It is a real pleasure. If you think I am writing for myself, you are right.

There is much to keep me enthralled. There is child kidnapping. There is much feasting and Carnivale reveling. There are secret denunciations and sbirri attacks. Sleazy visits to San Cassiano's red-light district. There is an old crone near the Arsenale who sells protective charms. A foreign witch with a beauty so enchanting that she becomes, despite herself, the downfall of a once happy marriage. There is Magic. Encrypted messages. Endless jealousy, Treason, Murder and my favourite part, true Friendship.
Most of all, there is a mystery behind which lies a conspiracy so evil that you will never see Venezia in the same way again...

But I must say this. Even as I paint it with a darkened colour, I love the Republic. She has stolen my heart, that witch. I love everything I have learnt about this early Renaissance period. I love being in the recesses of my mind and speaking with the voices of my characters, being them, dressing like them. Ah, Velvet... Give me Velvet! I love all my characters with their faults, their strengths and their weaknesses. I know that my complete immersion into this world would not have been successful if I had not made a decision to quit my day job. Business analysis, you are far.
But wait for me.

Unfortunately I will find my writing and editing interrupted after the mid year. Still it is a fantastic cause as I will be moving to Sydney, a place where I have long wanted to live. You can say this is a dream come true in a sense. Hard work in another. I will need to return to the 21st century, busy myself with finding the basics of life: shelter; a new day job; and hopefully re-integrate myself into my new city as much as possible.

But if it all goes well, if the artwork progresses as expected, and if I do not fall ill from the jettatura, then The Mascherari should be released by mid-2014.

The Ming Storytellers - Paperback Release

I am pleased to announce the Paperback release of The Ming Storytellers on 

January 2013.

To celebrate this occasion, one lucky person will WIN an advance paperback copy of The Ming Storytellers. Talk about a Christmas present... 

And wait! There's more...we are speaking about a dedicated and SIGNED copy of this absolutely gorgeous book set in China's Ming Dynasty. How can you not want this?  

But seriously, how can you not want to ditch your e-reader for a hefty 633 pages? This is, after all, a historical novel. It demands the traditional reading experience with the forearm cramps, paper cuts and all.

To be in the draw to win, please click here and follow the competition instructions.

The winner will be announced shortly after the Australian New Year's Eve countdown on 01/01/2013.  

The Council of Ten

I seem to always return to the secret and the mystery within history.

I don't know why.

Some very pleasurable days ahead, wandering in Venice's sestieres, inventing the canals at dawn through the eyes of Antonio da Parma, my main character. In this flurry of research, underneath the silks and draped turbans, beyond the Venetian merchants, the glittery world of artisans and the orgiastic madness of Carnivale; past the putrid den of a Jewish physician who mulls over the sores of a decaying man, I am losing myself in historical works by masters before our time.  Victor Hugo's Angelo.... Lord Byron's The Two Foscari...
And a more sinister joy surges in me, that of encountering those I know. Or rather, I feel I know them well.

The Three Capi and those others...the Consiglio dei Dieci, who we call The Council of Ten.

Am I ready for the evil? The evil of Venice.

Why, yes. Of course.

"

‍Keep

Those maxims for your mass of scared mechanics,

Your merchants, your Dalmatian and Greek slaves,

Your tributaries, your dumb citizens,

And masked nobility, your sbirri, and

Your spies, your galley and your other slaves,

To whom your midnight carryings off and drownings,

Your dungeons next the palace roofs, or under

The water's level; your mysterious meetings,

And unknown dooms, and sudden executions,

Your "Bridge of Sighs," your strangling chamber, and 

Your torturing instruments, have made ye seem

The beings of another and worst world!

Keep such for them: I fear ye not. I know ye;"

                    - Marina, wife of Jacopo Foscari, to the Council of Ten,
                                                                in Lord Byron's The Two Foscari

When the Mongols Invaded Vietnam - A History of an Independent People

For those who do not know my grandmother, Phuong Lan and who misguidedly fall into the trap of their own prejudices or else employ irreverent condescending language towards a 'little old Vietnamese' woman, you are in for a BIG surprise.

There is nothing seemingly fierce about this peaceful, broad-faced, soft-skinned five-foot woman who enjoys the company of her little cubs (aka, her grandchildren) and demonstrates artful patience in the kitchen. But show her an ounce of disrespect or else badmouth her ancestors and you will find a woman who can defend herself. You will be subjected to a well-timed repartee whose wit is as admirable as its ability to cut to the core.

Appearances are deceptive.

When people encounter peaceful, non-boisterous others, they are tempted to judge them as weaker or else attribute their retiring demeanour to lack of ability.

In Eastern cultures especially, this attribution could not be further from the truth. Recall Lao Tzu's emphasis on seemingly soft, flowing water and its ability to carve rock over time. Strength has a different meaning in the East where one's flexibility, one's ability to 'bend' is a marker of strength.

But this should not be seen as a sign that those who bend will bend forever. The decision of whether to bend, to 'let it slide' or to fight back comes with wisdom. It comes with an evaluation of the right action to take for the greater good.

When does it become necessary to fight back?

If it is only your ego under attack: Bend. Bend.
For what is ego? Why does it matter? And would you ruin your relationships to preserve your ego?
(Though one has to discard relationships that are toxic...)

But what if your country is under attack? What if it is more than your own petty preoccupations at stake?

Since I began this post about my grandmother, I want to reflect on an impressive Vietnamese battle.
This is a battle that was fought by the Vietnamese people in the 13th century. The Battle of Bạch Đằng. It took place when the Mongols tried to invade the Vietnamese land, just as they had previously invaded most of the world and were at the time, the rulers of China.

In this battle, Genghis Khan's grandson, Kublai Khan, who had since conquered the Chinese and led to the collapse of the Song Dynasty, sent the Mongol fleet to take Vietnam or what was then called, Đại Việt.

It was a mighty fleet that Kublai sent. It had 500 vessels, manned by one hundred thousand men. Please note that the Mongols did not build this fleet. They appropriated it from the Song Dynasty Chinese and initially, the Mongol navy consisted of Chinese defectors.

 Let us see what happened in this battle, when the might of the then world, came ploughing at the Đại Việt's door...

The Battle of Bạch Đằng
The painting above shows the distressed Mongol fleet after it was lured into a Vietnamese naval ambush.
It does not look good.

It turns out that The Battle of Bạch Đằng was the third invasion into the Đại Việt by the Mongols. The Mongols had been defeated twice before but they were at it again. For this third battle, Kublai Khan had entrusted victory to his general son, Toghan. "Son, do me proud!" And for the third time, the Mongols were militarily defeated by the Vietnamese Tran generals.

In a period where the Mongols stood as the uncontested leaders of the world and had subjects across many nations, the Vietnamese successfully resisted them for thirty years.

Kublai Khan was so furious upon learning of this defeat, that he banished his own son, Toghan, for life. I suppose Kublai Khan's ego was severely trampled on at this point and his reprisal is a perfect example of someone who cannot 'bend' gracefully.

In the end, however, the Tran rulers officially agreed to pay tribute as Kublai's 'subjects' if only to avoid further war which was ruining their own people. Resistance, no matter how successful, was costing lives and so the Vietnamese accepted the loss of face and chose to 'bend' for the greater good.

I enjoyed highlighting the Mongol-Vietnamese war for two reasons. On the one hand, it illustrates what happens when we undermine our opponent. In this story, the Mongols undermined the Vietnamese. Surely, it should have been easy to take the Đại Việt given their other conquests? But it was not.
This is a reminder of the strength of what we perceive as 'little' things. It is also a reminder of the endurance and determination of those who feel self-righteous in defending their own land.

The other reason for this post is that I think the Vietnamese people are not given credit for their strategic genius and their fighting spirit. I sought to highlight their amazing achievements. They are peaceful people who for years have suffered invasions and or colonialism. Yet they have proved time and time again that they will fight, and successfully so, for their independence.

The Vietnamese resistance to the Mongols in the 13th century is only one example of their spirited rise in the face of invasion. In later years, during the 15th century Ming Dynasty, Chinese emperor Zhu Di was fully aware that the Chinese invading army was not faring well in Vietnam. He ought to have known, given that his army had since appropriated samples of Vietnamese-made firearms, known then to be technologically superior than the Ming cannons. He knew long before his death that the Vietnamese would eventually win and reclaim their independence.
And he was right. In 1427, three years after Zhu Di's death, after 10 years of battling the Chinese, Vietnamese leader Le Loi defeated the Ming army and proclaimed the Đại Việt’s independence.

There is another story along those lines... The story we are all familiar with. A story where Vietnamese soldiers were pitted against the French imperialist force and then later against the greatest army in the modern world: the US military.

Of course, there were no real 'winners' in the Vietnam-US war, since war is a harbinger of loss and tragedy for all sides. But having said that, it is clear that the US, just like the Mongols before them and just like the Chinese during the Ming Dynasty, did eventually retreat.

Sometimes 'bending' is good for all.

I leave you, now with these two strong Vietnamese sisters.

The Trung sisters. Two Vietnamese women, amazon-like figures whose story you may Google, a story that was originally passed down orally for generations in Vietnam's early history. Distrust of oral tradition has given their story a legendary reputation. But we know better.

It is not legend.

The Ming Storytellers - Sexuality

Issues of sexuality, sexual frustration and sexual obsession are an important undercurrent of the historical novel, The Ming Storytellers.

At the very core we have a world, the Forbidden City, where the only male population consists of an impotent emperor, Zhu Di, and his hundreds of castrates. Both ironically feel their inadequacies and both look to other worldly ambitions to compensate.

Zhu Di knows that he is unable to perform and in an attempt to dupe the world that he is still a virile man, continues to supplement his harem with yet more beauties from as far as Korea. Zhu Di persists in rubbing himself with aphrodisiac ointments and consulting with his physicians to improve his condition. Finding himself unable to perform, he assuages his masculinity on the military field.

Meanwhile the eunuchs who have sacrificed their manhood in order to accede to an imperial position understand that they will never have other means to succeed in their life than to serve their emperor. Maimed, conscious of their differences, plagued by lifelong health problems and sexually frustrated, they direct their ambitions, finding self-esteem and meaning in ascending the echelons of eunuchism, competing for roles and or often driving themselves to complex and illicit affairs with concubines.

For the hundreds of bored and sexually unfulfilled concubines in Zhu Di's harem, relief is found in forbidden literature. The women secretly indulge in the printed tales of the Ming storytellers, renown for their dubious virtue. They devour lascivious erotic vignettes, a Ming equivalent for pornography which arose during this period with the development of the printing industry.
In much the same way, Kareem, an envoy from Zanzibar is himself not foreign to the use of literature to compensate for the lack of spice in his bed. While his highly obsessed partner, Shahrzad, whiles her journey aboard the Ming fleet compiling theories about her idol, Admiral Zheng He, Kareem plunges ever deeply into the classic Persian volumes of One Thousand Tales (Arabian Nights).

Back in the Inner Palaces of the Middle Kingdom, bored and unfulfilled imperial concubines like the main protagonist, Min Li, become trapped in a form of fantasy, where they pine for unrequited forms of love. They become obsessed with eunuchs, perhaps men who believe themselves to be so inadequate that they shut themselves in a protective shell, convinced that they are undeserving of any adoration.

One such eunuch, Zhijian, will have to bear the frustration brought upon by castration all his life. He fills his time with the senseless completion of routine chores, without so much of a career goal, having abandoned all motive for life. The only escape from his torment is the obsession that he will develop for Min Li. His only joy following the castration that has deprived him of all he wanted from this life, is to seek every rumour concerning this one woman that he knows he can never have and who belongs to the emperor.
Zhijian will project his anima onto Min Li believing her to be pure and faultless, convinced that she is like him, a victim about to be slaughtered. Unable to function sexually, Zhijian elevates Min Li to muse status. He places her on a pedestal, relishing his platonic devotion as a welcome refuge because if he were to see her as a woman and desire her, he would ultimately need to face the 'villainy' of his physical condition.

But returning to the women of the palace, we find in the Ming Storytellers, another brand of sexual frustration one which perhaps would not be so problematic today, at least in many parts of the world.
It is the frustration of women who love other women and who are either forbidden to publicly meet due to social constraints or who entertain a secret passion for a loved one, a passion they hide, for fear of rejection.
The Ming dynasty is not foreign to sapphism. Palace women were known for having affairs with each other and wooden dildos have been found in the ruins of ancient Han palaces.

At the other extreme, there is another complex character who embodies a man completely at peace with castration yet who nevertheless suffers the frustration of remaining a man. Ji Feng is a eunuch, criminal at that. My conception of this character can be read in many ways. At the simplistic level he is a sexual criminal. At a more twisted level he is a man who has not 'come out' with his homosexuality. He experiences every woman as a threat, seeing them as creatures he can never compete with and whose form he can never hope to achieve.
Yet Ji Feng remains completely unaware of his own sexuality and of his seething jealously, nor is he conscious of his motivations for wanting to hurt women and see them under his power. Ji Feng's criminal impulse and his voyeurism, compound to produce a perverse individual capable of the worse crimes towards a gender that he cannot attain.

One salient undercurrent of The Ming Storytellers is the common theme of frustrated sexuality and soul-consuming sexual obsessions. It depicts a contrived world with extreme social taboos and physically maiming traditions, a world where eunuchism and forced concubinage combine to produce frustrated human needs that more or less contribute to the characters' journey.