Showing posts with label dystopian fiction. Show all posts
Showing posts with label dystopian fiction. Show all posts

Monday, April 13, 2015

The Page 69 Challenge


Turn to page 69 of any book and read it. If you like that page, buy the book.
That was Marshall McLuhan’s advice anyway. Barb Taub invites readers to submit their own or other works (pg. 69 only of course!)
http://barbtaub.com/2015/04/13/page-69-challenge-excerpts-from-leaning-into-love-memoir-and-its-a-nightmare-dystopian-feminist-fantasy-fiction/

It’s a Nightmare (The Gold Stone Girl, Book 1) by Nicole Quinn

Genre: Dystopian feminist fantasy fiction
Its A Nightmare cover Nicole QuinnMina, a rogue DreamWeaver, is born in the Off-grid of the Night Mare’s Winkin City, a world, where human females are kept as cattle, and licensed as domestic pets. She’s found inside a willow tree, alongside lygaeidae hibernating as larva. Mina lives the life of a human-breeder, who discovers that in order to survive, she must change everything.

Page 69 (BlueBarnProductions, May 11, 2014)
The voice inside my head pipes up, Pilar was raised as cattle, always intended for trade or sale. Stooped Helga has survived three owners already, while Chinaka’s people want the evil spirit beaten out of her, before they’ll accept back. Soo doesn’t talk, so she’s never heard. You have known humanity.
Day after day we sit on our cushions in yurt #13, watching Pater Dick strut his
lessons. In the winter, it’s freezing. The Pater’s meager government allotment of wood he reserves for his personal use, while he sends us out, harnessed together like a pack of hounds, to hunt for felled branches. In the summer, it’s sweltering, both inside and out.
Nicole Quinn is a WGA writer.  Her feature film Racing Daylight (writer/dir) stars Academy Award winner Melissa Leo and Emmy winner David Strathairn, and it's streaming everywhere.   Nicole won the Harper Audio contest to read on Neil Gaiman's American Gods.  She has produced a dozen audiobooks and narrated as many,  It's a Nightmare, The Gold Stone Girl, book 1, has been nominated for a Tiptree Award.
Nicole Quinn is a WGA writer. Her feature film Racing Daylight (writer/dir) stars Academy Award winner Melissa Leo and Emmy winner David Strathairn, and it’s streaming everywhere.
Nicole won the Harper Audio contest to read on Neil Gaiman’s American Gods. She has produced a dozen AUDIOBOOKSand narrated as many, It’s a Nightmare, The Gold Stone Girl, book 1, has been nominated for a Tiptree Award.
“The three stones you choose at Registration are the predictors of your behavior. What we will expect of you. Gold, silver, vermillion, yellow, blue, grey, scarlet, green, pink, and white. Each color has a meaning, to help us identify and weed out the trouble makers early. To understand which of you deserve preferment as pets, and perhaps as media.” He looks around at the five of us.
“No, I guess not.” He says with a snort. Pater’s Dick’s feet stop in front of me. I don’t look up. After a pointed pause, he moves on.
“The most sought after stone, of course, is the gold, which trumps all other stones in its value to society. There is no greater honor for a breeder than to pull the gold stone.
That lucky girl gives her life to the Night Mare, in reparation for our sins.
“The most recent gold stone pulled, however, was a fake. Several hundred cycles back,” Dick tells us.

Sounds good? Get more information or your copy of It’s A Nightmare from:

I would really love to feature your Page 69! Use Contact Form here to submit your favorite Pg 69 (your own or other’s work) 

Monday, April 6, 2015

Against Type: Rewriting the She-Ro





http://www.rewritingmarysue.com/rms/rewritingtheshero

April 5, 2015
When I discovered that baby girls were being thrown away, I needed to write about it.  I wanted to understand a society where that could happen, where females were complicit, where it was of the culture.  To venture so far into the dark, I needed hope, and someone to embody it.  I needed her to be someone I would want to follow from fear and darkness, into the light. 

Mina, the protagonist of my epic trilogy, is a rogue Dream Weaver, recast in the Night Mare’s government-church dogma as, The Gold Stone Girl.  She’s the human sacrifice the Night Mare, the demon ruler of the world, must consume to renew the planet, and herself.  It’s not a light burden. 
In characterizing her, I wondered what decisions I might make in a restrictive society. What if I could be boiled in oil by a drug lord, or tortured to change my religion?  Have acid thrown in my face for being too enticing, or too confident.  A bullet put into my head for going to school?  What if rape were a common occurrence when I had to forage for food and kindling, or if I walk alone at night, or if I let a guy buy me dinner?  What if girl babies were put to death as an everyday matter of course all around me?  What if my labia and clitoris were removed just before puberty, as a cultural tradition? What might I sublimate of my own will just to live?  This is the world I gave Mina to survive.  
Mina is found inside a tree, and raised by outsiders, Off-gridders, which allows us all to get to know the Night Mare’s horror from a distance, at least in the beginning.  Then I gave Mina the task of having to save the whole world, in order to save herself.  Ultimately everyone has a stake in her success, or failure, even the Night Mare
Mina’s a reluctant hero who slips through the cracks of the Night Mare’s system, a system set up specifically to find her.  She wants to be normal, like everyone else, except for being owned, and abused.  So in order to find a new normal, Mina has to undertake the extraordinary, she has to discover who she is, from inside herself, as all record of her legend has been expunged by her enemy.  

I wanted to create the type of confident woman I’d long admired in novels about housekeeping, Jane Austen heroines, and such.  Women who aspired to lives that were not allowed to them.  Even if the perceived stakes weren’t high, will I marry on my own terms, in partnership, in love, or will I not marry at all, in a world where marrying meant you were property, and, not to, meant spinsterhood, financial ruin, and familial shame.  It was a time when widowhood was the only state in which a woman could own her own life, though not always her own property if it was entailed away to the next male in the family line.
I didn’t want Mina to be the she-male of gamers and graphic novels, hyper-sexualized and hyper-violent, something to be caged and tamed, before she’s killed.  I wanted someone less two dimensional.  Someone flawed, who makes mistakes and grows from them.  I wanted her to understand how to physically defend herself, and others.  I wanted her to know how to survive the planet. What doesn’t kill her does make her stronger, but in her heart she's flight, not fight.
Mina’s greatest gift is in her ability to separate her own self-worth, from the stereotypes by which all females on the planet Blinkin are prescribed by law.  Mina’s journey is to turn a perceived weakness, her ability to dream, into the basis of her strength and confidence.  Mina’s magic is belief in herself.  She doesn't dream of rescue, she dreams of rescuing herself.

Nicole Quinn is a WGA writer.  She's written scripts for HBO, Showtime, and network television. Her feature film, RACING DAYLIGHT, (starring Academy Award winner Melissa Leo and Emmy winner David Strathairn), is streaming everywhere. She won the Harper Audio contest to read on Neil Gaiman's 10th anniversary full cast audiobook American Gods. She has produced a dozen audiobooks and narrated as many. Her plays are published by Playscripts, Inc.


Are you a writer, like Nicole Quinn, with female characters who defy tropes and overturn expectations? Why not submit your own essay to us? We would love to hear how your #UnabridgedWomen characters are rewriting stereotypes!

Wednesday, March 4, 2015

Against Type: The Wicked Mother

by Nicole Quinn

http://www.rewritingmarysue.com/rms/againsttypewickedmother






When villains are female they’re often unsexed, or hyper-sexed.  Cast as stepmothers, wicked step mothers, they are rarely maternal.  The bad girl’s tragic flaw often stems from a man who done her wrong, or a childhood trauma.  Seldom is it pure lust for power, a common motivator in the male villain.  

When I went looking for an anti-hero I'd already cast the protagonist as a dreamer.  Her opposite, a nightmare, I found in stories of old, as a she-demon who sits on men’s chests while they sleep, sucking at their dreams.  She seemed tailor made.

Anka is the anti-hero of The Gold Stone Girl series.  She’s the ruler of Winkin, a one city world where human females are bred like cattle, and licensed as domestic pets, while human males fare but slightly better.  She’s the Night Mare, a title conferred on her in the long ago, when she was first given the job to be the negative polarity of the planet, the polar opposite of her sister, Alma, the Dream Weaver.  Anka killed Alma in the long ago, to rule alone and forever.

The Night Mare defies the stereotype of gender, even as she imposes gender strictures on her subjects.  She’s filled with contradictions, as most are when rubbed up against convention.  She’s not nice, she’s not feminized, and yet she’s decidedly female, and also a mother.  She’s someone who exercises the limits of her power with confidence and gusto.  Evil is not gendered, nor is consciousness, and that is the point Anka makes in codifying a world predicated on the one which preceded hers, ours. 

The Gold Stone Girl story is inherently feminist.  I didn’t want to scare off half of its potential readers by making it a them and us society, with an evil man subjugating women.  I’m trying to de-gender behavior with Anka.  I wanted a humanist point of view, where we all have to stand in judgment of the actions, and not the gender of the perpetrator.  Anka subjugates human males as well, but she makes them superior to women, as happens in the world now.  She makes human males abusive, by law, and  human females legally 3/5 human, just as the US government classified African slaves, to rationalize that atrocity.  

Anka employs horrors that already haunt us. She institutionalizes them, she makes them normal. It’s a Nightmare, book 1 of the trilogy, starts a million years into Anka’s rule.  These behaviors are entrenched in the culture. No one questions the dogma of the Night Mare’s government-church now, they just live by it.  It’s been long enough into this nightmare forever, for it to seem like a long time, even to Anka.  Even she’s ready for a change.

I wanted the anti-hero to have the capacity for change, what is a world of extremes without forgiveness?  I’ve given her a child,  because it’s a side we don’t often consider.  It’s the side we trivialize as weak, simply because it’s female.  Even monsters have children.      

Anka never meant to carry her child to term.  Demons normally embed their fertilized eggs into the planet. But when she saw how the humans did it, with all the blood, and the mewling, she thought she’d breeze right through it.  She was screaming for the child to be murdered less than three centimeters in.  

Anka loves her son, Reve, sired by Boreas, the North Wind, in a tempestuous relationship.  Anka worries about her son, the way all mothers worry, is he safe, are his socks dry? Yet, she’s the reason he has never evolved beyond the two dimensional heroic villain he plays, the role he’s been assigned in her society.  He’s a matinee idol who rescues human females from the clutches of his mother’s monsters, on the screens.  Anka wrestles with her motherhood, with her softer side, while her son wrangles with who he might be on his own, outside of his mother’s world.  

Maybe that’s why females love their children so, the old demon muses, because we risk own lives to give them theirs.  The ungrateful wretches.

What I’ve come to, in the writing of these polarities, is that no one wants the job to which they’ve been assigned, no one wants to be categorized by the extremes on a spectrum forever.  The Night Mare wants to dream, and the dreamer must choose to be strong, or be eaten. Both characters are ultimately questing for a place where good and bad can become something less rigid, something more like, not all good, and not so bad, more human.  An interesting quest for demons to take on our behalf.

Are you a writer, likNicole Quinn, with female characters who defy tropes and overturn expectations? Why not submit your own Against Type essay to us? We would love to hear how your #UnabridgedWomen characters are rewriting stereotypes!

Saturday, February 21, 2015

hon·or/ˈänər/



Women As Property, Events, Button Museum
noun
  1. high respect; esteem.
  2. a privilege.
  3. a woman's chastity or her reputation for this.
  4. an ace, king, queen, or jack.
verb
  1. regard with great respect.
  2. fulfill (an obligation) or keep (an agreement).

Thousands of Women Killed for Family "Honor"


Hillary Mayell
for National Geographic News
February 12, 2002
Hundreds, if not thousands, of women are murdered by their families each year in the name of family "honor." It's difficult to get precise numbers on the phenomenon of honor killing; the murders frequently go unreported, the perpetrators unpunished, and the concept of family honor justifies the act in the eyes of some societies.
Most honor killings occur in countries where the concept of women as a vessel of the family reputation predominates, said Marsha Freemen, director of International Women's Rights Action Watch at the Hubert Humphrey Institute of Public Affairs at the University of Minnesota.
Reports submitted to the United Nations Commission on Human Rights show that honor killings have occurred in Bangladesh, Great Britain, Brazil, Ecuador, Egypt, India, Israel, Italy, Jordan, Pakistan, Morocco, Sweden, Turkey, and Uganda. In countries not submitting reports to the UN, the practice was condoned under the rule of the fundamentalist Taliban government in Afghanistan, and has been reported in Iraq and Iran.
But while honor killings have elicited considerable attention and outrage, human rights activists argue that they should be regarded as part of a much larger problem of violence against women.
In India, for example, more than 5,000 brides die annually because their dowries are considered insufficient, according to the United Nations Children's Fund (UNICEF). Crimes of passion, which are treated extremely leniently in Latin America, are the same thing with a different name, some rights advocates say.
"In countries where Islam is practiced, they're called honor killings, but dowry deaths and so-called crimes of passion have a similar dynamic in that the women are killed by male family members and the crimes are perceived as excusable or understandable," said Widney Brown, advocacy director for Human Rights Watch.
The practice, she said, "goes across cultures and across religions."
Complicity by other women in the family and the community strengthens the concept of women as property and the perception that violence against family members is a family and not a judicial issue.
"Females in the family—mothers, mothers-in-law, sisters, and cousins—frequently support the attacks. It's a community mentality," said Zaynab Nawaz, a program assistant for women's human rights at Amnesty International.
Women as Property


There is nothing in the Koran, the book of basic Islamic teachings, that permits or sanctions honor killings. However, the view of women as property with no rights of their own is deeply rooted in Islamic culture, Tahira Shahid Khan, a professor specializing in women's issues at the Aga Khan University in Pakistan, wrote in Chained to Custom, a review of honor killings published in 1999.
"Women are considered the property of the males in their family irrespective of their class, ethnic, or religious group. The owner of the property has the right to decide its fate. The concept of ownership has turned women into a commodity which can be exchanged, bought and sold."
Honor killings are perpetrated for a wide range of offenses. Marital infidelity, pre-marital sex, flirting, or even failing to serve a meal on time can all be perceived as impugning the family honor.
Amnesty International has reported on one case in which a husband murdered his wife based on a dream that she had betrayed him. In Turkey, a young woman's throat was slit in the town square because a love ballad had been dedicated to her over the radio.
In a society where most marriages are arranged by fathers and money is often exchanged, a woman's desire to choose her own husband—or to seek a divorce—can be viewed as a major act of defiance that damages the honor of the man who negotiated the deal.
Even victims of rape are vulnerable. In a widely reported case in March of 1999, a 16-year-old mentally retarded girl who was raped in the Northwest Frontier province of Pakistan was turned over to her tribe's judicial council. Even though the crime was reported to the police and the perpetrator was arrested, the Pathan tribesmen decided that she had brought shame to her tribe and she was killed in front of a tribal gathering.
The teenage brothers of victims are frequently directed to commit the murder because, as minors, they would be subject to considerably lighter sentencing if there is legal action. Typically, they would serve only three months to a year.
In the Name of Family Honor
Officials often claim that nothing can be done to halt the practice because the concept of women's rights is not culturally relevant to deeply patriarchal societies.
"Politicians frequently argue that these things are occurring among uneducated, illiterate people whose attitudes can't be changed," said Brown. "We see it more as a matter of political will."
The story of Samia Imran is one of the most widely cited cases used to illustrate the vulnerability of women in a culture that turns a blind eye to such practices. The case's high profile no doubt arises from the fact that the murder took place in broad daylight, was abetted by the victim's mother, who was a doctor, and occurred in the office of Asma Jahangir, a prominent Pakistani lawyer and the UN reporter on extrajudicial, summary, or arbitrary executions.
In April 1999 Imran, a 28-year-old married woman seeking a divorce from her violent husband after 10 years of marriage, reluctantly agreed to meet her mother in a lawyers' office in Lahore, Pakistan. Imran's family opposed the divorce and considered her seeking a divorce to be shaming to the family's honor. Her mother arrived at the lawyer's office with a male companion, who immediately shot and killed Imran.
Imran's father, who was president of the Chamber of Commerce in Peshawar, filed a complaint with the police accusing the lawyers of the abduction and murder of Imran. The local clergy issued fatwas (religious rulings) against both women and money was promised to anyone who killed them.
The Peshawar High Court eventually threw out the father's suit. No one was ever arrested for Imran's death.
Imran's case received a great deal of publicity, but frequently honor killings are virtually ignored by community members. "In many cases, the women are buried in unmarked graves and all records of their existence are wiped out," said Brown.
Women accused by family members of bringing dishonor to their families are rarely given the opportunity to prove their innocence. In many countries where the practice is condoned or at least ignored, there are few shelters and very little legal protection.
"In Jordan, if a woman is afraid that her family wants to kill her, she can check herself into the local prison, but she can't check herself out, and the only person who can get her out is a male relative, who is frequently the person who poses the threat," said Brown.
"That this is their idea of how to protect women," Brown said, "is mind boggling."
Ending Violence Against Women
Violence against women is being tackled at the international level as a human rights issue. In 1994 the UN's Commission on Human Rights appointed a special rapporteur on violence against women, and both UNICEF and the UN Development Fund for Women have programs in place to address the issue.
But the politics of women's rights can be complex. Last year the special rapporteur on extrajudicial, summary or arbitrary executions was criticized by a coalition of member countries for including honor killings in her report, and a resolution condemning honor killings failed to pass.
Amnesty International is preparing to launch a worldwide campaign to halt violence against women in 2003.
But a lot of the work needs to be done at the local level.
"Police officers and prosecutors need to be convinced to treat these crimes seriously, and countries need to review their criminal codes for discrimination against women—where murder of a wife is treated more leniently than murder of a husband, for instance," said Brown.
Countries that don't recognize domestic violence as a crime at all need to bring their penal codes up to international standards, she said, adding that increased public awareness and greater education about human rights would also help.
Some progress has been made.
In a National Geographic documentary (which airs beginning Wednesday, February 13), Michael Davie investigated honor killings in Pakistan, where it is estimated that every day at least three women—including victims of rape—are victims of the practice.
The case of one of the victims Davie examined is heartbreaking but also hopeful. Zahida Perveen, a 29-year-old mother of three, was brutally disfigured and underwent extensive facial reconstruction in the United States. She is one of the only survivors in Pakistan to successfully prosecute the attacker—her husband.
"The reason honor killings have emerged as a human rights issue is that it's the only way ultimately that it can be addressed," said Freeman. "Naming the problem and bringing international attention to it highlights the refusal of some of these governments to shine any kind of light on their failure to protect their own citizens.
"Change can't happen if it's just people working inside the system; they're overwhelmed. International campaigns and media attention give them some ballast and the ability to say 'Look, the world is watching what is going on here,' and provides support for making change in their own countries."

Sunday, February 1, 2015

FREE DOWNLOADS!

Today-2/5/15, to celebrate the release of book 2

Mina is a rogue dreamer born into the Night Mare's world, a place where human females are 3/5 human, traded like cattle and licensed as domestic pets.  Mina learns that in order to survive the Night Mare's Blinkin, she has to change it.

It's a cautionary tale, and it's a good one.

book 2 continues the journey into the land of Disbelief, a dimension the Night Mare created to house all beliefs other than her own.


Saturday, January 31, 2015

Chapter Four



To Off-Grid  
Reve enters the Manus Market from the North, the side where the herbalists and spice vendors sell their wares. The market is noisy and crowded.  He’s looking for Bubba’s stall. He pushes his way down the crowded row to find it, in the middle of the aisle, on the right.  
It’s empty -- just a plank of wood held up by two saw horses, surrounded by walls of flapping saffron cloth.  
Reve doesn’t linger to be noticed by the curious neighbors, the other Off-Grid homesteaders, selling fragrant spices from large clear metal canisters.  Reve walks on, past the button sellers, and the tinkers, deciding that he’ll trek to the Bubba’s homestead by the sea.  But first, he must get rid of Lord Nightmare, and become someone else.
He smells the man he will ask to become him, long before he sees him.  He turns toward the honied scent, and sniffs at the air, his nostrils flaring.  He singles out the whiff of peaches, simmered with sandalwood, amber, and a whisper of myrrh.  This odor is familiar to the Dream Snatcher, and the memories it brings are not unkind,           
He’d attended SUL festivals, held at the interior’s molten lakes.  When the tides are low, the pools fill waist deep in warm water.  Arctic runoff meets lava flow in a roaring hiss, and a cavern of steam.  The several lakes are lumped with lava rock islands, and the SUL scent swirls freely into the lapping water, making its intoxication subtle and euphoric.  
Reve has a good nose for scents, most demons do.  He also knows the SUL to be a race of madmen, and of oracles.
Reve scans the market for the SUL he smells.  His eyes travel over the rows of brightly colored stalls in front of him, until he reaches the livestock end, where at last he sees the eyeless man, leaning over a corral of goats.  
“Yes, why not?” Teloh says, even before Reve taps his shoulder.  
“I’m ready for a journey.” The SUL man says, looking up from beneath the wide brim of his hat, to look Reve in the eye with his own, if he had any.  
Reve scrutinizes the face of this SUL.  How like the human they are, and yet not, he considers.  Theres’ a smooth patch of translucent skin over the hollows, where eye sockets might have been, leaving an enormous forehead.  A skim coat of green mud is dried all over Teloh’s face, as protection from the sun.  Only the lack of eyes, his sweet scent, and the strange tangle of hair, seems inhuman.  
The SUL all resemble one another, with full lips, square jaws, long necks, a variety of hair colors, all in a tangle of tools and adornment dreaded down their backs.    
Teloh wears a wide-brimmed Off-gridder hat, which he pulls down low, hiding his lack of eyes.  He smiles wide, as if he’s hearing Reve’s thoughts.  His teeth are like perfect kernels of white corn.  The green dirt on his face flakes when he smiles, like a skin-disease.   
Yes, this man will do, Reve thinks.  He’s the right size, and he has the right attitude.
“Push me, pull you.” Teloh says, and he pulls the brim of his hat down even lower.  
“Maybe she’s over there.” The eyeless man says provocatively, pointing in every direction imaginable with both of his arms at once.
“What?”  Reve asks.  
He remembers that the gases have an impact on the SUL State of being.  The things they say could be nonsense, or they could be foretelling, but few of them can verify which is which.  
The SUL are not welcome by the Night Mare in Winkin City.  They’re too delusional, too apt to spout their dreams.  Dreams leave a trace, possibility free floating, anyone might catch them.  The Night Mare likes a good oracle, however, so she tolerates the SUL underground, and sparingly nomadic in the desert lands of the right. 
“Where has she gone?”  Teloh asks sadly.  
“I don’t know.”  Reve replies, his thoughts as always on Mina.
“Hope is a waking dream.” Teloh says, and he chuckles again.  
“You must dare to do it.” The madman says, and he sputters a stifled laugh.
“Do what?”  Reve asks.
“Dream, my friend, dare to dream.  Fantasies once were, you know, free?  Set her free, my lord.”  He attempts a jig, dancing his way into paroxysms of laughter.

Reve watches the SUL man, now wearing his black hide uniform and the Off-gridder hat pulled down low, as he heads down that away and over there, by way of the interstellar screen, chattering nonsense, or brilliance, as he goes.  Reve’s given Teloh a handful of credit and an open visa.  
“Dare to dream.”  Reve mutters to himself.  “Why not?”  

Wearing Teloh’s clothes, and a skim coat of green mud across his face and arms, Reve stocks up on provisions for his journey through the left lands to find the Bubbas.  He trades credits for a few pieces of fruit, a lump of cheese, a round of bread, and a skin of water, planning to supplement his diet from the farms and orchards he expects to find along the way.  
He figures that the best place to get to know someone is where they grew up.  Mina already knows the worst about him.  It’s time to balance the scales.  

Reve’s exiting the Market, toward the left, when a man shouts in his ear.
“I don’t like the way you look!” He says.
Reve turns to see a big-knuckled fist punching at his face.  He feints left, and narrowly misses the blow.    
A dream policeman, his face sweaty with last night’s drink, leers at Reve.    
“I said, I don’t like you.”  He repeats.
“Then let me leave this place.”  Reve says to the ground.
When the officer’s fist shoots out again, Reve catches it in his hand, without raising his head.  Then Lord Nightmare looks up into the dream policeman’s piggy-blue eyes, which widen in fright at Reve’s flaming copper.  
The sound of water on dirt, as the policeman wets himself in fright.    
“Let me leave this place in peace.”  Reve whispers in a voice so cold, that it leaves a trace of frost across the terrified man’s sweating face.  
The quaking policeman nods, beads of ice sliding down his forehead.  
“Be a good boy and run on home now.”  Reve says, a concerned parent.
The red uniformed man squirrels away through the crowd, which cleaves a path, and then closes.  
Reve wraps his Off-gridder scarf across his face, as protection from the biting sand, born on a rising wind.  He bows his head, and he heads left.

Reve expects this journey left to be one of bright sunlight on verdant valleys, lined with fruit trees.  These are his memories of the Off-grid to the Left, last visited, when, he wonders?  Not since Hoda, he thinks, and memories of the fey girl step forward to meet him.  Thin, frail and unhealthy was Hoda.  She was raised by a breeder in the herd, who claimed to have found her inside the stone wall of the building.  Hoda was sickly, neglected, and undervalued, until she pulled her gold stone.
His mother had been afraid of Hoda.  She worried that she might contract some wasting disease when she ate the girl.  But she ate her just the same.  How long ago was that, Reve wonders?  
He had loved them, all four of the Gold Stone Girls, to distraction.  He’d seen only his part in the tragedies of their deaths, his passion, not their peril, until it was too late.  Always, it was too late. The realization that he had not even considered saving them until it was much too late always snuck up on him, usually as his mother ate them.  Yes, that was the last time he’d visited the left lands, with Hoda, he thinks with shame.

What he finds now are charred fields, and orchards billowing smoke.  
By order of Nightmare law 57,475,330500463.1 (fifty-seven trillion four hundred and seventy-five billion, three hundred and thirty-million, five hundred thousand, four hundred and sixty-three, point one) all crops have been destroyed, to force a mass Off-gridder migration to the city.  This is President Bob’s latest effort to boost the dwindling numbers of Winkin’s human population. Most of Winkin’s humans have left the planet, seeking safe harbor at the closest space station, where they will be housed until they can be placed on host planets by the Intergalactic Council.

Reve has seldom traveled in Blinkin by foot.  He is mistaken about the distance and direction of the Off-grid to the left.  So what he imagined would be a day’s journey, takes him two moons, as he criss crosses the interior the wrong way.  Up and back down, to the right, and then finally left.
When Reve arrives at the Bubbas’ homestead, it’s after forty suns lean of food.  He’s dull eyed, hollow cheeked, and tatter clothed.  Reve appears now as what he has become, a shrunk and hungry vagrant. In truth, no one would recognize Lord Nightmare.
The road to the Bubbas’ homestead has changed too.  Once mowed straight up to the gates, in a long welcoming swath, through fields of golden wheat and wildflowers.  Now it zigs and zags, cut into a threatening labyrinth of tall corn, over which a wind of flames has blown, charring everything in its place.
Reve navigates the hypnotic sameness of the blackened corn maze for many days, and just as many nights.  He circles the blighted torment, lost again.  
Just when it feels as if he will have to admit defeat, when he will lay down and let the crows feed upon his carcass, he notices a subtle dent in the row of blackened, ladder high, corn.  It looks to him as if it’s been thinned just in that patch.  On closer inspection he notes a narrow path, which leads him at last to the homestead gates.    
Reve pulls charred wood from off the gate posts, to find a war zone left of what must have been the homestead, his hopeful journeys end.  The frail man drops to his knees, he slumps to the ground, and he sobs, watering the sooty earth with his disappointment.  

Long after he stops crying, Reve rolls onto his back and he stares at the blue-grey sky.  Then he hears the distant pounding of waves upon the sand, the low of cattle, and the snort of rut beasts.  Then comes the sound of a female singing.  
He lurches back up to sitting, and he really looks around.  He sees sagging buildings, roofed in charred-sod.  There’s a crippled mill-wheel out back of the tumbling shed.  Reve squints at the glint of sun, glaring off a sliver view of seawater, glimpsed between the broken milk barn and the house.  Then he sees chickens, clucking lazily, pecking at the grit mixed with ash for stray seed.     
He hears knocking.  Then he sees a bull sized man shouldering a beam, fitting it into a new notched column over the porch.  There’s clanking, and Reve’s tired eyes flick toward that sound. It’s a breeder.  No, that’s not the right word, but he cannot summon any other.  He raises a dirty hand to scratch at the several moon’s growth on his chin, and he remembers, of course, that she would be a human female.  If she’s raised Mina, he suspects she’s even more than that. 
Reve watches the woman, with the greying russet mane, bang a large metal ladle against the iron pot.  He imagines it bubbling its smells right into his belly.  His stomach gurgles with longing. 
Several dogs mill near the stone stove, under the graceful elm.  The beasts are unaware of Reve, his scent so mingled with the dirt of the maze.  When they do notice him, one hound pricks up his ears and lets loose a long howl, that infects his friends in a chorus of deep and scary growls.  They sniff at the dirt, they grab snorts of the air.  The dusty black dogs charge at the vagrant man, leaning on what use to be the gate post.  
  Reve sees fierce yellow eyes, and long wet teeth, which remind him, almost fondly, of his mother.  Two pairs of large black paws punch his chest at once, the force knocking him backwards.  
He sees wisps of clouds, covering a blue-grey sky, just before the world goes black.