The spaceship in The Cx Trilogy, Aqaara, is powered by Dante, an immense engine – the size of a concert hall – made up of a series of collider chambers which process dark matter during flight. The process is highly unstable and requires a reconfiguration every three days.
Aqaara is constructed in outer space, specifically in the Lagrangian orbit between the moon and Earth, thus eliminating the problem of leaving the planet’s atmosphere. Aqaara is composed primarily of anorthite, a high-grade mineral found in abundance on the moon.
An anorthite-obsidian alloy is used for the exterior of the craft while an anorthite-rubber polymer is the primary material for the ship’s interior. Is this believable? Yea or Nay? The power source is a much bigger challenge. To be shared soon.
America has been dipping too deep into the yin of late. The promise of this country, the freedom and all that, is repeated so much as to be almost believable, but the political landscape remains barren: 70 million people voted for Trump and Biden remains Biden. While it might be good to keep hope alive, an escape plan is worth consideration.
I’m thinking of a rocket to another planet where only highly empathetic people need apply. Good genes too. They would need to be genuinely involved to make this new society function. They would have to listen and engage – yes, actually doing those things. All prejudice would be left at the door. And all faith too. You can only believe in one another.
So, yes, there is a book about that, and I wrote it. Aqaara is available free online on Outer Places. At the very least, it’s a great escape from watching Arizona, Nevada, Pennsylvania, Georgia and all of the noise to follow.
Apparently there is nothing harder to write than a sex scene. (Wink, wink.) It’s either Henry Miller’s sweat (“she commenced rubbing her pussy affectionately”) or Pablo Neruda’s honey (“I want to eat you like skin like a whole almond”). Nothing in between. And that’s where I aim to come in. (Say no more.)
Dee Sinclair is not just a sex worker; she is a performer. She is featured in my last four books – My Bad Side, Anori, Aqaara and Mina – and embodies what sex in literature should be. In the words of Nancy Qualls-Corbett, she is “the bringer of sexual joy and the vessel by which the raw animal instincts are transformed…and made sacred.” (The Scared Prostitute, Nancy Qualls-Corbett.)
As Dee puts it: You know what I’m good at? I’m very good at balancing at the tip, my orgasm looming, you know, on those tender little nerve endings. And just when I might slide off sideways, before I reach that moment, letting that go and pushing harder, I stop, all taut and stupid, clinging to this moment like it might go on forever and keep it like that, everything at the tip, holding my hips high.
I try to make it a long leisurely thing, really thinking like that, and then slide into my mania again, and all I can see is the sex, just the flesh, naked and depraved, everything like I’m a kid again, and I’m holding it, holding it, staring ahead, lost, my hands digging in, snapping ahead, missing the steps as I come out of a dream and finally give in.
The Cx Trilogy is the simple story of leaving this planet. As common as this idea might be in contemporary science fiction – including everything from Star Trek&Star Warsfranchises to The Martian and Ad Astra – the central idea of abandonment, leaving everything that we know for a complete unknown, remains frightfully undeveloped. In other words, these films emphasize ingenuity and determination over the more likely issues of angst and despair once Earth Out of View Syndrome sets in.
The essential themes of nihilism and isolation are not only developed through character development and dialogue, but also in the speculative technology that identifies the desperate struggle to find identity when the origin of everything known is gone.
Second Skin (a synthetic anti-aging agent) and The Bearing (a ring-like portal to the internet) are prevalent throughout the first book, Anori, while The Hive (a fully immersive place of sensual pleasure) and boochies (doll-sized genetically mutated animals) are featured in Book Two, Aqaara, which documents the generational flight to the destination planet of Mina. All of these devices are intended to fulfill immediate individual desires and lead to division and isolation.
The use of speculative technology as a world-building tool, although present, is not as significant in the final book, Mina. The majority of the speculative devices have been in use throughout the trilogy, leaving the only thing new to build is the planet itself. (You can’t get more world-building than that.) The challenge with building another planet is our limited experience with distant worlds; we actually only have a few planets to use as models, this leading to a tendency toward arctic expanses, forbidding deserts and prehistoric beasts is hard to avoid. (See Interstellar, Dune & John Carter.)
I did use images of Pluto and Saturn for inspiration as well as the distant corners of Earth and settled on a highly volcanic planet with two suns. Water dominates the surface and so many of the life forms are water-borne, including the animal believed to be at the top of the food chain – a sort of hybrid leopard seal.
The ever-present sense of isolation is developed not only through the immense unexplored planet, but also through divisions in the mission itself. While a home-base, Ataa, is constructed on Mina, only a fraction of the people are invested in living there; groups venture off on long-term explorations while another large contingent elect to leave the planet altogether and continue their journey to another distant place. For them, the journey indeed is the destination.
World building is writing hell. As incredible – even fun – as the idea might sound, it isn’t. By anything being possible, there is no place to start. Even if it seems like a matter of just picking and choosing and away you go, it isn’t. Not for me. While I might have the germ of an idea – such as using dark matter to fuel an inter-generational spaceship – fleshing that out is akin to chronic constipation. My writing practice is centered on the small things – an image or line of dialogue – and going out from there. It is an inductive approach to writing, finding the bits of evidence to create the whole, such as the serval image at the watering hole that begat My Bad Side.
I didn’t know what that image meant at the time, but I knew it meant something and used it to find what might be next.
Building worlds demands the opposite to my approach to writing, a deductive method, going from the big picture to develop the small, focusing on time machines or warp drives, creating a story from those. This is what grinds my flow to a halt. If I can’t see where I am – the details of what it looks like to live on board a spaceship – I am perpetually stuck.
I got into the world of speculative fiction by accident. The protagonist in an earlier book, Dee Sinclair, stumbled ahead and wondered aloud if she might venture on to something else. As far-fetched as her world appeared at the time – a sex performer holed up with her pet serval – it was nothing compared to Greenland where she witnesses a fledgling world constructed before her eyes. This is the outset of Anori, the first book of The Cx Trilogy.
The crux of the speculative/sci-fi genre is world building, something beyond what we live in today. It isn’t just a matter of a propping up a couple of rocket ships and having characters walk about in space suits. Every detail has to be in tune. My most effective world building elements in Anori are Holoweb and Second Skin because they were simple to envision – a three-dimensional version of today’s internet and a spray-on fashion statement – and only a step ahead of what we have now.
I raised the world-building stakes in the second book of the trilogy, Aqaara, where Dee boards a generational spaceship bound for a planet light-years distant. Daily life aboard the spaceship took a long time to create, not just the details of the sleeping quarters and gatherings places but, more importantly, the mindset of leaving Earth to never return. I was in the Highlands of Scotland while mapping out this world, a far cry from outer space but at least isolated and quiet.
I planned the design of the ship while hiking, soaking wet, through the silence, but could not attain a genuine sense for what it felt like to live in this space, to sleep and eat, to lose all sense of time with a lunar or solar cycle, to see people every day – there was no day! – and to not know when, if ever, the journey might come to an end. That took another two drafts – in Puglia and then New York – to get it so it seemed like it really was so.
The final book, Mina, demands a literal new world. That’s where I am now. The temptation to settle for lunar landscapes and prehistoric beasts remains hard to resist. After all, what do I know about another planet’s flora and fauna? I have settled on a leopard seal/hedgehog hybrid as the creature atop of the food chain, as well as string of camera-stealing starlings. Who knows what the deep seas will offer? Something astonishing should happen soon.
My challenge with world building has given me pause. As transfixed as I can be in the fantastic landscapes of science fiction – where absolutely anything is possible – the writing craft must remain the focus. In other words, while the visions presented in this genre might be spell-binding, the characters, dialogue and construction of the narrative remain the foundation. My aim in writing The Cx Trilogy is to bridge the gap between literary fiction and speculative fiction, and not just build worlds but build worlds where we can literally picture ourselves alive and wondering. We will see what Dee’s progeny find next.
…where we leave our guarded understanding to break free from that containment to find the universe that lives within all of us.
Val drove the truck hard, the corner coming too fast, how she wanted it. Dee was with her,not Dee but an Ethi of her, the idea of her when they had first met. She was screaming and laughing as she tried to change the channel on the radio. And then it was a song that Val remembered from when she was a kid. She had listened to that song on a tiny radio and the truck’s radio turned exactly to that too. But then Dee changed the channel again, and the tiny radio was gone.
“Leave it,” Val implored.
There was a stream of trucks ahead of them, heavy traffic, and she passed them all on the shoulder, over the gravel and rocks, wildly through the potholes, the axles getting slammed, and then the road was open again, a distant city on a hill.The music got louder as Dee leaned further back into the dark, and a car veered in front of her, crashed into the blackness, and another one veered to miss that and crashed with a thud. She looked around and stared at the accident to see if it had really happened.
The connector to Dee Pod was empty, the infinitesimal vibrations somehow building out here with the view out the oblong windows of the deep blackness. Calli stared out into it, looking for something to move, the stars to move past, a planet to appear as a fleeting shadow, but she only had a vague sense of motion, moving forward maybe, and then not, just still again, going nowhere, hovering. And then as suddenly, forward again, something there and then gone, a planet, moon or fragment of something like that, thrusting forward, and then suddenly back, hard, twisting around, the thing coming past the other way, falling backwards now, thinking she might vanish like that, her heart in the back of her head, plunging, a real sense of going down that rabbit hole, in that thing, going forward and back at the same time, not in the same place, but around and around, up and down, all at once. And then spat out of that, lurching ahead, really forward at Hawking 4X, At that speed so close to light, feeling that, getting somewhere, the glare and things in the blackness really moving past, leaving those for the next, exploding ahead into the darkness, as fast she was she was moving still, on into nothing.
*Hawking 4X: four time Hawking Speed which, at .21 light speed, is the fastest speed Stephen Hawking believes humans will ever be able to travel.
…where we leave our guarded understanding to break free from that containment to find the universe that lives within all of us.
“We sat on the rocks. All of us we were naked, stark naked. It wasn’t a sex thing, none of that. It was just being naked by the lake.” Liyuan’s mouth was too big for his head, his hairline a straight line on his forehead; he wasn’t as old as he felt, moving his hands slowly over his knees as he spoke. “We saw the storm at the far end of the lake, billowing up, thick and black, rich, swirling over the tops of the trees. The trees were lush green in that light. And the thunder, the way it rolled down from the heavens, the lightning echoing behind it, that was the magic. The rain came racing up the lake, that pristine darkness suddenly a tumult with it hammering down. The drops splattered on our skin and the rocks, so cool and wonderful. And we slipped into the water, pushed out from the shore, our bodies wavering beneath the surface, and drifted out into the downpour. It was the most natural thing on earth, swimming into that glorious darkness, so warm, out into the middle of the lake.”
Ashe knew all of this. She had experienced these very thoughts, floated in this exact dream, but it had vanished. She could not hold it.
“We were in the middle of the lake, the rain coming down in sheets, just sheets and sheets of it. That’s what I remember the most, the rain, the lightning a mile away, the quiet, the sound of the rain against the lake, the black clouds and the still water, so dark and pure. And I’m afraid of that. I’ve always been afraid of the dark water. Always afraid. But not this. Not this.”
Po appeared on the shore, floating just above the lake, indiscernible for the woman, not Ashe, who tried to will her away. It never worked.
“We stayed in the lake, our faces looking back at each other, turning around, spitting out water, little streams of it, the impression of our fluttering arms and hands beneath the surface, just a hint of those. This was it. A moment of divine existence. Yes. Exactly that.” He closed his eyes as he rocked slowly forward and back, his hands out for balance. “And then the lightning was right there, a streak of it across the black sky and into the water, the thunder ripping through us, the storm right on top of us. We knew we had to leave. It was dangerous. And we didn’t. We stayed, thinking we might die like this, struck dead, floating belly up, and we were good with that. I was overjoyed. Overjoyed.” He stared at her, wide-eyed.
“The program makes you get out of the water.”
“Out of the water?” His face suddenly became creased, his eyebrows moving sharply down, his mouth pulled tight. The light had gone out of his eyes; he was going to cry.
Ashe pulled his hands together and cupped them in hers. “None of that. You hear me?”
He held her eyes, staring back, dark, his mouth a sharp line, and then reached out and touched her chin. “That’s an error. That was the purpose of creating it, that lightning shearing the air, terrifying blasts every second moment. And yet never have I been so without fear. I belonged there.” He sighed and sat up straight again. “Sometimes I think that I might still be there, still in that water.” “The program needs to be rewritten.”
“Yes.” He nodded back firmly and let out some tears.