picaresque – Lights In The Sky

Anxious Times

By C Stevens | 12th November 2021 | Comments 0 Comment

The worrying times we live in have elicited an artistic response from yours truly. After a gap of several years, I’ve finally written a completely new song from scratch. Appropriately enough, it’s entitled Anxious Times, and I include a sample of the lyrics below,

Men fighting on the forecourts/Stuff’s missing from the shelves

And everybody hides behind their closed doors

They’re all thinking about themselves

Yeah, they’re all thinking about themselves

I’m biased, but I think that this short extract indicates it’s an effective piece of reportage, a response to what, at the time, looked like a developing and worrying crisis. Since then we’ve slipped back into low-intensity crisis mode; the supermarket shelves still have big gaps, but at least we can fill-up our gas-guzzling automobiles. The song (based on a Major 7th riff I wrote for an existing song, but decided it was so good that I built a completely new song from it) is essentially a litany of modern age anxieties, both personal and general.

Essentially nothing has changed; COP26 produced some useful but rather limited agreements between the major polluting nations, but will they be implemented? The rich nations still refuse to bite the bullet, maintaining we can have our ‘green cake’ and eat it. That making everyone drive electric cars will be enough to combat global warming, and that we can still have endless growth providing it’s green growth.

The truth of the matter is that any form of private automobile is a luxury we can no longer afford, and we must now switch en masse to walking, cycling and public transport, with our towns and cities being repurposed to accommodate this with smaller, local (and hopefully independent!) shops. The return of the high street, anyone?

The fallacy of endless economic growth also needs to be acknowledged, along with endless population growth. Our biosphere will just not sustain it, and the next crisis is going to be a shortage of fresh water, all over the world.

The other elephant in the conference room, that the delegates were careful to tiptoe around, is (of course) the role of the super-rich in all of this. The problem is that the various tech billionaires are individually richer than many of the small countries that their indolence and obscene extravagance threaten to inundate.

One can only hope that the likes of Musk and Bezos make good on their threat to leave Earth altogether and do move to Mars. Given the much lower gravity on the Red Planet, this is inevitably a one-way trip, even assuming they even make it there in the first place.

And I say good riddance, because without the drain on Earth’s resources resulting from their appalling wealth, the rest of us little people can concentrate on saving our Planet!

In the refuge provided by the fictional world of Lights in the Sky, Klara the robot has joined with a tribe of indigenes called the Yanomami. They are on a quest together, seeking the fabled Comunidades Livres, a place also foretold in Yanomama mythology. Currently they are journeying along Rio Tapauá through the Green Heart of Amazonas, far away from the dangers of the Portuguese world.

But Klara knows that the Europeans stand between them and their goal.

The Author November 2021

Back to the future

By C Stevens | 30th June 2021 | Comments 0 Comment

I’m cutting it fine even by my recent standards with this month’s blog, writing it on the very last day of June. Apologies also for using a rather obvious SF film reference for the title, however it is appropriate because I’ve actually started a completely new literary project by reaching back into my past. However this doesn’t mean that Lights in the Sky has been abandoned; I’m roughly halfway through the eighth novel, and I’m enjoying writing my allegory of the Spanish Civil War, but finding the title that fits is still proving tricky.

But back to my new project; a very long time ago I spent two years living in Liverpool, not the smart tourist destination of today, but the crumbling remains of a once great port that featured levels of deprivation not seen elsewhere in the country, whose people had become the butt of national humour. I loved living in the city, even though I knew there was nothing there for me long term, and out of the experience came a song, Saturday night in another Western town, written in 1985, and the first really good song I wrote (for a long time it was the only good song!).

Looking back, the title was far too good to be wasted on a simple song, and after an inordinately long gestation period it’s finally become a story, set in ’pool at the time I was living there and featuring a protagonist who’s an amalgam of me and a friend of mine (now dearly-departed). The story is set in the world of local bands and the longing for fame and occasional brushes with success that characterise this milieu. It features (and will feature) incidents that actually happened, but being fiction, will take a turn into the might-have-beens of life. There will also be a time travel element to the story, as SF always lurks in my fictional universe, sometimes dead centre, but here more on the periphery.

At the moment, I have the basis for a good short story, or the first chapter of another long novel. It will be interesting to see how this one turns out…

The Author June 2021

Normal service resumed

By C Stevens | 20th April 2021 | Comments 0 Comment

After blogging twice in February I’ve now managed to miss out March 2021 entirely!

I think I’ll blame the mental fog that is supposed to be a consequence of lockdown, though in truth the limitations haven’t changed my life that much. My life is no more isolated than it was previously and uncertainty is a part of life, but hey!

As forecast back in February, I’ve become dissatisfied with the new name for novel eight of Lights in the sky, but I know if I give it time, the right title will emerge.

We have reached a crucial point in what’s currently still called Finding your place, my heroine has lost most of her friends to the vicissitudes of guerilla warfare and has realised that her place is far from secure within the changing Camposetta movement. The opportunistic and cynical leadership still expects Bolivar’s Army to take Manaus, but have not provided them with the means to do this.

I watched another Adam Curtis series recently, this one from the prehistory that is the 1990’s, Pandora’s Box apparently originated the format Curtis has mined successfully ever since, and, despite a truly terrible theme tune composed (it would seem) by members of post-punk quartet Gang of Four, it was both informative and stimulating. The last programme A is for Atom sticks in my mind as it dissects the lies, state secrecy, total disregard for safety, manipulation and general venality that lay behind the nuclear energy programme, leading with appalling inevitability to Three Mile Island and Chernobyl.

Nuclear fission as a source of energy is now thoroughly discredited, but a concerted campaign to boost nuclear fusion is underway. I think it’s fair to say that the only saving grace about fusion is that it’s unlikely ever to work. This is not a flip comment, I have read extensively on the topic and technical limitations have made it impossible to achieve anything beyond milliseconds of fusion, attained at colossal expense. Even if the necessary reaction could be maintained (and contained), the necessity to use elements such as deuterium or tritium, rather than plain old hydrogen, means that (despite the claims) nuclear waste will still be produced. As with fission, the likely cost of the power (if any) finally produced continues to rise. And of course, rather like mining the Asteroid Belt and other fantasies, all that success would lead to is the continuation of our mad Abrahamic Crusade until our entire world is utterly despoiled.

Fusion is rather like mass-migration to Mars; the very worst thing that could happen would be if it were to succeed.

You may have noticed that the commanding heights of the world economy have been seized by a bunch of sociopathic billionaires. The phrase, ‘this is not really happening!’ springs to mind (thank you Tori Amos!), which is of course correct, because this is now a virtual world within a virtual economy.

And here’s me thinking that the AntiChrist had been voted out of office, but of course these people don’t actually believe in democracy because they know better! An opinion shared with oligarchs and autocrats everywhere.

And it’s just been announced that a number of English soccer clubs, some very successful, others not so much, have decided to join a new Europe-wide league with other like-minded clubs. Nothing like enlightened self-interest, huh!

Just like the tech billionaires want to get rid of annoying inconveniences like accountability and the democratically-expressed will of the people, the so-called European Super League wants to get rid of fair competition and the notion that you might actually get demoted if you’re shit!

Lovely world we live in…

The Author April 2021

A different kind of story

By C Stevens | 15th February 2021 | Comments 0 Comment

Recent entries have rather strayed from the original intention of this blog, which was to serve as a commentary on the various novels within the Lights in the sky series and a journal about the process of writing them.

Instead, I’ve tended increasingly to comment on recent political events and social and cultural trends. While this is worth doing in itself, and my need to do so a function of the desperate straits we find ourselves in, I have decided to focus on the novel I’m actually writing for this month’s entry.

Klara (still a working title until something more elegant and descriptive suggests itself), is the eighth entry in the series. There was no grand design behind its writing, I was merely telling the story of a character who has been important to the stories of other characters, but who I felt deserved a book to herself. As I said previously, there was no predetermined plot when I started the book. I don’t do this kind of tight plotting, regarding it as a strait jacket which crushes invention. Instead, I have some kind of end point which I need my character to eventually reach, but what happens in between is essentially improvised.

This approach to writing suits picaresques, a form I’ve used at least once before in this octology, but in the process of creating another of these, I have found myself writing a different kind of novel. The other function of Klara is to tell the story of the Camposetta movement from an alternative perspective. Hitherto, the Camposettas have been the villains of the piece, a point of view that naturally reflects the prejudices of the Alpha Mission and the characters associated with it. The character of Ester Almeida functions as villainess-in-chief in this world view.

However it struck me that the Camposettas would not regard themselves as villainous, and secondly, the ending of The Leftover Girl clearly signals that a rapprochement has been reached between former enemies, who have both taken refuge in as Comunidades Livres in the far west of the country.

So I find myself writing a novel about a revolutionary movement waging a guerilla war against (to them) an oppressive government. I looked to previous writing to act as source material for this new kind of novel, starting with my own bookshelves. My eyes fell immediately upon George Orwell’s famous memoir of his involvement on the Republican side in the Spanish Civil War, Homage to Catalonia. Another influence which can discerned, if you know where to look, is provided by Evelyn Waugh’s Sword of Honour trilogy which (in its later volumes) is set in the Partisan struggle against Nazi Occupation in the old Yugoslavia during World War Two. It also occurs to me that the passage telling the story of the gunboat on Laguna Caceres and its sinking by the Camposettas owes something to my reading of historical accounts of the First World War Battle of Lake Tanganyika, later dramatised by CS Forester in his novel The African Queen.

This milieu has given me the opportunity to try all sorts of (to me) new things in the context of a novel and the adventure continues.

The Author February 2021

Not the end, then?

By C. E. Stevens | 5th August 2020 | Comments 0 Comment

Sometimes you convince yourself that you’ve reached the end of something only to find you haven’t. This has happened several times with Lights in the sky, which started life as a short story, submitted (unsuccessfully) to Analog magazine, became a novel, grew into a trilogy and over the past few years has become a septet…
Well, it’s happened again…
I was always conscious that I needed to tell the story of various minor (and not so minor) characters introduced at various points during the series arc, and have found many ingenious ways of doing this. The story of Klara, the original self-aware automaton, and thus the prototype for all the nursemaids on Alpha 5, was to have been accommodated as a parallel narrative within …when you wish upon a star, which otherwise concerns itself with the story of the original Marta on Earth.
I’d written five ‘interludes’, telling Klara’s story from inception in the Alpha Mission laboratory of Dr Helen Choi, right through to her demise at the hands of a marauding band of Camposetta irregulars, more than half a century later. But when it came to it, this felt unsatisfactory, an unnecessarily perfunctory end for a much-loved character, however shocking in its brutal suddenness it might have been.
The solution was obvious; Klara will get her own book and so her future existence, beyond the confines of …when you wish upon a star, can be fully explored.
As usual the source material for the character’s future arc is to be found in the character’s thoughts, beliefs and actions. Without wishing to give anything away about a work in progress, it will become clear that her subsequent actions are entirely consistent with what we already know about her in the four chapters that currently exist.
The provisional title of the eighth book in the series is Klara, but this may change, and work on it will commence in earnest once the current novel is completed
Back in the increasingly surrealistic ‘real world’, it is clear neither Brexit nor the Pandemic will be resolved soon. We exist in the same curious but fevered state, swinging between fearing the worst, while seizing on the smallest crumb of comfort in the media that reassures us that things might not be quite as bad as anticipated.
As ever, COVID-19 is the great unknown; we just don’t know nearly enough about the virus that causes it to predict its long-term effects on our society, economy and personal well-being. We don’t even know for sure how many people have been infected, as the vast majority of cases appear to be asymptomatic, which makes a reliable estimate of the death rate from Coronavirus extremely difficult. We have no idea when (or if) it will mutate and whether this will make it more or less dangerous, though evidence from previous pandemics would appear to suggest that the ‘second wave’ will be worse than the first. Whether being asymptomatic the first time round will protect people from future infection, is again unknown, as is whether any of the dozens of potential vaccines currently being developed around the world will even be partially-effective.
This uncertainty is corrosive of our institutions whether they be commercial, political, artistic or sporting, and the long term implications of all of this can only emerge over time.
Brexit, by contrast, is more straightforward, as it becomes clearer by the day how damaging, short-sighted, irrational and essentially masochistic this whole enterprise is. I note that highly skilled and qualified people are already voting with their feet and choosing to relocate to countries within the Eurozone. They will presumably be followed by the flight of capital, as the wealthy (who are, of course, in possession of more than one passport) begin to remove themselves and their wealth from poor old Blighty, once the shit really begins to hit the fan. Ironically, the Brexit-supporting amongst them may be forced by deteriorating conditions in the United States, to relocate to Europe, of all places, where they will presumably continue to either, assure the rest of us that everything is going swimmingly, or blame us for the fact that it’s not. To quote an anonymous ballad sung by British soldiers in the Great War,

It’s the same the whole world over.
It’s the poor wot get’s the blame,
It’s the rich wot get’s the gravy,
Ain’t it all a bleeding shame?

The transformation of Kent into one huge lorry park, the end of most foreign travel, and shortages of food and essential medicines in the New Year are likely to be only the start…
But, of course, things may all turn out for the better…

The Author August 2020

Housekeeping

By C. E. Stevens | 29th August 2019 | Comments 0 Comment

Housekeeping
Lights in the sky is many things: it’s a vast sprawling meta-novel of ideas and scientific, philosophical, societal, economic and theological speculations; its a series of picaresques; it’s a postmodernist tribute to my sources and influences; it’s a romance, an adventure story, a coming of age novel; it’s a mystery story with the author as detective; it’s all these things and more…
It’s also now finished…
Perhaps I should qualify this; the main narrative is complete, on both on Earth and on Alpha 5, we now know what happens to all of the protagonists, and have a fair idea of what comes next. We have followed our characters (for the most part) from birth to death, and the central enigma behind the world of the series has been laid bare.
However there are a number of other stories within this vast concept (six novels, 2314 pages, and nearly seven hundred thousand words) referenced or alluded to in passing, that I feel deserve to be told, either in short story form, or in additional novels. I’ve already started this process and written a number of short stories, which I intend to collect together at some point, perhaps under the title Tales from the Collapse.
But one or two of these stories would appear to merit a longer treatment. An obvious candidate is the story of the original Marta, Miss da Guia, from her strange conception as part of the breeding programme undertaken by the Alpha Mission, through her unusual childhood in Sao Paulo, her short-lived media stardom, and her brutal and untimely death…
I’ve just remembered that I have title for this putative novel, ‘When You Wish upon a Star’, which plays with various layers of meaning; The Journey to the Stars undertaken by the Alpha Mission carries the hopes of millions marooned on an apparently-dying world, Miss da Guia is a media star worshipped by those millions, and she is following her own star…
Given that the title I have arrived at neatly pitches the novel, I think it’s now highly likely that I will write it.
The other candidate a further volume is the fate of Clara and all the other automatons unlucky enough to have remained on Earth after the departure of the Probe in 2048. The leftover girl hints at the likely fate of such entities towards the end of the novel; Clara has been rejected by her creator Dr Helen Choi, who now sees the robot as the product of her pursuit of false scientific gods, of literally being in error, in Christian terms. By definition Clara is thus demonic, and shares the fate of the Creature rejected by his creator, Victor Frankenstein, in Mary Shelley’s famous novel.
We have also been given a glimpse of the forces of reaction ranged against the Alpha Mission and all its works in the person of the ‘Mayor of Ibara City’, the formidable Ester Almeida, and we know things aren’t going to end well.
I often think that the dichotomy within the series between ‘the scientific vision’ as exemplified by the Alpha Mission, and ‘the spiritual vision’ personified by the Camposettas and their adherents (including eventually Dr Choi), is essentially a dramatisation of a battle that I’ve fought within myself my whole life. A struggle between a belief in science (and its delinquent offspring, technology), and a countervailing attachment to the natural world, primitive socialism, and a non-specific form of spirituality, most akin to Buddhism.
Seen in these terms, Lights in the sky becomes an actualization of this inner debate…
The Author August 2019

A secondary world?

By C. E. Stevens | 10th May 2019 | Comments 0 Comment

A secondary world?

I viewed a rather ancient, but nevertheless interesting, documentary on JRR Tolkien on YouTube recently. The documentary was made well before Peter Jackson’s filming of Lord of the Rings and The Hobbit, and concentrated on the books, with keynote contributions from Tolkien’s youngest son, Christopher…
Christopher Tolkien discussed his father’s concept of Middle Earth as a ‘secondary world’, that is to say an alternate reality that works by different rules, a notion that (amazingly) I was unfamiliar with; and the more he talked, the more it occurred to me that Lights in the sky, is in many regards, an example of this.
So I did some research on the concept and concluded that, although I’ve tended to think of myself as a writer of ‘realistic SF’, there are many of the elements of a secondary world in the series, particularly in the three novels set on Alpha 5. So without knowing it, I have (in some ways) been writing a work of high fantasy.
Now it’s important to keep a sense of proportion here. I have taken considerable care to make LITS as plausible and scientifically credible as possible, and what I have just said in no way invalidates any of that. But the series is many things not just one, and incorporates various literary tropes. At the end of the day it is also a work of the imagination.
Different books within the sextet are fantastic to a greater or lesser degree; After the Flood is definitely the volume with the most tenuous connexion to high fantasy, but both the books that feature Marta Camacho have long passages that dive headlong into the genre. In particular Ms Camacho’s journey down the Amazon River on her raft, following her departure from the riverboat Fitzcarraldo, which is deliberately presented in dreamlike terms.
But it’s the original trilogy that cleaves most closely to the idea of a secondary world. We have a series of novels that takes the form of a bildungsroman. The protagonist is a child when the action opens, but grows into adulthood, and comes into powers and skills beyond those of ordinary person back on Earth, although in my world these have a technological source. Marta Fernandes is also to all intents and purposes an orphan. The theme of good versus is central to the series, but the question of who is good? and who who is evil? is often indeterminate, and is left unresolved until the end of the series. This is where I mostly part company with most fantasy writers, as in my world relativism is part of the underlying philosophy. Thus the Alphanians are presented at different times (and in different ways) as both an apparent threat to the eventual triumph of good, and as its most effective proponents. The same can be said (to a lesser degree) about the Artificial Intelligence fronted by Nurse Six Gee.
The World of the series is revealed to be illusory, in the sense that the World is not as it appears to be, by a series paradigm shifts in the first three novels. A similar process is now taking place in the denouement of Maya, which I am currently writing. And at the end of the day there are beings within this cosmos whose powers are to all intents and purposes Godlike, and therefore (as far as the human actors are concerned) magical…
The Author May 2019

After the Flood

By C. E. Stevens | 21st December 2018 | Comments 0 Comment

Blog entry supplemental twenty two: After the Flood
At last, it’s here!
After promising you the first chapter of my sixth novel, I’m finally in a position to deliver. After the Flood is (as regular readers will be aware) also the fifth novel in the Lights in the sky sextet.
The opening is very much in the tradition of ‘it was a dark and stormy night’, although we a very quickly plunged into the world of 2043. I wrote the four lines of verse that provide an epigraph for the chapter, and the novel is book-ended by a much longer poem which closes the narrative. The story is about the Great Flood of London of 2043, and was originally called ‘The Great Flood’, but the title changed (as they often do) to be replaced by the rather less matter of fact and rather more evocative present title, with its Biblical connotations (and indirect reference to Bob Dylan).
After the Flood is also more appropriate because almost the whole of the novel is about what happens next. We follow a group of people, most of whom we meet in this opening chapter, who survive the Deluge, and we see how they cope and how they attempt to repair or in most cases remake their lives in the chaos and the loss that follows the inundation of London.
In chapter one we see the arrival of the Great Wave which devastates London from the point of view of our diverse group of protagonists. All of whom survive (in one case miraculously), while others around them perish. These people are ordinary and flawed; they are not necessarily the right people (i.e. those that deserve to live), and all suffer from what you might term ‘survivor’s guilt’ at various times and to various degrees.
All are changed by their experiences (though some more than others), and most become better people.
Chapter one is necessarily episodic, as I try to portray the implacability and the sheer inevitability of the cataclysm as it unfolds (at times almost in slow motion). Thus we have a fractured narrative; unsurprising as the events are told from a variety of perspectives, but also because I want to put over how such an event would be experienced by those caught up in it, and convey the overwhelming feelings of shock and dislocation they would feel.
A friend who is reading the novel described it as ‘your disaster movie’, and (like all Lights in the sky novels), it is written with adaptation in mind. Dialogue is important, but it is balanced by the interior monologue of the main characters, the pace (initially at least) is frenetic, and I have tried to convey visually the impact of the Event on the ancient city of London.
And on re-reading this chapter I am convinced more than ever that I have succeeded in my aims. See if you agree…
The Author December 2018

Displacement activities

By C. E. Stevens | 15th December 2018 | Comments 0 Comment

Blog entry supplemental twenty one: Displacement activities
So what happened to all those submissions you promised by the end of 2018, I hear you ask? Well, the honest answer is displacement activities have taken over, and rather than wait until the New Year I’ve already started the next novel, Maya, in fact I’ve already completed the first five chapters (and one hundred pages). And this is always the way; I love writing far more than promotion. There are a number of reasons for this; let’s be honest, I really don’t like being told what to do by other people, and the search for autonomy has been the keystone of my existence. By passing my work on to others (agents, publishers, a wider readership), it ceases to be wholly mine, and other people start to assume ownership and start to make demands. Professional demands come first, ‘…we don’t like this, could you change that etc etc, then if you do start selling to significant numbers of people, your new found readership starts to make its own demands!
Aren’t you being arrogant, I hear you say? Who says that your work is any good anyway? Well, I just went back on my website and re-read part of A Children’s Crusade, and I am convinced more than ever of its merit. You cannot be objective, people will say! Well not entirely, I will admit, but I’ve read an awful lot of literature and in my usual autodidactic fashion made an extensive study of SF, and I am dispassionate and I do know the difference between good writing and bad. What I would concede is that possibly my work is not fashionable (though I doubt this, as well), and I am probably not the average agent or publisher’s idea of a marketable modern author. But more fool them…
Anyway, Maya picks up the story of Marta Camacho, otherwise known as Tata, where we left it at the end of novel four. She is safely ensconced in the free communities in Amazonas close to the Peruvian border, behind the mysterious barrier that protects them from the outside world (if this all sounds a bit Harry Potter, I ask for your forbearance as scientific explanations will follow!).
However Tata is never happy anywhere for long, and her relationship with the other David (Rodrigues) has hit the rocks, and the forces of the provisional government of Novo Brasil know where she is and are now massing outside the Discontinuity that protects them…
Maya also introduces new characters, an earnest young Canadian citizen astronomer called Karl, and the other members of his online group, and a discredited Korean astrophysicist, ‘Nancy’ Park, who’s now working as an online ‘hostess’.
In Maya the world has recovered (to a certain extent) from the shock and dislocation of the Collapse, and some nations and their citizens are starting to look forward again, albeit tentatively…
Finally, the opening chapter of After the Flood will be hitting this website imminently, and I’ll blog again when that happen…
The Author December 2018

Blog entry supplemental fourteen: Symbolism and the unseen guiding hand

By C Stevens | 21st November 2017 | Comments 0 Comment

At many points during the writing of Lights in the sky I have thought I was being guided in some way; but before you reach for the straitjacket I’m not claiming divine revelation or anything along those lines. I am merely repeating the commonplace that a novel (and especially a series of novels) at some stage takes on a life of its own and starts to make its own demands. At this point the ‘author’ becomes its servant rather its master.

At many points during the four year writing period I have wondered where this or that idea came from, and marvelled that something I wrote should fit so perfectly with what had been written previously without me consciously aware of this.

A rational explanation would be that on an unconscious level I knew what was required and framed my prose accordingly; naturally as a Romantic I prefer a more mystical explanation.

Anyway, the reason I’m banging on about this now is that, during one of many revisions of the text, I decided to investigate the symbolism lying behind the references to the natural world that pepper the series. Specifically, I looked up the symbolic meanings of hummingbirds, hibiscus blooms, macaws, monkeys, and jaguars.

I’ll confess I did look up the symbolic meaning of dolphins when I decided that one would play a significant role in the journey of my protagonist, Tata. I was heartened to learn that in Greek Mythology the dolphin carries the spirits of the dead to a new reality. Tata, of course, in symbolic terms dies and is reborn during her journey down the River on her raft, a point I make explicitly at the end of the chapter. It was therefore wholly appropriate that a dolphin should be her ferryman from one mode of being to another. But the point is, I didn’t know any of this (at least on a conscious level) when I made the decision to cast a river dolphin in this role.

I will confess that I did do a similar exercise when I researched the symbolic meanings of rivers, and this has influenced the text of The leftover girl, which (of course) has a journey up the Amazon River at its heart.

Thinking about this later, and noticing that similar references to the natural world recur in the four books, I decided to check out the symbolic meaning of these, and see how well I have done in choosing appropriate symbolic referents elsewhere in the text.

There are a number of references to hummingbirds and red hibiscus flowers dotted throughout the tetralogy, usually the two occurring together!

Hummingbirds represent (and I’m being selective here!), hope, eternity, continuity, and infinity among other things, which would appear to fit with the overall mood and philosophical thrust of the series.

In North America Hibiscus often symbolises the perfect wife or woman (so obviously I’m using it ironically here!), but in China its meaning is different, where it symbolises the fleeting nature of fame, beauty and personal glory! So no exact fit here, but I would argue all of these notions are aspects of the series!

Macaw is more promising territory as the Bororo people (who live close to where the action of The leftover girl takes place) believe they are reincarnated as macaws during the complex of transmigration of souls that forms part of their mythology. So, the right general area; interestingly macaws are seen by much of Amerindian culture as avatars of solar heavenly fire, in opposition to the jaguar which represents the chthonic fire of the underworld!

So, not inappropriate, and symbols which lead me to want to consider afresh the innate symbolic meanings contained within the novel.

Finally, the monkey nearly always represents the trickster, but can also symbolise a need to renew your affectionate ties with friends and relations; so, no real congruence there! Although, interestingly, in the poetry of T.S. Eliot, the marmoset is referenced alongside the Brazilian jaguar!

There would seem to be an awful lot of lucky guesses on my part here! or maybe my unconsciousness knows what it’s doing, even if my conscious mind doesn’t!

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