Des nouvelles Elisabeth Hand


Mais que devient Elisabeth Hand (L'Ensorceleuse chez Bragelonne) ?

Elle vient de sortir Generation Lost “Generation Loss started out as a straightforward fantasy; some of the fantastic element was built in from the get-go and didn't get lost in subsequent versions. I've always wanted to write about what it would be like if magic really did exist, as this other dimension we're not quite aware of, that we can't see but can sense sometimes -- what would it be like to live in that world? Well, maybe we do live in that world. If you're writing a fantasy novel, you have the immanence of another world erupting into this world, one way or another.

“In this book, Cass's sense of the damage in other people is a buried supernatural element. Cass is not named Cassandra by accident. Neither is Aphrodite Kamestos. Originally I wanted to do a retelling of the story of Eros and Psyche: Psyche falls in love with Eros, but when the drop of lamp oil falls on him he flees, and she goes to his mother Aphrodite, who gives her a task she must perform to get her lover back. In Generation Loss, Aphrodite is the mother of Gryffin, the Eros character, and I left that in as a mythic substructure that people may or may not notice. It didn't detract from the story, and it gave a certain nuance to the process of writing it. "

Et voici pour ses projets.

“I'm almost finished with Pandora's Bride, which is a romp. The central character is the Bride of Frankenstein; I set her loose in Weimar Germany, where she encounters characters from German expressionist films (The Cabinet of Doctor Caligari, Pandora's Box, M, Metropolis), and of course the characters from The Bride of Frankenstein. I'm also completing a YA fantasy called Wonderwall. It's about a 16-year-old runaway in Washington, DC who is a cutter (a self-mutilator) but also an artist, a painter. She runs away and finds a portal through time and space, and she meets the young Arthur Rimbaud. When he was 16, Rimbaud ran away from home several times, so I've taken the missing days in his life and given her this series of encounters with him. It goes back and forth between her point of view in DC and his in Paris around the 1870s. I love Rimbaud -- he was a teenager when he wrote some of his greatest work, just a kid. Brilliant, extremely precocious, but if you read his letters, so much of his behavior is familiar from the way kids act -- his relationships with his friends and with his teachers. He was a recognizable adolescent; I could envision him hanging out with my kids and their friends. I thought it would be cool to explore that without writing down to young readers.”

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