Remnants: The Kings of New York (Excerpt)

As I continue to recover from my broken hands (I start occupational therapy today), here is a free excerpt from my story, The King of New York, which was published last in the Remnants shared world, post apocalyptic, science fiction anthology from Fedowar Press. This is the second edition of Remnants, and the new edition includes some stories which were not included in the original, Kyanite Press edition. You can purchase Remnants in both print and ebook editions by clicking any of the hyperlinks on this page.


The Kings of New York

By A. A. Rubin

How doth the city sit solitary, that was full of people! how is she become as a widow, she that was great among the nations, and princess among the provinces—Lamentations 1:1

At midnight, the oracle climbs her tower and sings her lamentations to the stars. Her skyscraper no longer pierces the heavens; its massing is no longer symmetrical. The Art Deco spire lies in pieces, scattered across the rubble that used to be 5th avenue. The pinnacle, incongruously complete, sticks out of the wreckage, piercing the carcass of a monster more dangerous than any Hollywood gorilla, like a lightning bolt from Olympus or a spear thrown down from heaven.

The observation decks have long-since fallen, so she stands atop the tallest remaining setback in the open air, like a prayer-caller on a minaret, singing her story, and searching for signs of The Swarm through the night, until the sunrise.

We call her Cassandra. We do not know her real name. She does not speak coherently about the present. She sings of the past and of the future in riddle and metaphor. Everyone she knew is gone, killed by The Horde because they did not heed the warnings of the dead she claims speak through her.

That she is alive and so many are dead is her proof of her prophecy, and so we listen, and on nights like this, when she’s silhouetted by the full moon against the midnight sky, we almost believe.


To read the rest of the story, buy Remnants in either print or ebook editions.

A Surrealist Cadavre Exquis

By Lisa, Medha Godbole Singh, A. A. Rubin, Lesley Mace, and Anna Cavouras.

The following piece was composed by the authors as a surrealist cadavre exquis. The cadavre exquis is an exercise practiced by surrealist artists where an artist began by drawing something at the top of a folded piece of paper, and then refolded the paper so that only the bottom lines of their drawing were visible. They would then mail the paper to the next artists, and the process would repeat again, over and over, until the piece was complete. We have attempted to adapt the exercise for writers. The first writer composed a paragraph and then sent their final line to the next writer, who continued the piece using that line as their first line. The process continued until each writer had composed their paragraph. Each writer wrote with no knowledge of the content or style of the previous verse, save for the last line.

For more information about the Cadavre Exquis exercise, click here:

For the previous entries in this series, click here and here.

“In the beginning was the word. And the word was good.” The sounds echoed around, bounced off thick stone walls before some slipped into Charlotte’s ears. She was always a good girl. As the mob of children left their pews she walked without saying a word. It was 1978 most of the girls wore the same style of black laced shoe but hers although far from new were carefully polished and both were neatly tied. They tapped lightly on the uneven floor. Even when Gary tugged hard on her plaited pony tail she was a good girl. She didn’t turn and punch him in his smelly freckled face like she wanted to. She was a good girl back in class too. Wrote carefully in her exercise book, showed her workings for her sums and at the end of the school day tucked her chair slowly under her desk without a jarring floor scrape.

Charlotte always had the bus money but didn’t get the bus. She preferred to walk home she enjoyed being part of the bustle of the high street. Besides she was saving up. It was only March but she already had a reassuring weight of 2p’s in her pot pig. No one in her family knew that she did this long walk twice daily.

No one knew and no one cared which was exactly why Charlotte was not spending her bus money – she wanted to get out of there as soon as she was old enough to leave. 

She was waiting. The wait was excruciatingly painful. Getting to the right age and saving enough money – both seemed to be eons away to her young heart. The fact that no one cared was another reason she used to wander off on her own a lot. The bus money was kept safely, tucked in the inner pocket of her jacket for another day or perhaps, days. The days which would be blessed by freedom. Charlotte frequently fantasized about what she would do when the right time comes. She would revel in those thoughts and lose herself in them. Until, well, she met with the harsh reality at home. Her bubble of bliss was always invariably burst by her parents. The verbal beating that followed after she was back home from wandering off in the woods for hours was horrid, to say the least. She would cover her years tightly to block the yelling, run off to her room and shut the door. Hours later, her mother would find her asleep, cowered, under the bed. A stare-down and a meal was what she would get in response. “Why do you have to be such a difficult child”, her father would grumble. 

Nothing Charlotte ever did was enough. Even when she did exactly what was expected of her, she got glared at. Or simply ignored. Not a word of encouragement. The word ‘Love’ was missing from their life’s dictionary. Apathy was perhaps the word their life’s dictionary started and ended with. Charlotte had once popped a question to her best friend Nicole’s mother (who was a gem of a person), if she was really born to the people, she called her parents. Her eyes would sadden for a split second in response and then she would say, in an extra cheerful tone, “Oh dear. Of course they are. You see, they are going through a tough time. Adults sometimes cannot really say what’s happening to them. So, you know they behave in a weird way. But smart kids like you know that even though they behave like that, they love you. Right?” Charlotte used to nod in approval, thoughtfully.

She still wondered why there was never a single act or a word of empathy and love directed towards her by her parents.

Even now, many years after their deaths, it continued to affect her and profound and unusual ways. The ghost of her mother sat, constantly, on her shoulder, whispering criticisms in her ear, and second-guessing her every decision. Try as she might, she couldn’t get rid of her. Her mother’s specter was invisible to everyone else, but her coping mechanisms were not. The tick she developed,  swatting at something seemingly invisible, caused other (living) people to believe she was as crazy as she felt. Worse, it did nothing to get rid of her nuisance of a parent, and just opened her up to more scathing criticism—for her ears only—which reverberated across the catacombs of her mind (I told you it was empty in there) like the last bit of hope screamed, privately into the abyss. Once, she has even blurted out “will you please shut up!” in the middle of an important meeting. That had been three jobs ago, each more ignominious than the last. If anything, her father was worse.

He only appeared in her dreams, staring at her with his cold, judgmental eyes, from beneath his clouded brow. 

She always fought to wake from these recurring dreams. His telepathic abilities terrified her. There were so many secrets concealed in her mind, and if she met his gaze he would read them all. On the nights she succeeded in breaking free from sleep she would be gasping for breath and tangled in sweat-soaked sheets.

Sometimes she failed and then the dream turned darker, twisting into a fiery nightmare of burning and torture. But she always refused to meet his gaze.

In reality he was searching for her, and she fled before the sense of it. Moving fast and moving with minimum baggage, frequently changing her appearance and her accent, for months she believed she could outrun him. The Network helped her, she was smuggled from safe houses to cellars and attics, to priest holes and on one occasion to a cave in a cliffside.

She tried not to get involved with anyone, to stay aloof, and apart. But eventually a young man broke through her barriers, and she trusted him. The dream became reality. Handcuffed and roped to a chair she waited for him to arrive. Two men guarded the door, their breath fogging into the stench in the room, and their faces expressionless.

Closing her eyes she shut out her surroundings. The cold helped her to still her mind; she built walls, raised defences and hid what she must never tell behind them.

Not all the secrets she held were her own, and she couldn’t allow him to uncover any of them. 

She reminded herself of this as she approached airport security clutching her passport and her yellow carry-on bag. The bag was gaudy, ugly even with large pink peonies on the side. Her passport was slightly sweaty in her palm and the hum of the airport activity filled the background with familiar sounds. Her bag held everything that mattered to her and her family. The only unknown in this plan was the next two minutes and what this security guard might do.

Security passed uneventfully. He waved her through, no secondary search. She let out a long exhale and wiped her sweaty palms on her jeans.

She had moved things before, money usually, drugs occasionally, once a selection of rare orchid pods for a wealthy collector. This time was different. Three uncut gems were sewn in to a small beaded purse and blended in perfectly with the glass ones that surrounded it. The purse was nestled in an ordinary small black duffel, surrounded by other ordinary carry-on items. Once she got these gems home she would be able to pay off the debts her family had incurred and everyone, including her, could start over.

After she boarded the plane she lifted her carry-on into the overhead compartment and quickly removed the yellow floral bag revealing her black duffel with the precious items inside. She scanned the compartment quickly and then grabbed a small backpack left there trustingly by another passenger, stuffing it inside her yellow peony bag. Her plain black duffel sat there, unassumingly.

Having made the switch, she sat down and buckled her seatbelt dutifully. She puts her phone into airplane mode. The dry unscented plane air blasts down from the fan above her head, and reaching up to adjust it, she does not make eye contact with her brother sitting three seats to her right and he ignores her. Other passengers board and she hears the pilot welcoming people. Grabbing the magazine from the seat pocket she flips the pages without catching any of the content.

A flight attendant approaches her, flanked by two plainclothes officers.

“Ma’am, I’m going to need you to step off the aircraft.” One of the officers shifts his jacket revealing a glimpse of a pistol holstered under his arm.

“Why? What’s going on?” She protests as she knows she’s expected to.

“We just have a few questions for you before you leave.” The other officer reaches up into the overhead bin and pulls down the yellow floral bag. “This one?” The flight attendant nods.

Collecting her magazine and her phone, she unbuckles her seatbelt and follows the officers off the plane. Everything had gone exactly as she had hoped.

The paragraphs were composed in the order indicated in the byline.


Lisa writes mainly microfiction. You can read her work on her website, and follow her on twitter.

Medha Godbole Singh is a professional content creator with a penchant for creative writing. She has been a part of several anthologies and her short stories and poems have been published in online journals. She can be reached on twitter, instagram, and facebook.

A. A. RUBIN surfs the cosmos on winds of dark energy. He writes in many style, ranging from literary fiction to comics, formal poetry to science fiction and fantasy, and (almost) everything in between. His work has appeared recently in Love Letters to Poe, Ahoy! Comics, and The Deronda Review. He can be reached on social media as @TheSurrealAri, or right here on the website which you are now reading.

Lesley Mace’s writing ranges through many genres. She is the winner of the 2015 CWA Margery Allingham Short Story prize. Also loves making hedge-wine, sloe gin and sourdough bread. She can be reached on twitter.

Anna Cavouras is a writer living in Toronto. She writes diversely. Her most recent publications range from memorial jewelry made with cremains, to sideshows, to poetry on living with a disability. In the background she is working on a project set in the future about tattoo artists. 

Into This Darkness Peering: A Collaborative Inktober Project

As a writer, I’ve long-been jealous of visual artists’ social media pages, especially during this time of year. Traditionally, Inktober is in full swing, and if like me, you follow a lot of artists, you look forward to the myriad of posts which dominate your timeline in response to various art challenges. As a writer, I wanted in on the action. I wanted a way to get more eyes on my page, and to connect with the community of visual artists with whom I might collaborate in the future.

Last year, my friend Gene Hoyle, a long time comics writer and publisher, organized a project called Pagetober, where writers and artists were supposed to collaborate on an inktober project: writers would write something for artists to draw throughout the month of October. It was a great idea, but it kind of fizzled out, and I’m not sure if any of the projects were completed.

This year, I tried again. I approached Marika Brousianou, with whom I had collaborated before, about illustrating a series of flash fiction and poetry throughout October. Thus, “Into The Darkness Peering” was born. So far, it’s working out well. We are 2/3rds of the way through the month, and so far, we have posted something every day on each of our social media. The reaction to the project has been excellent, and we are going to collect the results into a book later this year, and sell some of the individual pieces as prints as well. I have high hopes for the project, which I hope to have ready for con season next year. I like the idea of having prints at my table, which would give it a visual appeal beyond what I would usually have as “just” a writer.

I recommend all writers consider doing a similar project, especially my colleagues within the indie comics community. Why not take advantage of a popular hashtag to drive more traffic to your page? Why wouldn’t you want to engage with the community of comics artists with whom you hope to collaborate in the future? Why not work towards a modular project which you might be able to sell in different mediums?

Below, I have posted a few samples of our work so far, but I invite you to follow along and see all the pieces, on both my own or Marika’s social media pages.

#IntoThisDarknessPeering Written by A. A. Rubin, illustrated by Marika Brousianou
https://www.instagram.com/thesurrealari/
#IntoThisDarknessPeering Written by A. A. Rubin, illustrated by Marika Brousianou
#IntoThisDarknessPeering Written by A. A. Rubin, illustrated by Marika Brousianouhttps://www.instagram.com/thesurrealari/

The Size of the Glass

Everyone knows the old test to determine whether someone is an optimist or a pessimist: Show them a glass partially filled with water, and see whether they say that the glass is half empty or half full. The cliché is so far ingrained in our culture, that it has become a popular subject for clever jokes: The glass is all the way full, half with air and half with water; I’m not an optimist or a pessimist, I’m a realist—tell me whether I started with a full glass or an empty glass—did I drink it (in which case it’s half empty) or did I fill it (in which case it is half full); and so on.

Perhaps my favorite deconstruction of the old paradigm comes from the great Sir Terry Pratchett:

“There are, it has been said, two types of people in the world.” Pratchett writes in The Truth,” There are those who, when presented with a glass that is exactly half full, say: this glass is half full. And then there are those who say: this glass is half empty.

“The world belongs, however, to those who can look at the glass and say: What’s up with this glass? Excuse me? Excuse me? This is my glass? I don’t think so. My glass was full! And it was a bigger glass! Who’s been pinching my beer?”

In this post, I would like to explore how we, as writers, can acquire that bigger glass.

Most writers whom I know are searching for ways to grow their audiences, but our audiences are limited by a number of factors, some of which are in our control, and some of which are not.  Without the backing of  a major publisher, or a professional level marketing and press budget, the extent to which we are filling our glasses is not nearly as consequential to our ultimate success as the size of our glass. Our limits, in terms of time, money, marketing and social media skills, determine the size of our glass, and therefore our potential audiences way more than many of us would like to admit.

Recently, I have come across a strategy to expand my audience which I would like to share with you.  The idea is to grow your potential audience by cross-promoting with a group of other like-minded authors.

I was introduced to this idea twice in the last week, by two very different and disparate sources.

The first instance, came when I was asked by Buddy Scalera, of Comic Book School, to join a group of independent comics creators, which included writers, artist, retailer, and educators in the world of independent comics. This “Coalition of the Willing” as Scalera describes it, agreed to try to keep the enthusiasm of the panels that Comic Book School runs at New York Comic Con (NYCC)  going throughout the year. If successful, this initiative would have a number of benefits. First, if the participants are able to keep the enthusiasm which they had when they left the show, they will be more productive in the coming year. Second, by keeping the discussion going throughout the year, the profile of independent comics in general, and Comic Book School in particular will be raised, giving the organization a bigger platform when it comes time for NYCC to select panels and give out panel times for the following year. (In recent years, there have been fewer professional panels at NYCC, a subject which I will address in a future blog). And Third, and most relevant to this post, the participant will cross promote with each other and with Comic Book School, gaining more eyes on their social media, thereby growing their audiences.

The way an initiative like this can help grow a creator’s audience, can be seen in the first challenge presented to the group. Each member was charged with posting about an independent comic that he or she enjoyed with the hashtags #MakeMineIndie (a play on the old Make Mine Marvel advertising campaign) and #ComicBookSchool, and explain why she or he enjoyed that comic. We each posted about a book that wasn’t our own, and the posts, depending on when you’re reading this, either will be—or will have been—collected on the Comic Book School page. By combining their efforts, liking and sharing each other’s posts, each member of the group raises the profile of all. Through the hashtag, we are also raising the profile of our medium by posting about independent comics. We each bring our own audience, our own glass if you will and pour our water into a larger pool which we all can share. Over time, our pool will grow as we add to it, and everyone will end up with a bigger glass.

https://www.comicbookschool.com/challenge-1-makemineindie/

We can also learn from each other. I am much more successful on twitter,  than I am on facebook or instagram. Some of the other creators are more successful on the other platforms and less successful on twitter. Collaborating in this fashion will allow us to learn from each other as well as bring built-in audiences to the platforms with which we struggle.

I also encountered the idea of pooling audiences in the November/December issue of Poets and Writers. The cover story of the issue, “The Future of Indie Publishing” is comprised of eight stories, written by eight different editors of independent literary presses. Each was asked what independent publishing needed to do be successful in the future. The articles offered a variety of suggestions, but the one which caught my eye—perhaps because I was just starting to get involved with the Comics Book School project—came from Molly Barton, of Serial Box. In her article, entitled, “Right In Front of You + Immersive”, Barton relates a story of “The Silicon Guild” a group of “future-focused business writers who agreed to promote each other’s work through their social channels and newsletters.” By doing this, she claims, “just by combining their individual followings, they suddenly had a direct collaborative audience of millions.” (p67). Barton suggests that this not only raised their profile and expanded their audience exponentially, but that in her professional opinion, they could have started their own publishing company. She suggests that more writers engage in similar tactics, which will not only enhance their profiles, but make them more attractive to publishers as well.

Looking at these examples, one in the field of comics, and one about future-focused business writing cited in a magazine aimed largely at literary writers, I couldn’t help but be struck by the power of this strategy, especially in a world where an author’s social media footprint is so important. I am glad to be part of the Comic Book School group, and hope to find similar groups for the other genres and mediums in which I write (which include literary fiction, Science Fiction and Fantasy, and poetry). That way, no matter the vagaries of the glass—whether it’s more full or more empty—it will become a larger glass.