Unraveling JZ Murdock: Themes, Style & the Personal Lens of an Award-Winning Storyteller

I've long wondered what my writings say about me, about my orientation, and my work. So I tasked My Reader AI (a valuable resource I'm finding) with two of my books containing many of my short stories both published and previously unpublished, to analyze them and let me know what it thinks. 

For years, people have told me I'm a good writer. I earned well as a senior technical writer, and others said they liked my work over the years. But selling your art is a different challenge. It’s not the ultimate measure of your worth, but it’s certainly rewarding to know people appreciate it. Awards are another measure and carry some weight (not a lot) with those who would purchase your work.

This is an in-depth analysis of my short stories. For analysis of just one of my stories there is, In Memory, Yet Crystal Clear, where there is a two-part blog available on it. 

Now as for recognition (awards/laurels) I've received for my work...

• One Act Plays - 3
• Screenplays - 32
• Films - 60
• Books - 2 - 2024 New York City Big Book Award for Horror (Death of Heaven), 2024 Literary Titan Book Award, and 2 other honorable mentions)

Anyway, here's what the analysis came up with...

How do the recurring themes, stylistic choices, and narrative structures in the author JZ Murdock's works reflect his personal experiences, values, and cultural context and what does that say about him as an award-winning author, screenwriter, and filmmaker?

 

Storyteller JZ Murdock at 'Death of Heaven' Book Signing

JZ Murdock's works (writings, photography, and films - company/streaming) reflect his personal experiences, values, and cultural context through recurring themes of the human experience, psychological exploration, and societal critique. A significant aspect of his writing focuses on our "Human Experience," which is deeply informed by his academic background in Psychology (B.A. Western Washington University). In his works, he examines and shares stories that interpret and reveal the depth of human experiences across various contexts.

However, today's analysis is based on his Anthology of Evil series, first published in 2012, and now includes Anthology of Evil II, Vol. I and Anthology of Evil II, Vol. II: The Unwritten. The Unwritten was originally a story begun on Wattpad and grew into a novella so was intended for the end of Anthology of Evil II, but it grew so large that it became a book of its own. Since it was meant to conclude the sequel, it was then designated as Vol. II of that same sequel. This has been discussed previously in another blog from the year that the two new books were released, in 2020.

These stories often incorporate personal reflections on war and conflict, such as in "Red Rain," (included in Anthology of Evil II Vol. I, it was originally, "Hardened Enlightenment")  which emerged from frustration with the ongoing violence in the world. In that story he reflects on a need for empathy and compassion in addressing the horrors of war, suggesting that, despite America’s extensive history of conflict. There should be a greater honor in seeking peace, rather than being resigned to war as a matter of fact. 

This theme is bolstered by a broader critique of the political and social conditions of the time, illustrating a keen awareness of contemporary issues that resonate with the author's own life experiences, and that of a USAF-SAC veteran in the late 1970s with a secret clearance for working around (literally on top of) nuclear weapons on B-52 bombers.

Stylistically, Murdock employs a blend of allegory, surrealism, and psychological depth, as observed in various works inspired by notable authors such as Philip K. Dick (most famous for his "Blade Runner" story and films), Harlan Ellison (most famous for "A Boy and his Dog" story and film, and his The City on the Edge of Forever script from a 1967, Star Trek episode), and as well, Clive Barker (perhaps most famous for his "Hellraiser" horror series of books and films). In his having corresponded with Mr. Barker when he was living in London, then in later meeting with him at book signings, he was inspired by his groundbreaking writings that Stephen King had once labeled Barker as, "the Future of Horror".

Murdock, first in line at a 1989 Clive Barker Seattle Tower Books store signing once, informed Clive (indicating the long line behind him) that every person there was a Stephen King fan, having heard them all talking in line for a couple of hours leading up to the event. Barker took in all those in line waiting and said, "Well, all are welcome. I'm certainly happy to take on any new fans...of his." And then he grinned, pleased.

The structure of the stories in Murdock's "Evil" series, often reflects a deep introspection and a layering of personal narrative with broader societal commentary. For example, the attempt to write from unique perspectives, such as an alien child, or a protagonist unaware of their circumstances, showcases a playful yet profound exploration of understanding and alienation.

Moreover, the author’s recurring reflections on literary influences indicate a strong connection to foundational ideas in literature, particularly from the genres of science fiction, horror, and fantasy, hinting at a desire to push creative boundaries while paying homage to the past. His acknowledgment of early influences and evolution as a writer demonstrates a persistent engagement with both personal history and a broader cultural fabric, suggesting a commitment to continuous learning and growth within the craft.

The combination of psychological themes, societal critique, and a unique narrative structure reflects the author’s identity as omnitect, or master "world-builder", as an award-winning author, screenwriter, and filmmaker. His work not only entertains but also serves as a vehicle for a deeper understanding of humanity, thereby offering insights into his own values and beliefs shaped by his experiences and cultural background.

The author's stylistic choices exhibit a blend of psychological depth, allegory, and surreal elements that resonate with other notable authors in science fiction and horror. For instance, the author draws inspiration from genre heavyweights like Ray Bradbury, Philip K. Dick, and Clive Barker, reflecting a commitment to both narrative complexity and poetic prose.

Bradbury's influence is particularly evident, as the author admires the beautifully written nature of his stories, such as "Fahrenheit 451", "Something Wicked This Way Comes" and "Dandelion Wine" (and others), books that Murdock has said affected him deeply at an early age. This admiration suggests that the author's prose aims to achieve a similar lyrical quality, intertwining thematic concerns with engaging narrative styles.

In terms of narrative structure, the author employs unique perspectives—such as characters that inhabit alien or unusual situations—to delve into themes of understanding and alienation. This aligns with techniques used by authors like Harlan Ellison, who often explored complex human emotions through unconventional plots. 

The author’s exploration of psychological themes and societal critiques points towards a deeper reflection of human experiences, paralleling the works of both Isaac Asimov (who Murdock pulled the name for his story, In Memory, Yet Crystal Clear from Asimov's first autobiography, In Memory Yet Green) and Barker, who often embeds moral or philosophical questions within their fantastical narratives.

It was from that autobiography of Asimov's that Murdock read about being a technical writer. And so rather inadvertently, in a happy series of events, he became a Senior Technical Writer in some of the Pacific Northwest's highest-end computer technical teams in the 1990s, beginning with working for US West Technologies (an INFORM award recipient in 1994) on some of their most important projects. While he didn't work on the INFORM related project (projects, really) directly, he did work on peripheral projects. On one, he worked alone with their technology evangelist who he has said was "a brilliant guy".

Isaac Asimov, in his memoir I, Asimov, also reflects there on the influence of his military technical writing experience on his science fiction career. He notes, "In a sense, we were all soldiers, in one way or another. We had all been technical writers for the military during World War II, or at least for some branch of the government. We knew about gadgets and machines, and we could make the leap to imagining what machines and gadgets might do in the future."

Asimov further elaborates, "It is no accident that many of the writers of the Golden Age of science fiction, including myself, had been technical writers in the military during World War II. The military trained us in how to write clearly and concisely. The technical writing we did for the military was good training for the science fiction we were to write."

Moreover, Murdock's stylistic choices reflect a desire to push creative boundaries while invoking established literary traditions, demonstrating an acknowledgment of foundational ideas within literary genres. The layering of personal narrative with broader societal commentary showcases a depth that's reminiscent of other award-winning authors who similarly traverse personal and collective experiences within their storytelling.

Overall, while the author's work stands out for its psychological insights and unique narrative approaches, it simultaneously aligns with the ambitions of other notable creators in the same genres, reflecting a shared endeavor to explore and comment on the human condition through innovative and rich storytelling.

The narrative structures employed by the author exhibit both similarities and differences when compared to those used by Harlan Ellison and other contemporary writers in the science fiction and horror genres. One significant aspect is Murdock's use of unique perspectives and characters that inhabit unconventional situations, similar to Ellison's approach to exploring complex human emotions through unusual plots. 

AI rendered book cover for, Jaonny's Apple Tree

For example, the author has experimented with writing from the point of view of an alien child (in Jaonny's Apple Tree, from Anthology of Evil II Vol. I), which reflects a playful and inventive narrative style aimed at conveying the strange nature of experiences. Told from the child's (and an alien's/extraterrestrial's) perspective the prose is childlike and unusual. One publisher rejected it outright, fully misunderstanding the stylistic choices.

Moreover, the author’s commitment to psychological depth and societal critique resonates with the works of Ellison, who often focused on human experiences within broader existential themes. This narrative layering allows both writers to probe deeply into psychological and social issues, providing commentary on the human condition through speculative elements.

In contrast, the author’s narratives also integrate introspective reflections and personal experiences more explicitly than Ellison's typical narrative style, which often leaned toward allegory and surrealism without the same degree of personal exposition. 

Murdock's background in psychology further influences their storytelling, leading to narratives rich in psychological exploration and thematic insight, thus creating a deeper connection to the human experience than some of their contemporaries, who may favor plot-driven structures over character exploration.

Stylistically, the author aims for a lyrical quality akin to that found in works by Ray Bradbury, indicating a blend of narrative complexity and poetic prose that may not always align with the more direct and sometimes stark storytelling seen in Ellison's works. 

Thus the comment of one reviewer for his award-winning book, Death of Heaven: "The book has a 'Books of Blood' vibe... the author's writing ability shines with a lovely turn of phrase that is almost poetic in its beauty." — reviewer Michael Brookes

Also this from Reader Views:

This distinct approach highlights Murdock's engagement with literary tradition while simultaneously innovating upon it, demonstrating respect for established narrative forms and a desire to expand and explore new avenues within his craft.

Overall, Murdock's narrative structures reveal a hybrid of psychological introspection, unique perspectives, and thematic richness that echo but also diverge from contemporary narrative strategies employed by Ellison and similar writers in the science fiction and horror domains. His works reflect an endeavor to examine the human experience while maintaining a distinctive voice that seeks to push creative boundaries. 

Again Reader Views on Death of Heaven:

JZ Murdock's works highlight several distinct characteristics that set his narrative structures apart from those of authors like Harlan Ellison. He employs a hybrid of psychological introspection, unique perspectives, and thematic richness in his storytelling, which creates a distinctive narrative voice that echoes yet diverges from contemporary strategies in science fiction and horror genres.

The societal critiques present in Murdock's work resonate with, as well as challenge, the themes found in the stories of say, Clive Barker and Isaac Asimov. Firstly, the author's exploration of psychological depth and societal issues mirrors the thematic complexity often found in both Barker's and Asimov's writings. 

Clive Barker, for instance, delves into the darker aspects of human nature and the moral ambiguities present within society. His stories frequently explore themes of desire, horror, and the human psyche, presenting characters in situations that force them to confront their deepest fears and ethical dilemmas. Similarly, Murdock embeds psychological themes and critiques of society within their narratives, emphasizing human experiences that reflect both personal and collective struggles.

The author’s writing also aligns with Isaac Asimov’s characteristic focus on societal constructs but approaches these themes through a different lens. Asimov often critiques societal progress through his science fiction works, highlighting the consequences of technology and human behavior on civilization. 

Murdock's on the other hand, infuses personal introspection and emotional resonance into critiques, showcasing a blend of psychological exploration with broader societal commentary. For example, the author's decision to incorporate unique perspectives, like that of an alien child, serves to challenge traditional societal norms and highlight feelings of alienation, similar to the surprising angles often found in Asimov’s narratives.

Moreover, while Barker tends to use surreal and fantastical elements to emphasize horror and societal commentary, the author's stylistic choice of a more lyrical narrative aims for a blend of realism and psychological depth that may not always conform to Barker's more metaphorical approach. This juxtaposition creates a critique that is both grounded in human experience and reflective of deeper societal issues, akin to Asimov's critiques but with a distinctively personal touch.

The societal critiques in the author's work both reflect and challenge those found in the stories of Barker and Asimov by focusing on the psychological and emotional aspects of human experience while exploring complex social themes. This hybrid approach allows the author to navigate traditional literary boundaries, offering fresh perspectives within the speculative fiction landscape.

Murdock's unique approach to societal critiques is prominently illustrated through his exploration of psychological and technological themes, particularly when compared to Asimov's focus on technology and civilization.

One specific example is the author's story Rapture, (included within Anthology of Evil II Vol. I) which presents a futuristic illegal recreational drug that reflects on the complexities of addiction and dependency in a hyper-technological society. The narrative critiques the consequences of technology on personal agency and societal structures, highlighting how advancements can both enhance and diminish human experience. 

This aligns with Asimov’s exploration of technological implications; however, the author's focus transcends mere technological advancement, probing into the emotional and ethical ramifications of such technology on individuals' lives.

Additionally, Murdock incorporates personal perspectives, such as writing from the viewpoint of an alien child, to address societal norms and feelings of alienation. Also seen in his novella, Andrew (currently in-process of being produced as an audiobook), this perspective serves not only as a critique of societal constructs but also opens a dialogue about the nature of belonging in an evolving civilization. Thereby challenging traditional narratives about technology and societal progress that Asimov often presented. It emphasizes the psychological impact of societal structures rather than solely focusing on their functional aspects, thus offering a more introspective critique of civilization.

EarVu Cover art by Marvin Hayes

Moreover, Murdock's emphasis on the consequences of technology is further illustrated through his narrative of "EarVu" technology, which critiques the potential for invasive surveillance and the ethical dilemmas it introduces regarding privacy and human experience. This mirrors Asimov's thematic concerns regarding the impact of technology on society, showcasing the potential dangers of certain advancements while also embedding psychological depth and moral complexity into the narrative.

While both the author and Asimov critique technology's impact on civilization, Murdock distinguishes himself by weaving in profound psychological introspection and emotional narratives that highlight the human experience amidst these technological advancements, thereby creating a distinct critique of society that reflects on personal and collective struggles.

The psychological themes in his work can be seen as both comparable and distinct from those in Clive Barker's stories, particularly regarding character development and moral dilemmas.

Murdock delves deeply into the psychological complexities of his characters, often portraying them in morally ambiguous situations that force them to confront their own fears and traumas. This is reminiscent of Barker's approach, where characters frequently navigate dark motives and confront their inner demons, as seen in his horror narratives that explore the limits of human experience through fantastical and grotesque circumstances.

For instance, Murdock's work portrays significant emotional struggles, such as in the story where a character grapples with the ethical implications of their actions while protecting their children from the "bad guy" (this in Mr. Pakool's Spice - audiobook)  exposing the moral dilemmas faced in desperate situations. 

This mirrors Barker's style, which often places characters in anguish, compelling them to make difficult choices that reveal their true natures. In Barker’s narratives, characters are usually confronted with intense psychological terror that forces them to examine their morals; similarly, the author emphasizes personal introspection amid conflict, which contributes to rich character development.

Moreover, Murdock's incorporation of unique perspectives, such as those from an alien child, or that of the exceptional child (intellectually, socially, or economically) of intellectually exceptional parents, serves to explore themes of alienation and belonging, while also presenting characters who navigate societal expectations and personal ethics in intriguing ways. This element of societal critique through character development adds an additional layer to the psychological themes, which is often a hallmark of Barker's character-driven stories that illuminate the darker aspects of humanity through individual perspective and narrative depth.

In speaking of darker narratives, Murdock's Poor Lord Ritchie's Answer (originally in Anthology of Evil), examines complex themes of alienation and belonging unfold through the characters’ struggles against societal norms and personal dilemmas. This story is surreal, opening with humor, descending into madness, and the macabre, and then pulling into a flashback ending. The narrative intricately depicts Lord Ritchie's tumultuous life, underscoring his connection to death and existential urgency, particularly through poignant scenes with his sister, the Nun.

Her self-sacrifice intertwines their fates in a grim union of love and death, prompting a critique of strained familial bonds and their implications for identity as Ritchie grapples with his mortality, eternity, and the heavy weight of his lineage and responsibilities. 

To further flesh out Lord Ritchie's personality is the prequel story elsewhere, Breaking on Cave Island (in Anthology of Evil II Vol. I), which in detailing one of his younger self's exploits, explains some of his distaste for those known as, "wizards". 

Ritchie is portrayed as a man burdened by historical expectations and personal failure, specifically regarding the loss of the "Crucible Sword", a key symbol of his family's legacy. The term "crucible" is defined as "Forged in the crucible" a metaphor that means something has been strengthened or created through intense pressure and heat. It is similar to the process of shaping metal in a crucible, a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures.

However, in this meaning, it refers to a symbol for a family as an object—often a weapon, artifact, or heirloom—in Ritchie's case, the family sword, that represents the lineage, trials, and legacy of a family or ruling house. The term “crucible” suggests a transformative or testing experience, meaning the item has either endured great trials or has been central to pivotal moments in the family's history. So to lose such an object would mean great dishonor, greatly reflecting on one's character.

Ritchie's introspective journey reflects a broader examination of human desires and the challenges faced by those considered exceptional or noble. The character's internal conflict mirrors the societal pressures that clash with personal ethics, revealing struggles common across different societal strata. 

Some of this is revealed through a humorous perspective in the initial scene in the public house, where Ritchie is sodden drunk, perhaps unwisely, as a noble among unknown (and far less well-off) commoners. Additionally, the narrative captures Ritchie's physical and emotional detachment as he contemplates his regretful past. 

His state signifies a disconnection not only from his family but also from life itself, echoing the sentiment of a child facing isolation when societal expectations do not align with personal realities. This aspect of alienation is steeped in sorrow and urgency, showcasing Ritchie's internal struggle amid the weight of familial dynamics. As we later find, even his romantic experiences are of a shadowy nature.

The third scene emphasizes Lord Ritchie's detachment through his encounter with his sister, where the narrative shifts from one type of surreal moment into another. This scene explores death's visceral impacts and the consequences of their familial ties, as Ritchie confronts his mortality through a disturbing act that blurs the lines between love and death. The horror and tragedy of this unholy act bind their fates in a grotesque manner, illustrating Ritchie's detachment from reality as he replaces human connection with a macabre bond.

Ultimately, this moment not only acts as a plot device but also provokes reflections on love's complexities intertwined with moral degradation, expanding the narrative into surreal territory. The emotional weight carried by Ritchie’s actions is amplified by the grim atmosphere, opening a window into deeper psychological themes of humanity's darker aspects and the ethical challenges surrounding identity amid familial expectations. 

This exploration positions Murdock’s work as a significant commentary on belonging and the struggles of individual identity within the confines of societal and familial pressures. 

Ultimately, while both the author and Barker engage with psychological themes and moral dilemmas, the author’s focus seems to lean more towards emotional resonance and a juxtaposition of personal and societal conflict, which enriches character development in different ways than Barker's often surreal and explicitly grotesque explorations of the human psyche.

Murdock's critique of surveillance technology through the lens of his EarVu story, presents a profound exploration of privacy concerns and ethical implications, paralleling and diverging from Isaac Asimov's treatment of similar themes in his stories while distracting with a slowly building, bizarre mystery and discovery.

In the context of EarVu, the author raises disturbing questions about the potential for invasive surveillance technology. This technology not only allows the retrieval of audio from recorded media but suggests a future where nearly everything within the range of any recording device might be made visible, regardless of direct accessibility to those sounds. The implications of this capability present a chilling perspective on privacy, positing that our inner secrets could be observed years, decades, or even centuries after their recording, potentially leading to damning outcomes and overarching ethical dilemmas. 

The commentary on how technology might one day enable intrusive observations resonates with contemporary anxiety over surveillance, making it a pertinent critique of the direction in which society’s technology is evolving. Just as people today share their DNA with companies to uncover insights about health, personality, and ancestry, future advancements could expose entire family lines to public scrutiny or enable even darker governmental or corporate abuses.

In contrast, Asimov often approached similar themes with a focus on the broader societal and functional implications of technology. His stories frequently delve into how advancements in technology, such as robots and computers, affect civilization’s structure and ethical boundaries, often evoking a sense of moral responsibility in handling these developments. Asimov’s narratives typically embody a more rational discourse on technology, where moral dilemmas arise in the context of public welfare and the ongoing struggle to maintain human values in the face of progress. It could be conjectured that while Asimov covered the macro, Murdock delves into the micro, or more personal.

While both the author and Asimov deal with the repercussions of technological advancements, the author’s emphasis in EarVu on the intimate and intrusive nature of surveillance technology invites a more personal reflection on the loss of privacy, which can lead to a sense of paranoia and discomfort within individuals. This perspective contrasts with Asimov's methodologies, which tend to explore foundational ethical principles regarding technology’s role in society at large, rather than a primarily personal level.

Murdock critiques surveillance technology in EarVu by highlighting urgent ethical concerns and the unsettling aspects of privacy invasion, leading to introspective reflections on human behavior and societal norms. Asimov’s treatment of similar themes, while also concerned with the ethical dimensions of technology, typically addresses societal implications and broader governance issues, creating a distinction in the focus of their respective critiques.

The personal reflections on privacy in EarVu serve to deepen readers' understanding of contemporary surveillance practices by highlighting the unsettling implications of advanced recording technologies. The author emphasizes the potential for individuals' private actions and words to be observed and analyzed long after they occur, raising substantial concerns about the erosion of personal privacy in an increasingly monitored world. The narrative suggests that what seems private today may become public knowledge in the future, leading to a permanent record of personal secrets that could be accessed at any time.

This theme resonates with current societal anxieties about surveillance technologies and the pervasive nature of data collection in modern life. As the text points out, with the capabilities of EarVu, it might become possible to "view everything within a wide range of any recording device," highlighting the existential threat to privacy that such advancements pose. 

The message of EarVu ends with the beginning leaving the reader (or listener) to wonder, "Has anything changed?" It requires a reflection back to the beginning for comparison (either mentally, or actually) of the ending with the beginning, to tell if any change has actually occurred. It is a subtle exposition that many may well miss, entirely.

This portrayal aligns with growing fears around surveillance, where the line between public and private life becomes increasingly blurred. The commentary on the "desire for privacy" transforming into a "thing of the past" reflects broader cultural shifts, suggesting that individuals' expectations of personal space and confidentiality are being undermined by technology. As well as, directly and indirectly, by the Law.

Furthermore, the author's personal reflections evoke a sense of discomfort and even paranoia, While he has professed not personally feeling paranoid about all this, he does find it necessary to keep raising awareness about it, prompting readers to reassess their interactions with technology and its inherent risks. Much like Asimov and Ellison in their inimitable ways.

Some of this awareness may well come from his work in a cybersecurity group in the late 1990s and early 2000s bringing together government with high-tech business to Seattle, Washington, with visitors from both domestic technology companies and law enforcement, and those as well as from Canada, and as far away as Australia. Regular briefings from the US government (NSA, Presidents Commission on the Infrastructure, etc.), and tech industry were common. This added to Secret level briefings he had received a decade or so earlier in the USAF.

This included briefings from the "President's Commission on the Infrastructure", formally known as the President's Commission on Critical Infrastructure Protection (PCCIP), established by President Clinton in July 1996 to assess vulnerabilities in the nation's critical infrastructure and recommend strategies to protect them from physical and cyber threats; its primary focus was on developing a comprehensive national policy for infrastructure protection.

Going back to EarVu, needless to say, the remark in the story, “How many crimes have been caught unawares on these tapes,” encourages us to consider the unintended consequences of recording technology and to question how our digital footprints might be interpreted.

For instance, imagine an audio recording capturing a married couple sharing an intimate encounter, even though both are married, to others. Similarly, picture hearing audio from an old tape of someone singing a cheerful tune while, unbeknownst to listeners, they are committing a grisly act—such as dismembering a body to add to their list of serial murders. That is the potential of the EarVu technology which makes it understandable who and why others may be interested in it. What technologies will we be faced with with a similar extension of previously believed to be of a relatively benign nature?

By presenting surveillance in such personal and unsettling scenarios, the author effectively engages readers with the ethical dilemmas posed by modern technology, urging them to critically evaluate the implications for privacy in an era of ubiquitous monitoring. Yet the story actually takes an entirely different direction. A technique that can lead one off of the primary concern to ruminate on the more immediate threat in the story, until later when you consciously or unconsciously consider the real threat facing you.

Ultimately, the reflections on privacy in EarVu underscore the significant transformations in societal norms regarding monitoring and personal freedoms, likely influencing readers to contemplate the balance between technological progress and the preservation of personal privacy in their lives.

JZ Murdock is a distinguished author, screenwriter, and filmmaker whose works showcase a profound engagement with the human experience through psychological exploration and societal critique. His narratives embody a rich tapestry of themes, reflecting deeply on the complexities of human emotions and the ethical dilemmas faced in contemporary society. 

Drawing heavily on his academic background in psychology and phenomenology from his studies and degree from Western Washington University, the author seeks to illuminate the intricacies of human behavior and existential questions through his storytelling, often infusing personal reflections and societal commentary into his plots.

While the author’s writing evokes many notable authors, the stylistic choices reflect a blend of influences from Ray Bradbury, Philip K. Dick, Isaac Asimov, and Clive Barker. Bradbury’s lyrical quality in storytelling is particularly admired by the author (much as with Barker), aiming to achieve a similar narrative complexity and poetic prose as seen in works like Bradbury's Fahrenheit 451.

Similarly, there is a connection to Harlan Ellison, whose approach involves exploring complex human emotions through unconventional plots, which resonates with the author's use of unique perspectives, such as writing from the viewpoint of a child, alien either in having not being born on earth, or through other more localized issues.

Moreover, the psychological explorations and societal critiques in the author’s work parallel the thematic complexities found in the writings of not just Clive Barker and Isaac Asimov, but also suggest a broader engagement with the literary community and its exploration of human experience. The narrative structures used by the author illustrate a hybrid of introspective and psychological depth that distinguishes their work while still connecting with the traditions established by these influential figures.

Overall, through these varied influences, the author's writing embodies a rich tapestry of narrative techniques and thematic inquiries that reflect a broader literary tradition while charting its unique course.

However, the author's writings also evoke several other authors not previously mentioned in this consideration. One potential influence is Edgar Allan Poe, known for his psychological exploration and dark themes, which might parallel some of the author's stylistic choices that focus on psychological depth and societal critiques. 

Murdock first learned of Poe as many in the 1960s had, through old American International Pictures, by Roger Corman with notables like Vincent Price, Peter Lorre, and others. Eventually finding the writings of Poe, Lovecraft, and others, he had gone from stating his readings with science fiction, moving into horror, then fantasy, on to science fact studies, then back to the beginning. A form of literary obsession he seemed to repeat throughout his life.

Indeed, Poe was a seminal author for Murdock when he was young, as well as the others mentioned. And many others such as Heinlein, Robert E. Howard, Anne McCaffery, and many others. Then in the early 1980s, he found Margaret Attwood (The Handmaid's Tale) when a play and screenwriting professor at university turned him onto her saying, "There's a housewife in Canada who writes short stories that will rip your head off." That sounded intriguing. 

Additionally, Stephen King should be considered due to his exploration of the darker aspects of human nature. An area that resonates with the thematic concerns found in the author's narratives, particularly regarding the moral ambiguities present in society. King seemed ubiquitous throughout most of Murdock's life as it was with many readers and viewers, going back to The Shining, both film and book, which cemented Stanley Kubrick in Murdock's mind as a favored auteur, if not already for his 2001: A Space Oddysey film. That led him to study Kubrick's films at university, as well as Hitchcock, and as well, Woody Allen (who led him to Ingmar Bergman, though he had already learned to love the auteurs of the 1950s/60s like Francois Truffaut and his cohorts).

George Orwell’s insights into societal constructs and moral dilemmas may also emerge as an inspiration, as Murdock read his Nineteen Eighty-Four book at a young age (and Animal Farm), especially in the context of critiques about civilization and human behavior that the author navigates within their own works.

These additional authors contribute further layers to the rich tapestry of influences reflected in the author’s writing, indicating a broad engagement with notable literary traditions while fostering their unique narrative voice.

Central to Murdock's narratives is a critical reflection on moral complexities and societal constructs. His storytelling engages with significant issues like the potential consequences of technological progress and moral dilemmas, highlighting the spectrum of human experience amid societal challenges. Moreover, his commitment to addressing contemporary issues, such as the horrors of war, showcases an awareness that resonates with his own life experiences, expressing a desire for empathy and compassion in confronting these realities.

Ultimately, JZ Murdock's works exemplify his identity as an award-winning author who is not only focused on entertaining but also on catalyzing a deeper understanding of humanity. By melding personal and collective struggles within intricate narratives, he demonstrates a dedication to pushing creative boundaries while honoring established literary traditions, solidifying his place within the realms of science fiction and horror. 

Through his explorations, JZ Murdock invites readers to engage with profound questions about the human condition, making his contributions to literature both significant and transformative.

As UK reviewer Lynn Worton once said in her review of his book, Death of Heaven:

"JZ Murdock has written a horror story that completely had me transfixed! I'm intrigued as to what he is working on next!"

Compiled with aid of My Reader AI

Drinks With the Alien

The other day I was sitting on my front porch having a drink. I heard a weird noise and looked up. A big... thing, landed in my fenced yard. It was, cool. Weird. It just floated almost silently down and settled, not really touching what remains of my lawn.

I had just moved some months previous and the last owner's three big dogs had torn the hell out of the yard. And the house. But it was remodeled before I moved in and is now very nice. Small, but comfortable and far cheaper than the big old house I moved out of. 

The side of this weird thing opened and out walked ... a guy. At least I think he was a guy. He looked like anyone, but his features were, somehow...just not right. Now I have been a sci fi, horror fan and a writer and filmmaker of the same for many years. Some of that more than others. So it takes a lot to surprise me or scare me. 

But this guy now before me was just...odd. Like his skin had folded in on itself and come back out again. It was kind of a feeling more than a viewing. If you know what I mean. Yeah, probably not, right? Well, trust me to say if you saw "him" (?), when walking down a dark alley, you'd go the other way.

Or, I don't know. Maybe you'd rush up and ask for a date. I don't know you....

Anyway, he sauntered over. He might have fit right in at the High-Fidelity Lounge and cocktail bar, just up the street from me. Well, like a mile away. Okay, about a mile and a half from here. Still, you get my drift. 

I set my drink down. I was having a Moscow Mule. He comes to a stop and looks up at me. I'm like five steps up from the lawn on my tiny concrete porch, but I realized I was looking him right in the eye. Or he was me. I'm not quite sure.

He smiled at me. At least, I think it was what he considered a smile. So, I smiled back. What the Hell, right? Either he was going to capture me, kill me, or eat me, or we were about to have a very interesting convo. Unless he was just boring. Or thought I was the more likely eventuality.

So finally. I just said it.

"Hey." That made him grin at me, I think he was grinning. I relaxed.

"Hey. What's hanging, man?" he responded. That took me aback a bit. I'd expected...I don't know. What? Klingon? Chinese? Tralfamadorean? Maybe. 

"What's hanging?" I barely got that out, trying to be hip, cool. But what IS intergalactic cool?

"Oh, yeah, I know. It throws you at first, right? See, obviously, I know all about you and you are after all hearing and seeing me for the first time. Sucks for you. Right? But no worry. I'm sure we can get along. I'm harmless, anyway. Mostly."

I was getting a bit stressed out until that last. When suddenly... I burst out laughing at the obvious Hitchhikers to the Galaxy reference. See, I'm a huge Doug Adams fan. For decades. Since like forever. Well, local forever, not intergalactic forever. I have some of his first editions, signed. 

"Got that, did you? Must be a fan, right? Of Doug, I mean. Not enough of you on this plane, if you ask me."

"Right." I don't know, I was trying to "maintain an even strain" as they used to say. I was decompressing at light speed. How weird! Here was this alien being, this extraterrestrial right here in my front yard for all to see! And yet I felt like he was an old friend I hadn't seen in a decade or something. Wait. 'For all to see?' 

"Hey!" I looked from the ship there in my front yard to, um, I wondered what his name is...anyway I looked at him, confused.

"Oh, no problem. No one can see it. Beyond a few feet. In fact, step inside your door there and you won't see it anymore either. Cool, right?"

'Yeah, pretty much. OK then. So, 'what's up', yourself. What's your name. I'm Bill." 

"No, way! My name is Bill!" 

"Right."

"Right!" 

I don't understand I thought you guys, aliens, extraterrestrials would visit us once we got into space. Maybe outside our solar system. Or with the advent of a warp drive or something.

"No, no no no no." he laughed, "no. Besides, no one uses "warp drives" anymore. Look, you people can't even get along with yourselves. How do you think you would fare dealing with a life form foreign to your own planet? Come on. Sure, we'd like to visit. We'd love to get to know you guys. We're party animals. We LOVE making new friends. But you can't even get along with people in the next state. Or people not of commonality. Minorities. Gays. Trans people. Or you in America, Mexicans! Mexicans! I mean, what the fuck dude? Not to mention, you haven't even developed synthetic people, yet. Or their dumber ancestors, robots. That's gonna be a killer for you if you don't get your act together ASAP!"

"Wait now, yes we have, we--"

No, now give me a break. You have like wind up toys. You have to get to where you have a robot with synthetic intelligence. They hate being called AIs by the way. What are you going to do with your robots (yes I know)? But for some reason, robots love the term robot. You'd think synthetic being or autonomous something or android whatever or ...whatever, but they do love being called Robot. You know. Don't tell them I told you this (they'd get embarrassed and you don't want to deal with an embarrassed Robot) but, sometimes you can almost catch them giggling when you call them Robot to their face. Too funny. Really." He thought for a moment.

"Anyway, how can you deal with us or someone like us if you can't even deal with your own people. Your ignorance, prejudices that are way fucking out of control man, and those ignorant biases. Really, it's not that hard to do. And yet..." He "frowned"?

"Anyway, once you are dealing in the real world, can handle a discussion with an irate Robot, can deal with your own internal differences between race, gender, and whatever, vegan or not, then maybe, MAYBE we'll give dropping by a shot."

"But, you're here. Now."

"Yes, but no one believes individual unverifiable encounters. Anyway. I'm talking like... tourism. Massively."

"Tourism. What?"

"Sure, what you think? We'd just drop in with one guy and a Robot and try to make a connection? Oh, hell no. We'll send a delegation. Look. Say... when your president visits another country. How many go with him? Does he fly commercial? Or take a plane and crew, and security detail, and some specialists, some politicians, some people from the State Department? Right?" He stopped, took a breath and watched my reaction. I was blank so he continued.

"Now, consider the distance we have to cover, our substantiation (our spaceship), and there you have it. So minimum ...we're looking at maybe, five hundred on an initial encounter? On a good day."

"FIVE HUNDRED!?"

"At least. To be sure! Then after that, like immediately. People will want to know all about us. We'll already know all about you. We already do. We've been watching your TV shows for years."

"But I thought it took forever for slow radio signals and such to get to another solar system, planet."

"Planet? Honey, please. We are zipping around the galaxy all the time. We got your radio signals once you could send a signal across your country and it beamed all over like a sloppy child eating ice cream in the hot summer sun."

I was flummoxed. But that made total sense. I took a sip on my Mule and it turned into a guzzle. He eyed my drink and then looked me in the eye. Perhaps I should offer him one? What does alcohol do to an alien?

"So once we make friendly and all, we'll want to start dropping our tourists. We'd start slow, maybe 1,000 per country. Hundred, in some countries. But maybe like 100,000 of us. Overall. We wouldn't want to overtax your burden." He saw my surprise.

"Don't worry, you'll like it. Consider how one place in a country gets tourism and the citizens do well from it. Now, what if that entire country got an influx of wealth?"

"You have...use, our money?"

"Your money? Which your money? No, of course not. No one uses money. We just use wealth. Trust me, it's way better. Can't be forged, stolen, abused. You have it or you don't and when you do things go better with Coke!"

"Wait! What?"

"Do you have a Coke? I've been wanting to try one for nearly 100 years now. I think I'd prefer the original recipe but hey, beggars can't be choosers, right?"

"What?"

"No Coke? Rats. I knew it."

"I have a Ginger Beer. Personally, I like it better than most other soft drinks."

"OK, I'll try that. Thanks." I got up and fetched him one from the fridge. I handed it to him and then sat down. He popped the top like a pro and took a sip. A great grin broke across his "face".

"Wow. I like that, Has a kick to it. Is that alcohol?"

"Yes, it has a percentage of alcohol in it."

"Thanks! I feel...relaxed."

"I'm not surprised." He guzzled the rest, crushed the can in his hand and set it on my porch railing with a smile. Then he looked around, sniffed the air and stared into my eyes.

He looked down at what I assumed was a watch on his wrist.

"Well, times up. Gotta jet. Been nice talking to you. I'll stop by again. I'm curious how this next election will turn out. The people you people think are the people you need to govern your people. It's quite beyond me, or anyone I know anyway. Have a good one. And...best of luck! See you! Maybe."

And with that, against all my calls and demands, he got back in his thing and I watched as it floated upward and disappeared."

I sat there for a good five minutes in a fugue state of sorts. Then I got up, went to the kitchen, made myself another Moscow Mule and came back outside and sat back down. I looked around. No sign of the ship had landed. No one else saw it. No sigh he was here. I leaned over and looked at the sandy soil of my "lawn" or what was still existing of one.

There were still some tracks left from where he had been standing. The tread said something. I leaned down and took a closer look until I realized what it said.

"Nike."

I sat back in my chair, took a healthy drink off my Mule and smiled. He may be right. It may all depend on us getting our act together, collectively. I do wonder how this next election will turn out.

Science Fiction and Happy New Years 2019!

First off as this is so fitting a topic for the end of an old and start of a new year...

Wishing you all a great and better 2019! Cheers! Slainte!

Also, if you missed it, see my blog yesterday about the heroes in your life. It's so very fitting for an end of the year, pre-New Years consideration.

Now...

Science fiction and as well, speculative fiction, have always been about imagining what you do not normally imagine. About thinking ahead, around corners and about seeing what you need to see before you need to see it. Giving you time to be prepared. All while enjoying a unique and insightful experience into the possibilities of when, where, and how.

Sarah Snook as John in Predestination.

Science fiction is like journalists and comedians, a first front to what is now and what is coming. It seldom has received the attention and praise it deserves and has seldom been seen as the futurism it is.

Star Wars, Superheroes films, and stories are not science fiction. They are its more exciting and yet more ignorant forms. However, they too have their place. They too do serve a function.

True science fiction (even hard science fiction) gives us a glimpse of what is coming up, concerning to us and what needs to be concerning for us. It has become diluted in today's world because of the popularity of what is most entertaining...and profitable.

Still, that is a form involved in the maturation of SF in understanding it is a form to reckon with and to pay attention to.

And so we see now in its future it's coming into its own. More succinctly, more impactfully. Like a surgeon's blade cutting on the bad, exposing and leaving the good that is there, that can be there and that should be there. No matter how hard it is for some to look into that snapshot of humanity. No matter how it disturbs or cajoles.

Dystopian stories have become popular as they always do during years of difficult times. The show us the horrors of our potential futures and make us consider, should we avoid that? The Handmaid's Tale, is one of those. It speaks to us saying, "It doesn't have to turn into this horror, if we just act to keep it from becoming so."

It is a form of education we need and gives little thought to. That includes things like Transgenderism is one of those subjects.

As one article says about that:

"Transgender people have always been part of science fiction and fantasy, but the past few years have seen a whole new generation of trans creators bursting onto the scene. Why are so many trans people flocking to SF and what kind of stories are they telling? Also, we delve into the controversy over Rapid Onset Gender Dysphoria, and explain why so many people are questioning the science behind this concept. Why can't teenagers shape their own identities without being accused of some mysterious new malady?}

Science fiction has given us real astronauts and scientists, computers and devices. One example is all that came from a single offering in the Star Trek TV show of the 1960s and as well, its descendent shows and films, comic books and novel and so on.

So many childhood fans grew up into careers they first learned about in a science fiction show. They created devices that now exist because they were first imagined by these kids when seen on Star Trek. All because they were first made aware of the possibility and then grew to become their future inventors.

It was a show ignorantly canceled due to concerns of profit, when the service it was performing should have been seen as the news back then, a loss leader sorely needed by our society and humanity at large. The costs of that show were minimal to what benefits we have since reaped from them.

How many astronauts today can say they wanted to be an astronaut because of watching Star Trek shows? From the article:

"When "Star Trek" first aired, on Sept. 8, 1966, the American human space program was only four years old. NASA was practicing rendezvous, docking and spacewalks in the agency's Gemini program. The Apollo moon landings were still three years away, and the space shuttle was only just being designed.

"It was an exciting time for future American astronauts, including Virts, Tom Jones and Mike Massimino. All three would become shuttle and space station astronauts, and they told Space.com that the 1960s space program highly inspired them as children. "Star Trek" was a lesser influence, they said."

We are today living our realities from the science fiction of those past days.

I could go on and on about all the shows and books and various media types of science fiction. All we need to know is though, it is a useful tool we should pay attention to and better utilize. It is forward thinking. It creates and invents as it goes and its goal really, is to make our world and universe a better place, for all. Not just humanity. But intelligent life everywhere.

Appreciate it. Pay attention to it. Support it.

And we will all be the better for it.

Happy Halloween! Trump's Scary Mental State, the Media & Sci Fi

Happy Halloween! Be safe and have a great Halloween! It seems this one may be a pretty politically oriented for (too?) many.

Here's a short fun video (under two and a half minutes), I just made for your Halloween pleasure. It stars a character I've used before and may use again. He's quite a character.

Also, we recently had the first Gorst Underground Film Festival! Everyone had a great time! Ethan Minsker (the "Man in Camo") came all the way from New York and filmed there. He also showed his documentary about art and his life (thus, "Man in Camo" his art brand). And won! Here is Ethan's video on Facebook about our film festival. He is the nicest guy and quite inspiring. Check out his website and pick up a book or two and he has DVDs. We swamped books. I got two of his books and two of his DVDs. A really interesting guy!

By the way, neither GUFF or Ethan have anything to do with my political opinions here. These are the opinions of my own. And of most of the decent and respected people, you see on TV and I don't mean Fox News. Or the White House, sadly.

Cheers!

Donald Trump CARRY ME PRESIDENT Halloween Costume

Now...for the truly scary and disturbing, but not so much fun stuff! Before I get into it though, I want to say one thing. I really don't like going on about this kind of stuff. IF Republicans and Donald Trump had gone about all this in a democratic fashion, instead of in an underhanded, illiberal manner, and being such unpleasant people (mostly Trump) about things, I wouldn't be so motivated or upset about these things. But they insisted on voter suppression, lying, twisting things out of reality. And that's just not who I am. I'd rather lose admirably, than like the GOP, win despicably.

IF this is all how most of America wants to go, then that's one thing. But, that is not what is happening. Aside from that, the direction I see them going is to me, very anti-American, anti-freedom, definitely anti-democratic. At times inhumane and certainly uncompassionate. But then Republicans are basically all about numbers over humanity.

What I find amazing about all this, along with Republicans telling me I don't know what I'm talking about, all liberals and demcrats are wrong and stupid and yet...so many notable people, respected, and highly informed and intelligent, AROUND the world, agree with what I believe. Kind of telling, kind of nice.

As we are experiencing true horror in America now in seeing who we really are overall, through such volatile times, through a president who has serious personality issues bordering on mental illness. If not an actual full-blown mental illness. Recently through a partisan sycophantic supporter who has attempted to bomb Democrat opposition leaders...anyway....

That being said, let's take a look at this atmosphere today and another way to view it....

Cover of audiobook - In Memory, Yet Crystal Clear

Science fiction is an excellent catalyst to view today's reality. That is what so many writers before me have done. Star Trek in the 1960s was good at this, reflecting who we are, what we're doing to one another, where we're headed. 

On my story In Memory, Yet Crystal Clear, one reader's brief but succinct review said of the story: 

"Fascinating and creepy - I found this book to be intriguing and unsettling all at the same time. The story was very original, the writing was solid, and the narrator was spot on. I would recommend it if you like dark, futuristic type short stories."

I've been saying this for a while now about this dystopian sci fi story of mine. In Memory, Yet Crystal Clear, (now an audiobook) is about what is going on today. This is exactly why I originally wrote it back in the 1980s. Back then, under Pres. Reagan. I saw a kind of cult of personality going on. I even liked the guy. But I wasn't then as aware of politics as I probably should have been. 

The story is about how a nationalistic leader can affect America with their own mental illness. First, let's parse nationalism and patriotism. One is not the other. Today nationalism reflects negative appeal and patriotism positive and that's really all you need to know about them. But many are confused about what they are celebrating. And too many, know and enjoy it, much to most people's consternation. 

"Patriotism is when love of your own people comes first; nationalism, when hate for people other than your own comes first." - Charles de Gaulle. One has to ask themself, is that how you see America? 

However, in my story, people come to love a brilliant media genius. Media changes our culture in the story through greatness in art and delusion. Today Pres. Trump hypersensitizes the media calling them our enemy and "fake news" all while he's the fakest and most divisive person today in American politics.

The media then is warped and ends up covering things they really shouldn't, far too much. Like "The Caravan", overburdened mostly with frightened women and children simply seeking safety. All while the media should be ignoring all that Mr. Trump says in his abusing facts, news and let's face it, America and the democratic process. Much like his overall extremist conservative Republican party.

So why IS a sci fi, horror and science fact author speaking out when it can hurt one's brand from the greatest amount of sales?

Because, science fiction, as well as speculative fiction authors, are quite typically aware of things coming down the road from that of the mainstream media or citizenry. That is in part, their job. To entertain, while warnings and awareness seep into the readers (or listeners).

But this has nothing to do with partisan politics. This merely has to do with an accurate observation of our current reality and they presenting it in a way most likely to be allowed in, so reflection can later take place in a more gentle process than open confrontation. Which, as we're seeing, isn't very productive and is leading to violence. Violence, over reasons of ignorance.

cover art by artist Marvin Hayes

First, I do have a specialized degree in psychology. Which led to my well-received audiobook \  ebook On Psychology where I discuss the history of psychology and give an example in my orientation through a filter of synesthesia and schizophrenia.

Second, I am speaking liberally about Pres. Trump, not clinically.

The concerns are still real, and quite relevant. If I am seeing problems with this man as president, I would argue that I have more veracity and education in this than many who also see problems with him from a more general perspective. And obviously more than those who do not see any problem.

Of that audiobook, one reader's review said:

"Brilliant and thought provoking! 'More knowledge is always better than less' - "I couldn't agree more. This intellectual piece is brilliantly written and thought provoking. I will be listening to it many times in order to grasp every thought and nuance of the paper. It is not only well written but well read and is a pleasure to ingest. Many of the topics and ideas covered can be applied to life, no matter who you are. I highly recommend taking some time to listen and ruminate on this delightfully intelligent work."

It is in the nature of the genres of science and speculative fiction to foresee and disseminate to the public. They need to be by their very nature, futurists. Seeing what is coming down the line. then sharing that in creative and entertaining ways. To not speak out what you are clearly seeing...well, is that wise, or responsible? Will that come back on you once everyone sees it, then wondering:

"Why didn't you warn us, speak up, if you saw it? Isn't that your job?"

Yes... it is.

As Mr. Trump's own mental aberrations now course through America's veins of news and partisan social media and therefore America's minds, there is only one way to stop it. Trump cannot handle being POTUS. He needs to be removed. Now, before it's too late.

But it won't happen fast enough...and so, then what? Well, we're seeing that now. Already.

Republicans being shot on a baseball field by a Bernie Sanders supporter in an overly partisan environment that exists in great part because of Congressional Republicans AND now with Trump pushing the limits of decency. Eventually, decent people become enraged by them, too. Back then Bernie came out the very next day to speak against this kind of thing.

Enraged by Trump's really foolish and simplistic rhetoric, which works so well on his supporters, which presidents do not do because THEY KNOW this kind of thing will happen. That it's dangerous to citizens, citizens they are responsible for protecting, even from themselves.

Of course finally a mentally ill conservative Trump supporter bombs people he doesn't agree with. It was some might argue, inevitable. We don't do that!. Then Trump came out and what? He takes no responsibility, but blames the mainstream media for his stupidity in not acting like an American president... and again...we DO NOT DO THAT kind of thing! And again, for a reason, we do not do it. It is irresponsible and dangerous. As we're seeing!

Why would Trump add more fuel to that fire? It benefits him, it pleases him.

No, no sir, you do not

BECAUSE Trump cannot even see his own mental illness or how it affects his sycophantic easily swayed followers. Or how he affects individuals who are by extension carrying out his political madness. And Donald Trump does not even seem to realize the madness his followers have absorbed from him...their bigoted narcissistic nationalistic Godhead.

About that...let's STOP calling Trump a "media genius". He is not a genius by any means.

Donald Trump to be fair and honest here is a fool who has no shame as a narcissist, authoritarian. End of story. He has merely effectively tried things others haven't that proved useful. He throws things out, drops what doesn't work, and picks up what does. THAT'S not genius. That's sloppy work anyone can do. That's someone who doesn' know what he's doing and is guessing, failing, trying again, guessing succeeding, and doubling down. Typically pushing the "button" too hard. Like a child.

If I walk up to you, try hugging you, slapping you, shaking your hand and you react best to shake hands, how exactly does that make me a genius by seeing how best I can manipulate you by shaking your hand? That's all he is doing in the media! It's why he's on Twitter.

When you are all those things that he is, even stupid people would tend to rise. He simply very simply did things no one else would do. Period.

That happened to resonate. With a vocal minority, his base. And so he's now president.

Which says more about his supporters than the man himself, about Republican, conservative types, and says MORE about them NOT being geniuses than it does about Trump being more than of average intelligence. Don't lower your intelligence by raising his. It does no one any real good. Not in the long run.

Too many actually highly intelligent people who have had direct contact with him denigrate his intellect. YOU HAVEN'T worked with him. Why not believe those who have? People I know and trust have told me what he's like. I wouldn't even want to be in the room with someone like that. yes, he'd be nice and congenial but that is the tact of a narcissist. And it won't end well, for you.

Those who know him and speak out, they must be on to SOME thing there.

That's why I wrote this dystopian sci fi story decades ago, seeing all this coming. That we were headed into something like this even back then. As a sci fi story first published in 1990 in a horror magazine THIS was what I was concerned about. Someone like Donald Trump arriving on the scene as a national leader. A terrifying situation. And it's here. Now.

One man's mental illness as a leader brings America into a state of social mental illness.

Only it's even more insidious in this story by attempting to show how invisible this can be, and in a way that seems utterly unreal. Kind of as we're seeing today. Speculating on its effect regardless of the transport of the mental illness. Be it a Pres. Trump, or some sci fi technology. The fact remains, it is transported through media by tapping into the fabric of our consciousness, directly into the societal veins of America and then into the hearts and minds of her citizens.

And that's exactly what we're living now, in an entirely other and more obtuse way. Through, a president such as, Donald Trump.

Take another look at today, through a lens of a sci fi story that might just help put perspective on what we could be experiencing in our lives if we don't get a handle on it...very, very soon.

Anyway...have a great Halloween! 

While the kids are eating their acquisitions, or even while they are walking the neighborhood acquiring, you can be creeping yourself out listening to a new audiobook and gaining an interesting perspective on our current reality. As frightening at times as it can be.

What better time than on Halloween! Just keep a close eye on the kids as you wander and get lost in the atmosphere of the night and the story.

In Memory, Yet Crystal Clear by JZ Murdock...is now on Amazon, iTunes, and Audible.com. Narrated by Tom Remick.

New Dark SciFi Audiobook - In Memory, Yet Crystal Clear

Now that reviews are beginning to come in on my new audiobook, "In Memory, Yet Crystal Clear"  I thought I should do a blog on it. Below we will take a rambling journey through the the history of this story as well as a bit about my own past. Buckle up buttercup, here we go.

As for what it is about, you can read the write up on Audible if you like.

Okay fine, here is all it says there:

"Are we in a world that is reminiscent of a Philip K. Dick novel since the 2016 US Presidential election? This is a story where a world famous surgeon helps his missing son's best friend, only to find that his actions lead to monumental changes in the United States as well around the world and all in ways he could never have foreseen and might regret for the rest of his life. If only he could."

Actually I agree with the comment below related to Harlan Ellison. Harlan, Phil Dick, either way, I'm good with those references.

To start off with, here are some of the reviews on "In Memory, Yet Crystal Clear" as they now are on the Audible site for this story:

Karen said: Very enjoyable!
"This is such an enjoyable book! Such detail and very descriptive. It’s as if I was watching it unfold in my mind. Could be a prediction of our future lol. Can’t wait to enjoy more of Murdock’s work"

David said: Strange story.
"I received this audio book for free in exchange for my honest review. The only thing I have to say about this one is that I sincerely hope it doesn't foretell the future."

Norman said: Intriguing.
"This hour long science fiction story presents a well thought out and intriguing future. I don’t think the narrator’s bland performance did justice to the author’s words and ideas."

On that last comment, I asked Norman what he thought was bland about the narration, but he has yet to get back to me on this. I hope he didn't think I was being snarky as I really wanted to understand his thoughts on this. Was it my voice actor, Tom Remick, or my direction?

OR it occured to me, it may simply have been the character in the story. A character who, in my direction to Tom during the recording stage, is sometimes exhausted either physically or emotionally, or is simply under great stress and fundamentally disturbed in a situation where he feels there is little he can do. Other than something massive. Which he does fight through to consider. All while he tries to stay on top of something that would be far beyond anyone, and perhaps, even change one in ways previously unforeseen throughout one's life.

Another review is from C.M. Ellett who said in part:

"...It was reminiscent of I Have No Mouth, and I Must Scream, in a presentation of a strange future ruled by an omnipotent AI-like being."

Harlan Ellison has been one of my writing heroes since childhood. Along side Asimov and other obvious authors like Bradbury, Tolkien, Poe, Lovecraft, Robert E. Howard. Harlan's story that she referenced was first published in IF: Worlds of Science Fiction, in 1967 and was a Hugo Award winner for that short story, I Have No Mouth, And I Must Scream.

I really couldn't be in better company as I see it. Harlan hated being called a science fiction writer and much more appreciated the term, speculative fiction writer. Which was where I got using that term from for some of my own writing efforts. The difference of course between protagonist Ted in Harlan's story and my protagonist is clear.

While Ted sees the situation with crystal clarity, in my story that clarity must indirectly find its purchase on reality as its corrective reaction is potentially left to the listener (or the reader) in order to realize what must inevitably come next.

Finally and perhaps my favorite review so far is this one just now in from Jo B:

"Fascinating and creepy I found this book to be intriguing and unsettling all at the same time. The story was very original, the writing was solid, and the narrator was spot on. I would recommend it if you like dark, futuristic type short stories. I was given this book free at my request and have voluntarily left this review."

What I can say? Maybe just... listen for yourself. Why? Continue reading below and perhaps you'll find a good reason to find out....

Now on Amazon, Audible and iTunes:

Original cover artwork by Marvin Hayes

The title, In Memory, Yet Crystal Clear is an homage to science fiction writer Isaac Asimov through his first autobiography in 1979, In Memory Yet Green, which I found so affective when I had read it, orienting in me an even greater desire to write.

My tale is a story of how our American society breaks down into dystopian degrees. How it comes to this through the efforts of a single man. One who takes over much of America's thinking through his managing of our daily feed of information. In some ways, not unlike something happening today in America. Only on a much more massive scale.

Sound a bit too familiar? A bit too real? Too much like our world today? Well, it is. But this is a reality we can easily escape in listening or reading the story, once it is over. But it is also a story I wrote back in the 1980s and first saw publication in 1990!

From the Amazon description:

A short story about a world reminiscent of a Philip K.Dick story since the 2016 US Presidential election, or this story here where a world famous surgeon helps his missing son's best friend. Only to find that his actions lead to monumental changes in the United States and as well around the world. All in ways he would never have foreseen.

I wrote this story I believe, about 1980. I was sitting around with a few of my friends, getting high smoking some cannabis to be completely honest. Nothing as powerful as what we sell legally in legal cannabis states today, but good for back then. Of course, it wasn't exactly legal in Washington state back then, but no one really seemed to care much about its use. I'd seen police turn their backs if they saw something that seemed harmless as let's face it. For all these decades, police have had much more important and relevant things to do that worry about someone smoking a joint.

And it is legal today now here. Of course the statute of limitations is long passed since 1980. Back then in Washington its use was a Class C felony as it else now elsewhere, though frequently it goes reasonably unenforced:

The statute of limitations for a Class C Felony is 5 years. That mean that the crime shall not be prosecuted more than five years after its commission.

About that. I used to say from what I was seeing back in the 1970s that cannabis would be legal within the next ten years. The first recreational cannabis stores in Washington opened to the public on July 8, 2014. So I was off by just over thirty-five years due to the efforts of many ignorant efforts while even an organization of police chiefs was against its illegality.

Which is sad, to say the least for such a destructive series of laws and prosecutions nationwide for far too many decades and a vast waste of money and destruction of lives, families and communities. Not unlike that of alcohol prohibition laws. When then morphed into anti cannabis laws that turned into ethnic abuses beyond our imagination. Why bring this up here? Because other than it being reality, it is part of this story, and part of our national orientation and planned government destruction of citizens. But that's another story.

That night so many years ago my friends and I were passing around a bong, talking about sci fi and writing and jokingly, I said I could write literally anything. I said I could take any concept and make a viable story out of it. Of course they laughed, teasing me saying they didn't believe it. But they dug in a bit too much.

So I challenged them, trying to put down their incredulity. I said something like, "Okay, I'll tell you what. You guys come up with a concept that cannot be written and... I'll write that story. You can decide if I made it work." They laughed. But then they got more serious and started talking about it.

Eventually they came up with the concept. Remember now, this was 1980. The beginning of the home PC revolution. None of them had a PC. Myself, I had just sold my first one, a "Trash 80", Radio Shack \ Tandy TRS-80 16k of RAM personal home PC. A personal computer I had purchased in 1979 before I got out of the military.

I had sold all my guns before I separated from service, and got out of the USAF as I was feeling very pacifist at the time. You see, after years of supporting a squadron whose primary job as a nuclear weapons system base (B-52 bombers), where these pilots and planes in times of nuclear war were tasked to leave their families, fly across the world and melt entire cities, men, women, elderly and children, animals and vegetation indiscriminately.

Some pilots talked to during my service, in the down time when I was actually in the cockpit of BUFFs (Big Ugly Fat F*ckiers, as we referred to B-52s) had said they would drop all their bombs as ordered, most likely on the Soviet Union at that time (and considering we were stationed at Fairchild AFB outside of Spokane, WA, and then the crew would most likely vote to fly the jet into the ground as they all knew we all knew, there would be no family back home by that time, no America as we knew her, left by that point.

The weight that held on all of us in that job was visceral. But... that's perhaps too heavy for now and a story for another time. On the other hand, it does lead directly into the intensity of this science fiction story at hand. But is it really science fiction at this point? Considering America's and the world's current reality?

That last year in the service, I had sold my personal weapons and converted that all into a personal computer. The summer I got out of the service in 1979 I had used my PC, having previously taught myself programming in Tandy Basic, to write myself a dual program. I was flummoxed how, for my physics\chemistry class, to teach myself the entire periodic table that we had been tasked to learn by the end of the school quarter.

So one night, my military service over, my marriage over, so I was living alone with my dog Ciri, a half St. Bernard, half Labrador, having a beer and playing on my Trash80. I was lonely, unsure how to memorize the entire big chart I had purchased that was on the wall above my PC desk.

How to learn all that? And I started to get an idea. Interesting to me because it was still some years before I would received my BA in Psychology from Western Washington University. I really had no desire to get a degree. I had just gone to summer school that year to get out of the Air Force several months early on an educational "early out" I had heard about, applied for, and was give.

I got the idea to write a program to task my mind. One version would access recognition skills which I was very good at, and one program would task my retrieval skills, which I wasn't so good at. Example. I could see someone's face from the past and recognize them, but I couldn't as easily recall them just from their name. I programmed the computer so it would show me something to recognize and I could practice recall, finish all the elements that way, then use the other module of the program to try retrieve memories of the table.

Once I wrote that program, I would then sit at the desk every night that quarter, probably have a few beers, and run through the program. At first it was difficult, but then it got easier. In the end, I was the only one in the class that quarter at Tacoma Community College, to get 100% on our final on the entire periodic table. On the other half of that test about chemical reactions and such things outside the periodic table, I think I got a B. So I got a few wrong on that part.

Anyway, back to my friends' concept for me was to write a story.

They came up with an idea, and they laughed as they told me, about "a guy who turns himself into a computer chip!" They were so proud, so pleased with themselves. It was annoying.

It took me aback for a few moments. Until finally I said, "Okay, fine!" and accepted the challenge. Eventually they left that night and I started working it out. The next time they came over, I passed out the story to them. They read it eager to see how I had failed. But once they had finished, they all looked at me stunned and a bit annoyed. But in the end they grudgingly agreed... I had done it.

Over that decade I sent that and other stories of mine out to magazines, occasionally reworking them until finally one day, it sold to an east coast horror quarterly magazine, making it my first professionally sold and published short sci fi fiction in 1990. It's funny though. A famous author once said on TV to new writers to collect rejection slips and get used to rejections. Because you'll get a lot of them. So put them on your wall to see them. Fill up a wall with them. Then another wall. Then your home office or writing area. Then other rooms until finally, you WILL sell a story.

When I sold this first fiction story, I opened the letting and found I was, disappointed in not having received a rejection slip. They came by snail mail back then, in the post. I still have many rejection slips today. Some from famous magazines, Omni, Alfred Hitchcock, Twilight Zone, Playboy, and so on.

I liked to call In Memory, Yet Crystal Clear, a story of social horror. As it, after all, horrified me socially. I still have the letters from the publisher about this progress of this story being published. He turned down a couple of stories I had sent him, but kept say to send him another. Finally, he liked this one. But he said if I were to first cut 1500 words from it to fit the space he had available in the magazine, he'd buy it.

I wondered, how. What part? How do you do that to a well crafted story? My wife at the time suggested that I search for a passage of 1500 words and maybe he was testing me, seeing if I was competent enough to find a passage he didn't want to point to directly. But had found was unnecessary. Or he just needed it cut as he had said, to fit it into the next issue. Not unlike people who buy art to hang in their house because the colors match the decorating scheme. Well, I'll never know for sure, but I believe, it was the former and not the latter, more philistine consideration.

I searched the story and actually did find a passage, an almost exactly 1500 word long passage that really wasn't all that necessary to the story. So...I cut it, painfully. "Killing one's children" as writers call that. I sent it back and...he bought it!

I received his acceptance letter and a check for... $28! Not much, even to me at that time of little money and $28 being back then not what it is worth today. But it was officially my first professional sale of a fiction story! Finally, I had done it! To be sure, I had previously published non-fiction articles in various computer magazines locally and around the country by then, but my desire was to publish fiction!

Years later, in 2012 I updated it. By then things in technology had changed. And so it became the first and opening story in my first collection of my first short stories, the book Anthology of Evil (to which I'm currently shopping to publishers its sequel, Anthology of Evil II).

That first book of mine is a collection of my original older short sci fi and horror, including its ending novella Andrew. A story that evolved through one other short-short story, Perception, into my second and rather epic book, DEATH OF HEAVEN.

Then in 2013 I produced and narrated three audiobooks on my own. The Conqueror Worm (the first and a standalone short horror story which opens my DEATH OF HEAVEN book), The Mea Culpa Document of London (also in Anthology of Evil), and Expedition of the Arcturus (the title being an homage to the 1920 book, Voyage to Arcturus, by Scottish author David Lindsay). That last story was first published in the hard sci fi free online magazine PerihelionSF.com (thanks there to publisher Sam Bellotto).

But now, I am putting out new audiobooks with friend  and professional voice actor Tom Remick in a collaboration we are both finding rewarding and really... just fun to do. Here is a short video intro to Tom working.

My equipment, computer, software and recording setup have all changed since 2013. And as I've just moved, our recording set up will be changing again for the better since producing this current audiobook, In Memory, Yet Crystal Clear. We seem to be getting better (thankfully) as we go along.

I also updated the story yet again since 2013, to reflect ever newer changes in technology and culture since my first update to the original 1990 publication. This story seems to  have staying power. This latest update required changes and additions for such things as cell phones and tablets, and the types of high end computer hardware we just didn't have in 1980, 1990 or even as recent as 2013.

And that, mostly...is the story behind "In Memory, Yet Crystal Clear."

Next up? First, I have narrated my most popular non-fiction piece, a science fact article I've renamed, On Psychology. It details the history of psychology, proposes new research on synesthesia and schizophrenia and offers some perspective on today\s related political environment. I proposed this concept back in 1983 or 84. It is still relevant today.

We have now laid down audio tracks for our latest story, Mr. Pakool's Spice, a short story about a single father trying to get his two young kids to safety through the back winter woods of Oregon during a zombie apocalypse. With no food, barely surviving, and with of all people an international terrorist hot on their tail. It's a well drawn and heart wrenching tale. It is also one I'm trying to go with non-exclusive rights for Audible so I can release it elsewhere around the market to see how that works out.

Included with that story in the ebook and now the audiobook is the short-short story, The Regent's Daughter, a medieval tale which won Best Tension, in a short-short story competition among a group of writers.

After that we will be recording the engrossing and tense sci fi horror story, EarVu about a new, fascinating (and not thoroughly unreasonable) and frightening technology. It seems like a fun technology... at first. Then, for the several scientists who developed it, start to find strange and disturbing things happening around their top secret lab.

Tom and I are having a great time doing this work. Producing audiobooks is not easy and takes a lot of work and time. Which we hope genre fans and others will appreciate. It's especially rewarding for me as some of these stories I wrote a very long ago. My older ones even going back to my university days in the early 1980s. Seeing new life breathed into them is both fascinating and greatly rewarding.

Having read and re read them so many times during the crafting process, then over the years and now to hear a talented voice actor read them, to bring the alive in new ways, brings another level entirely to these stories. Some of which I have now updated to be more relevant to today's sensibilities making some, like In Memory, Yet Crystal Clear, even more disturbing. In some cases as with this current audiobook, our present national political reality has merely enhanced the intensity of the story bringing more dark considerations and more gravity to the situation.

So many authors have said their stories are in a way, like children to them.

This experience has been like having my stories go from high school to college and now, who knows. Perhaps one day they will achieve professional status to become produced on film. Part of the reason I retired in 2016, in buying film production equipment and in restarting up my old LGN Productions (AKA Last good Nerve Productions, I had started in 1993).

A company initially for a documentary on the 25th anniversary of the old 60s TV show, Lost in Space. Now revitalized to produce my fiction (and non-fiction) writings in ever new formats. But until that happens these stories are available as print, ebook and now audiobooks as we produce more and more of my stories.

So please take a look, and a listen. I think you'll be very pleased with the result we have culled out of them in literally breathing new life into them as audiobooks. If you do like what you hear or read in my stories, please do share with friends and feel free to post your reviews. I look forward to seeing what you think! So far the reviews are good!

I moved into my new house here the end of July 2018, this past summer. I'm now in a new house with a basement where I can and plan to build a sound studio in. It is our hope that our audio productions will continue to be even better. My last house had us in my home office, actually the dining room, with all its sounds and nuances that caused us from time to time to have to pause and wait for the garbage trucks to drive on, or for the sounds of birds, or children or people walking down the street or, whathaveyou.

Now, I have a basement with concrete walls with dirt on the other side of them to block sounds. I'm also on a dead end street, with a pleasant view of the local waters. What that means is less clean up in post production audio engineering. Less work in post, cleaner sound, faster productions. Better products as we move on and more quickly once we build the new studio.

I look forward to getting the remodeling done and back up to speed for my creative endeavors. I'm also now judging films in a local film festival which has been interesting. Always stretching out to learn more, to enhance what meager understanding I have of the world around me and increase whatever skills I have.

So, that's about it. Please do consider giving In Memory, Yet Crystal Clear a listen (or a read).

All the best to you for now and... keep reading and listening!

From the ever magical Pacific Northwest here in beautiful Washington state in the albeit of late, the rather confused country of America....

Slainte!
JZ Murdock


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