Wednesday, January 15, 2014

The Life of Hercules: Birth and Childhood

    
Herakles as a boy strangling a snake.
Marble, Roman artwork, 2nd century CE
Public Domain, from
.http://en.wikipedia.org/wiki/Hercules
       You all know I based my series The Labors of Ki'shto'ba Huge-Head on the mythical character of Hercules (Herakles or Heracles in transliterated Greek).  Hercules is a familiar figure in literature and popular culture -- the mighty invincible hero character who happens to be a real hunk -- including innumerable movie and television renditions, TV adaptations, and frequent depictions in graphic arts and sculpture.  (Who wouldn't want to sculpt all those giant muscles?  Even this Baby Hercules had already developed some significant abs!)  I used to watch Kevin Sorbo's version in Hercules: The Legendary Journeys  (although I came to it late and never saw the beginning, and preferred the Xena spin-off).  That version left much to be desired, I thought, but it was fun. 
U.S. President Theodore Roosevelt
depicted as the infant Hercules
grappling with the Standard Oil Company
Public Domain, from
http://en.wikipedia.org/wiki/Hercules_in_popular_culture
       When I decided to base my series on Hercules, I used Robert Graves' compilation Greek Myths as my source and I had to do two things: first, I had to familiarize myself with the events of Hercules' life and, second, I had to choose which events would be adaptable to my termite culture.  Two of the events at the start of the hero's life seemed essential: how he came to be born and how and why he killed his first monster.

       Here is a summary:

      Amphitryon was married to Alcmene.  Zeus wanted to beget a great Champion, so while Amphitryon was away avenging the deaths of Alcmene's brothers, the King of the Gods ordered time to be suspended for 36 hours so he would have plenty of time to achieve his goal.  He then assumed Amphitryon's form and dallied with Alcmene for the entire time.  When Amphitryon returned the next day, Alcmene refused to sleep with him, saying they had just spent a whole night of pleasure together.  Amphitryon consulted the Seer Teiresias, who informed him he had been cuckolded by Zeus. 
       Zeus couldn't resist boasting about his exploit, even announcing that his son would be called Heracles ("Glory of Hera").  You can imagine how well this went over with Hera (Zeus's consort).  She laid a plot, saying that whoever was born before nightfall on the day of the birth would be the King of the House of Perseus, an honor Zeus intended for Heracles.  Then she worked to hasten the birth of Eurystheus, and she slowed the birth of Heracles by sitting in the doorway of Alcmene's room with her clothing tied in knots and her fingers locked together.  Hence Eurystheus was born first and the infuriated Zeus, who had gone along with Hera's pronouncement, was forced to make Eurystheus King.  However, Zeus forced Hera to agree that, if Heracles successfully performed Twelve Labors that Eurystheus set upon him, Heracles could become a god.

       Now those of you who have read The War of the Stolen Mother can see right away how I adapted this: Lo'zoi'ma'na'ta is clearly Alcmene and Bai'go'tha the Tyrant of To'wak is clearly Eurystheus.  Zeus is the consort of the Highest-Mother-Who-Has-No-Name, and Teiresias can be none other than the Seer Thru'tei'ga'ma.  I couldn't have Hera be the schemer, because the Highest Mother wouldn't be that petty; she wants Ki'shto'ba to be hatched probably more than her kingly consort does, so I turn the Amphitryon character into the bad guy who tinkers with the eggs in order to make sure Bai'go'tha hatches first.  Thus the premise of Eurystheus/Bai'go'tha assigning the Twelve Labors is set up in both stories, although the motivation for Ki'shto'ba's acceptance of the tasks is quite different from Heracles's (but that's for another post).

       Now, when Heracles was born, he had a twin whose name was Iphicles.  Twin kings or heroes were very important for the Greeks, and thus I introduced the character of A'zhu'lo, a lesser Warrior, obviously not an identical twin.  Iphicles doesn't play much of a part in Heracles's life story, but A'zhu'lo plays a significant part in Ki'shto'ba's story.  The twins are close and love each other very much, yet a certain sibling rivalty exists between them.  This leads to some of the strongest and most poignant plot episodes.

       When Heracles was somewhere between eight months and one year old, he and Iphicles were sleeping when Hera sent two "prodigious azure-scaled serpents" (Robert Graves' description) to attack and kill Heracles.  The babies made a ruckus and Amphitryon rushed in with his sword, only to find Heracles strangling the serpents, one in each hand.  "As they died, he laughed, bounced joyfully up and down, and threw them at Amphitryon's feet."

       I needed to make very little change to that episode, except for the fact that the snakes' origin is left ambiguous.  One might say the Highest Mother did send them, to test Ki'shto'ba and to foreshadow its future power.  I must also say that the Roman statue of the event seems curiously passive -- Heracles might just be having a mild-mannered conversation with the snake, and only one snake is depicted.  As for the political cartoon version, well, it goes to show that ordinary people must have been more highly schooled in classical allusions than they are today -- how many people these days would know about how Hercules strangled snakes when he was in his cradle?

       One other quotation from Graves might be illustrative here: "One Termerus used to kill travelers by challenging them to a butting match; Heracles' skull proved stronger, and he crushed Termerus's head as though it had been an egg.  Heracles was, however, naturally courteous, and the first mortal who freely yielded the enemy their dead for burial." Ah, the Huge-Head, the stone-headed Warrior!  And anyone who has read any of the Ki'shto'ba stories knows our Champion is invariably courteous.

       And one final note ...  This prophecy of Zeus was spoken: "No man alive may ever kill Heracles; a dead enemy shall be his downfall."  I put my version in the mouth of Thru'tei'ga'ma/Teiresias and I phrased it thus: "No Shi would ever witness the death of the second-hatched nymph, nor would anyone ever eat its dead flesh."  And from a later Seer, "A dead foe, but no treachery, shall be [Ki'shto'ba's] ruin."  These two prophecies play a huge part in the unfolding of the Huge-Head's story.  Ki'shto'ba is close to invincible as long as other Shshi are present, and the ambiguity of the prophecy of its cause of death is a constant source of debate throughout the books.  In fact, v. 6 will be called The Revenge of the Dead Enemy.

       If you want to read the totality of my adaptation of these elements of the early life of Hercules, you can buy The War of the Stolen Mother at Amazon or Smashwords, or if you want a foretaste, you can read the pertinent chapter in the sample listed above as SM, Ch.4 (The Tale of the Huge-Head's Hatching and Nymphhood).

               

Friday, November 22, 2013

A Fine Review of The War of the Stolen Mother

Ki'shto'ba Stands Guard

Here is the text of a very positive  review of v.1 of the series The Labors of Ki'shto'ba Huge-Head.  I think it captures the essence of what I set out to do in the series.  The review  is by Marva Dasef, author of a number of entertaining MG and YA books including the 3-volume The Witches of Galdorheim, which you can find on Amazon or on Smashwords.

Epic Tale of War and Honor

This is the first volume in a series following the labors of Ki'shto'ba Huge-Head, a warrior of the Shshi race of intelligent termite-like people. It is set on an alien (to humans) world described in an earlier multi-volume novel covering the discovery of the world by humans. In the first book, the point of view is primarily that of Kaitrin Oliva, a human linguistic anthropologist who decodes the Shshi language.

This next multi-volume novel has no humans, only the termites. It's an epic tale told as if narrator Di'fa'kro'mi the Remembrancer is dictating it to his scribe long after the events of the story. This is an effective means of narration because it allows for asides and personal thoughts of Di'fa'kro'mi about the story. I found it amusing when Di'fa comments how he used a bit of literary trickery to describe events happening elsewhere. That is, Di'fa invents a point of view shift. Clever of the author to come right out with it before I made a note about the "POV SHIFT!" Ms. Taylor uses multiple literary devices to get around some of the obstacles a termite might have recording a story for others to read, not just listen to in the oral tradition of the Remembrancers.

This novel is steeped in earth mythos from the role of Di'fa as the Homer of the Shshi to the obvious comparison of Ki'sh to both Ulysses and Hercules of Greek myth, the war with Troy, and a lot of other references I probably missed.

It's a really long first volume, but I'm almost getting used to Ms. Taylor's monolithic multi-volume novels. You certainly get plenty of words for your 99 cents (the price may have changed) and all of them quite necessary to the story. I will always have a problem with the names and the other con-lang (constructed language) features, but this one is footnoted for the most part. As for the names, there's a handy cast of characters and places at the beginning of the book.

What did I love about the book? Lots. The epic sweep of the story (and this is only the first volume of Ki'shto'ba's travels). The warrior is as knightly and honorable as any of King Arthur's court. The brotherly love between Ki'shto'ba and his twin brother, A'zhu'lo (highly unusual in the termite world) is touching and real. I quite enjoyed the antics of Za'dut the trickster outcast who just can't keep his claws off others' property. While playing the clown, he turns out to be quite clever and, at his heart, cares as much for the companions as any of the others.

I think what I want to say is that this novel is deeply and touchingly human although the termite practices are entirely unhuman. The concepts of honor, love, grief, fear, jubilation, caring are all there and I truly believed them.

Well done, very well written, squeaky clean grammar and spelling. Ms. Taylor has made me a fan of the termites even if I can't always remember who's who with the secondary characters. I didn't have a problem remembering the companions who travel on this epic journey.


Thanks for the nice words, Marva!  I hope other readers will be inspired to give my books a try!  The ebooks will remain at 99 cents through Cyber Monday, Dec. 2, 2013 (only $2.99 thereafter) at Amazon and at Smashwords, but remember that as a Christmas present, a print book looks much better wrapped under the tree!  Besides, if you buy a paperback, you can get the Kindle version FREE under Amazon's MatchBook program!  And one more bonus:  with a paperback you get extra features, like a map and extra illustrations on the back covers.

 

Monday, November 4, 2013

Publishing Progress: The Valley of Thorns

 
       Volume Three (The Valley of Thorns) of The Labors of Ki'shto'ba Huge-Head has been successfully published on Amazon, both paperback and Kindle, and on Smashwords! The Smashwords went easier than it ever has (unless they find something to quibble about in considering it for the Premium Catalog). You can download a 25% sample on Smashwords, which will include the preliminary material and approximately four chapters. Amazon hasn't linked up the paperback and the Kindle yet, but ultimately you will be able to get a Kindle version FREE if you buy a paperback.

        I'm having an Anniversary Party as a Facebook event on November 15. Two years ago I published my first book, Monster Is in the Eye of the Beholder, on that date. Now I have six books published, plus the little free novelette on Smashwords, "The Blessing of Krozem." All my Facebook Friends are invited. If you're not my friend yet but are on Facebook, go in and friend me, and I'll invite you.
 
Why would you want to come to my party?
Witty conversation, free virtual food,
information about my books,
maybe a surprise reveal of the unfinished
cover for v.4: Beneath the Mountain of Heavy Fear
 
Plus, I'm going to have special prices on all my books,
as well as a drawing for a couple of paperbacks
from the names of the people who attend.
and check it out!

Monday, October 21, 2013

New Cover Art for The Valley of Thorns! What Do You Think?

Ki'shto'ba reacts to learning the truth
about its misdeeds.
(Click for larger view)
       I'm presenting the new cover art that I concocted for The Valley of Thorns.  I honestly like it better than the other drawing, which I'm inserting at the bottom so you can compare.  The new drawing shows a scene from late in the book, but I can't tell you more about what's happening than I put in the caption.  It's enough to say that Ki'shto'ba isn't really murdering Di'fa'kro'mi and Za'dut no matter how it looks, but it is quite dramatic!  They are in the desert here, not in the Valley of Thorns.  The main thing I don't like about it is the depiction of the extinct volcano -- it lacks depth.  I may tinker with that a little.
       I can give you this much of a quotation, without revealing too much of the plot:
“You used the Great Spear on Pai’it’zei,” I said, dreading what was coming.  “You killed no one else with A’zhu’lo’s blade.”
“But … I killed … more than the General,” said Ki’shto’ba.
“You killed other Warriors in the battle,” said Za’dut, quailing.
“That is not it!” Ki’shto’ba jumped at us so suddenly that we both cried out, and it caught our necks in the grip of its forelegs, its mandibles thrust into the sand between us. “Tell me the truth! What did I do? What words did you say to me there at Min’seip’u, Di’fa’kro’mi, standing close like this?”

Back cover, color adjusted 
to match the new front cover.
(Click for larger view)
 
       The cover picture at the bottom shows an episode from the actual Battle of the Valley of Thorns, so it's more pertinent to the title.  My objection to it is that I'm not very good drawing hand-to-hand (or claw-to-claw) combat -- it's too static.  And the Shshi on the right are depicted with much more detail and drama than the opponents on the left, who are drawn more minimally.  Kind of inconsistent.  So the jury in my mind is still out.

       I'd really appreciate some feedback!  Which cover should I use?  Be sure to click on the images and look at the larger versions.


 



Saturday, October 19, 2013

Defining Fantasy According to TermiteWriter


Ki'shto'ba and the Companions confront
"Trojan" Warriors in the marches of Thel'or'ei.
       I always have difficulty pigeonholing my books as to their genre. Are they science fiction, fantasy, literary fiction, or a blend of the three?  The Termite Queen certainly is science fiction.  It has most of the characteristics associated with that genre: it's laid in a future period, it has space travel, extraterrestrials of several types, an off-world adventure, some real science (mostly softer sciences, like entomology and other biological sciences, psychology, anthropology, and linguistics), and some fictional physics.  It laps over into literary fiction with its love story, which could have been recast in a contemporary setting without the trappings of science fiction.
 
       But then it has giant termites and their conculture, which includes their religious beliefs and practices.  Should that be called fantasy?  The question becomes more pertinent in my series The Labors of Ki'shto'ba Huge-Head, in which I retell Earth myths in the context of my termite conculture.  This series incorporates only minimal elements of science fiction (it's laid in the same century as The Termite Queen, the tales are edited by one of the characters in The Termite Queen, and there are frequent references to events that occurred in that earlier story).
       So let's examine the meaning of the term "fantasy."  To some people, it implies a particular and rather narrow literary genre, of which Tolkien's LotR is the prime example.  It incorporates a constructed world in which magic rather than science is the motivational force.  That, however, is hardly the only meaning of the word "fantasy."
 
       Here is the definition of the noun from http://dictionary.reference.com/browse/fantasy?s=t :
 
1. imagination, especially when extravagant and unrestrained.
2. the forming of mental images, especially wondrous or strange fancies; imaginative conceptualizing.
3. a mental image, especially when unreal or fantastic; vision: a nightmare fantasy. 
4. Psychology. an imagined or conjured up sequence fulfilling a psychological need; daydream.
5. a hallucination.
 
       Please note that the definition of it as a particular literary genre isn't even given.
       If you Google "fantasy definition," you get similar explanations with the addition of the following:
 
"a genre of imaginative fiction involving magic and adventure, esp. in a setting other than the real world."
 
      If you Google "epic fantasy definition" you get referred to Wikipedia,.  The following is worth considering:
 
       "High fantasy (also referred to as epic fantasy) is a sub-genre of fantasy fiction, defined either by its taking place in an imaginary world distinct from our own or by the epic stature of its characters, themes and plot. Quintessential works of high fantasy, such as A Song of Ice and Fire, The Hobbit, The Lord of the Rings, The Chronicles of Thomas Covenant and The Belgariad, have both of these attributes. Accordingly, works where the fantasy world impinges on our world, or where the characters are concerned only with adventure or personal goals (as in sword and sorcery fiction) are less likely to be classed as high fantasy."
 
       I don't want to get bogged down in a discussion of the subgenres of fantasy (we also have paranormal fantasy, urban fantasy, and all sorts of horror fantasy).   I only want to call attention to the fact that all forms of fantasy derive from "imagination" or "imaginative conceptualizing" and only one type of fantasy depends on the presence or absence of "magic" as a motivating force.  I started out writing "high fantasy," but I was never very comfortable with the magic element and always tended to base my plots on character.  In an early attempt to publish the novel that built on my free Smashwords book "The Blessing of Krozem," I was told that it had merit but didn't have enough magic.  Yet you can't deny it's a fantasy, with its race of spirit beings and presence of gods on that world.

     To return to epic fantasy, note that it is "defined either by its taking place in an imaginary world distinct from our own or by the epic stature of its characters, themes and plot."  By that light, The Labors of Ki'shto'ba Huge-Head has to be called epic fantasy.  Even though it's laid in a "real" extraterrestrial world governed by scientific laws, it has gods and Seers (which certainly fall in the general category of "imaginative conceptualizing"), it takes place in an imaginary (constructed) world, and its characters, themes, and plots have epic stature.  The only reason you might say they don't have epic stature would be if you felt the following Earth myths lack epic stature:  the events in the life of Hercules, the Trojan War, Beowulf, The Song of Roland, or myths to be included in later volumes (the story of Atalanta, Meleager, and the Calydonian boar; and Hercules, Chiron, and the Erymanthian boar).  And of course I mustn't omit the Golden Fleece!  Could anything be more epic than Jason's voyage to recover that lost item?  (Parenthetically, I previously wrote a couple of posts about the characteristics of the epic form.)
       In The Termite Queen, the termite conworld and the events that take place there also contain elements of epic fantasy:  war, single combat, a goddess who meddles and who speaks to the Seer (I maintain all gods are products of the imagination because their existence can't be proved, but that's a different topic).  Therefore, while the book is basically science fiction, it undeniably contains fantasy elements.
       And that brings me to my idea that all significant books have an element of fantasy in them.  My latest venture into that idea was in my analysis of The Great Gatsby over on my other blog.  Gatsby may not have magic, but it definitely has "imaginative conceptualization." 
       I really like that phrase! 


Friday, October 4, 2013

Trolls!

The following is an excerpt from a blog post of August 27, 2013.
by Marva Dasef, author of YA and MG fiction.
 To read the entire piece go here. 
Thanks, Marva, for allowing me to repost it!
 
Look at them, troll mother said. Look at my sons!
You won't find more beautiful trolls on this side of the moon.
Illustration of Walter Stenström's The boy and the trolls or The Adventure
in childrens' anthology Among pixies and trolls, 1915.
(Wikipedia, public domain)
 
There Be Trolls Here!
 
       I spent the last few days in Seattle.  ...  Another site I wanted to take in is the famous troll under the bridge in Seattle. Although we had lived on the east side for several years, we didn't go to the main city much. Somehow I managed to never visit the troll.
       Since my series, Witches of Galdorheim, has trolls all over it, I have a natural interest in the subject. I decided to post about my trolls as introduced in "Bad Spelling."

 

       Trolls. What do you imagine? Maybe something like the big ugly pictured here. In my Witches of Galdorheim series, I wanted a cave-dwelling bunch of uglies, but dwarves didn’t seem right for my book. Then I started hearing music inside my head. You know how that goes, right? It builds and builds until it has you screaming in frustration, willing to even listen to some other music to at least swap the tormenting sound.
       But before I could find a MP3 file of "Henry the VIIIth" by Herman’s Hermits, I stopped and listened. My muse was whacking me in the head via earworm. The music was Grieg’s Hall of the Mountain King from the Peer Gynt Suite. Duh. Trolls.
       Despite the canards on trolls from the likes of Artemis Fowl or Pratchett’s Discworld, I thought they could be heroic if given sufficient ale.
       From the Free Dictionary/Encyclopedia:
       A troll is a fearsome member of a mythical race from Norse mythology. Originally more or less the Nordic equivalents of giants, although often smaller in size, the different depictions have come to range from the fiendish giants – similar to the ogres of England – to a devious, more human-like folk of the wilderness, living underground in hills, caves or mounds.
       Hey! They’re not all flesh-eating giants who turn to stone in the sunlight. Some are devious little guys who live in wilderness areas (no doubt protecting endangered magical species).
       In Bad Spelling, Kat and her smart-aleck half-brother, Rune, (also happens to be a vampire, but has absolutely no resemblance to the Twilight guy except they’re both cute as hell) are directed by Kat’s flash-frozen dad (Rune calls him a popsicle) to visit the Troll King. At the Hall, she requests assistance from King Ole, the Norwegian Troll King. He arranges for her and Rune to ride the Trollercoaster, which starts in Norway and ends up in the Ural Mountains. From there Kat, Rune, and a changeling troll named Andy travel to Siberia to find Kat's family.
       Clearly, trolls are good. They are nice, helpful, cheerful, and sing fairly well too. Yet aspersions continue to be cast upon these misunderstood creatures. Shame on all of you for making them the bad guys all these years!
 
EXCERPT from Bad Spelling
     Kat ran to where her brother and the three trolls faced each other. The trolls stood shoulder to shoulder, their big, splayed feet firmly planted in front of the footbridge. They bared their chunky yellow teeth and growled at Rune. Although hardly reaching Rune’s shoulder, they each outweighed him. Clearly, the trolls did not intend to let him cross. Looking up and down the streamlet, Kat wondered at their careful guarding of the bridge. Kind of silly, she thought, since anyone could easily step across the rivulet without even getting wet feet. She wondered if these were children, given their short stature. However, their long knives looked very grown up.
     Enunciating each word, Rune held his hands out to show they were empty. Kat had no idea what her brother was saying, since Rune was speaking Old Runish. Except for a few spell words, Kat didn’t understand the ancient tongue.
     Evidently, neither did the trolls. Rune spoke again, louder this time, and took one slow step forward. At this move, the troll on the left lunged at them, jabbing at Rune with his knife. Rune sidestepped the rush, and the troll, taken off balance, stumbled and fell flat on his face. Kat stepped over the troll and grasped his arm but only caught hold of his sleeve. He screamed and pushed her away. The other two trolls ran at her with their knives raised, yelling as they advanced.
     Rune stuck out his foot and tripped the middle troll. The last troll standing went after Rune. The young warlock threw up his hands, arms crossed to fend off the attack. A bright red light arced from his hands to hit the charging troll in the face. The troll dropped his knife and fell to the ground, screaming and rolling around with his hands pressed over his eyes. Rune snatched up the knife and held it to the middle troll’s neck. Kat sat on the one she grabbed, pulling the knife from his flailing hand. The recipient of Rune’s flash attack kept his hands over his eyes.
     Rune spoke again in Old Runish, shouting to make himself heard. It didn’t do any good; the trolls all continued screaming and squealing at the top of their lungs.
     Kat jumped up from the troll’s back and grabbed Rune’s hand, pulling the knife away from the troll’s neck. “Rune,” she yelled, “tell them we won’t hurt them!”
     The thrashing troll froze then turned his cumbersome head toward her.  
     “You can speak our language!” He slapped the troll nearest to him, who abruptly stopped screaming. The one whose neck Rune held the knife to spread his fingers to peek at Rune and Kat.
     Rune released the troll and stood up, looking a little sheepish. “I just assumed—” He stopped then shook his head.
     Kat crouched on her knees next to one of the trolls lying on the ground and patted him on the shoulder. “We mean you no harm. We’re Wiccans from Galdorheim. Maybe you’ve heard of it?”
     Slowly, the trolls climbed to their feet, looked at Kat, then at each other. The three trolls huddled, conferring together. Kat heard a murmur but couldn’t make out what they said.
     Kat continued, searching for something to say. “My Aunt Thordis…” Three pairs of troll eyes turned to her and opened wide. They stared at Kat. The middle troll elbowed the one on his left, who giggled. The troll on the right gave a great whoop of laughter then slapped the middle troll on the back. All three trolls broke into huge guffaws and ended up leaning on each other, wiping tears from their eyes. Rune and Kat stared open-mouthed.
     Finally, the middle troll controlled his laughter long enough to say, “We thought King Ole said to watch for the ones Thor sent. He wouldn’t want any Viking warriors breaking into the hall. ” He broke out laughing again before snorting a couple of times to clear his nose. “Maybe we got the message a little mixed up?”
* * *
All three books in the Witches of Galdorheim series are available in all ebook formats and in print on Amazon.  Click here to view Bad Spelling on Amazon.

Addendum from Termitespeaker:

A little more information about the Troll under the Bridge (Wikipedia): 
The Fremont Troll (also known as The Troll, or the Troll Under the Bridge) is a public sculpture in the Fremont neighborhood of Seattle, Washington in the United States.
The Troll is a mixed media colossal statue, located on N. 36th Street at Troll Avenue N., under the north end of the George Washington Memorial Bridge (also known as the Aurora Bridge). It is clutching an actual Volkswagen Beetle, as if it had just swiped it from the roadway above. The vehicle has a California license plate.  The Troll was sculpted by four local artists: Steve Badanes, Will Martin, Donna Walter, and Ross Whitehead. He is interactive—visitors are encouraged to clamber on him or try to poke out his one good eye (a hubcap). The Troll is 5.5 m (18 ft) high, weighs 6,000 kg (13,000 lb), and is made of steel rebar, wire, and concrete.
... The idea of a troll living under a bridge is derived from the Scandinavian fairytale Three Billy Goats Gruff.

Monday, September 16, 2013

The Valley of Thorns: Publishing Progress, and a Word on Adaptation

      
My rendition of Archbishop Turpin
fighting the black Demon Knight
whose name is Abisme.  My version
 is named Sho'choi'jik'a (Abyss Dweller)
I've just about whipped the third volume of The Labors of Ki'shto'ba Huge-Head into publishing shape.  I done all the peripheral material -- the map (which will be the frontispiece in the paperback), the back of the title page, the Translator's Foreword, the facsimile title page (from where it was first published in the 30th century -- is that a logical contradiction?), a synopsis of v.2 (because this picks up exactly where v.2 leaves off), and a list of characters. 
       For the end matter, I've again included a glossary of words in my termite languages (Shshi language).  I also decided on providing an appendix analyzing the Shkei'akh'zei marching chant word-by-word.  The text includes the chant in the Shshi language, one of the few times I've done that in this series.  Of course, I also put it in English so people who have no interest in conlangs or alien languages in general can simply skip the gobbledegook.
      
       The origin of the chant is interesting.  The first half of The Valley of Thorns retells the Old French epic poem of Roland and Oliver (Chanson de Roland).  It's amazing how easily that story adapts to the termite culture!  When I read the tale in preparation for using it in my series, I was impressed by the repetition of certain lines.  Here are two different translations of them, followed by the Old French:
 
High are the peaks, the valleys shadowful,
Swarthy the rocks, the narrows wonderful.
 
High are the hills and dark the valleys,
Brown are the rocks and dread the defiles.
 
Halt sunt le pui e li val tenebrus,
Les roches bises, les destreiz merveillus.

And in another place in the poem:
 
 High were the peaks and shadowy and grand,
The valleys deep, the rivers swiftly ran.
 
High are the hills and great and dark,
Deep the valleys, and swift the waters.
 
Halt sunt li pui e tenebrus e grant,
Li val parfunt e les ewes curant.

Parenthetically, it's amazing how much easier it is to read the Old French (if you know a little modern French) than to read Old English.  It's obvious that French has changed less and in a purer line.

Anyway, I took those lines and adapted them into a marching chant as the termite army moves down the Valley of Thorns (my rendition of Roncescalles) toward their hated enemy.  Here's how I did it (even preserving the French poetic form of the half-line break):

The peaks are high   and the valley is shadowed.
Holy Nameless One!    Care for us now!
The boulders are dark    and the defile fearsome.
Holy Sky-Mother!    Stay always with us!
 
The mountains are high    and dark and great.
Hater of infidels!    Give to us mighty victory!
The defiles are deep    and the river runs always.
Creatrix of Warriors!    To the enemies, death!
 
Di'fa'kro'mi comments:
 
        "This went on endlessly and without variation, with the Lieutenants declaiming the forelines and their phalanxes responding with the supplications.  The repetitions contained just enough variety to be confusing, but I could not detect that any Warrior ever made an error in the words it was primed to recite.  When the terrain allowed, they moved in rhythm with the words, a step forward on each half-line.  I was soon falling asleep on my feet, but strangely the litany seemed to speed up the advance and keep everyone moving as one.  I wondered if some separate part of their Warrior-minds remained alert enough to respond in the event of a surprise attack.  I asked who had composed this recitation and my marching companion said it was simply a traditional war prayer, so old that no one any longer remembered its origin.  I found it impressive, but after half a morning of it, I thought I would lose my sanity!"
 
       I would like to print the Shshi version here, but I don't think the WingDings will display on in some browsers, especially Macs, and I haven't yet set up the text using the substitute syllables, so that will have to wait.
       Anyway, I think I'm about ready to begin formatting for publication.  I hope to get it done at least within two months.  If I can, I want to publish the Kindle, Smashwords, and print versions on the same day.  Stay tuned!