Thomas Kent Miller's Holmes Lighthouse

MX Publishing’s new Sherlock Holmes series Holmes Behind the Veil has that appellation for excellent reasons. Thomas Kent Miller’s Lighthouse draws back the curtain just far enough to brighten the path for newcomers to Miller’s different brand of adventure/detective fiction—perhaps elusive, perhaps not, at the core of which there may or may not be a labyrinth of secret passages, depending on each reader’s predilections. Copyright © 2017 by Thomas Kent Miller.

Saturday, August 12, 2017

9: The Special Covers of the “Holmes Behind the Veil” Trilogy Series

It's time to explain the covers that grace the covers of my three "Holmes Behind the Veil" novels. [Most of the readers of this article will have seen the covers many times by way of various promotions; for those who haven't, please just scroll down to the bottom.] Book covers do not happen by accident. Publishers, authors, artists and designers put a lot of energy into devising the image that is the first portal to liking any book. But first I’ll set the stage.

The Foreword of Book 2 of the "Holmes Behind the Veil" series, The Great Detective at the Crucible of Life, is actually an 1881 document set down by John H. Watson, M.D., wherein he paints a masterful picture of how he first met a fellow just up from Africa named Allan Quatermain . . . .

(left) John H. Watson, M.D.[Sidney Paget] and (right) Allan Quatermain [Charles Kerr]

. . . . and how the two of them crossed the Atlantic to New York on business and quickly, entirely by chance and impulsively, decided they'd travel upstate to the Hudson River Valley to call on Frederick Church, the aging and onetime renowned landscape artist whose paintings Quatermain admired . . . .

“Frederic Edwin Church,” by Charles Loring Elliot,

State Historic Park)

. . . . at his home, which he designed and built, Olana, in upper New York State overlooking the Hudson River . . . .

Late in his life Church built his dream home high on a hill overlooking the Hudson River. Designed to resemble a Persian palace, he called it Olana.

. . . . whereupon, Church appreciating his good fortune having two such worldly adventurers unexpectedly come to his door on a cold winter's night, bid them enter and make themselves comfortable in his sitting room before a roaring fire—which room was only used for the most important occasions.

While they sat with goblets of brandy in their hands before the fire, Quatermain notices the oil painting above the fireplace . . . .

. . . . and also another painting that is away in the corner still on an easel . . . .

El Ayn (The Fountain, also known as Constantinople) is currently part of the collection of the Mead Art Museum, Amherst College, Amherst, Massachusetts (24 in. x 36 in.). The fountain is in the bottom right corner. Copyright
© Mead Art Museum

. . . . whereupon the usually taciturn Quatermain turned loquacious and related to Church and Watson the story of a grand adventure in the harsh deserts of east Africa with his man-servant Hans in 1872, and how he, Watson, being of a literary nature, wrote the whole thing down from memory on the voyage back, and finally how he sent that manuscript to Church as a memento of the grand evening they shared in Church’s home Olana, overlooking the Hudson River.

It is that very manuscript written in Watson's hand (a month before he even meets Sherlock Holmes!) that eventually becomes the book titled The Great Detective at the Crucible of Life, Book 2 of the "Holmes Behind the Veil" series.

Now that you have this scenario in your head, you can better understand how the cover (see the Great Detective book cover image at the bottom of this post) of my series came to be.

MX publisher Steven Emecz introduced me to artist/designer Brian Belanger, and Brian asked me what sort of cover I had in mind. I explained (1) that Holmes, while vital to each of the tales, is not the center of attention in two of the books, that he is muted, in the background, part of the reason the series is titled “Holmes Behind the Veil”, and (2) I explained that I am deeply affected by a particular school of art that was never far from my mind as I wrote the books. I went so far as to say that some part of that art was transferred into the novels. And indeed, this school of art became a major plot factor in Book 2, as you've seen summarized just above.

But of course, right about now, some of you are wondering just who this Frederick Church is. Here is a bit of back story (a back story within a back story!): From 1825 to 1875, there developed a style of uniquely American landscape painting known as the Hudson River School. These works were astonishingly photographic in detail while at the same time rendering nature in such romanticized and noble hues, with such immaculate emphasis on light and atmosphere that the paintings were like windows into paradise. Here is an example titled Mount Corcoran by Albert Bierstadt (© National Gallery of Art).

Mount Corcoran, c. 1876-1877, oil on canvas,

60 11/16 × 95 7/8 in.

But as its sobriquet indicates, many of the original artists painted views of the Hudson River Valley in upper New York State. This was a favorite region of the founder of this new school of art Thomas Cole and of his protégé Frederick Church, and many of Cole's disciples went out of their way to paint the same region. Among the foremost practitioners of this school, besides Bierstadt, Cole, and Church, were Asher Durand, John Kensett, and Thomas Moran. Church was easily the most popular of these artists because he painted vast—huge—canvases portraying Niagara Falls, towering South American mountain ranges, and erupting Ecuadorian volcanoes that inspired awe in those who viewed them. The latter two he painted from life having trekked over the Andes Mountains and though Ecuador in 1853.

Niagara, 1857. Oil on canvas, 41-1/2 x 90-1/2 inches. Photograph © Corcoran Gallery of Art, Washington, D.C.

The Heart of the Andes, 1859. Oil on canvas, 66-1/8 x 119-1/4 inches. Image © The Metropolitan Museum of Art..

Cotopaxi, 1862. Oil on canvas, 48 x 85 inches. Photograph © The Detroit Institute of Arts.

Knowing fully well how his work affected people, he displayed his paintings alone in darkened venues with dramatic lighting much as we would a movie screen in front of an array of seats, and he surrounded the paintings with fragrant flora and/or other props that suited the painting. Of course there was an admission fee and Church became quite well off.

However, popular interest in this style of painting dwindled, and of course Church not only grew older, his hands became crippled with arthritis so that it became more and more difficult to hold a paint brush. Later in his life Church built his dream home high on a hill overlooking the Hudson River. Designed to resemble a Persian palace, he called it Olana. Since the home, like a jewel, was at the top of a hill, Church designed the approach to the house as a circuitous drive, so that at every bend visitors encountered fabulous scenes of the Hudson River or the Catskill Mountains. Church had planted thousands of trees in such a manner as to purposefully frame choice vistas just as though they were landscape paintings!

Now you might ask how all of this crossed paths with me. Have you ever, out of the blue, seen something that you bonded with fundamentally in an instant? In 1989, in Time magazine or Newsweek, there was a very small reproduction (I forget the point of the article; it was probably a discussion of trends in art at the time) of Hudson River School artist Albert Bierstadt's In the Mountains (Wadsworth Atheneum, Hartford, Connecticut). The actual painting is 36 inches x 50 inches, but the photo in the magazine was hardly larger than a postage stamp, just as seen here (though you might want to click on it).

Albert Bierstadt's In the Mountains

Hartford, Connecticut)

But, by some magic, by some trick of the moment, this tiny reproduction was enough to forever turn my head, and in short order I was impassioned by all things Hudson River School—in particular Frederic Church.

So you can imagine that as soon as the opportunity presented itself, I visited Olana in upper New York State.

The entrance to Olana

(Photo by Thomas Kent Miller.)

Olana's broad balcony overlooking the
Hudson River.

(Photo by Thomas Kent Miller.)

Church built his home in a particular orientation relative to his grounds and gardens to literally frame the real-life views of the river and mountains rather as though they were landscape paintings. When he was alive, he maintained those framed views carefully for maximum effect. Even today, the view from the broad balcony pictured above gives an idea of what it must have been like in Church's day. Here I have pieced together two snapshots to clumsily approximate the view from the balcony of the winding Hudson River. (Special photo juxtaposition copyright © by Thomas Kent Miller.)

And that is why I mentioned the Hudson River School of art to Brian. I told him I felt there was something of the “romanticized and noble hues, and immaculate emphasis on light and atmosphere” in my work. And Brian said, "I can do that," and in short order he provided the masterful idyllic landscape that graces the “Holmes Behind the Veil” series. Also note that towards the bottom, the landscape fades into or merges into an image redolent of another aspect common to all three volumes—old, musty books, manuscripts, journals, scrolls, and such like, some mere centuries old, others thousands of years old.

Cover Art and Design by Brian Belanger

You notice that all three of my books have the exact same cover art, which is a joy to me because now, finally, the three connected novels of my trilogy are presented with beautiful matching covers.

Book 2 of the “Holmes Behind the Veil” series from MX—The Great Detective at The Dawn of Time—will be available September 19. Book 1, Sherlock Holmes on the Roof of the World, is already available, and Book 3, The Sussex Beekeeper at the Dawn of Time, will be available on November 20 from online bookstores and marketplaces everywhere, including Amazon USA, Barnes and Noble, and Amazon UK.

Continued in post 10.

Formal Notice: All images, quotations, and video/audio clips used in this blog and in its individual posts are used either with permissions from the copyright holders or through exercise of the doctrine of Fair Use as described in U.S. copyright law, or are in the public domain. If any true copyright holder (whether person[s] or organization) wishes an image or quotation or clip to be removed from this blog and/or its individual posts, please send a note with a clear request and explanation to eely84232@mypacks.net and your request will be gladly complied with as quickly as practical.

Tuesday, August 1, 2017

8: The Special Title Page of The Great Detective at the Crucible of Life

This eighth post no doubt will present far more information than most readers of my Lighthouse Blog will ever care to know. Nonetheless, I feel this explanation is important, as it covers an area once common but now long forgotten, and therefore might easily go right over the heads of many readers.

In posting No 2 , “The Second Principle—The Apparatus”, I called attention to the manner in which Nicholas Meyer and his publisher, E.P. Dutton & Co., chose to present Mr. Meyer's first groundbreaking Sherlock Holmes pastiche in 1974 as "Being a Reprint from the Reminiscences of John H. Watson, M.D. as edited by Nicholas Meyer." This pseudo-attribution was in itself groundbreaking, and the pattern of “authorship” deflection was quickly adopted by many other pastiche authors, for example, Loren D. Estleman and Frank Thomas.

When writing my first Holmes/Haggard pastiche, I, too, made the decision to present the book as being "From the Journal by Leo Vincey, Esq." in emulation with myself shunted over into the role mere “editor.”

I then decided to take this intentional authorial misdirection to the next level by designing the very first page of CRUCIBLE—i.e., the title page—in a manner that not only tipped my hat to Doyle and Haggard, but also to that whole magical period of 19th Century romance book publishing. I decided to make the title page extra special.

Pick up most any book published during the last 20 years of the Victorian era and first half decade or so of the Edwardian (give or take a few years) and you will notice on the title page a publishing convention that was utterly commonplace at that time. Centered under the author's name there was invariably (set in very small type) a listing of some of the author's other works. For example, I have in front of me an 1880 printing of Ben-Hur and the title page looks something like this:

BEN-HUR

A TALE OF THE CHRIST

LEW WALLACE

AUTHOR OF "THE FAIR GOD"

Similarly, the 1887 pressing of Jess by Rider Haggard rendered its title page thus:

JESS

H. RIDER HAGGARD

AUTHOR OF

'KING SOLOMON'S MINES' 'SHE, A HISTORY OF ADVENTURE'

ETC.

And, lastly, not to make too fine a point on it, here we have the cover page from an 1891 volume:

THE HAUNTED STATION

AND OTHER STORIES.

HUME NISBET,

AUTHOR OF

"BAIL UP!" "THR DIVERS," "THE BUSHRANGERS'S SWEETHEART,"

"THE JOLLY ROGER," "THE SAVAGE QUEEN," &c., &c.

So when it came time to fashion a title page for CRUCIBLE, nothing at all would do except an emulation of this convention.

BUT there was more! After all, not only was CRUCIBLE "set down" by Dr. Watson, but the nature of what he was recording was far different than any ordinary Sherlock Holmes adventure. It was the "record" of a heretofore untold adventure by the great Allan Quatermain. In fact, it was a tale actually "told" by Quatermain and Watson's role was mainly that of a "stenographer." Thus there was no getting away from the fact that my title page would "one-up" Meyer's and necessarily have two "authors"—Allan Quatermain and John H. Watson, M.D—as well as list myself as "editor." Of course the great fun here is that whereas The Seven-Per-Cent Solution sported one nonexistent fictional author on its formal title page, my book's title page would list two nonexistent fictional authors, plus me in a flagrantly false role. How cool was that? Remember this was 1988, and these concepts were relatively new.

When you added it all up, all the parameters, intentions, tributes, and emulation that needed to be contained on that very first page—the title page—of The Great Detective at the Crucible of Life; or, The Adventure of the Rose of Fire, the illustration shows what the final result was. I was rather proud of myself. I was not aware that anyone else had had the temerity to buck modern publishing conventions to such a degree:

• A long title

• A long subtitle

• Two nonexistent authors, plus a misrepresented “editor”

• Six lines of supplemental text of a bibliographical nature that was briefly in vogue a whole century and a quarter ago, but by 1910 had largely disappeared.

It should also be noted that for the first 30 years of my writing career, my byline read "Thos." rather than "Thomas". This was to accentuate the "Victorian quality" of all my writing. And during all that time I would explain my reason for doing so as follows:

'“Thos.” is an old-fashioned abbreviation of “Thomas,” just as “Wm.” is a shortened version of “William,” “Robt." is short for “Robert” and “Jos.” for “Joseph.” Abbreviating names was common in centuries past due to the relative rarity of paper and the consequent necessity of cramming as many names as possible onto documents such as shipping manifests and parish registers. I chose “Thos. Kent Miller” as my byline since most of my writing has an old-fashioned feel or sensibility because it consists mainly of pastiches of Victorian characters both real and imaginary.'

However, I've frankly grown tired of having to constantly explain myself, and so in 2016 I chose the path of least resistance.

I’ve gone to the trouble of explaining all this in advance of the MX's September 2017 publication of The Great Detective at the Crucible of Life, because without doubt few if any of my readers would likely notice the title page. I can speak from experience since the book has been around for 15 years. My “cleverness,” as described lovingly above, has not once been noticed, or at least the end product has never once been mentioned to me nor recognized in print—not even by the one-would-hope literate book reviewer for Publishers Weekly, who had absolutely no clue of what I was attempting and dismissed the book outright. That was the day I was knocked off of my cloud back into reality!

But I was not nearly done; rather than capitulating, I dug my heels in deeper, entrenched still further, with the result eleven years later being Book 3, The Sussex Beekeeper at the Dawn of Time.

Book 2 of the “Holmes Behind the Veil” series from MX—The Great Detective at The Dawn of Time—will be available September 19. Book 1, Sherlock Holmes on the Roof of the World, is already available, and Book 3, The Sussex Beekeeper at the Dawn of Time, will be available on November 20 from online bookstores and marketplaces everywhere, including Amazon USA, Barnes and Noble, and Amazon UK.

Post # 9 will briefly discuss world-renowned landscape painter Frederick Church and the Hudson River School of 19th century landscape painting as invoked in Book 2.

Tuesday, July 18, 2017

7: The Theme of The Great Detective at the Crucible of Life

This seventh post addresses the writing of Book 2 of the “Holmes Behind the Veil” series from MX—The Great Detective at The Dawn of Time—which will be available September 19. Book 1, Sherlock Holmes on the Roof of the World, is already available, and Book 3, The Sussex Beekeeper at the Dawn of Time, will be available on November 20 from online bookstores and marketplaces everywhere, including Amazon USA, Barnes and Noble, and Amazon UK.

As far back as I can remember, I’ve always been enchanted by lost cities, giant secret projects and the like.

Though it may seem preposterous to lose a city, if you were to measure time in millennia or centuries rather than in mere years, the loss of whole cities, you would notice, becomes almost commonplace. The list of those eventually found is long and illustrious—Troy, Ubar, Palenque, Angkor, Ur, Pompeii, on every continent except Antarctica, and even that last holdout began making headlines in 2016.

My interest in the idea of lost cities originates in a comic book, Dell’s Walt Disney’s Uncle Scrooge # 7 (1954), which is a tale by Walt Disney storyteller and illustrator Carl Barks describing Uncle Scrooge McDuck and his nephews, Donald Duck and Huey, Dewey, and Louie, discovering the Seven Cities of Cibola in the American Southwest. Many more lost cities and civilizations, both real and legendary, were serendipitously unearthed by Mr. Barks through the 1950s and 60s. Two decades later, I encountered H. Rider Haggard (see Post No. 1), whose oeuvre boasts a dozen or so important examples of this genre (with three of four considered its progenitors). From these fonts eventually emerged my own "lost race" pastiche novel, Book 2 of “Holmes Behind the Veil,” The Great Detective at the Crucible of Life, at the center of which Allan Quatermain stumbles upon a lost city in the middle of one of the three or four most God forsaken spots on Earth—Ethiopia’s hellish Afar Desert.

It was in 1988 when I started writing the novel. I sent the completed manuscript to the original publisher in 2002. Doing the math; 14 years. It was actually published in 2005. I never took a hiatus from it. The book was written slowly because I have a one-track mind and my career and my family came first. But whenever I had both the time and the energy at the same time, and I knew the mortgage had been paid, I would work on the book, usually in my home office/library or at the dining room table, very often at 3:00 in the morning. During those 14 years I made a multitude of conscious, very deliberate decisions that may or may not be noticed by readers.

Initially, of course, I had an idea. That idea was simply to produce a sequel to my first short novel titled Sherlock Holmes on the Roof of the World, which was discussed in my previous

post, and which brought together Holmes with Horace Holly and Leo Vincey, two characters integral to the Ayesha series of H. Rider Haggard.

In 1978, Judy-Lynn and Lester DelRey,

the editors/publishers of the DelRey

sf/fantasy imprint of Ballantine Books,

released all four Ayesha novels in a

matched set of mass-market paperbacks.

At the very beginning, I simply thought it would be fun to have Holmes meet Rider Haggard’s other fictional icon, Allan Quatermain, who was the hero of King Solomon’s Mines and 17 more novels and stories. I began right away trying to concoct a situation and story that brought together Holmes and Quatermain. But real life kept intruding and it was difficult to focus. For one thing, I am no good at concocting plots for plot’s sakes. In that regard, story telling, per se, is not my forte. In essence, my writing must have an underlying purpose. In today’s parlance, I needed it to “make a difference.” For ten years I struggled with the idea, and as it gestated I wrote innumerable embryonic false starts that filled up folders, and the folders filled up boxes. I simply couldn't get a handle on the story!

Finally, eventually synchronicity helped guide my purpose (see Post 4, “Elfin Coincidence”).

The February 1998 issue of Vanity Fair magazine. I’ve circled the cover lines that interested me.

Somehow or another my life crossed paths with the February 1998 issue of Vanity Fair magazine. On the cover was blazoned the cover line “The Holiest Place on Earth”, which attracted my attention. The article itself (actually a book excerpt) suggested that Mount Sinai was the holiest place on earth. Within a day of reading this magazine article, I was thumbing through a trade paperback titled When the World Screamed & Other Stories Volume II: Professor Challenger Adventures by Sir Arthur Conan Doyle (Chronicle Books, 1990) and my eye noticed a line that included the phrase “the holiest thing on this earth!”

This coincidence set me to wondering what the holiest place on earth might actually be (if it weren't Mount Sinai). In due course, I decided that my vote would be for the spot on earth where human beings came into being. At that time it was becoming increasingly clear through the discoveries of Raymond Dart, Robert Bloom, the Leakey family, Donald Johanson, and many others that humankind’s progenitor Australopithecus had come into being up and down the 3,500-mile length of the Great Rift Valley of East Africa perhaps, in round numbers, three million years ago. Thus I concluded that the vast Great Rift Valley of East Africa was the “holiest place on earth,” and I thought it would be worthwhile to use that notion as the basis of the story that brought Holmes and Quatermain together. Once I had a meaningful purpose (as opposed to some random plot device) I was able to organize my previous drafts and write new material.

Two views of the 3,500-mile-long Great Rift Valley of eastern Africa. The valley has been forming for millions of years. Its climate, fertility, and geology were consistently favorable for at least 14 million years to allow the development of Ramapithecus, Ardipithecus, Australopithecus, Homo hablis, Homo erectus/ergaster, Homo sapiens, and Homo sapiens sapiens. Especially important were a series of perpetual lakes, like a string of pearls, that formed up and down the rift, which were conducive to long-term evolution. The rift was and is coming into being due to, in terms of continental drift, the Nubian African continental plate shifting in relation to both the Arabian Plate and the Somali African Plate. These graphics are from (left) historyofgeology.fieldofscience.com and (right) geology.com
Special photo juxtapositions by Thomas Kent Miller; copyright © 2016-2017 by Thomas Kent Miller.

But the Great Rift Valley, as I said, is 3,500 miles north to south, so I needed to narrow down the location for my story. I chose the Danakil Desert of Ethiopia for two reasons. First, journalist Walter Sullivan in his opus about continental drift Continents in Motion had described that region as being earthquake- and volcano-ridden, and one of the hottest, most horrible places on earth. And well … once, when I was a geology major, I’d done much research on the Atacama Desert in western Chile, which was sometimes used by NASA as an analog for the planet Mars because the Atacama was the driest spot on earth. Being just east of the towering Andes mountain range, the Atacama was also earthquake- and volcano-ridden, one of the hottest, most horrible places on earth, and I still had boxes of that Atacama Desert research 20 years later. I figured I could use the research about the Atacama to help fill in the blanks about the Danakil.

Donald Johanson and his colleagues unearthed "Lucy" in 1974; it was the first Australopithecus

Second, it was in the Afar desert region of Ethiopia that Donald Johanson and his colleagues had unearthed "Lucy," the Australopithecus fossil, the first paleo-anthropological fossil that clearly showed that the predecessors of humankind walked straight and fully erect on their some two feet millions of years before Homo sapiens.

Now that I had a firm grasp on the theme or underlying purpose of the book, I needed a title. Since this new book was a sequel to Sherlock Holmes on the Roof of the World; Or, The Adventure of the Wayfaring God, the title would need to be structured in the same manner. Therefore, it was a "no-brainer" that the main title would have to be “Sherlock Holmes” plus “a preposition” plus “a geographical location.” Well, at some point I had thought of and grew fond of "The Crucible of Life" as a metaphor for the Great Rift Valley. But an important sub-theme of the book was a classical quest for the Holy Grail, and of course, the Grail is traditionally conceived of as a cup or dish or bowl that held Christ’s lifeblood and was therefore miraculous. It seemed to me that it wasn’t too big of a jump to think of the Grail as a sort of crucible. After all, in Parzival, Wolfram von Eschenbach described the Grail as a platter.

So, in my mind the Crucible of Life referred to the Great Rift Valley, which was equivalent to the Holy Grail.

Yet, there was more afoot. A writer as important as Haggard in my estimation is the Victorian/Edwardian Welsh mystic Arthur Machen, one of whose works is The Great Return, a novel depicting the Holy Grail returning to modern Wales, and the Grail is portrayed in that story as a “rose of fire.”:

“A red light, a burning spark seen far away in the darkness, taken at the first moment of seeing for a signal . . . and then, as if in an incredible point of time, it swelled into a vast rose of fire that filled all the sea and all the sky and possessed the land. “
—Arthur Machen in The Great Return

The Great Return was published by The Faith Press in 1815. Image from "A Guide to Supernatural Fiction." (supernaturalfiction.co.uk, edited by R.B. Russell)

Thus the subtitle of my new book became “or the Adventure of the Rose of Fire”, an homage to Arthur Machen and his novel.

The whole title therefore, when deconstructed, would mean Sherlock Holmes at the Crucible of Life, or the Great Rift Valley, or the Holy Grail; The Adventure of the Rose of Fire, aka, the Holy Grail.

Speaking of homages, as I wrote the book, over those 14 years, I continually added homages to things that I love, to the degree that it was possible that the book risked being perceived as spoofing the whole Sherlockian pastiche genre. But this decision was made neither quickly nor lightly, as Crucible gestated from 1988 to 2002. In the end, I decided that it wasn't bad if some readers thought of the book as a gentle parody—as long as they also understood the serious nature of the book.

All that said, I decided to underscore my efforts of homage by starting on the very first page—the title page. When I realized that I was not only tipping my hat to Doyle and Haggard and Machen, but also to that whole magical period of 19th Century romance publishing, I decided to make the title page extra special.

To be continued in Post 8.

The Great Detective at the Crucible of Life is the second book of the "Holmes Behind the Veil" trilogy and will be available September 19 from online bookstores and marketplaces everywhere, including Amazon USA, Barnes and Noble, and Amazon UK.

Saturday, July 15, 2017

6: On Sherlock Holmes on the Roof of the World

New readers of this blog should begin with the first post—"Introducing Miller's Five Prin-ciples of Pastiche"—and work their way up to read an overview of the writing of the "Holmes Behind the Veil" trilogy series.

Sherlock Holmes on the Roof of the World is the first book of the "Holmes Behind the Veil" trilogy and is now available from online bookstores and marketplaces everywhere, including Amazon USA, Barnes and Noble, and Amazon UK. An excellent Audible Audio Book version (from a different publisher with a different cover and modified title) is also available at Amazon sites worldwide and all other normal outlets.

While, of course, it is a Sherlock Holmes pastiche novel (or novella), it is also a sequel to H. Rider Haggard's She: An Adventure. In fact, the adventure it records precedes the action covered in the only heretofore known sequel, Ayesha: The Return of She. Thus, it tells of events that occurred between the originally published adventures.

Its narrator is not Dr. Watson and the principal characters never have any inkling that they are having dealings with the famous great detective.

The manner by which this book came into being is as follows:

First off, the date was September 10, 1983. I had graduated from university the year before and I was working as an editor/proofreader for a nearby textbook publisher. I’d already had a great fondness for Sherlock Holmes for at least a decade, so much so that I named my first gray-tabby kitten Doyle. When Jayne and I first met, it was Doyle's name that proved to be the perfect ice-breaker—“Oh, is your cat named after Arthur Conan or Doyle Drive?”

Sherlock was never far from my mind, and this night in 1983 I was remembering that a few years before an acquaintance and I had been talking while working at the college newspaper, and our discussion turned toward the notion that Jesus is said, in some quarters, to have traveled to India with his brother Thomas after his seeming death on the cross. This thought automatically led me to think of Nicholas Meyers’ ground-breaking novel The Seven-Percent Solution and I realized that the Canon recognizes that Holmes traveled to Tibet in the guise a Norwegian named Sigerson during his Great Hiatus. So I asked myself the natural question under those circumstances: “Wouldn’t it be interesting if Holmes discovered in Tibet that Jesus had in fact visited there?”

But then I realized that such a tale could not be set down by Watson, as Watson was under the impression his friend was dead. Who then? Well, by that point in my life I was also long under the strong influence of adventure novelist H. Rider Haggard, and I remembered that at the end of his epic novel She: An Adventure, he sent his two heroes, Horace Holly and Leo Vincey, off to Central Asia to search for the reborn Ayesha.

“I traveled for two years in Tibet . . . and amused myself by visiting Lhasa, and spending some days with the head Lama.”—Sherlock Holmes in “The Adventure of the Empty House”

“We are . . . going away again, this time to Central Asia, where, if anywhere upon this Earth, wisdom is to be found.”—L. Horace Holly in She

It was merely a matter of figuring out a way for them to meet. That was about as far as this idea went. Bringing together all these threads took only a moment in time, and I probably wrote myself a note so as to not forget the idea. Later that night my wife and I retired and went to sleep.

I had a vivid dream, it was as follows: I am

standing on a sidewalk. A big white limousine pulls up in front of me, and James Michener, the best-selling author of Tales of the South Pacific and Hawaii, gets out of the car and shakes my hand, saying “Tom, let me give you this advice: Whatever else you do with it, finish your novel.” Upon awakening, this impressed me so much that I found a small photo of Michener, typed his dream advice as a small caption, glued it together, and framed it as a reminder that I had no choice but to write the novel that I had conceived the night before. Here is a scan of that very framed picture; it’s yellowed over these 33 years, but it's still prominent on my bookshelf within sight as I type this.

Shortly afterward, I needed to decide if the narrator would be Horace or Leo. Thus I began to write the book with Horace relating the events, mainly because he was by far the more literate of the two and besides he matched Watson’s age more closely than Leo. Sometime after I had finished the first couple of chapters, I had a dental appointment. My dentist was in downtown San Francisco, and his office was high in an office building that presented a great view of the San Francisco Bay. The next day, my supervisor came to work after lunch and arbitrarily mentioned that she’d been to the dentist and, also arbitrarily, described the view from the dentist chair. Well, she was describing the exact view seen from my dentist’s chair. Her dentist was in fact my dentist…and his first name was Leo. This coincidence struck me hard. Here I was trying to choose between Horace and Leo when fate stepped in and pressed hard on me the name “Leo”. I took this very seriously and rewrote the first couple of chapters, and it turned out that doing so opened up new possibilities.
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Our lives were very busy back then, full of major life events, and it took me four years to write what turned out to be a fairly slim book, a novella rather than a novel. Sometime during that period—probably later than earlier—another married couple and my wife and I took a train up the coast of California for the specific purposes of enjoying a train ride and viewing the rugged coastline. It had been years since any of us had ridden a train. Naturally I brought writing materials, and there came a time when I was hard at work composing on a yellow legal pad the numbered sentences that would comprise “The Gospel of Issa”. I was concentrating and not aware of my surroundings, when someone jostled my elbow and said “Excuse me.” I looked up…right into the face of Sherlock Holmes! It turned out that that particular train on which we were riding was a “Murder Mystery Train” upon which the local literary mystery club or clubs staged a mystery, and it was the job of its members to find planted “clues” and eventually the “murderer.” At these events, many club members often dressed as their favorite literary detectives to amp up the fun. Well, you can easily imagine how a coincidence of this kind affected me (see "The Fourth Principle—Elfin Coincidence" in this blog).

Here are two examples of Murder Mystery Dinner Train ads

(found via a Google search).

Because I was anxious to finish the book once and for all and also to maintain control over it, I published the book myself as Rosemill House publishers. I’d been involved in the publishing field for a decade by then and knew my way around typesetting, design, layout, wax, printers and their antics, and so forth, and felt I could do the job well myself, and in fact I did, successfully bringing it out at Christmas time 1987, exactly 100 years after Sherlock Holmes came into existence in A Study in Scarlet in Beeton's Christmas Annual magazine 1887. The First Edition of Sherlock Holmes on the Roof of the World sold for $4.95 and is a nice little trade paperback that I’m very proud of.

The first 1987 edition.

However, I found that distribution wasn't (and still isn’t) my forté. When in due course, the respected academic/library press, Borgo Press of San Bernardino, California, contacted me and asked if they could distribute the book to libraries with library casing, i.e., hardcover, I was delighted. In fact, it sold well enough that Borgo deemed it a “best-seller.” In subsequent years, the owners of Borgo closed shop, and I did not have the energy to sell the book except by onesies and twosies, and eventually Roof became a valuable collectors’ item.

Twenty years later, in 2007, Wildside Press, which had absorbed Borgo Press circa 2002, brought out its own printing of Roof, but both versions have long been out of print, while a beautifully recorded Audible book from Wildside is still available.

NEXT: Post # 7 begins a discussion of Book 2 of the "Holmes Behind the Veil" series, The Great Detective at the Crucible of Life. This is the first of my books that push expectations for Holmes pastiches far far beyond most readers' anticipations. The discussions of my Five Principles of Pastiche below lead up to this point in this blog, and each principle will be explained further with illustrations from Book 2,
The Great Detective at the Crucible of Life.

Sherlock Holmes on the Roof of the World (Book 1 of the "Holmes Behind the Veil" series from MX publishers is available now from Amazon USA, Barnes and Noble, and Amazon UK and
online bookstores and marketplaces everywhere. An excellent Audible Audio Book version (from a different publisher with a different cover and modified title) is also available at Amazon sites worldwide and all other normal outlets.
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The Back Cover Blurb That Wasn't

The three novels comprising MX Publishing’s new Sherlock Holmes series Holmes Behind the Veil differ from most other Sherlock Holmes pastiche novels in that the character of Holmes is muted rather than prominent. Not once in the 900 pages that form the three novels is Sherlock Holmes ever recognized or mentioned by the principal characters—only in occasional asides, a few speculative remarks from the editor. That in itself would be sufficient cause to use the phrase “behind the veil” with respect to this series. But, beyond this obvious aspect, the three stories deal with themes long considered mystical and transcendent throughout the fifty or a hundred thousand years of Homo sapiens existence on this planet, themes very often considered so other-worldly that they are historically set at arms length, distanced from the prosaic and perceived as “behind the veil,” themes such a death, time, reality, divinity, fate, holiness, and God, as well as myths, legends, and folklore, all of which are fundamental to the essence, or fabric, of this Holmes Behind the Veil series.