Rosewolf: Origins and Inspirations
I’m excited to be finally releasing ROSEWOLF on Amazon Kindle around Halloween.
The first draft was begun in 2000, twelve years ago. I didn’t work on it all of that time, but off and on between other novels that lie in wait to be finished. Since this is my first finished novel, I am very proud of it.
Rosewolf came to me in 2000 while I was living in England. I went there initially to research a tarot deck I designed based on the Holy Grail Legend. I was born with strong psychic abilities and out of a need to understand my experiences, have been a lifelong student of the occult, especially Faerie Witchcraft, tarot, astrology and healing.
In England I encountered the revived folk traditions, the arcane histories and magical practices of those islands and wanted to explore them in a fictional form. The first book I wrote was about a changeling called Lily Tamlyn that was inspired by the Scottish folk ballad, Tam Lin. Because I didn’t know what I was doing, the story sprawled out of control. and I literally lost the plot. But, in that book, was a stately home called Hedgewicke Hall. On the walls were the classical rows of ancestral portraits. One of them was Lady Lianna Hedgewicke, an herbalist of questionable repute. This person suddenly came to life and, domineering as she is, took over the story. It was she, whoever she is and wherever she came from, who was the catalyst behind the much more coherent, Rosewolf.
From the myth of Romulus and Remus being raised by wolves, to the lays of Marie de France in her tale, Bisclaveret, to Grimms’ Fairy Tales, the works of Sabine Baring-Gould, SigmundFreud, Montague Summers, the mysterious wolf children of Angela Carter and the occult-driven sorcery of Tanith Lee’s lupine shape shifters, werewolves have a long and intriguing history. They express our darkest shadows, our deepest fears and the lurking need to shed civilization and go wild. For thirteen year old Rose, the wolf within is a metaphor for the disturbances of emerging sexuality.
There is magic, a kind of shamanism in the werewolf. He or she expresses a fairy tale quality. Stories of wise animals who speak, who transform into human shape, are part of the fairy tale world of all cultures. These creatures can, in turn, engender a desire for human beings to change into animals while retaining human consciousness in order to plumb the mysteries of the natural and spiritual worlds.
The werewolf is also a metaphor for many aspects of human nature and society: hot sexuality, lasciviousness, violence, rage, greed, unshackled freedom and the call of the wild as explored by Clarissa Pinkola Estes in Women Who Run with the Wolves, deceit as when the wolf wears a sheep’s clothing, the werewolf is a richly layered and compelling monster indeed.
Find my Re-Telling of Grimm’s Little Red Riding Hood, THIRTEEN, at Burial Day books:
Burial Day : THIRTEEN