A question for B. Morris Allen

Q: Do you use music for inspiration? If so what do you listen to?

A: Constantly. That is, I don’t consciously look to music for inspiration, but it helps me out all the same. I like to write (and read) with music on, and every now and then something will just jump out and suggest a story to me. Given that I’m not listening with my full attention, it’s a misheard lyric as often as not. Sometimes it’s a fragment of lyric that I repurpose. Either way, it goes down in the idea file for future use.

The only time I  consciously set out to work from a song was with my first ever story, “Blind”, written in the 1980s (published in 2011). It’s a very literal interpretation of the Deep Purple song by the same name. In slightly more recent days, I stole Brian Setzer’s title “Drive Like Lightning…Crash Like Thunder” for a pair of pulpy SF adventures, and a line from Fred Eaglesmith’s “Seven Shells” for a children’s story.

Those artists give you a feeling for what I listen to: hard rock, rockabilly, and gloomy singer-songwriters. Throw in some classic country (Merle, Waylon) and some Euro-pop (Herbert Grönemeyer, Fiorella Mannoia), and that covers a lot of it.


B. Morris Allen’s story “Adaptations to Coastal Erosion” was published in Metaphorosis on Friday, 24 June 2016. Subscribe to our e-mail updates so you’ll know when new stories go live.

About Michael M. Jones

Michael M. Jones lives in southwest Virginia with too many books, just enough cats, and a wife who’s always ready to provide an alibi and/or a shovel. He has a degree in Theatre he never uses, is working towards a Master’s in Children’s Literature which is just an excuse to read more books, and blames his Santa fixation on working retail at the mall during the Christmas season. He’s the editor of Scheherazade’s Facade.

For more information, visit him at www.michaelmjones.com


Michael M. Jones’s story “Regarding the Sainted Pirate Nicholas” was published in Metaphorosis on Friday, 1 July 2016. Subscribe to our e-mail updates so you’ll know when new stories go live.

A question for Kelly Sandoval

Q: Do you have a garden? Have you ever grown your own food?

A: When I was young, we had a huge garden with all sorts of herbs, veggies, and flowers. I used to spend hours reading among the plants. My current tiny apartment doesn’t have room for gardening, but I still love the idea of it. Luckily, Seattle is a very green city. Even if I don’t have plants of my own, growing things are all around me.


Kelly Sandoval’s story “Small Magics” was published in Metaphorosis on Friday, 17 June 2016. Subscribe to our e-mail updates so you’ll know when new stories go live.

About B. Morris Allen

B. Morris Allen grew up in a house full of books that traveled the world. Nowadays, they’re e-books, and lighter to carry, but they’re still multiplying. He’s been a biochemist, an activist, and a lawyer, and now works as a foreign aid consultant. When he’s not roaming foreign countries fighting corruption, he’s on the Oregon coast, chatting with seals. In the occasional free moment, he edits Metaphorosis magazine, and works on his own speculative stories of love and disaster.

www.BMorrisAllen.com


B. Morris Allen’s story “Adaptations to Coastal Erosion” was published in Metaphorosis on Friday, 24 June 2016. Subscribe to our e-mail updates so you’ll know when new stories go live.

A question for Phil Berry

Q: What work of art has been the most inspiring?

A: It’s tempting to go full pseud on this one, but just the other day I was reading the second volume of art critic Brian Sewell’s autobiography, ‘Outsider’, and he reminded me about the genius of Salvador Dali. I was fascinated by his creations as a younger man, and gazed at glossy copies of ‘Crucifixion (Corpus Hypercubus)’ for hours. It combines religious ecstasy with the mysteries of nuclear science and higher dimensions. Christ is fixed, by nothing but ‘fields’, to the cruciform shape of an unfolded tesseract, or hypercube. Apparently, though I didn’t know it at the time, there are multiple representations of the painter and Gala, his wife, in the skin folds and shadows of each knee. You have to see it in the flesh to spot them. This painting appealed to my developing (Godless) mind in the same way as John Fowles’ The Magus and numerous concept albums. Although Dali is sometimes looked down upon as a painter for adolescents, perhaps he was, as Sewell says, ‘…the last of the great old masters.’


Phil Berry’s story “Sheer” was published in Metaphorosis on Friday, 10 June 2016. Subscribe to our e-mail updates so you’ll know when new stories go live.