The Wolf Boy Returns from Space: Published September 7th!

The Wolf Boy Returns from Space is part of the Myths Endure on Mars series.

Panfilo ended up on the Mars Space Station when his adoptive parents kidnapped him from Earth.

He doesn't resent his relocation. He doesn't resent being ejected from Mars when his wolf-like nature is discovered. He doesn't resent being raised by a human clone and his mate.

He does rather resent being almost assassinated.

The assassination attempt on Panfilo motivates him and his guardians to delve into Panfilo's origins. Is he alien? How is he connected to Earth's history? Why do some humans and humanoid aliens fear him? Why do others wish to follow him?

The search takes Panfilo, his guardians, and his investigators--Monseigneur Rhys and Canon Lider--to Earth and ultimately to negotiations between Panfilo and a powerful monarch. Before he can undertake those negotiations, the teenage Panfilo needs to figure out, Who exactly am I?

The Wolf Boy Returns from Space is a Rhys and Lider detective novel. It is the most recent book in the Myths Endure in Mars series. It references characters and events in other books but can be read separately.

Myths Endure on Mars

The Myths Endure on Mars series includes Anubis on Mars, Saint of Mars, Ithax's Offspring in Space, Nerites Amid the Stars, The Serpentine History of the Saint (May 2024) and Wolf Boy Returns from Space (September 2024). The novellas follow a chronological order though each book can be read separately.  

Series in Chronological Order

Incubus Lider wants a greater purpose in life than feeding off boring human sex dreams. Catholic priest Rhys wants his own incubus.

Unexpected companions, Lider and Rhys travel to Mars on the same ship as a new religious sect. The sect, which follows ancient Egyptian creeds alongside ongoing prophetic revelations, hopes to create an exclusive community on Mars. That plan is challenged by assault and possible murder within the sect's upper ranks.

Rhys convinces the authorities to let him investigate with his invisible partner, who can enter dreams and memories. He and Lider descend to Mars, where they discover a crime that belongs in myth. 
 
Anubis on Mars is the first book in the Myths Endure on Mars series. It introduces detectives Rhys and Lider.

Anubis on Mars is available on Amazon. 
 
* * *

 
Monseigneur Rhys and his Cubus, Lider, detectives from Anubis on Mars, investigate another murder when their aid is sought by a Devil's Advocate, Francesca Paraclete.


A Mars citizen is being considered for sainthood. The process of canonization is proceeding smoothly--until it turns up unexpected historical details, angry relatives, and a sudden death. The death could derail the process. Or it could be entirely unconnected.

Frankie needs Rhys and Lider's help. She isn't sure she can trust her own investigators. She isn't sure she can trust Mars citizens. And she isn't sure she can trust the invisible spy or Cubus who enjoys making wry comments in her head. No matter the implications, the Devil's Advocate must know the truth. Mars needs a saint.

Saint of Mars is available on Amazon. 
 
* * * 
 
Quin has a problem. He needs to return to Mars to take up his duties as administrator of the Mars Trading Depot. But someone left a clone in his ship cabin. A gorgeous, clever clone, who might just tempt Quin to break laws he agreed to when he emigrated to Mars in the first place.

Allec doesn't understand what all the fuss is about. So what if he's a clone? So what if he's only going to live a few months? He's on a spaceship. He's learning a new profession, and he has a handsome and kind boyfriend. The politics of his creation are not his problem.

As Quin and Allec near the end of their nine-month mission, they grapple with issues that affect Martian finances, family betrayal, political upheaval, and their own happiness.

Ithax's Offspring on Mars is available on Amazon.  

* * *

As merfolk head into space, political complications threaten to scuttle their desire to settle on Mars. Controversy swells over an ancient religious ritual involving immersion, sex, and marriage. The controversy only expands when Meke and Rill, two Siphons or Mermen, arrive separately on the Mars Space Station.

Years ago, bribery and sabotage subverted the ritual between Meke and Rill. Rill fled. Meke wants answers. Their face-to-face confrontation sends a surge through the merfolk or Siphon community that could drown other issues and separate lovers like an outgoing tide. Meke and Rill dive deep into their past to generate wise and pacific solutions.

Nerites Amid the Stars is available on Amazon 

* * *
 
With the help of her investigators, Francesca Paraclete, a devil's advocate, researches the possible canonization of a medieval saint: Lady Margaret.

If canonized, Lady Margaret will be the first Siphon or mermaid saint. Frankie must consequently deal not only with difficult-to-access and interpret historical records, she must also handle political issues--those who support a Siphon becoming a saint; those who don't.

Her duties are complicated by a possible spy from the College of Cardinals, a cat-like being who insists on accompanying her everywhere, and her personal invisible consultant, a Cubus named Will who is possibly over 2,000 years old.

To  keep things simple, Frankie focuses on locating Lady Margaret's relics. Frankie, her spy, and her consultant start the search in Bamburgh Castle in Northern England. Their investigation will take them to the Faroe Islands, the Isle of Man, King Arthur's Carlisle, a holy well, several shrines, and Norton Priory. At each location, they encounter lore connected to the sea and possibly, hopefully, the true story of Lady Margaret.
 
The Serpentine History of the Saint is available on Amazon.
 
* * * 

Panfilo ended up on the Mars Space Station when his adoptive parents kidnapped him from Earth.

He doesn't resent his relocation. He doesn't resent being ejected from Mars when his wolf-like nature is discovered. He doesn't resent being raised by a human clone and his mate.

He does rather resent being almost assassinated.

The assassination attempt on Panfilo motivates him and his guardians to delve into Panfilo's origins. Is he alien? How is he connected to Earth's history? Why do some humans and humanoid aliens fear him? Why do others wish to follow him?

The search takes Panfilo, his guardians, and his investigators--Monseigneur Rhys and Canon Lider--to Earth and ultimately to negotiations between Panfilo and a powerful monarch. Before he can undertake those negotiations, the teenage Panfilo needs to figure out, Who am I? What am I going to do about who I am?

The Wolf Boy Returns from Space is a Rhys and Lider detective novel. It is the most recent book in the Myths Endure in Mars series. It references characters and events in other books but can be read separately.

The Wolf Boy Returns from Space is available for pre-order on Amazon.

Myths Endure in Maine: New Books in 2023!

The Myths Endure in Maine series currently totals 4 books:

His in Herland or Astyanax in Hiding: A Retelling of Gilman's Herland

Navigating an uncharted tunnel, three male explorers find they are invaders in a country of only women--supposedly. Narrator Terry Nicholson begins to doubt the country's self-reported history when he encounters a disguised male inhabitant with connections to ancient Troy.

A tribute and critique of Herland by Charlotte Perkins Gilman, His in Herland or Astyanax in Hiding gives a voice to the original villain as well as a male in disguise. 

His in Herland is connected to ongoing posts on the problems with utopia.

Kouros Underground

After dozens of foster homes, Cord knows how to protect himself and make his own way. Yet he agrees to a dubious if alluring offer from the god Hermes and follows him into an adjoining world. In that world, Cord too becomes a god, the god of springtime.

In his new home, Cord finds he is the linchpin of an ongoing conflict: those who support Cord's fated soulmate, Hades, and those who are pressuring Hades to change the rules of death.

Cord prefers to be left alone to carry out his duties--except he inconveniently gets attached to his job and to Hades. To keep both, he must challenge the world's system, especially the other gods.

Kouros Underground is the first Myths Endure in Maine book. Each book is a separate story within the same universe. Cord or Kouros does appear in most books.

 
Suppose Catherine Morland lived in a world run by Greek gods. And met descendants of Oedipus Rex. Would her life still be prosaic and ordinary?
 
Yes. 
 
Catherine Morland & The Matchmaker retells Austen's gently satiric novel Northanger Abbey in a steampunk fantasy world. A god of love learns to be a matchmaker. Eleusinian deities make cryptic prophecies. A trickster god claims omniscience through stolen technology. Lots of other gods plan festivals. In the meantime, Catherine Morland navigates the banal, boring, weird, confusing, unexpected and sometimes delightful world of dating.

Cupid in Captivity

Kidnapped by a fellow student, Billy Stowe carries out an unofficial investigation to identify his abductor, Jonas West. His primary purpose? To protect Jonas and keep him from confessing.

Nearly a decade later, Billy resolves problems for the wealthy elite while Jonas enjoys celebrity status as a renowned nature photographer. Yet repercussions of the earlier deed persist, demanding retribution or reenactment. Billy and Jonas must out-maneuver social media-influenced peers and legal authorities as they strive to escape the worst repercussions of Jonas's deed and adapt to the best.

Based on classic myth, the story of Billy and Jonas captures the unanticipated and unique links that arise and survive between human beings, links that last years and transcend labels. Can the captor and captive fall in love? Why shouldn't they? Who gets to decide?
 
The resolution may surprise even these two soulmates.

Although all books in the Myths Endure in Maine series share a world--and various characters make regular appearances--each may be read separately.

The Myths Endure on Mars series can be reached here.

Peaks Island Press

 Peaks Island Press has an impressive catalog!

The most recent publication is Beth Woodbury Hart's Dunbar Woods, a contemporary fantasy that places suburbia next door to a clan of immortal Fairlies. 


Author Eugene Woodbury has produced two young adult novels set in Japan. Fox & Wolf has a contemporary setting and tackles the world of shape-shifting. Not only is this novel an excellent way to learn about Japanese werewolves and werefoxes, it is also a great education on the customs of Japanese high schools!

Serpent of Time, Eugene's second YA novel, details time-traveling between the Nanboku Period in Japan--specifically the time of the Oei Rebellion--and contemporary Osaka, including famous Mount Koya. More specifically, Serpent of Time follows the trials of a princess on the run alongside the adventures of her helpers and chasers.

Most recently, Eugene has created translations of novels from Ranpo Edogawa's Boy Detective Club series.

Through Peaks Island Press, Katherine Woodbury writes tributes to classics, mysteries, and fantasies. 

The latest Jane Austen tribute is Persuadable, a retelling of Jane Austen's Persuasion and a romance in its own right.  

Katherine's mystery series through Peaks Island Press presents Donna Howard, a Portland, Maine investigator who follows cases connected to antiques. 

Katherine's fantasy series through Peaks Island Press explores Roesia, a Victorian-inspired world with magic that follows the trials and successes of debutantes, police officers, civil servants, and aristocrats within that world.

Katherine produces two separate series outside of Peaks Island Press: 

Myths Endure in Maine revolves around a fantasy world connected to Portland, Maine and inhabited by Greek gods. Austen tribute Catherine Morland Meets Oedipus Rex: A Retelling of Northanger Abbey is scheduled for publication at the end of May 2023. 

Myths Endure on Mars, a sci-fi series, delivers interplanetary travel, romance, "alien" politics, mysteries, and an exploration of the canonization process.

Rejection Letters: Critics versus Editors

Example of a good letter: I've never submitted to The Paris Review.

I recently updated my Fiction page and found this post from years earlier. I am reposting it, updated. It mostly refers to short story rejection letters...sent by mail!

I've received many rejection notices throughout the years. I'm going to list various types of rejection letters, favorites to least favorites:

The best, of course, is the personalized note--the handwritten scrawl across the bottom of the form letter or, if you're really lucky, a personal, typed letter. These personal notes fall into two categories: one, an explanation for why the story wasn't accepted; two, an apology for not accepting the story even though the editor really, really liked it. Of the two, the first, believe it or not, is best. As my brother Eugene says regarding the second, "My ego thanks you, but I'd rather be paid." Still, both are way up there. The first time I got a personalized note from an editor, I was as happy as if I'd received an acceptance. It was a fairly prestigious magazine (for me), and I floated around on Cloud 9 for days.

The second best, which I didn't used to like, is the form letter with boxes. The editor(s) check the boxes that apply: Not Enough Description; Lack of Dialog; Not For This Magazine. I've learned to appreciate feedback though I know it isn't always possible; besides, I always like to make sure the Totally Horrible Writing box isn't checked.

The next is the ordinary form letter. Eh. But in comparison to the next type of rejection letter, I don't mind it as much.

The personalized form letter: now, most form letters say something like, "We're sorry we can't use your story. Try us again. We apologize for this form letter," and that's fine, but I get a bit ruffled when the form letter says something like, "We read your story, Katherine, and although we enjoyed TITLE OF STORY, we won't be using it this time around." The first time I got one of these, I thought it was a personal note. Yes, okay, call me naive. After I received the third one, I realized that it was a form letter sent by a clever assistant. (Merge is an amazing feature.) These types of form letters really annoy me. I'd rather just have the editor say, "You're a cog in our machine" than pretend to know me, like salespeople who want to buddy up to me on the phone. Just tell me about your product. If you can't tell me about your product in ten seconds, if you're just going to ask me how I'm doing, forget it.

The final type of rejection letter is a personal critique rejection letter; this kind of personal note rejection letter is different from the type mentioned above. 

At this point, I have to digress and talk about literary criticism versus editing. Literary criticism is no-holds-barred "I personally don't like this" justification. Hey, critics can say whatever they want for whatever reason--in academe, they use a gloss of jargon and highmindedness to pretend that they are calling down the fires of heaven. In truth, literary critics are often entirely obsessed with what is "cool" and, yes, "cool" exists in the academic world. 

Editing is a different beast. One of the most important jobs of editing is figuring out what the author intends to do. That intent then becomes the standard by which the piece is judged. In other words, it is pointless (if interesting in a bizarre way) to criticize Tolkien's The Lord of the Rings for not involving aliens and spaceships or successfully describing submarine warfare or devolving into a pastiche of modern habits using contemporary settings.

Not only should editors look for the author's intent, they should also look at the author's work as a whole--so it is also pointless to criticize Tolstoy for killing off Anna Karenina (spoiler, I know, but really, you ought to know that) or Kafka for turning his protagonist into a cockroach rather than a bear.

In other words, editing should never be about what the editor thinks the story ought to be about (or what the editor wants to read). It should be about whether the author succeeded at what the author was attempting to do.

To return--the personal rejection letter that I don't care for is the personal rejection letter which isn't about my story as a whole and whether it succeeded or not or, even, where it was flawed; rather the personal rejection letter I dislike is the one which wants to take issue with me for employing a certain theme or for delivering a particular outcome or for using a particular set of tropes or for operating in a certain genre. 

If you don't like it, says I, don't buy it.

This isn't to say that I'm opposed to the magazine editor saying, "Well, really, you know, we prefer happy endings" or "Well, really, you know, we prefer sad endings where everyone dies and life is hopeless and there's angst dripping from the ceilings." That's fair. Magazines have certain audiences and certain self-perceptions. 

But there's a difference between saying, "We prefer angsty endings, and you don't have one" and saying, "You ought to change the pleasant hero into a Byronic sociopath. That will make the story so much better" or, in literary speech, "Such changes will explore the profound tremors within the human psyche that match the contemporary zeitgeist" (academic criticism isn't that hard--seriously). 

This final type of personal rejection letter inevitably involves blatantly condescending sentences. I have received brutal rejections of stories, but none of them are as bad as the condescending rejection letter which smugly informs me that I'm a good little writer in my way and here are some suggestions (which would completely alter the theme and plot and style of my piece) which will make the writing and me ever so much better. What the critic (not editor) really means is that if I could only turn my piece into something the critic approves of (rewrite my DNA), then I will be acceptable in the critic's eyes.

Over the years, I've come to the conclusion that most critics (and academics) simply don't read that much. They honestly seem to believe that only one "proper" genre exists in the universe. They are always issuing challenges to "break barriers" because they are, in truth, rather conventional. All the barriers have already been broken. Writing is about trying out a particular approach, not upsetting a tiny apple cart of what literature IS.

From a writing point of view, such critics completely miss my real failures as a writer--namely, slow beginnings (which these days, I tend to overcome by starting about a chapter in), struggles with description, and a tendency to assume my readers know my characters as well as I do. They instead mistake my plot choices as good or bad writing. A broad example are the critics who mistake the appearance of magic in a story as bad writing, simply because they don't care for all that fantasy genre stuff (these are the people who use "magical realism" rather than "fantasy" in their critiques when the author is someone they do approve of, i.e. someone "cool").

But then, I will say that I think good editors--who can put themselves in the writer's shoes and try to look at what the writer is attempting to do from the inside--are hard to find. It truly is a skill.

Tackling Theology: Incubi, Egyptian Mythology & Mystery in Space

I mention on Votaries the sense of being caught between positions. It is impossible to take a "side" when both sides strike one as wrong. 

I currently feel the same about theological matters. I was raised to believe in the importance of the physical body--and I still do. The physical experience is more than a "trial." It is more than something to be endured. The physical body is not the enemy of the spirit nor do the greatest sins arise from the challenges and demands of the physical body. 

In classical Christianity, the worst sin is pride, which comes from the mind and heart. Pride is greatly tempered and disciplined by the physical experience. 


In addition, mortality allows humans not merely to learn and grow, which ideas are often relayed in purely abstract terms, but to actually do things. The release of the body at death is not something to crow about. In refutation that C.S. Lewis ever stated, "You don't have a soul. You are a soul. You have a body," Hannah Peckham correctly points out that this is a misreading of a line from George McDonald. She writes,

"Christians need to be mindful, however, that they are embodied creatures with the promise of an embodied resurrection. Jesus incarnated in a body and resurrected with a body, so Christians should be careful about minimizing their own." 

I agree. A theology that dismisses the mortal experience as some kind of "rough patch" that the soul or spirit rises above is missing the point. The egoism of believing that the essential "me" is the only thing that needs to survive resembles the classical version of hell more than any truly desirable vision of heaven. 

Give me instead a theology that rejoins the physical with the spirit and values that state without shame or apology. 

The theology of my childhood states that the goal of each human is not simply to be with God--we could have done that without ever gaining a body. The goal of each human is to become like God or, if you want to go down the science-fiction road, to follow a path to a different plane of existence: to go from existing as a 2 and 3-dimensional being to something/someone more complex, deeper, and expansive, to become--in essence--more. The mortal experience places us on that road while the gift of the physical body is ours forever.

We can never entirely reach God since God will always continually progress beyond us. We will always be rushing to catch up. But we can certainly aim higher, not as part of some abstract mind-game (Now, I'm happy) but as an actual condition of existence.

Heaven is not a state of continual rest where we are patted on the head for getting through the rough stuff and then sent to hang out eternally in God's rumpus room. It's not about winning, being rewarded for checking off all the right boxes and jumping through all the expected hoops. Rituals and ordinances can help bring us closer to God, to better understand God's vision and purpose, but they are means to an end, not the end itself. C.S. Lewis, as always, gets closest: Further up and further in.

An afterlife of ongoing, endless work bothered me as a child. Now, I respect a belief that bypasses the earthly, secular battle over "who gets into utopia and who doesn't--what you say versus what we say" for a larger view, a greater possibility, a continuing journey.

The main protagonist of my next Myths Endure book grapples with many of the above ideas. However, I learned the hard way when I was younger that writing fiction to explain theological principles inevitably collapses in on itself. It is always best to tell a story, to start, as C.S. Lewis explained, with the image of a lion or a lamp post in a snowy wilderness. 

In my case, it's the image of a detective in a cassock.  

Anubis on Mars, with conclusion, is available on Amazon for pre-order.

Mermen in Space: Nerites Amid the Stars

Mermaids and mermen are to me what I suspect horses were to a lot of my friends growing up. 

It's hard to tell because even as a kid, I was unlikely to collect mermaid dolls and posters and similarly-themed dish towels. These days, I have a lot of cat stuff, mostly because I decided not to fight people's tendency to give me cat stuff. I suspect I'm simply not a collector-type of person--of anything, that is, except books. 

Still, sea people are enchanting. There's E. Nesbit's Wet Magic as well as Stargate: Atlantis. (I always wanted the city to remain below water.)  And there's a lovely moment in Voyage of the Dawn Treader where Lucy, leaning over the side of the ship, sees a sea maiden and makes an instant connection. C.S. Lewis never tackles sea people directly but they haunt the Narnia books. They attend the coronation of the Pevensie children but are absent or only referenced in other books.

In other words, C.S. Lewis gives them the qualities that attend them in folklore: mysterious, unmanageable with an edge of ruthlessness.

My sea people are more cool-headed Fortune 500 CEOs. But the wonder of the sea--which I live near and can't imagine ever leaving--attends their rituals and customs and, naturally, their ability to produce tails. 

Nerites Amid the Stars is now available on Amazon

Below is Chapter 1.

Meke

* * *

Meke took a swim as soon as he departed the ship.

The pools in ship quarters were adequate. Of course, travelers to Mars didn’t have much choice. But nine months of shallow water wore on Meke in a way he hadn’t felt since the aftermath of his initiation ceremony.

He had quarters on the Mars Space Station. They were reserved over a year earlier when the Mars Council accepted for review the proposal that Siphonophes be allowed residency on Mars. The station already had quarters for Siphons. In the last year, those quarters were expanded, the pools enhanced.

He followed the goodwill greeter, Phyl, to the station’s second level or tier and down a broad, shiny promenade. His quarters were in a separate sphere from the main tier or concourse, which included embarkation, conference rooms, offices, and the food court. Each sphere had its own artificial gravity. From the outside, the station was a stack of squashed bubble-like modules. From the inside, the station appeared one structure, its “floors” separated by translucent metal barriers and elevators. 

Phyl stopped outside a metal door engraved with a faintly elegant pattern reminiscent of waves or kelp. He inserted a card into a slot and waved Meke in first.

Meke entered a long room on the outside of the tier, so it showcased a curved translucent wall with a view of dark expanse. Meke kept his eyes on Phyl. Space disconcerted him. On the ship, he kept the window to his cabin shuttered.

Phyl held out the card and said, “The entry card can be programmed with your own pin—old technology but still effective.”

“Thank you.”

“Welcome to Mars Space Station.”

Alone, Meke stripped and lowered himself into the pool against the inner wall. Unlike the pool on the ship, it was deep, and Meke let himself sink without pause, his legs merging and wrapping into a glittering stem. Some mermen on Earth had fins but most, like Meke, had nectophores. Meke’s shone bioluminiscent blue.

He descended as the skin along his torso thinned to handle respiration without burdening his air-breathing lungs. The pool curved to meet the outside translucent wall. Right now, he could see Mars.

He paused, his tail (in the vernacular) lashing slowly. He made himself look out, ignoring the vast darkness around Mars with its faint stars. The view was easier to take while he was in water, so long as he didn’t remind himself that the water and the pool were entirely manufactured. Not natural. Man-made objects suspended in space.

But Mars, after all, was why he there.

Mars and retribution.

Mars came first. After an hour, he reluctantly pulled himself out of the pool and dried only his hair (Siphons never minded a little damp) as his legs reshaped. He should have unpacked before he went into the water—the clothes in his trunk were wrinkled and stale-smelling—but the quarters had decent facilities as well as an above-water bed. He sent pants and a high-collared shirt on hangers through the quarters’ standing wash-and-dry cleaner. He dressed. He collected all his electronics. He propped open the door to the promenade and programmed his card with a new pin.

The card also contained destination indicators. Meke pressed the top and the card softly chirped when he waved it to the left. He returned to the glass-fronted elevator that took him to the main concourse. From there, he followed the clicks to the conference room.

He’d arranged from the ship to meet with station, Mars, and Siphon representatives tomorrow, 11:00 Sol time since the station kept on the Mars clock.

He didn’t expect to see Rill—Rill worked in the bureaucratic offices that stretched behind the conference room and circled a third of the station. The offices broke at Embarkation with its multiple checkpoints. They picked up again in the section devoted to Mars Trade. Meke had studied station plans as soon as he landed the assignment.

Rill worked for Demographics, collecting and collating population data from Mars’ early years. Enumerator was his official title in the lists that came from the station. Rill, Enumerator. He was Rill, Meke’s Rill, that Rill. Meke’s private investigator confirmed Rill’s departure from Earth for the Mars station nine years earlier. He took the money and ran. And Meke had no idea what to think about any of it.

He followed the card’s clicks to the food court that circled the station’s center where visitors could stare through translucent barriers at open promenades within upper spheres. Like any newbie, Meke stood and stared, all the way to the vast bubble ceiling. He knew the station’s layout but knowledge and experience weren’t the same—as any Siphon could attest.

The artificiality of the station was beginning to wear. He settled outside a café near the solar-famous restaurant with the first-long-lived clone chef. The chef had a male lover, once a Mars citizen. Meke should be able to relate. He couldn’t.

The café served Martian algae, which Meke had eaten on Earth as a specialty item. Here it was a common staple, appearing on every dish.

He finished his meal and crossed to a shop with full aquariums. He purchased a bag of krill for later. Right now, he needed a full tide of sleep. 

Rill

He turned towards the elevator, sliding the card out of his shirt pocket. 

And there was Rill. 

Meke hadn’t been sure he’d recognize him. Nine years, from adolescence to adulthood. In human terms, they were twenty-five. And yet—

Rill was slim and compact with cropped dark hair (it was longer and more tangled once). Meke wasn’t close enough to see the slanted heavy brows and shy, cheeky smile. But he recognized Rill’s walk, that unconscious cocky grace that Meke still envied.

Rill was studying a tablet as he sauntered across the concourse, a bag of Earth seaweed swinging from his other hand. Easy. Relaxed. At home.

Maybe I shouldn’t have come.