Interview to..Rebekah Armusik, author of "The Gothic Memoirs Series"

Rebekah Armusik a talented female writer from USA, author of "The Gothic Memoirs Series", a 13 book opera full of dark romance fused with epicism which gets better and more engaging book after book. At the moment only the first 5 books of the series are complete and available to buy on Amazon and Barnes&Nobles. Rebekah is now working on the 6th and 7th book that should be ready by Fall this year.

Read below this short interview I made to Rebekah to find something more about her and her artwork!

When did you discover your talent for writing?

I began writing short stories around 9 years old and soon after began writing poetry.

Why did you choose gothic as genre for your books?

 Since I was a child, I’ve been enthralled with the darker and more mysterious aspects of life. Gothic literature by nature is deeply romantic, dark and utterly emotional – all the things that stir me. I honestly don’t think I could ever write in another genre – nothing else appeals to me

Sadly, I think most people have preconceived views concerning gothic literature and tend to shy away but once they are introduced to my work, they become enchanted with the romantic and epic nature of the tale – it’s never what they anticipated.

What is "The Gothic Memoirs Series" about? What inspired you to write it?

My tale begins before time was recorded, during the first celestial war when God threw Lucifer into hell and separated his army. Some remained neutral and God felt that He could not trust these angels to remain in heaven and serve Him well, so He banished them to Earth as punishment.  The fallen had to adapt and because they were not born, but created, their bodies adjusted and mutated – hence the need for blood.

Without ruing the story, I also have incorporated the legends of Lilith, the first wife of Adam. Throughout history, Lilith has been demonized; she has been called the first vampire, a succubus, and sadly, the cause of stillborn deaths. But, I never liked or bought that idea. She simply didn’t dig Adam and in my opinion, that’s not a sufficient reason to make her the origin all things rancid and foul. So, taking some artistic license, I made her an ethereal goddess who catches the eye of Samuel- the Arch Angel of the elements and master of the wind. They fall in love and have 7 daughters with angelic blood and gifts.  Thus, the Guardian race is born and is, eventually, critical in helping the fallen adapt to their life on Earth.

However, the story is told in present day through the voice of Nadija, a young woman from the line of Lilith. She is not aware of her linage because her grandmother has kept it a secret for own selfish reasons.  Though it’s rooted in the past, it’s relatable because it’s told in a present and modern voice. I want to engage the audience, not distance them, and I achieve this by welcoming them to be part of the story, to be present on the journey.  Consequently, the reader learns most of the dramatic back stories from the characters that assist Nadija on her adventure to becoming the active Guardian Queen.

My inspiration has always been my grandmother and her love of telling dark tales and Slavic folklore. My mother’s family is from Bratislava and I was immersed in the traditions and culture since I was a child. Plus, I spent way too many years in Catholic school – eventually, it begins to blend into every aspect of your life. In my teens I became interested in Jewish mysticism and witchcraft and these subjects really had a huge impact on my work.

Does any of the character resemble you and/or your personality and which of the characters you have created is your favourite?

My favorite character will always be Nadija – I know her the best, we are inseparable. But I love writing each character for different reasons. Most are based off of real people so when writing them, I imagine their mannerisms, what they would say, or how they would say it. Writing Alexei is easy because I live with him – he is based on my husband. My husband is very nurturing and protective and has a very quick and dry sense of humor. So most of the conversations between Alexei and Nadija are actual conversations we’ve had.

I remember you told me your husband is the artist behind the artworks on the book covers. Where does he get inspiration for his works?

I am very fortunate to be married to a well-known traditional painter. My husband’s work is terribly romantic and captivating so his style is a perfect fit for my novels.  I often marvel at how well he paints emotion - a slice of time that would otherwise, be forgotten. Essentially, he does with paint what I do with words so the artistic marriage of our art forms is very natural. I usually give him an idea of what I want and he’ll make a quick sketch and then after some conversation he’ll begin to paint it for me. As he works, I stop in the studio and give him feedback.  I could never have my hard work covered by something that did not represent it properly – I am far too attached to my world and its representation.

***

If you are interested in Rebekah Armmusik's work check the first five books at the links below:

Book 1: Memoirs of a Gothic Soul
               Amazon.com:  http://www.amazon.com/Memoirs-Gothic-Soul-Rebekah-Armusik/dp/1934597295
               Barnes and Noble: http://www.barnesandnoble.com/w/memoirs-of-a-gothic-soul-rebekah-armusik/1101078571?ean=9781934597293

Book 2: Mariposa
               Amazon.com   http://www.amazon.com/Mariposa-Rebekah-Armusik/dp/147752374X/ref=pd_sim_b_1
               Barnes and Noble   http://www.barnesandnoble.com/w/mariposa-rebekah-armusik/1107175158?ean=2940013580510

Book 3: Lucifer Rising
              Amazon.com  http://www.amazon.com/Lucifer-Rising-Volume-Rebekah-Armusik/dp/1477490795/ref=pd_sim_b_2
              Barnes and Noble:  http://www.barnesandnoble.com/w/lucifer-rising-rebekah-armusik/1110615314?ean=2940014358170

Book 4: Vlkolak King
              Amazon.com   http://www.amazon.com/Vlkolak-King-Volume-Rebekah-Armusik/dp/1480151815/ref=pd_bxgy_b_img_z
              Barnes and Noble  http://www.barnesandnoble.com/w/vlkolak-king-rebekah-armusik/1113727919?ean=2940015879032

Book 5: In the Shadows of Eden
              Amazon.com   http://www.amazon.com/Shadows-Gothic-Memoirs-Series-Volume/dp/1491247215/ref=pd_sim_b_1
              Barnes and Noble   http://www.barnesandnoble.com/w/in-the-shadows-of-eden-rebekah-armusik/1118185310?ean=2940148111191

***

Links to Rebekah's official websites:

Facebook Fan Page

https://www.facebook.com/pages/Rebekah-Armusik-Author/305178563631?fref=ts

Website

http://www.rebekaharmusik.com

Twitter

http://www.twitter.com/rebekaharmusik

Google+

https://plus.google.com/+RebekahArmusik/posts

Lalaurie Haunted Mansion

In the French Quarter of New Orleans there is an ordinary looking house, but a closer look at the hidden past of the property reveals a more complicated history- tales of secret attics and murder..

It’s all true in the haunted Lalaurie House.

The dark history of the Lalaurie House began in 1832 when wealthy doctor Louis Lalaurie and his wife Delphine moved into the mansion. The family was one of prominent standing in the community at that time- they were socialites and and threw lavish parties for their neighbors.

Despite the appearance of their charming lifestyle, whispers of more sinister things spread through the slave class. It seemed there was an extremely high turnover with the house slaves- not only did the Lalauries frequently purchase new slaves, but no one ever seemed to figure out what happened to the old ones. Until, that is, a fire broke out in the Lalaurie kitchen.

Some say it was a slave that started it in hopes to bring law enforcement into the house to investigate, but when authorities did show up, they discovered a secret attic with a grisly scene. Many of the former slaves who were thought to have disappeared were still within the house, in cages or attached to chains. All were disfigured and mutilated beyond recognition, tortured beyond belief. Many had died and their body parts were strewn around the room. 

The town immediately gathered as an angry mob in order to arrest the couple, but the Lalauries barely escaped them by carriage, never to be seen or heard from again. It was then understood from multiple slave accounts that Delphine had been the mastermind behind the torture chamber, and her husband simply turned a blind eye to her horrendous experiments. 

The LaLaurie house has had many incarnations before returning to its purpose as a residence. It was a saloon and a girl's school, a music conservatory, an apartment building and a furniture store. The stories began almost immediately. Many have reported seeing the phantom of that young slave girl fleeing across the LaLaurie roof. Agonized screams coming from the empty house were commonplace. Those who stayed there after it became occupied left after only a few days. At the turn of the century, a resident, one of the many poor Italian immigrants who lived in the house, encountered a black man in chains. The entity attacked him on the stairwell then suddenly disappeared. The next morning, most of the other residents abandoned the building.

The bar, "The Haunted Saloon," opened in the 20th century. The owner kept records of the odd experiences of his patrons. Later, it seemed the LaLaurie House did not care to be a furniture store. The owner’s merchandise was often found covered in a mysterious foul-smelling fluid. After staying up to catch the suspected vandals, the owner found the liquid had somehow re-appeared in plain sight, although no one had entered. The business closed.

Animals were found butchered within the house. Delphine was reportedly seen hovering over the infant child of a turn-of-the-century resident, or chasing children with a whip. She also apparently attempted, late in the 19th century and long after she was dead, to strangle a black manservant. Today, people just passing the building on tour report fainting or becoming nauseous, and of course, disembodied screams or wailing are still occasionally heard. Some tourists are able to photograph orbs around the roof area.

"Why is a raven like a writing desk?" - About the Mad Hatter and my new writing desk!

As soon as I realised that the English word for what my boyfriend handcrafted me for Christmas was "writing desk" I couldn't help but think about the Alice In Wonderland quote, when the Mad Hatter asks her: "Why is a raven like a writing-desk?".

I actually never thought too much about it because for me it was an obvious non-sense question, typical of Lewis Carroll (author of the Alice in Wonderland adventures) way of writing but out of pure curiosity (there's a bit of Alice in all of us after all ihih) I decided to check on the internet if I could find something about this sentence, if it had a subtle meaning for example. After a few clicks I found myself on the Wikipedia page of the Mad Hatter character and while reading I discovered some interesting fact about him too. For example, why are him and the March Hare always having tea?

The Hatter explains to Alice that he and the March Hare are always having tea because, when he tried to sing for the Queen of Hearts at her celebration, she sentenced him to death for "murdering the time," but he escapes decapitation. In retaliation, Time (referred to as a "Him") halts himself in respect to the Hatter, keeping him and the March Hare stuck at 6:00 forever. The tea party, when Alice arrives, is characterised by switching places on the table at any given time, making short, personal remarks, asking unanswerable riddles and reciting nonsensical poetry, all of which eventually drive Alice away.

I also discovered that the name "Mad Hatter" was clearly inspired by the phrase "as mad as a hatter". Mercury was used in the process of curing felt used in some hats, making it impossible for hatters to avoid inhaling the mercury fumes given off during the hat making process; hatters and mill workers thus often suffered mad hatter disease, mercury poisoning causing neurological damage including confused speech and distorted vision.

Hat making was the main trade in Stockport, near where Carroll grew up, and it was not unusual then for hatters to appear disturbed or confused; many died early as a result of mercury poisoning. However, the Hatter does not exhibit the symptoms of mercury poisoning, which include "excessive timidity, diffidence, increasing shyness, loss of self-confidence, anxiety, and a desire to remain unobserved and unobtrusive." The Hatter and the March Hare are initially referred to as "both mad" by the Cheshire Cat.

Back to the riddle, it appears in the chapter "A Mad Tea Party". The Hatter asks the much-noted riddle and when Alice gives up, the Hatter admits: "I haven't the slightest idea." 

Lewis Carroll originally intended the riddle to be without an answer; but after many requests from readers, he and others — including puzzle expert Sam Loyd — suggested possible answers! 

In his preface to the 1896 edition, Carroll wrote:

Enquiries have been so often addressed to me, as to whether any answer to the Hatter’s Riddle can be imagined, that I may as well put on record here what seems to me to be a fairly appropriate answer: "Because it can produce a few notes, though they are very flat; and it is nevar* put with the wrong end in front!" This, however, is merely an afterthought; the riddle as originally invented had no answer at all.

*Note that "nevar" is "raven" spelled "with the wrong end in front" (that is, backwards).

Loyd proposed a number of alternative solutions to the riddle, including "Because Poe wrote on both" and "Because the notes for which they are noted are not noted for being musical notes." 

I personally love Loyd's "Because Poe wrote on both" being I a deep fan of Mr Edgar.

BUT, back to my writing desk! Here are the pictures:

Isn't it gorgeous? :D My boyfriend made it for me out of a bare piece of wood and I'm so proud of him. This is officially the best gift ever received! Surely one of a kind and done with so much love. He didn't have all the appropriate tools to make it but with his genius and creativity he managed to make it anyway..in 3 days only by the way!! :P

LondonEdge show 2014

LondonEdge is the biggest and best show of its kind, dedicated to the alternative creative side of the world. A space for the most creative and niche brands out there, from rock n roll to burlesque, to the darker side of goth.  Hosted at the London Olympia from 2nd to 4th February 2014, LondonEdge is proud to present the 29th edition of show after 14 years of activity and which also sees the return of the much celebrated LondonEdge Fashion Show!

"Catering to a group of the most creative and exciting niches in apparel, footwear and accessories, LondonEdge is the only show worldwide dedicated to this very specific sector of the fashion industry, welcoming in a host of left centre, daring and statement brands, exhibitors, media and visitors.

Dominating the trade show scene for 14 years, the show is split into two notional areas, Original and Fashion.  LondonEdge Original represents over 200 hard-edged, punk, rock, goth and tattoo inspired brands where as LondonEdge Fashion houses over 150 rock n roll, vintage, retro, pin up, burlesque and rockabilly collections.  With both areas heaving with clothing, accessories, footwear and beauty brands, there truly is something for everyone.

Alongside the ever-popular themed areas, lounges and complimentary hairstyling stands, this February 2014 LondonEdge is pleased to announce the return of their entertainment acme, the LondonEdge Fashion Show.

Absent for the past two seasons and back by popular demand, attendees will be treated to two different fashion shows, each showing twice a day on the centre stage and no doubt pulling in crowds of exhibitors, buyers and visitors alike.

Excitement is already building that the highlight of the LondonEdge entertainment menu is back with more & bigger brands than ever! Representing the vintage, retro and kitsch  styles at LondonEdge are renowned brands Bettie Page, Hell Bunny, Voodoo Vixen and Purplish London. On behalf of the edgier LondonEdge, there is plenty of alternative, dark and gothic apparel and accessories on offer including Spin Doctor, Queen of Darkness, Kreepsville 666, Jaw Breaker and Phaze.

Catering to all, Banned Apparel, Dead Threads, Echo3 and Iron Fist are also on the list for this one off show and will indeed prove eye catching during the performance and on the trade show floor.

Entertainment aside, this unique global show is dedicated to short order merchandise, with  an excellent reputation for attracting a high percentage of overseas buyers and for onsite order-writing.

The rock n roll, cool and kooky styles of the exhibitors is met year after year with an exciting buzz and positive atmosphere and with this host of eclectic brands on the catwalk, lively and enticing music and professionally chorographic performances this season will be no exception! More news to follow.

When: Feb 2nd – 4th 2014

Where: The National Hall, Olympia, Hammersmith Road, London, W14 8UX

Web: www.londonedge.com

Ideas for a wonderful Gothic Christmas time

Winter season has officially begun and so did the holidays!

Yesterday has been the last day of working for many people, me included!Yay! Luckily, I will be back to work on 7th January! This means I have a lot of free time and lot of relaxing at last! I'll be able to have my cup of tea or coffee by the chimney (and not by the yucky vending machine >_> ) and I will be able to wake up any time I want without hurry.

So here I am writing the usual Christmas post! Last year I remember showing you some ideas to make your Christmas the 'gothiest' way possible, keeping down the glamourous-kitsch-and-way-too-bright side of it. This year I'm basically going to do the same because I don't have much else to say about it..!

I still have to realize it's Christmas already XD

I hope the following images will help you find ways to decorate or,why not, craft yourself some Xmas decorations in Gothic style! Enjoy:

As I don't think I will dedicate time to the blog in these days, I wish you all a Merry Christmas! 

♥

Premature burial and the fear of being buried alive

"Fear of being buried alive is the fear of being placed in a grave while still alive as a result of being incorrectly pronounced dead. The abnormal, psychopathological version of this fear is referred to as taphophobia (from Greek taphos, "grave, tomb" and phobos, "fear"), which is translated as "fear of graves". "

This fear peaked during the cholera epidemics of the 18th and 19th centuries but accounts of live burial have been recorded further back. When his tomb was reopened, the philosopher John Duns Scotus (1266 – 1308) was reportedly found outside his coffin with his hands torn and bloody after attempting to escape. The fears of being buried alive were heightened by reports of doctors and accounts in literature and the newspapers. As well as dealing with the subject in "The Fall of the House of Usher" and "The Cask of Amontillado", Edgar Allan Poe wrote "The Premature Burial", which was published in 1844. It contained accounts of supposedly genuine cases of premature burial as well as detailing the narrator's own (perceived) interment while still alive.

A safety coffin or security coffin is a coffin fitted with a mechanism to prevent premature burial or allow the occupant to signal that they have been buried alive. A large number of designs for safety coffins were patented during the 18th and 19th centuries and variations on the idea are still available today.

The general fear of premature burial led to the invention of many safety devices which could be incorporated into coffins. Most consisted of some type of device for communication to the outside world such as a cord attached to a bell that the interred person could ring should he revive after the burial. Other variations on the bell included flags and pyrotechnics. Some designs included ladders, escape hatches, and even feeding tubes, but many forgot a method for providing air!

The first recorded safety coffin was constructed on the orders of Duke Ferdinand of Brunswick before his death in 1792. He had a window installed to allow light in, an air tube to provide a supply of fresh air, and instead of having the lid nailed down he had a lock fitted. In a special pocket of his shroud he had two keys, one for the coffin lid and a second for the tomb door.

P.G. Pessler, a German priest, suggested in 1798 that all coffins have a tube inserted from which a cord would run to the church bells. If an individual had been buried alive he could draw attention to himself by ringing the bells. This idea, while highly impractical, led to the first designs of safety coffins equipped with signalling systems. Pessler's colleague, Pastor Beck, suggested that coffins should have a small trumpet-like tube attached. Each day the local priest could check the state of putrefaction of the corpse by sniffing the odours emanating from the tube. If no odour was detected or the priest heard cries for help the coffin could be dug up and the occupant rescued.

Dr. Adolf Gutsmuth was buried alive several times to demonstrate a safety coffin of his own design, and in 1822 he stayed underground for several hours and even ate a meal of soup, sausages and beer delivered to him through the coffin's feeding tube.

The 1820s also saw the use of "portable death chambers" in Germany. A small chamber, equipped with a bell for signalling and a window for viewing the body, was constructed over an empty grave. Watchmen would check each day for signs of life or decomposition in each of the chambers. If the bell was rung the "body" could be immediately removed, but if the watchman observed signs of putrefaction in the corpse, a door in the floor of the chamber could be opened and the body would drop down into the grave. A panel could then be slid in to cover the grave and the upper chamber removed and reused.

In 1829, Dr Johann Gottfried Taberger designed a system using a bell which would alert the cemetery nightwatchman. The corpse would have strings attached to its hands, head and feet. A housing around the bell above ground prevented it ringing accidentally. An improvement over previous designs, the housing prevented rainwater from running down the tube and netting prevented insects entering the coffin. If the bell rang the watchman had to insert a second tube and pump air into the coffin with a bellows to allow the occupant to survive until the casket could be dug up.

Vester's "Burial Case" was an elaborate variation on earlier bell and cord systems.

The systems using cords tied to the body suffered from the drawback that the natural processes of decay often caused the body to swell or shift position, causing accidental tension on the cords and a "false positive". Franz Vester's 1868 "Burial Case" overcame this problem by adding a tube through which the face of the "corpse" could be viewed. If the interred person came to, they could ring the bell (if not strong enough to ascend the tube by means of a supplied ladder) and the watchmen could check to see if the person had genuinely returned to life or whether it was merely a movement of the corpse. Vester's design allowed the viewing tube to be removed and reused once death was assured.

Count Michel de Karnice-Karnicki, a chamberlain to the Tsar of Russia, patented his own safety coffin, called Le Karnice, in 1897 and demonstrated it at the Sorbonne the following year. His design detected movement in the coffin and opened a tube to supply air while simultaneously raising a flag and ringing a bell. Le Karnice never caught on: it was too sensitive to allow for even a slight movement in a decaying corpse, and a demonstration in which one of Karnice-Karnicki's assistants had been buried alive ended badly when the signalling systems failed. Luckily, the breathing tube had activated and the assistant was disinterred unharmed, but the reputation of Le Karnice was damaged beyond repair.

In 1995 a modern safety coffin was patented by Fabrizio Caselli. His design included an emergency alarm, intercom system, a torch (flashlight), breathing apparatus, and both a heart monitor and stimulator.

Despite the fear of burial while still alive, there are no documented cases of anybody being saved by a safety coffin.

Folk etymology has suggested that the phrases "saved by the bell", "dead ringer" and "graveyard shift" come from the use of safety coffins in the Victorian era.

Before the advent of modern medicine, the fear was not entirely irrational. Throughout history, there have been numerous cases of people being buried alive by accident. In 1905, the English reformer William Tebb collected accounts of premature burial. He found 219 cases of near live burial, 149 actual live burials, 10 cases of live dissection and 2 cases of awakening while being embalmed.

The 18th century had seen the development of mouth-to-mouth resuscitation and crude defibrillation techniques to revive persons considered dead, and the Royal Humane Society had been formed as the Society for the Recovery of Persons Apparently Drowned. 

In 1896, an American funeral director, T.M. Montgomery, reported that "nearly 2% of those exhumed were no doubt victims of suspended animation," although folklorist Paul Barber has argued that the incidence of burial alive has been overestimated, and that the normal effects of decomposition are mistaken for signs of life.

There have been many urban legends of people being accidentally buried alive. Legends included elements such as someone entering into the state of sopor or coma, only to wake up years later and die a horrible death. Other legends tell of coffins opened to find a corpse with a long beard or corpses with the hands raised and palms turned upward. On his deathbed in 1799, George Washington made his attendants promise not to bury him for two days.

Fear of burial alive was deeply rooted in Western culture in the nineteenth century, and Poe was taking advantage of the public's fascination with it. Hundreds of cases were reported in which doctors mistakenly pronounced people dead. In this period, coffins occasionally were equipped with emergency devices to allow the "corpse" to call for help, should he or she turn out to be still living. It was such a strong concern, Victorians even organized a Society for the Prevention of People Being Buried Alive. Belief in the vampire, an animated corpse that remains in its grave by day and emerges to prey on the living at night, has sometimes been attributed to premature burial.

Introducing: VAVABEEB!

Hello there!
well i guess you are all wondering who this nut job is?
*ahem* I happen to be a new Author to this Magazine blog! I will be bringing to you tales of the paranormal and spooky things to keep those macabre hearts of yours beating ;)

A little about me:

I live in a wonderful city in Australias east, called Melbourne. It's a magical place where goths are abundant and culture is all around you at every turn.
I've always been very into Goth and the macabre since i was a young girl, preferring horror movies and JRock to what everyone else was into. I think I'm not alone when i say, i feel more comfortable and at home in an environment of gothic lace and platform boots stomping to Marilyn and Laibach, crowding towards the droning darkness instead of the sunshine pinks of the pop world (though i still like to take a taste every now and then!)

And with my love of everything gothic, i guess, came my love of horror and the paranormal too :) I hope to bring you many great tales, sources, videos and more! (maybe even some Gothic horror Games if it's received well by you all ;)
Please feel free to send me any suggestions or ideas you have of things you would love to hear or learn about in the comments below. I welcome it all!
Keep an eye out for the first of (hopefully) many posts from this crazy redhead, Vavabeeb!

Hope you are all having a delightful day :)

~V