Alfie Lester’s checkered past on the streets of Cheyne Heath has made him the perfect partner for Gosha. He’s seen enough strangeness working as a bouncer for every shady establishment in the neighborhood not to be fazed by the revelation of the secret world of Craft and Influence, but not so much that he’s hardened or jaded.
What a surprise to come across Shreya’s van on our way to a hike on Mt. Agamenticus in southern Maine!
I didn’t realize I was a Goth until I moved to the US to go to NYU. Growing up in the UK in the early 80’s the music of bands like Siouxsie and the Banshees, Bauhaus, and Cocteau Twins was just what was played on the radio. I remember walking into the dining hall freshmen…
The Memphis style of design was very big and avant-garde in the 1980s, and is the perfect external representation of excess for the law of attraction malarkey of Denise Ogilvy and Portia Twill-Quimby’s abundance scam.
When creating a dynamic character to carry your story, it’s important that they be strongly motivated to drive the plot forward. It makes them more interesting, and the story a lot more fun. When I was writing the first novel in The Witch of Cheyne Heath series, Waking the Witch, I was researching psychological models…
Excerpted from a curious book I found hidden in the back of a dusty shelf in a used bookstore on Cape Cod: As we all know, we witches are never the most welcoming of people, save to the needy visitors to our kitchens, and the witches of Cheyne Heath are more unwelcoming than most, so…
I see Gosha’s photography as something between the stylized maximalism of Pierre et Gilles, and the impressionism of Sarah Moon. Both styles would work well to take advantage of the tendency for Gosha’s visions to be captured on emulsion.