Chronicles of Earthly Change

 


Chronicles of Earthly Change  — a personal view of climate change 

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The Highly Illustrated Screenplay Novel

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  A few years ago, Tom Dooley, editor of the online literary magazine Eclectica, was kind enough to publish one of my novels, a historical work entitled The Business Army. It’s about an attempt to engineer a fascist takeover in America. It’s based on fact. I’m reworking the project, since it’s become more timely than ever. The novel exists in two versions: as a conventional text only work, and as a new kind of hybrid graphic novel I call the illustrated screenplay novel. To read the conventional version, go here: https://www.eclectica.org/v23n2/harvor.html (Note: I have other unpublished fiction mss., including a historical novel about Juno Beach.) * Pitch: Economic injustice is everywhere. The wealthy have too much, the poor too little. Unemployment is massive, and political violence is on the rise. In the midst of all this, powerful elites decide that the sitting president is too feeble to govern and democracy itself is "a problem". * OUTLINE – THE BUSINESS ARMY Below are t
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The Business Army, pt 1

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   Occasionally I post a link to a historical novel I had published at Eclectica Magazine: https://www.eclectica.org/v23n2/harvor.html It’s entitled The Business Army, and it’s about a historically documented attempt to organize a coup d’état in the United States during the early months of Franklin Roosevelt’s presidency. The novel exists in two forms: as a conventional manuscript and as a form of graphic novel I call the Highly Illustrated Screenplay Narrative (a mouthful, I know; I might rework the term). I’ve decided to post a lot of the latter form of the novel. Graphic novels tend to be expanded comic books (I wrote/drew one many years ago, and know the degree of labour involved). Conventional novels, on the other hand, tend to be devoid of art, and also tend to hew to a rather  traditional concept of how narrative should be produced. Yet at the same time, our mass culture has become acutely influenced by the feature film as a vehicle of narrative. We — including literary writers
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