Justin Isis / The Life of Polycrates

December 18, 2010

Justin Isis kindly provided the following blurb for my forthcoming book from Chomu Press, The Life of Polycrates and Other Stories for Antiquated Children:

“With the yellow flag of Neo-Decadence lofted high, Connell exhumes the corpse of Mother Image and heaves it rank and rotting onto the tidy flowerbed of realist fiction. With their emphasis on sensation, texture, furnishings, and the nervous system, through the perceptions of characters ranging from ancient Greek tyrants to etiolated English aristocrats, libidinally-tormented popes, transvestite big-game hunters and Des Esseintes himself, The Life of Polycrates is a baedeker of the resurgent stylistic impulses linking the fin-de-siecle past to the Ornamentalist future.”

Life of Polycrates song

December 17, 2010

Click here to listen to the fantastic song to do with my upcoming book from Chomu Press. Lyrics by Quentin S. Crisp, music by Saša Ch. Zorićn.

Blind Swimmer Sci-Fi Online

December 12, 2010

Charles Packer reviews Blind Swimmer at Sci-Fi Online. In it he mentions my story, The Man Who Saw Grey, as a “reworking” of The Man with X-Ray Eyes. I can honestly say though that, until I read this review, I had never heard of The Man With X-Ray eyes. Googling it I got a film. But maybe there is a book or story too?


December 10, 2010

I signed a contract with Eulama, a literary agency in Italy, for them to represent the non-English language rights to my books.

Robert Freeman Wexler: The Painting and the City, an Interview

December 3, 2010

The following interview was originally done for the BSC Review:

Robert Freeman Wexler’s latest novel is The Painting And The City, out from PS Publishing, and it was recently named one of the top 10 science fiction novels of 2009 by Booklist. He has also published a novella, In Springdale Town, (PS Publishing 2003 and reprinted in Best Short Novels 2004, SFBC, and in Modern Greats of Science Fiction, iBooks), a novel, Circus Of The Grand Design (Prime Books 2004), and a chapbook of short fiction, Psychological Methods To Sell Should Be Destroyed (Spilt Milk Press/Electric Velocipede 2008). The following interview was conducted by Brendan Connell via Skype and e-mail during the month of June, 2010.

Brendan Connell: The Painting and the City takes place in New York. Obviously there are many novels that take place in this particular city, but what was your reason for choosing it as the setting?

Robert Freeman Wexler: I actually can’t remember ever thinking about it being set anywhere else. A notebook entry from when I first started thinking about the story puts it in a quasi Latin American setting, but that wasn’t something I considered seriously. The main reason has to do with an earlier story, The Green Wall, which appeared in Polyphony 5. In that story a man is working in an art gallery in New York. The current exhibit is a painter and a sculptor. Although The Green Wall is older, I started working on The Painting and the City before I found a publisher for the story, so I turned the sculptor from the story into Jacob Lerner, the sculptor/main character of The Painting and the City. I think the way it happened is that I was envisioning Lerner’s art and realized that the art I described in the story was Lerner’s, and then put Lerner’s name into the story. The gallery in The Green Wall is based on a gallery and gallery owner I knew when I lived in New York. Even with such a specific basis I didn’t have to set the novel there, but it felt natural.

Brendan Connell: Is there any specific artist Jacob Lerner is based on?

Robert Freeman Wexler: No. As an artist, he has bits of people I’ve known. As a character, he has bits of me. I knew a sculptor who lived in Manhattan and taught at Rutgers, which was a pretty long train ride—I figured Lerner could do that too. The art I described isn’t from anything that I’ve seen, and I tried not to be too specific in describing the art. I didn’t want to use words to recreate a visual object. I think that would have been confusing, and boring. My first description of what Lerner is working on: “a small bronze with the appearance of a distorted cage, burst open at the top from the inside” is specific because of the word cage, but anything more about how it looks depends on the reader. As an artist, Lerner knows it’s a cage. If it was a real sculpture by a real artist, and people were looking at it in a gallery, some might think cage, some might think something else. The way I visualized the art, and the way I described it, are both abstract enough to allow interpretation. Read the rest of this entry »

Horror Fiction Review, Unpleasant Tales

December 2, 2010

Colleen Wanglund talks about Unpleasant Tales at the Horror Fiction Review.

Ponson du Terrail: A Toss-up for a Husband

December 2, 2010

One of my favourite authors is Ponson du Terrail. He really works best in his longer works – his tales that go on for thousands of pages. Very little of his work is in English. Here is something for those interested:





THE Marchioness was at her toilet. Florine and Aspasia, her two ladies’ maids, were busy powdering, as it were with hoar-frost, the bewitching widow.

She was a widow, this Marchioness, a widow of twenty-three; and wealthy, as very few persons were any longer at the court of Louis XV., her godfather.

Three-and-twenty years earlier, his Majesty had held her at the baptismal font of the chapel at Marly, and had settled upon her an income of a hundred thousand livres, by way of proving to her father, the Baron Fontevrault, who had saved his life at the battle of Fontenoy, that Kings can be grateful, whatever people choose to say to the contrary.

The Marchioness then was a widow. She resided, during the summer, in a charming little chateau, situated half-way up the slope overhanging the water, on the road from Bougival to Saint Germain. Madame Dubarry’s estate adjoined hers; and on opening her eyes she could see, without rising, the white gable-ends and the wide-spreading chestnut-trees of Luciennes, perched upon the heights. On this particular day—it was noon—the Marchioness, whilst her attendants dressed her hair and arranged her head-dress with the most exquisite taste, gravely employed herself in tossing up, alternately, a couple of fine oranges, which crossed each other in the air, and then dropped into the white and delicate hand that caught them in their fall.

This sleight-of-hand—which the Marchioness interrupted at times whilst she adjusted a beauty-spot on her lip, or cast an impatient glance on the crystal clock that told how time was running away with the fair widow’s precious moments—had lasted for ten minutes, when the folding-doors were thrown open, and a valet, such as one sees now only on the stage, announced with pompous voice—“The King!”

Apparently, the Marchioness was accustomed to such visits, for she but half rose from her seat, as she saluted with her most gracious smile the personage who entered.

It was indeed Louis XV. himself—Louis XV. at sixty-five; but robust, upright, with smiling lip and beaming eye, and jauntily clad in a close-fitting, pearl-grey hunting-suit, that became him to perfection. He carried under his arm a handsome fowling-piece, inlaid with mother-of-pearl; a small pouch, intended for ammunition alone, hung over his shoulder.

The King had come from Luciennes, almost alone, that is to say with a Captain of the Guard, the old Marshal de Richelieu, and a single equerry on foot. He had been amusing himself with quail-shooting, loading his own gun, as was the fashion with his ancestors, the later Valois and the earlier Bourbons. His grandsire, Henry IV., could not have been less ceremonious.

But a shower of hail had surprised him; and his Majesty had no relish for it. He pretended that the fire of an enemy’s battery was less disagreeable than those drops of water, so small and so hard, that wet him through, and reminded him of his twinges of rheumatism.

Fortunately, he was but a few steps from the gateway of the chateau, when the shower commenced. He had come therefore to take shelter with his god-daughter, having dismissed his suite, and only keeping with him a magnificent pointer, whose genealogy was fully established by the Duke de Thchelieu, and traced back, with a few slips in orthography, directly to Nisus, that celebrated greyhound, given by Charles IX. to his friend Ronsard, the poet.

“Good morning, Marchioness,” said the King, as he entered, putting down his fowling-piece in a corner. “I have come to ask your hospitality. We were caught in a shower, at your gate—Richelien and I. I have packed off Richelieu.”

“Ah, Sire, that wasn’t very kind of you.”

“Hush I” replied the King, in a good-humored tone. “It’s only mid-day; and if the Marshal had forced his way in here at so early an hour, he would have bragged of it every where, this very evening. He is very apt to compromise one, and he is a great coxcomb too, the old Duke. But don’t put yourself out of the way, Marchioness. Let Aspasia finish this becoming pile of your head-dress, and Florine spread out with her silver knife the scented powder that blends so well with the lilies and the roses of your bewitching face . . . . Why, Marchioness, you’re so pretty, one could eat you up

“You think me so, Sire?”

“I tell you so every day. Oh, what fine oranges!”

And the King seated himself upon the roomy sofa, by the side of the Marchioness, whose rosy finger-tips he kissed with an infinity of grace. Then taking up one of the oranges that he had admired, he proceeded leisurely to examine it.

“But,” said he at length, “what are oranges doing by the side of your Chinese powder-box and your scent-bottles? Is there any connection between this fruit and the maintenance—easy as it is, Marchioness—of your charms?” Read the rest of this entry »