[The crippled god of metallurgy, fire, and alchemy has many names and many faces—sometimes Hephaestus, Ptah, or Vulcan. He changes to suit his needs. And just like his names, his creations have gone through countless revisions. This time, he’s finally onto something—his Automata have turned the heads of other gods. They’ve noticed their pre-programmed potential. There’s a reason Vulcan didn’t scrap the Automata—a reason he left them in the care of humans all this time. They were just the beta testers for his most intricate windup toy yet…
Vulcan’s ancient Automata find their purpose rebooted in the second installment of the CIRCO DEL HERRERO/THE BLACKSMITH’S CIRCUS series. Their immortal human Masters will drop like flies—superfluous in the next round as the gods shuffle in a new deck of fateful cards. The Masters can choose how and when, but they will all die to free the Automata of their earthly chains. Odys and his Automaton, Maud, struggle to protect his twin sister from the plotting of his dual-bodied adversaries. But his sister, Odissa, finds herself a willing participant in The Blacksmith’s latest exhibition—could she be the missing cog to the god’s tightly wound machine all along?
In this thrilling sequel to THE AUTOMATION, the Narrator and Editor drag readers deeper into the dark history and even darker future of the Automata. When the subterranean god emerges with his postlapsarian blueprint, so will the truth about B.L.A. and G.B. Gabbler. Ideal for fans of Scott Hawkin’s The Library at Mount Char, Jo Walton’s The Just City, and all the way to Homer’s The Odyssey, THE PRE-PROGRAMMING is a literary outrage that dares you to keep reading between the lines and the footnotes.]
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For someone who doesn’t want to be controlled by the corporate world and protect her freedom, she’s participating in corporate publishing and stifling honest writers — promoting a book that James Patterson didn’t even write. We feel like she can do better.
For more of our opinion on this, see this essay.
“It may seem a stretch to claim that The Girl With All The Gifts is an anti-natalist story when its most pro-natalist characters aren’t necessarily pro-baby, but pro-species. The logic behind both, however, stems from the same selfish and oppressive choices. Humans, until this point, have treated the new, immune second generation like just another thing to be colonized to secure their own posterity. They subject the children to captivity and dissection. This is all done in search for an antidote so that the old generation of humans can keep on living and therefore breeding. It is never in the interest of the new generation/Other. It is here I would like to emphasize natalist vs. pro-natalist. Pro-natalism goes beyond the status quo of humans’ natalist tendencies to promote a birthrate without reason or through ignoring ethical critique.”
“I didn’t get any Greek and Roman gods in, because at the time I couldn’t convince myself there was any particular reason to bring Greek and Roman gods in. Now, a few years ago I read about the discovery of some ancient Roman coins in the mud of the Ohio River, and they’re definitely ancient Roman coins. There are differences of belief as to whether they were coins that somebody hid there and they got lost or whether they date back 2,000 years. But I don’t need any kind of proof on this. All I need is to be able to point to something in the way I could point to the Egyptian stuff. Now I have something that I can hold onto and go, “Well, there is a case now for ancient Romans knocking around America which gives me the whole panoply of Roman gods, too.”
Having said that, the other reason I never used them was at the time I felt they were overused, and I like the idea of using ones that were a little bit underused and was proud of myself for having done so.”
So is Neil Gaiman saying that, though Greco-Roman gods are “overused” they are not as popular as the Norse? The fact there would be no appearance of them in American Gods seems to imply that Americans don’t favor them as much as Norse–that they do not have as many worshipers to make them relevant or prevalent. Which is illogical due to the the fact that 1) we know more about the Greco-Roman myths and 2) the entire West is built upon or around their mythos (philosophy, the Arts, arguably Christianity). So the reason they aren’t seen in his book seems to imply something about their status. The biggest fan base for Norse myth stems from the comic book craze (read: Thor). I still wouldn’t say it overshadows the following of Greco-Roman gods, though.
It seems like a weak argument — something overlooked when he was trying to build a mythos. He may have highlighted some marginal gods, but at the cost of his mythos.
‘We know that a text does not consist of a line of words, releasing a single “theological” meaning (the “message” of the Author-God), but is a space of many dimensions, in which are wedded and contested various kinds of writing, no one of which is original: the text is a tissue of citations, resulting from the thousand sources of culture. Like Bouvard and Pecuchet, those eternal copyists, both sublime and comical and whose profound absurdity precisely designates the truth of writing, the writer can only imitate a gesture forever anterior, never original; his only power is to combine the different kinds of writing, to oppose some by others, so as never to sustain himself by just one of them; if he wants to express himself, at least he should know that the internal “thing” he claims to “translate” is itself only a readymade dictionary whose words can be explained (defined) only by other words, and so on ad infinitum: an experience which occurred in an exemplary fashion to the young De Quincey, so gifted in Greek that in order to translate into that dead language certain absolutely modern ideas and images, Baudelaire tells us, “he created for it a standing dictionary much more complex and extensive than the one which results from the vulgar patience of purely literary themes” (Paradis Artificiels). succeeding the Author, the writer no longer contains within himself passions, humors, sentiments, impressions, but that enormous dictionary, from which he derives a writing which can know no end or halt: life can only imitate the book, and the book itself is only a tissue of signs, a lost, infinitely remote imitation.’