A Perpetual Mimicry - Free Kindle Fiction

A Perpetual Mimicry 
by K P Ambroziak 

A fire angel is thrown on earth to rot in the decaying body of a man. Plucked of his graceful form and rejected by his maker, he finds himself a helpless captive of the physical world. Finding love, art, death and salvation, he learns what it is to be human. Unfortunately for him, one of these proves to be the very cause of his exile.

Here is an excerpt from a conversation with K. P. Ambroziak about her novella, "A Perpetual Mimicry."

Lon K. Montag: There are several classes of spiritual beings in your story, including humans, seraphim, fire angels—and there’s some interbreeding going on between the humans and seraphim and their offspring and the fire angels. Can you explain a little bit further the distinctions between the celestial beings (e.g. the seraphim and fire angels)?

K.P.: I wanted to create a being that was neither human nor heavenly but rather an ulterior entity. The Fire Angel is an invention of a psyche or a soul that exists outside of the heavenly sphere. It is a being that is forged in the gaseous atmosphere of a fixed star, and is bound to that star. The Fire Angel has wings, as angels in Heaven do, but its plumage is the core of its identity, which is why Ani and Simon ache without them. My inspiration for these beings is Lucifer, the light bearer. I always wondered if he had his wings plucked when he was tossed to earth.

Lon K. Montag: There are a lot of very fantastic and surreal things happening in "A Perpetual Mimicry." We have bodily possession, soul-devouring, and time travel, to name a few. Did you have one underlying cohesive metaphysical structure as you were creating this—I mean, did you reason out in advance how this universe you created was going to operate, or did you just let the story take you wherever it wanted you to go? In other words, did you have rules binding what could and couldn’t happen, a priori, or did they develop as the story unfurled?

K. P.: I didn’t reason out in advance how the universe was going to operate because I didn’t want to give my fantastical world any predetermined rules. However, certain elements developed as the story did. I wanted each of the surreal happenings to be unburdened by logic, I wanted them to serve the story rather than any one metaphysical structure. Perhaps this is risky, and even impossible, because I am dealing with the fantastic, but I believe in Hemingway’s Iceberg Theory. The surface is not where the true meaning of the story lies, but rather its crux is lying somewhere beneath it and hopefully shining through. This is lovely for both a writer and his reader because it opens both to more than one meaning or understanding of a story.

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