Author: Caleb J. Ross

  • Get Warmed, Get Bound Today

    Get Warmed, Get Bound Today

    The day of attrition is upon us. Also, coincidentally, the day that Warmed and Bound is released is also upon us. For those of you not yet in the know, prepare to be baptized.

    Warmed and Bound is an anthology of short stories stitched together by the people at The Velvet and edited by the beautiful and talented Pela Via.

    I’ve stated already the huge amount of talent crammed inside this amazing noir collection, so I won’t do that again.

    For those with an tendency toward great noir fiction, this collection simply will not disappoint. In fact, the amazing Steve Erickson has offered his own view words to this effect:

    “The writers of The Velvet are contemporary fiction’s most effective and least self-conscious aesthetic guerrillas…the result is fiction at once conceived from high artistic intent and executed with depraved populist energy.”

    Head over to the Warmed and Bound site for all the purchase information. Currently the book can be ordered through Amazon, Barnes & Noble, and Powells.

  • Stranger Will tour stop #46: Monkeybicycle (again)

    Stranger Will tour stop #46: Monkeybicycle (again)

    Today I squeeze into the (rightfully) crowded seats of Monkeybicycle once again, this time to express my sadness that I never truly got to experience the wonder that likely was the Penny Universities.

    Click here to read the guest post. Also, don’t forget that if you comment on all guest blog posts, you will get free stuff.

    See all tour stops here

  • Six Personal Investigations of the Act of Reading: Caleb J. Ross’ Stranger Will at the Sri Lanka Sunday Observer

    Six Personal Investigations of the Act of Reading: Caleb J. Ross’ Stranger Will at the Sri Lanka Sunday Observer

    Pablo D’Stair returns with his second installment of his Six Personal Investigations of the Act of Reading, this time with my novel, Stranger Will, as the article’s referent object (with a focus on Genre). I simply could not be more delighted. He’s already tackled Stephen Graham Jones’ The Bird is Gone: a manifesto and is prepping investigations of Goodloe Byron’s The Wraith (which I am currently reading), Amelia Gray’s, AM/PM, D. Harlan Wilson’s Peckinpah: an ultraviolent romance, and Brian Olu’s So You Know It’s Me. This guy could run his own online psychology classes, I swear. I’d enroll (mostly so I could shoot virtual spitballs at his touchscreen whiteboard).

    Here’s a bit from Pablo’s Stranger Will investigation:

    There can come a point where the magnetism of the internal conflict of a central character can be abandoned or toned down for “the reveal” the exposition of the superficialities of the plot (“whodunit”, as they say, taking center stage) a delicate tension can be lost which to me is always a shame.

    Returning to Chinatown, a piece exemplary of what I consider a flaw in some branches of noir, a piece in which the unveiling of who-did-what-to-who-and-why-and-when demolishes the connection to the world, takes the intimacy of the shared experience and makes it remote, only observed, no longer “lived” (even only vicariously). Because of Chinatown, of the letdown I feel every time I get wrapped in its spell and its spell for me falls limp, I always dread when it seems we’re going to learn of a “dark secret” or “a cover up” or any of the conventions, it gets my guard up.

    And Ross plays in the tropes, as though cognizant of precedent as something essential. This was evident to me from early on, inseminated in the prose, the clip-and it reinforced my reading it through my own stance on genre.

    And perhaps even greater than Pablo’s inclusion of Stranger Will in his investigations, is an interview with the man himself, here, part one of Exploring writers’ intricate world
    By Ranga Chandrarathne
    . Pablo is a true thinker, with words that could level armies.

  • More love from Orange Alert, Stranger Will gets Watched…

    More love from Orange Alert, Stranger Will gets Watched…

    How could you not love Jason at Orange Alert? For the second day in a row I get a bit of love from that lovely soul. This time, in the from of a mention on his weekly The Watch List segment for my Stranger Will book trailer.

  • A rest from the road to read at Orange Alert Podcast, episode 70

    A rest from the road to read at Orange Alert Podcast, episode 70


    Literature lover and good natured promoter of all things indy, Jason Behrends offers up his newest episode of the Orange Alert Podcast with lovely side dish of yours truly. He has included my reading of the first chapter of As a Machine and Parts (from a March reading at Method in Kansas City) in this newest episode. Jason was one of the earliest supporters of As a Machine and Parts, so it means a lot to have him include me.

    Listen to the full episode here.

  • Why’d You Go and Do That, Caleb? Pablo D’Stair asks and I ask Pablo.

    Pablo D’Stair simply doesn’t stop. He has recently begun yet another project. His Why’d You Go and Do That? series asks authors to confess to a long hidden secret, and subsequently answer a few questions about how that secret may have forged the author’s thematic sensibilities. This guy has so much going on that he’s basically become his own online school. Though I hope this trend of uncomfortable confession doesn’t take over his entire curriculum; someone will likely be calling HR.

    Head over to the Why’d You Go and Do That? site to read my confession, my answers, Pablo’s confession, and his answers to my questions. Here’s a taste:

     

    So, first thing I’d like to ask—coming at less the full on subject matter here, but one of your set-up points—is whether you feel in your desire to write some drive to eventually “be free of the tedium of a job” so to speak—do you, at this time, earnestly find time-at-work to be time-away from-writing? And to further a bit, do you think if you didn’t have to work, if you were set-up, well-to-do, that you would fill that time with writing, with active pursuit of your literature? I’ve always been good with having a job, myself, never really (principally) found it as something that takes away from writing and I’ve met some people who I think kind of say they think working is a drain, but really that’s just something they say (as in, I doubt if they didn’t have to work they’d really produce any more or less). Ideally, do you think writing, or any art, is something that should have room to breathe, space, time, something built of a life without such concerns as dayjobs and all? A lot of questions, so answer

    however you like—I guess it boils down to “Do you think time away from writing, required time away, is the enemy of writing?”

     

    For a long time I thought of my dayjob simply as something I do between bouts of writing. I’ve realized, fairly recently, that my position on the dayjob was due primarily to me having a shitty one. Now, I’m actually quite content and often find myself letting dayjob duties infringe in what would traditionally be considered my writing time. I hope this is not a testament to an eventual takeover of the dayjob stuff, wherein the writing would dissipate completely. I’m sure it isn’t; writing means too much to me.

    More to your question, I know, quite for sure, that should I be given all day to write I wouldn’t use the day in that way. I work best with a balance of outside obligations and writing struggle. If writing were all I had to do, I wouldn’t have any other option to oppose. We need conflict. People need to work in order to appreciate their off-time. I need my job to appreciate my writing time. Required time away therefore might be quite the opposite of the enemy; it could be the best possible mate.