Fiction Fragments: Salvantonio Clemente

Last week I chatted with queer horror writer, Andrew Robertson about growing up in the 80s under the shadow of the AIDS epidemic and how writing horror has given him a space to explore aspects of identity.

This week, Girl Meets Monster welcomes writer and musician Salvantonio Clemente.

Ah…here is where I introduce myself (awwwkward).

My name is Salvantonio Clemente, but that’s too many vowels so, call me Sal. Occasionally, my partner calls me “jerk”; I suspect others might do so as well.

I’m a life-long writer, producer, and performer of music. I’m an aspiring writer and voracious consumer of stories, and I write speculative fiction that leans heavily toward the possible. I’ve spent the last year writing a baker’s dozen short stories and banging out two novels, the second of which will be completed in June.

It is my sincere wish to spend the rest of my days creating worlds and playing in them. Of course, it was once my destiny to be in the Rock and Roll Hall of Fame, so…baby steps.

I am fortunate to have the unswerving support of my partner, Darcie Lynn Clemente. We live just outside Boston and have three grown daughters, Maria, Emma, and Lola, who are all far more talented than I am. Thank you, Michelle, for asking me to participate in Girl Meets Monster…I feel like I’ve arrived!

All about my band, The Ultrasonic Rock Orchestra:
www.urorocks.com
www.facebook.com/UROrocks

My author website is under construction but visit me soon at:
www.writescifi.com

Three Questions

GMM: Welcome to Girl Meets Monster, Sal. And, thank you again for inviting me to be part of your writing group, The Scrawling Commandos. It has been great getting to know you and the other members of our small writing community, sharing stories, asking honest questions about writing, and supporting each other during these strange times. Can you give a little bit of background about the writing group, and why you believe writing communities are important to writers — aspiring or established? What have you discovered about yourself as a writer and what have you learned from others in the group?

SC: The first thing I discovered? I am not as good as I imagined.

This hurt my soul but was super-useful!

Our writing group is the brainchild of our mutual friend and all-around great guy, Mike Burke. After a twenty-year adventure in a rock band, I desperately needed a place to hone my somewhat atrophied fiction writing skills. So, I stuck my foot in the door at Commandos HQ and refused to remove it until Mike allowed me inside.

I recommend a writing group to rookie or veteran, but only if they’re willing to lower their defenses. There’s a place for affirmation, but we all have folks who fill that need, a writing group needs to be more useful.Still, in our group it’s imperative to deliver our criticism with respect for the effort given; it shouldn’t ever feel like blunt-force trauma when a critique comes.

As artists, it’s vital to have a place we can step outside the strictures of what’s expected, to screw up or succeed as the case may be. Within the confines of the group, I can invest myself into any character, any culture, any point of view, and I’m going to get honest, direct, useful, feedback about the work. If the story needs correction, or jettisoning, or to be curbed, then my comrades give me specific ideas on what to do, which is invaluable because my goal is to sell stories.

It’s not easy; we have our ups and downs, but over the course of 3 years I still very much want to do this thing with these people. I feel tremendous pride in their successes; our camaraderie is genuine. It’s working so far, as my friends have yet to hit the eject button on my seat.

GMM: I’m really glad you decided to share an excerpt from “Arcana Major.” I really liked this story when I read it a few months back and I’m hoping that you either expand on the story, or get it ready for submission as is. I think I mentioned how real the characters seemed to me. I felt like I knew them because they reminded me of kids I grew up with, and the band’s performance brought back memories of seeing live music in dives and weird places like the Knights of Columbus. Where did the idea for the story come from, and are your characters based on people you know? Is this a fictionalized account of something that happened to you as a teenager?

SC: I am really glad you liked “Arcana Major.” It’s a good thing since the story wouldn’t have happened without the prompt which you provided for our writing group, which included the Tarot and a gender flip for the main protagonist.

I knew almost nothing about Tarot, other than bits I’ve consumed through films and TV, but once I dug in, I became obsessed with the artwork!

These cards are amazing! If I had seen them when I was a young musician, I would have insisted the band all take on a different card/character as a persona, and this led to the idea of having the story be about a band.

Jenn (with two n’s) is based on who I was as a naïve youngster trying to get my original band off the ground. The other members of Arcana Major are each based on real people. One of the guys was inducted into the Rock Hall of Fame this year! He and I were in a few bands back in Pennsylvania, before I moved to Boston and he went on to massive fame.

“Arcana Major” was a hoot to write, a fantasy, but one rooted in rust belt Pennsylvania and how things really were. A lot of the story is the truth; hopefully, enough to make it feel genuine.

GMM: Music is obviously an important part of your life, and I’ve noticed that music finds a way into several of your stories I’ve read so far. Music is really important to me, too, and I believe it has had a major impact on shaping me as a person and even as a writer. When did you really know you wanted to be a musician, and how has music influenced your writing, and/or vice versa? Is music an important part of your writing process? Have specific songs inspired stories? Have stories inspired your music?

SC: I wanted to be an artist and the definition was broad for me; I’m sure this was due to my upbringing. My mom was a singer and dad was a writer who produced and directed theatre: a true renaissance man. I wrote, drew, painted, performed, directed. I did a lot of theater, and then discovered rock bands, and found a calling I couldn’t resist.

I focused all my efforts into learning to be a musician, writer, and performer, but the itch to write fiction never went away, and the advent of the pandemic opened up the time to give it proper attention.

As to what part music plays in my writing? It’s nearly all subconscious. There’s Bowie and Queen and The Beatles, but I grew up on comics, pulp fiction, sixties and seventies paperbacks, Dark Shadows, Dali, Shakespeare, Kubrick, Rod Serling, on and on, like all of us. With all of this bouncing around in my skull, my writing veers off in a lot of trippy directions.

Three of my short stories feature musicians as characters, but only “Arcana Major” directly touches on my own experience.

As for stories inspiring music that I’ve written, I had never thought about it until reading your question, but it is undoubtedly the case that I have written songs based on stories I’ve read.

When I’m writing, I often listen to instrumental music, but I need to tailor the music to the story. For instance, I’m listening to the score to The Knick, and The Queen’s Gambit, on an endless loop while I’m writing the novel I’m working on. This particular music helps to unlock my subconscious and allows me to get in a flow with the words. As dumb as it sounds…that’s how it works for me. Thanks, again, Michelle! This was too much dang fun! Back to the grind!

Excerpt from “Arcana Major” by Salvantonio Clemente

Minor Arcana: Sign, Sign, Everywhere a Sign

Steam blasts from a radiator nozzle and I catch a snootful of patchouli oil. At Joe’s Cabinet of Curios and Curiosities, the only thing curious is that the cops let Joe get away with open displays of paraphernalia and Dead bootlegs. The rest of us can’t cross the street without showing our papers.

I’m Jenn with two n’s, and I’m here for the spinner racks jammed with books on the occult, zen stuff, and philosophy. Don’t ask me who in my rust-belt town this fine array is aimed at, but I am desperate for a band name and last week the town library shut down for good.

I’m wedging out a dusty brick of Kahlil Gibran poetry when I spot the corner of the Tarot deck’s slipcase peeking out from a stack of ratty back issues of Cream.

I snatch the cards from the pile, and the room gets weird.

The embossed case is cold, slippery, heavy.

I tip the deck into my hand, and the cards resonate like the first time I cranked my amp and hit a perfect power chord.

I shuffle through the deck as the afternoon sun slashes through strings of colored beads hanging in the smoke-hazed window. Fireworks go off on my retinas and trigger a memory of when I was six and dad slid his leather headphones over my ears; he held them in place while mom dropped the needle on Switched On Bach and little kid me saw stars being born inside billion year old nebulas.

Like back then, I have to remember to breathe.

Yeah.

It’s that kind of life-altering resonance.

I’m a musician. I feel the same sensation—okay, maybe not this intense—when Father Herron cuts loose on the big pipe organ after Sunday mass. Hell, the National Anthem gives me goosebumps, and I don’t buy a word of anything said by priests or politicians. But I don’t believe in mystical hoodoo, either. Whatever’s happening is physics and biology; some strange combination of factors hitting my system all at once, giving the deck its charge.

Still, when the universe shows you a sign it’s probably best to read it, right? I don’t know jack squat about the Tarot, but in my hand is the key to my band’s future. I know it.

I sweet-talk Joe down to five bucks and, with the deck still vibrating in my hip pocket, kick the door open and head out into the cold.

Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you next week!

Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.

Fiction Fragments: Andrew Robertson

Last week, I spoke with the Darque Bard, James Matthew Byers about his passion for epic poetry.

This week, Girl Meets Monster welcomes horror writer Andrew Robertson.


Andrew Robertson is an award-winning queer horror writer and former journalist. In October 2021, his short story “Sick is the New Black” will appear in the gay-themed multi-genre anthology Pink Triangle Rhapsody: Volume 1 from Lycan Valley Press. He is currently working on a novelization of the same story, exploring themes of queerness, addiction, fame, anti-vaxxers and the toxic nature of post-pandemic life in a culture locked in the thrall of social media. He will also be introducing the Mythimals this month by launching his first monstrous children’s book, And Then The Fart Happened, on the Great Lakes Horror Company Kids imprint with illustrations by LizzDom and colour and layout by Dinis Freitas.

Also scheduled for 2021, his short story Sundowning in Klarissa Dreams Redux is headed to space! The charity anthology will be flying to the moon in July via the United Launch of a Vulcan Centaur rocket as part of Peregrine Mission One – Manifest 9: #WritersOnTheMoon. This book will be part of the largest single collection of contemporary artwork ever put on the Moon, and it will fly there on the first commercial lunar flight in history.

Andrew’s fiction has appeared in literary magazines and quarterlies such as Stitched Smile Publications Magazine, Deadman’s Tome, Undertow, and katalogue. He has also appeared in anthologies including Alice Unbound: Beyond Wonderland, A Tribute Anthology to Deadworld, Group Hex Vol. 1 and Vol. 2. He is the editor of Dark Rainbow: Queer Erotic Horror, which explores the darker urges we all face.

A lifelong fan of horror, he is the founder of The Great Lakes Horror Company podcast and indie press and a member of the Horror Writer’s Association.

Three Questions

GMM: Welcome to Girl Meets Monster, Andrew. Back in August 2020, I interviewed horror writer Hailey Piper. Her Twitter profile encourages people to “Make horror gay AF.” What does that statement mean to you as writer? How has your identity shaped your writing over time? Has it evolved, and how? How do you define queer horror, and what sets it apart from other flavors of the genre?

AR: First, I wanted to say thanks for having me on GMM! I’ve been reading all the interviews and excerpts and they’ve been great.

For me, being queer has always meant feeling like an outsider, and when you feel that way, you have a choice of embracing your queerness or hiding it away. When people are othered, it comes from a place of fear in the dominant society, and with fear comes ignorance, and both lead to violence, in words and actions. For most of us, I think that feeling of otherness comes from societies fear of what queerness is, this great unknown, often characterized by over the top characterizations of masculinity and femininity along with a lot of really damaging stereotypes that come from those. Growing up in the 80s, at the height of the AIDS epidemic, and seeing how vilified queer people were as scapegoats for a disease that knew no sexualities, it was really difficult to come to terms with being queer when that seemed to be a death sentence one way or another. You internalize a duality that informs how you act in a given situation, and what you can or should do or say. It’s awful…horrific in fact.

The media did a great job of turning gay men in particular into total pariahs and then the gay community further segmented their own population by favouring the healthy muscular look as opposed to those who could look ‘sick’. You had to fit into the cookie cutter mold or you were stigmatized and rejected. You tend to internalize that feeling of ugliness, along with a lot of the hate that spreads in society, especially when you can be easily clocked as queer. I may have been closeted, but I still dyed my hair blue, wore pigtails and dog collars, and loved Tina Turner and Siouxsie Sioux more than you would expect from a straight man.

The way queerness comes into my writing is through a lot of the themes I write about, like the desire to be seen, to be accepted, or in my recent work in progress, to do things that you would never normally do just to break through to the mainstream and get those ‘likes’ at any cost. There are also themes of hidden identities, duality, self-destruction, transformation, anger, resentment, and revenge which can be pretty common in queer horror. It’s not always at the forefront, but it’s always there however it becomes refined over time.

GMM: When did you begin writing horror, and who were some of your favorite writers who influenced you? Has that list changed over time? Have your tastes in horror changed? What are your favorite subgenres in fiction and film?

AR: I always enjoyed writing, and would scribble up short stories in high school that were pretty well informed by my goth interests, but in university I headed in the direction of journalism, telling other peoples stories instead of my own. That always preyed on my thoughts. It wasn’t until I met Sephera Giron a few years back that I got serious about it again, joined the HWA Ontario Chapter and got published. She’s a great cheerleader. Like the Demon Aunt I’ve always wanted.

For writers, one of my favourites has always been Anne Rice. She created a very queer universe for her characters in the Vampire Chronicles and beyond. Louis and Lestat are very clearly in a bromance turned romance, going as far as to create a small vampire family as poor Louis struggles with what and who he is. You can really relate to that as a gay man raised in the 80s. The Witching Hour made me want to create a universe, so that’s probably my turning point.

I think you can find horror in anything really, like the writing of Harry Crews. That’s a real trip, and I guess the genre is grit lit.

I also absolutely love the confrontational writing of Lydia Lunch, in particular, her classic Paradoxia: A Predator’s Diary. That would likely fall under non-fiction, it’s so very autobiographical, but entirely literary. She really controls her own narrative and I’ve been lucky enough to meet her a few times.

Clive Barker’s body of work is also incredible, The Wasp Factory by Iain Banks was an eye-opener, and I’ve loved recent work by Indigenous writers like Cherie Dimaline, and Waubgeshig Rice. As a genre hopping reader, right now I’m also enjoying the Diary of Anais Nin and a few works by Tama Janowitz.

For film, my go to is always, always horror, with a particular love for the Hellraiser franchise, classic monsters, 80s slashers, and found footage films.

GMM: I’m going to go out on a limb here and say that “Hamburger Lady” falls under the category of body horror. Tell me about the story and what about body horror appeals to you as a writer? As a reader?

AR: Haha, yes that story is definitely body horror. So much of my work is!

I think that it comes from my fascination with perceived or actual self-destruction, or the wilful destruction of another, and what we are willing to do to survive or succeed. Body horror has always been particularly triggering for me, however I’ve found that rather than pushing me away, it held me rapt. There are so many ways the body can betray us, and so many ways it can disgust us.

That fascination led me to writing in that genre. For example, The Fly was such a landmark film for me in many ways, as was Hellraiser. I love Pinhead! I watched them through my fingers the first time, but couldn’t stop, you know that feeling? We all do! That’s why we slow down near a car crash, to see what could have happened to us. Both films can be read as very queer, and both deal with pushing the limits of the human body and mortality.

There are also so many ways we can transform our bodies. I used to go on body modification sites to see what people were up to, with a sense of morbid fascination and respect for what an individual would do to live their truth. When I discovered what subtraction is I was gobsmacked! I also was obsessed with the artist Orlan and her work in plastic surgery using her own body as the canvas.

The title of my excerpt, Hamburger Lady, is a reference to the song by Throbbing Gristle. I recommend everyone listen to it. The lyrics are actually from a real letter penned by a doctor describing a woman who was a burn victim in a hospital ward, and it’s one of those things you never forget. You wonder at what point keeping someone alive is a punishment meant to exercise the might of science over mercy. My story deals with a future where a disease ravages the skin of those who contract it, leading to the market for skin dealers and donors. I’ll leave it at that for now, but if anyone wants to add the full text to their anthology, I’m game.

Excerpt from “Hamburger Lady”

“My client doesn’t want the whole cheek. She won’t need that much for what’s…well, I’ll say for what’s wrong with her. I mean, we’re friends here at this point, you know the drill. She just wants this part,” Dr. Sawney the Plastician says to Kate, indicating the area by running his damp index finger along what the industry calls the apple of the cheek.

The apple: where women like Kate are meant to put a simple highlight or blush before they go out with men who want to look at them adoringly and see absolutely no flaws at all. Even a light rash or pimple is a bonerkiller. Flaws mean the men aren’t flush enough to pay for the best, and their financial peacocking is what gets them hard. The men want to be envied by all the other bucks and stags at the chosen restaurant, bar or fast food joint, and then with all the chivalry absent from this new world, pay for everything before the two of them have what any of these men are sure is incredible sex fueled by their show of chauvinist financial superiority. It will be better for him. Every time. All these men benefitted for the fallout of the most recent of many pandemics. Women were shoved right back down to where they had been over a century earlier- the second choice for any good job, any decent benefits, any rights at all really. And if you weren’t perfect, you were invisible.

The type of man Kate meets hopes and probably believes he isn’t directly paying for this great sex with all his other nice efforts. He wants to be enough of an attraction all by his handsome self even if he leaves a few hundred on the nightstand afterward. And aside from this beau’s assumptions and assertions, no one wants to bring a bruised produce to his lips if there are better options.

She resists the urge to wipe the moisture off when the Plastician is done. And regardless of the circumstances, imaginary or otherwise, in this case, the apple is still quite attached to the tree.

She can’t believe she’s back at the Sawney clinic in Room Three. The minute she passed through the front door, she felt trapped by her own circumstance. The receptionist with the awful makeup sat there looking surprised as always that anyone would come into this terrible place to give away parts of themselves. The door between reception and the treatment rooms stood in its menacing steel frame, locked until the receptionist hit her button and the mechanism snapped the door open so she could begin what always felt like the longest walk ever to Room Three. They might as well name this Kate’s Room.

As his finger returns to again run across her apparently perfect apple, Kate can smell the onions he had with lunch on his fingers and breath even through his surgical mask. She doesn’t move. She knows her rank. A high-end skin-dealer as skilled as he is means that he can be a bit gross and never hear a complaint from a client or well-compensated vendor. Donors he calls them, like it’s a charity for the poor rich folks.

She can see the sauce from his lunch at the top of his mask, which he wears constantly to remind everyone that he is the surgeon and that it’s his name on the door. Unfortunately, the majority of his skill is used on the end consumer, not so much on ‘donors’ such as herself who make do with whatever they have left after they are harvested and paid. Either way, right now, she can’t even afford an onion or an apple, and can’t be picky about who is cutting off what. But she doesn’t want to give away anything above her neck if she doesn’t have to. Her own clients choose her because, unlike many of the other girls, she is mostly intact. She is, however, terrified of how broke she’s become, and what could happen if she stops paying for her mothers’ treatments at the community hospital.

When she left their apartment for this appointment, her mother looked up through eyelids covered in weeping sores and told Kate that her smile was enough to get her through any day, no matter how bad they became. She said Kate was born with a perfect smile, one that made the sun shine, and that it was her greatest achievement as a mother. Kate’s heart broke but it got her moving. One day they could leave this country and find somewhere to live out their days where things weren’t so bad. But right now, this man in a dirty mask reeking of onions wanted to cut off a piece of her face.

“How’s that going to look, man?” She asks incredulous, thinking of the quivering torso in a wheelchair she had noticed when she had entered the clinic. The torso had been rolling into the neighbouring chamber, Room Two, assisted by one of the Plastician’s assistants. It had been almost entirely covered in a tacky sheet. There was no way that…torso was a complete person, she thought. It had no legs for one thing. And where the sheet didn’t cover the face, it looked like a meatloaf had exploded, with one bulging left eye like a hyper grape darting around a fleshy socket. Its gaze had landed on Kate long enough to freak her out.

She didn’t know if it was a ‘donor’ or someone being treated, but things were so bad it could have very well been someone making the ultimate sacrifice to feed a family or stay out of the mines. The sheet looked sticky, and the torso seemed to be struggling to get one arm with stumpy fingers up to its’ awful face past what could have been the remains of a breast while the assistant kept slapping the hand away. It held something wet and bloody. What was it trying to look at? Was it chewing a hangnail?

Do you have a fiction fragment? How about your friends? Would you like to recommend someone to me aside from yourself? Drop me a line at chellane@gmail.com. See you next week!

Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.