Story excerpt from Slashed and Mashed

For #SlashedandMashed Release Week, I’m sharing some book extras. Today I thought I’d post an excerpt from the lead story in the collection “Theseus and the Minotaur.”

I wrote “Theseus and the Minotaur” almost two years ago when I was prepping to start my Patreon page and wanted to front-load some of the work providing content for patrons. I love Greek mythology, so a natural place for me to start was re-imagining classic myths and giving them a queer spin.

On re-familiarizing myself with the source material, a couple of things stood out to me and got my creative gears spinning. First, like most Greek heroes, Theseus was really young when he set off on his adventures. Greek writers and historians were pretty stingy in the area of development of character, and of course, they didn’t think about human development in the same way we do. But I was struck by the opportunity to flesh out Theseus as a young adult, just entering manhood as was said, which might have meant he was 18 years old or younger.

Then, even more so, I was drawn to redeem the tragic beast character the Minotaur, who like so many Greek monsters (e.g. Medusa, the Cyclops) had a cruel and haunting history and was spared no kindness, no humanity in the source material.

Last, I was struck by the relationship between Theseus and Ariadne. They’re both described as idealized beauties, and some versions of the story portray their relationship as romantic. But it’s not told as a triumphant romance like Perseus and Andromeda or a tragic romance like Jason and Medea. The myth writers were pretty wishy-washy about Theseus and Ariadne. One version has Theseus dropping Ariadne off at an island on his way back from Greece, for example, and in any event, it’s not described as a lasting relationship. Ariadne was linked to the god Dionysus by storytellers of the time for example. That got me thinking about who really captured Theseus’s fascination on his trip to Crete.

Anyway, here’s a short excerpt from my story when Theseus first meets the Minotaur in his quest to kill the monster of the labyrinth. My husband drew this sketch to go along with the story.

Slashed and Mashed
Andrew J. Peters © 2019
All Rights Reserved

THESEUS HELD HIMSELF silent for a moment. The dimensions of the chamber surely signified something, whether a pit lay in its center for him to trip into, or his trail had led him to the heart of the labyrinth. Casting his gaze here and there, he regretted he had so few markers with which to judge. But, oh yes, that looked like straw scattered on the ground, such as could make a kind of bedding. And, oh yes, a familiar scent traveled to his nostrils, which spoke of habitation, as a house held on to the peculiar smell of its occupants, bare feet upon the floorboards, odors seeped into leftover clothes and bedsheets. This scent he would describe as hide and the earthy smell of a man freshly woken from a night’s sleep. He stood on guard, thinking about how quickly he could wield his sword.

Now, faint breaths arose from the sightless depths of the chamber. Not slumbering breaths but more carefully measured, like a man (or creature?) concealing itself. Switching out the bobbin for his sword, he staggered forward a few paces, pointing his torch ahead of him.

“Show yourself and let us end this game.”

A daring vow that overplayed his true grit. For when a shadow rose from the floor, towering a head taller than he, and a murky silhouette lurched toward him, the prince could only hold his ground, transfixed by the adversary he had summoned.

Twisted horns sprouted from an impossibly broad and jutting forehead. The shoulder span and thickly muscled torso of a demigod. The creature was entirely bare from its bulging chest to its manhood to its thick, crushing thighs. Bowlegged by its anatomy, it walked upright with powerful strides.

“You’ve come to smite me?”

A further terror. It spoke. Yet in a voice more human than Theseus would have imagined. Deep and virile, as befitted its proportions. Theseus stared back at its black-eyed, challenging gaze. He could not produce a word.

The Minotaur curled its mouth. “If you are such an adventurer, I should like to know your name before you try your sword against me.”

Theseus threw back a foot, bent his knees in a defensive stance, and wielded his sword, one-handed at his shoulder. “I am Theseus of Attica. Son of Aegeus. Prince of Athens. Enemy of Crete.”

The Minotaur cocked its head slightly. A strange gesture for a man-eating monster. Though its horns, its size, its physicality spoke of dominance and destruction, it did not seem to be tensed for battle.

“What is Attica?” it said.

“A land far from here. Across the Aegean Sea.” Theseus elaborated no further. Curious as it was that the man-bull wished to talk, he had not come for conversation. His gaze passed over the leather collar around the creature’s neck, and he breathed courage into
his lungs.

“Your father declared war on us. As did your god. I have come to end it.”

He rushed at the monster with his blade outstretched, ready to hack. For a moment, he thought he had caught his enemy off guard. Then, in a blur, the Minotaur struck out and caught his sword arm in its hand with an impossible strength.

Theseus fought to free himself, and then the hilt of his blade slipped from his hand, and his only weapon clanged on the floor behind him. The monster held him in an iron grip. He twisted the prince’s arm and shoved him back. Theseus barely managed to stay on his two legs and not drop his torch.

No sooner had he raised his eyes than the creature came at him again. Now, he looked distinctly peeved. (And the Minotaur was no longer “it” in the prince’s head. Theseus had expected to fight a creature more beast than man. He found instead an adversary with human intelligence, the capacity to speak, composed of human flesh but for twisted horns and hooves. “It” was “he.”)

“What do you know of my father? What do you know of my god?”

Theseus pivoted around, anticipating a strike, unable to take his eyes off his challenger in favor of searching for his blade, which he desperately needed.

The Minotaur rounded him. “Speak. You’ve come a long way to tell me about my origins. Would you stop now?”

“Your stepfather, I meant,” Theseus said. “The King. He is my enemy. As are you.”

The Minotaur snorted. “Yes, stepfather. My warden. He is no father to me. Would a father keep his son in a cold, dark crypt, Prince Theseus?”

Theseus supposed it would not be so. Judging the space and the creature’s reach, he could see no opening for an attack—with only his bare hands? A spree to escape the creature was slightly more plausible.

“I will have justice,” Theseus snarled. “Your country has terrorized my people and driven us to starvation.”

The Minotaur’s eyes passed over the prince from foot to head. “You do not look so badly used, nor fed.”

“I have been chosen as my country’s champion.” Gods, his voice had cracked like a petulant boy. Theseus tried to shake it off. “Your father, I mean Minos, is a child murderer. If I do not succeed, Athens must send him fourteen children to enter the labyrinth.”

The beast took that in for a moment. “Children? Well, Minos is a master of cruelty. I do not answer for King Minos’s nature or his crimes.”

Theseus’s eyes flared. His impartial acquittal of the matter was vexing, seemed mocking. “Are you not the lord of this den?” Theseus waved his torch arm around. “Is this not your house? Your hunting ground?”

A mirthless smile came back at him. It was gone as quickly as it had appeared. Though it would be too much to say the prince regretted his words, he was in an instant aware he had unleashed a fury—to which he possessed no equal reprisal—from an opponent who stood much taller and broader than he, and had pointed horns.

The Minotaur overtook the space between them and railed, “Yes, I am your beast. Your Minotaur. Tremble before me as men have done since the day of my birth. Dread monster. Man-eater, they call me. Hated by all who behold my horns. Banished to this underworld lest women faint and children cry from the sight of me. Scourge of the earth, so foul it entraps men to dine on their bones. Are you not afraid, Prince Theseus?”

# # #

If that whets your appetite for more of the story, you can pick up the anthology here.

On retold stories and folklore

Illustration from The Fairy Tales of the Brothers Grimm

Illustration from The Fairy Tales of the Brothers Grimm, retrieved from Wikipedia commons

I’m in between BIG, EXCITING publication news, so I thought I’d blog a little something on the subject of retold stories and folklore, which has sort of become my métier.

Alright, I actually do have some exciting but super early news to share that relates to the subject. Late this year, most likely late fall, NineStar Press will be publishing a collection of my short stories, which are based on world mythology and folklore. The contract is signed, and I am busily getting each one of them ready for editing and production.

Yeah, I’m really happy about that, and if you’re curious, you can get an exclusive preview of some of the stories at my Patreon page. I’ll be talking up that project a lot more as we get closer to the release date. 🙂

For those of you who are new to my world, well first off: Hi! Thanks for stopping by. I’m Andrew J. Peters. I principally describe myself as a fantasy author, and then, a little more specifically as a gay fantasy author. Then, even more specifically, I tend to write heroic fantasy, which means action-adventure, typically taking place in an olden world type of setting, and based on classical legend, which usually follows the structure of The Hero’s Journey.

For example, my first two novels were a two-part series about two boys who led survivors to safety during the destruction of ancient Atlantis (The Seventh Pleiade and Banished Sons of Poseidon). In a similar vein, Poseidon and Cleito explores the trials of Atlantis’s founders. And I wrote The City of Seven Gods (the first book in The Lost Histories series), which has two men struggling for survival in a treacherous world inspired by Classical, Egyptian and Mesopotamian cultures.

They’re all hero stories. Well, the latter is a hero story on a smaller scale, though still taking place in an epic, old world setting.

I’ve also written a contemporary, paranormal series Werecat, and most recently, I published Irresistible, a contemporary gay-rom com of all things. That might be starting to sound eclectic, a nicer way to say all over the map. I make the case there’s a common thread in the stories that inspire me. You can call it loose for sure, but even the modern tales I’ve written came from fantasy ideas.

Werecat of course is a variation on werewolf lore, and more than that founded on a mythology drawn from pre-Columbian Amerindian sources. Irresistible is a retelling of an ancient Greek novel (Callirhoe), whose premise is a young woman is so gods-blessed with beauty, her true love can’t keep hold of her because everyone betrays him to steal her for himself (I queered the story up and made the two leads guys).

I haven’t always written retold stories. I credit one of my very favorite authors Gregory Maguire for turning me on to the fun of taking classic lore from a new point of view. Some of my work is far derived from a specific myth, but myths, fairytales and folkore are mainly where I find my ideas. My upcoming collection has stories drawn from classical mythology, The Arabian Nights, Hungarian folklore, the Brothers Grimm, a classic opera, Amazonian jaguar mysticism, and African and Japanese sources. I really wanted to celebrate stories from around the globe.

People ask me sometimes what’s my favorite fairytale or legend. That’s hard for me to answer because I love so much of it, and I’m discovering new stories all the time! I love the drama and imagination of Greek mythology, epic poems and plays. I love the humor and magic of The Arabian Nights, and I’m a fan of Shakespeare and gothic horror from the 19th century.

More recently, I discovered Japanese folklore, which is fascinating because it comes from such a different perspective both in tone — a lot of irony and absurdity — and in its ideas about magic.

So how to choose just one, or even two or three? I can’t and won’t I’m afraid. 🙂

I think another reason I’ve been drawn to retelling stories from classical lore is to give voice and visibility to gay experiences. Of course, one doesn’t need classic lore to do that, but when you take a familiar story and ‘queer’ the characters, swap genders, I feel it makes the story enjoyably subversive and surprising.

For example, with Irresistible, casting the tragic beauty as a man created opportunites for me to show gay desire in its many variations: triumphant, obsessive, heartbreaking, and comically absurd, while also broadening the scope of eroticism. Everyone falls in love, or lust with the lead Callisthenes: young and old, men and women, declared gays and others who are confronted with buried fantasies. The premise of the classic novel provided the opportunity to explore love and lust in greater depth.

If you’re looking for some queerly retold stories (until my anthology comes out) 🙂 I’ll point you to two of my favorites: Jeremy McAteer’s Fairytales for Gay Guys and Lawrence Schimel’s The Drag Queen of Elfland and Other Stories.       

 

Hot Tips for Writers

An interesting thing that happens once you get published is friends, colleagues, family members, neighbors, and even strangers come out of the woodwork to confess they also wrote a novel, or their husband also wrote a novel, or they’re working on a novel and wonder if you have some advice.

Sometimes, that’s a disastrous lead-in to asking you to read said novel or novel-in-progress, a situation that cannot end well. But if it’s not a pretext for that, hey, why not share some bits of wisdom? We writers do it all the time. It’s become something of an industry really – the “how to write a best seller” book – which, in today’s oversaturated publishing market, eventually will probably lead to endless blogs and books on how to write a how to write book.

So here I am jumping on that bandwagon, but just for the ridiculous fun of it rather than to style myself as a writing guru. Recently, loathsome author Jonathan Franzen wrote a 10 Rules for Novelists piece at Literary Hub, which was somewhat of an inspiration point for me. You can read some other authors’ snarky responses on Twitter in this article in the Guardian here.

I’d argue probably the very best advice for writers came from W. Somerset Maugham, or at least it’s so frequently attributed to him, people have given up fact-checking the matter. The leads must’ve gone cold quite awhile ago considering he’s dead. Anyway, by popular consensus, Maugham famously quipped:

“There are three rules for writing a novel. Unfortunately, no one knows what they are.”

I’ve never actually read anything by Maugham, but if he did come up with that unassailable assessment, I probably should. On the other hand, that kind of tip-giving is no fun when you could instead show off your arrogance or cleverness or gleeful irreverency by publishing a top ten list of your own. Here’s Chuck Wendig’s homespun list (and he’s not a tool):

Now I’m no Chuck Wendig. Just check out my book sales if you don’t believe me. Or, compare our number of Twitter followers, or see how many hits our websites get, or see the reaction of your local bookseller when you drop both of our names into conversation. It will shock and depress you. So that’s actually #i on my Ten Essential Rules for Writers List: Don’t compare yourself to Chuck Wendig.

But I am still a writer, goddammit. Let’s give credit where credit’s due. I’ve written eight novels (with varying results), and some of my titles have been runners-up at awards programs, and I was once recognized by a reader on the street. So yes, over the years, I’ve acquired some useless things to say on this subject. Thusly, for all the writers out there, and wanne be writers out there, I give you these gems that have served me well:

  1. Do not ever agree to read someone else’s work for the purposes of giving advice. Don’t give advice. Just don’t. Unless you want to be a very lonely person.
  2. Bad habits complement a writer’s lifestyle very well. Have you considered taking up smoking? A porn addiction? Really any bad habit that will plunge you deeper into alienation and self-loathing will do.
  3. When you find you’re repeating the same words and phrases in your manuscript, you may actually be on to something. Laziness and overextertion are possibilities, but let’s try to stay positive. My favorite overused words and phrases are: “abundant,” “strategoi,” and “he grinned.” Not so terrible, right? Season your manuscript judiciously with your darlings, and if no one else wants to eat it, well, there’s more for you.
  4. Some say: write drunk, edit sober. I actually favor the opposite. It helps take the edge off of rereading my work.
  5. If at all possible, do not tell people you are a writer. No interesting conversation ever follows that disclosure. Really, it’s just awkward all around.
  6. The Internet is your friend. Your only friend. The kind of friend who exposes all your vulnerabilities publically, calls you in the middle of the night to bail them out of jail after starting a bar fight, persuades you to try all the latest, worthless fads for improving your life, and is short on money when the restaurant bill arrives. Parental controls aren’t a bad idea.
  7. Find time to wallow in self-pity. An Australian Shiraz and The Real Housewives of Orange County pair well.
  8. If you must write in first-person, present, try not to be too transparent about the fact you’re really writing about yourself. We can see you behind the elf ears and leather leggings.
  9. Font choice can make all the difference.
  10. Finally, and really my only serious piece of advice: Be nice to other writers. It costs you nothing.

 

More on the inspiration for Irresistible

I always enjoy sharing some of the visual and musical inspiration points for my titles, so I thought I’d do just that in follow up to my post about Irresistible last week.

It’s an upbeat, pop music kind of story, and the one song that was in my head a lot while I was going through the first round of editing was “I Feel it Coming” by The Weeknd. I think it fits perfectly for Brendan and Cal’s first night together, and it might get you in the mood for the book.

Then, for something more, erm romantically-appropriate…

Last, this is a bit of a throwback, but I was looking for something pop-y with a good sense of humor to go along with the comedy side of the story.

In terms of the main characters, one of them is complicated in terms of how I pictured him. Callisthenes Panogopoulos (Cal) is a self-described: “half Greek, quarter Polish, quarter German mutt,” and he’s so beautiful, men and women have been desperately and comically pursuing him since he was a teenager. I actually took some inspiration for the story from the Farrely brothers’ “There’s Something About Mary,” so there’s a little Cameron Diaz in Cal.

Everyone’s image of the most gorgeous man in the world is different, so in some ways I’m reluctant to share some of my casting thoughts for Cal. I don’t want to spoil whatever picture comes to mind when you read it! But here are a couple of young hearthrobs that could work for me.

So, how about model Matthew Noszka?

Matthew Noszka

Photo retrieved from Consort PR http://consortpr.com/modal/male-models/whos-boy-matthew-noszka/

Matthew Noszka

Matthew Noszka, from IMDB profile

Or, thinking more working actor with some Greek ancestry, Theo James, if he was ready for a lighter, more comedic role

via GIPHY

Or, as Cal says himself, it’s about time Hollywood cast real gay actors to play real gay people so, Colton Haynes, with shaggier blond hair?

Colton Haynes

Photo retrieved from Gay Star News https://www.gaystarnews.com/article/was-it-a-secret-colton-haynes-responds-to-comment-about-secret-gay-past/

The other lead Brendan Thackeray-Prentiss is a well-bred catch in his own right who would need to be played by an actor who can channel overeducated, twenty-something angst. So here’s one actor who would be great for the part: Logan Lerman.

Logan Lerman

Logan Lerman, photo from Vanity Fair https://www.vanityfair.com/hollywood/2014/10/logan-lerman-fury-actor

Or, going with a gay actor, Kyle Dean Massey could also fit the bill:

Kyle Dean Massey

Kyle Dean Massey, retrieved from Broadway.Com https://www.broadway.com/shows/ifthen/photos/photos-idina-menzel-and-her-ifthen-friends-live-it-up-in-nyc-on-opening-night/198293/kyle-dean-massey

You can see all of the book’s inspiration points at my Pinterest board:

Nerites

It’s story time again here, and this week’s installment comes from one of my very favorite Greek myths.

I wouldn’t be surprised if most people haven’t heard of Nerites. He didn’t make it into Edith Hamilton’s seminal work on Greek mythology, and though he earned a Wikipedia entry, it’s pretty sparse. According to the Theoi Project, a comprehensive glossary of mythological figures, his story comes from the Greek historian Aelian (c. 2 A.D.) who wrote about how a spiral shell of exceptional beauty came to be called a nerite. He claimed the story was well-known among sailors.

Nerite shells

Nerite shells, image retrieved from Wikipedia commons

Aelian told the story thusly: Nerites was the son of Nereus, a sea-god, sometimes referred to as the Old Man of the Sea, and Doris, a river goddess who was the daughter of the titan Oceanus. Nereus and his sea nymph daugthers the Nereids were previously noted by several of Aelian’s predecessors. Homer mentions Achilles’ mother Thetis as a Nereid, as is Calypso from The Odyssey, for example. There are said to be fifty Nereids, but only one Nerites, which was one of the curiosities that led me to retell a little story about him. What would it be like to grow up with fifty sisters?

After that brief introduction, Aelian tells two different versions of Nerites’ tale. Both involve Aphrodite and Poseidon, but the outcome of their dealings with Nerites differ.

Both versions say Nerites was a beautiful youth beyond compare (among many other young heartthrobs like Ganymede and Narcissus in fact), and he attracted the interest of Aphrodite who offered him wings if he would be her lover. Nerites refused the goddess, and to put him in his place, Aphrodite turned him into a snail.

Nerites’ sisters begged the god Poseidon to change him back, and he obliged. The mighty sea god was smitten from the sight of the boy, and he offered to make him his charioteer. Nerites agreed, and Aelian says they lived together happily ever after as companions and lovers, even mentioning that the word for mutual, requited love – anteros – derives from Poseidon and Nerites’ love affair.

I thought that was sweetly sentimental and refreshing. I can’t recall any stories of things going well when a god falls in love with a mortal, or a demi-god. In most cases their love interest is forcibly taken. So it goes with the most famous same-sex myth about Zeus and Ganymede, and in others, like Apollo and Hyacinth, the mortal ends up getting killed.

Well, that’s one version. Aelain also recounts a different story in which Aphrodite isn’t the villain, but it’s the god Helios who was jealous, either because he didn’t like Nerites challenging his notoriety for driving a magical chariot, or because the beautiful boy couldn’t be coerced to serve him. So Helios turned Nerites into a snail.

I like the other version better. 🙂

So here in setting up my story, I’ve almost written more than the story itself. I really just wanted to write a brief portrait of Nerites and portray a moment in his life. Without further ado, here’s my story of Nerites.

Nerites and his sisters

This painting is probably meant to depict a young man falling captive to a group of sea nymphs, but it also made me think of Nerites among his beautiful sisters, retrieved from neetwizard.wordpress.com

He combed through the rocky beach, while the tide troughed and swelled, clacking and spitting as it met the shore. He was in search of sea shells. Spiral conches. Black scallops that shone silvery-blue when they caught the glint of the sun. Those were his favorite. If he could find enough of them, he would string them together with ribbons of kelp and fashion a girdle like his sisters wore. Though his would be different, as befitted a boy.

His sisters were inland, high above on the island aerie, all fifty of them, braiding their hair, sewing circlets of pelican feathers to wear around their necks, sunning themselves, or simply gazing out to sea, like a flock of bedded gulls. Such diversions were no longer enough for a boy of sixteen years. His legs were restless and yearned to roam. His eyes thirsted to see more of the world. There was not much of the island he had not trod, but he had not visited this cove beneath the westward cliffs for its shore was gnarled and clogged with boulders, a poor spot to go swimming or to catch anchovies in the shoals.

He wound through outcroppings of black stone, crouching, stretching, and making himself small to look into pockets in-between, to dig his hand inside to feel around. His compact limbs were dusted with sun-whitened, downy hair, and they were strong and well-suited for foraging along the rugged shore. His feet were calloused and good for gripping footholds on the rocks. At times, he had to push aside from his eyes his golden, curled hair. His sisters only cut it once a year, for his birthday, and that had been many suns past.

They called him their ‘little savage’ or ‘little beast.’ He did not know anything of savages to quarrel with them. As for beasts, was he a crab, scrabbling through the beach? Or a sandpiper, pecking between the rocks? He could swim all day long, so perhaps he was more like a fish, though he could not live beneath the water as much as he had tried. His sisters had told him their father was a titan who had a palace at the bottom of the sea. His mother was a goddess who only came to shore to birth their children. And he the last, a misfit in a tribe of beautiful girls. He used to think he would change someday, developing breasts and curves like his sisters. But he knew now he was different. He had yet to decide whether that was for good or ill.

At last, he spotted a pearly conch, there in the sea-soaked pebbles behind a boulder. It was no bigger than the pad of his thumb. He laid atop the boulder, hanging over the side and stretching his hand to grab it. He grasped the shell, closed it in his fist. His now. Pulling himself up, he sat cross-legged on the face of the rock to admire his find. The conch was smooth and pointy and delicate. He touched it to his cheek to feel its textures and then he touched it to his tongue. It tasted like the sea and had tiny freckles like the backside of his hand.

He turned to what sounded like a cyclone upon the sea. And it did look like that at first, except the sun shone bright in a clear blue sky. He had never known a storm to rise from the water, yet his eyes beheld that very sight. He could not look away from it.

Or was it an enormous cresting wave, kicking up legions of spray while it roared to shore? Thinking to improve his view, he stood up from the rock. Within the foamy hail of seawater, now only yards from shore, he glimpsed things that could not be real. A man therein reining a pair of seahorses with forelegs and hooves clopping on the water?

He rubbed his eyes, looked again. Now, he was certain. A man rode the blue-green sea in a chariot pulled by creatures whose top halves belonged on land and bottom halves belonged beneath the water. That impossible mystery was heading purposely toward him. He looked up to the island promontery, scoured the land for his sisters, wondered if he should hide or flee.

Before he could commit himself to anything, the sea beasts reared and brayed on the water, some ten paces from where he stood, their fist-sized nostrils flaring, their hooves kicking up a briny squall that nearly drenched him.

The charioteer’s eyes were upon him.

He thought of course of his father. They had never met, but Nereus, from whom he was named, was said to be the Old Man of the Sea. Then, his sisters had also talked about all manner of fantastical creatures who lived in the ocean: sea dragons, mermaids, and monsters with the heads of bulls and the tails of fish. Though none could say what a man who lived at the bottom of the ocean looked like.

Some instinct disavowed that this visitor was his father, however. This charioteer of the ocean had the bearing of a stranger, and he was older but not old. By his might, the massive trident spear he carried, and the impossible conveyance by which he traveled, he could not be impressed by their encounter, but he held himself quietly, dispassionately, as though he did not wish to startle the boy from their acquaintance. The sea, the wind turned gentle as though bowing to his command.

He had never seen a man, never dreamed of a being built so powerfully, so admirably. The charioteer had wild, dark beards, thick wind-swept hair, and dark eyes, which trembled with fierce emotion. His shoulders, arms and chest were broad and thickly muscled, so strong, he looked like he could wrestle one of his steeds. His gaze never broke from the young man, and he, who had never been clothed in anything besides seaweed necklaces, periwinkle bracelets, he felt for the first time modest in such a state.

“Who are you?” the stranger said. A deep voice which brooked no lies.

“I am a boy.”

The charioteer narrowed his brow. “That is plain to see. What name did your father give you.”

He gulped. “He named me Nerites.”

A quiet smile. Nerites smiled as well. He liked looking at the man. When he breathed in, his smooth skin took on a crystal blue irridescence like a sunlit shoal.

“Do you know who I am?” the man said.

Words rushed from the boy’s lips. “Are you the soul of the sea?”

“No. I am not your father. Would that I could sire a boy as beautiful as you. No, Nerities. I am the Sea’s champion. Bearer of wind and wave. I am Poseidon of Mount Olympus.”

A god. Nerites’ jaw dropped. His sisters had taught him the names of many gods, though having never seen such a magnificent being, he had not been sure whether they were tales to amuse and shock a younger brother who knew so little about the world.

He could think of nothing to say in return, so he held out his hand and unclenched his fist to offer the perfect shell he had found.

The god looked at his hand, and a miracle happened. In a blink, the shell transformed into a gilded armlet, exactly sized to fit around Nerites’ upper arm. He could not explain the magic, but he knew the god had done it. The band was rare and noble. He slid it through his hand and upward to his bicep. He was no longer a naked boy. He was a prince.

“Would you like to drive my chariot?” the god said.

His eyes widened. To hold the reins of giant seahorses. To skate above the waves. Nerites nodded vigorously.

Poseidon beckoned him, and he dove into the sea, swimming to the chariot and taking the god’s big hand to pull him aboard. The god made room for him to stand in front, and he showed Nerities how to hold the ropes attached to the horses’ bridles. Nerities could not fathom what the ropes were made of. They were lighter than any form of cord he had ever held, and he only needed to give them the faintest lift or pull, and they responded to his command. Magicked.

Nerites glanced at Poseidon, and he nodded. Nerites shook the reins as he had seen the god do, and the horses whinnied and galloped forth. The momentum threw him back, but Poseidon stood sturdily behind him. He placed his hand on Nerites’ bare shoulder. It was warm and strong. He would not let him fall.

So he drove the horses faster, farther from the island, out to sea. Waves parted to make way for him. Wind whipped against his face. A school of dolphins surfaced from the water, racing, jumping to follow him—he, the charioteer of a god. Nerites laughed, and then he dug into driving the chariot faster. There were oceans to explore, islands to see, an infinite world unveiled.