Ideas come from the deep repository of the collective unconscious mind that inspires images and symbols during the fantasies of waking life and during dreams and nightmares. Mainly, it’s the nightmare stuff that bodes best for writing psychological thrillers and dark fantasy such as is in The Unholy. When I wake up in a cold sweat with the characters of the novels threatening me (I remember when Archbishop William Anarch, sinister prelate in The Unholy tormented me for nights on end, demanding that I not write the story) that’s when I know that real inspiration is flowing and that to listen to it and follow the images and symbols that emerge from my deep, unconscious mind during sleep and during the reverie of writing the story will end up in the development of spine tingling realities that jettison both me as the writer and the reader into phantasmagoric realms that have a way of shaking up conscious mindsets and get our heads blown out in a very, very unsettling but ultimately useful way. My writing, in other words, comes from an inner place of torment that needs to be let out so it can be set right. When mind stuff is set right inside me I can feel it by sensing a quality of being at peace, that I’ve written to the best of my ability and been true to the deep, archetypal energies swirling through my mind during the narrative. It really is a trip to listen to ideas, let them become images, and suddenly have them take over a page. It’s like the pages catch fire and everyone has come to life and things become disorderly, fraught with conflict, and danger looms.
A young curandera, a medicine woman, intent on uncovering the secrets of her past is forced into a life-and-death battle against an evil Archbishop. Set in the mystic land of Aztlan, The Unholy is a novel of destiny as healer and slayer. Native lore of dreams and visions, shape changing, and natural magic work to spin a neo-gothic web in which sadness and mystery lure the unsuspecting into a twilight realm of discovery and decision.
Lightning streaked across a midnight dark sky, making the neck hairs of a five-year-old girl crouched beneath a cluster of twenty-foot pines in the Turquoise Mountains of Aztlan stand on end. The long wavy strands of her auburn mane floated outward with the static charge. It felt as though the world was about to end.
Seconds later, lightning struck a lone tree nearby and a crash of thunder shook the ground. Her body rocked back and forth, trembling with terror. She lost her footing, sandstone crumbling beneath her feet, and then regained it; still, she did not feel safe. There appeared to be reddish eyes watching from behind scrub oaks and mountain pines, scanning her every movement and watching her quick breaths. Then everything became silent.
The girl leaned against the trunk of the nearest tree. The night air wrapped its frigid arms tightly around her, and she wondered if she would freeze to death or, even worse, stay there through the night and by morning be nothing but the blood and bones left by hungry animals. Her breaths became quicker and were so shallow that no air seemed to reach her lungs. The dusty earth gave up quick bursts of sand from gusts of northerly winds that blew so fiercely into her nostrils that she coughed but tried to stifle the sounds because she didn’t want to be noticed.
Paul DeBlassie III, Ph.D., is a psychologist and writer living in Albuquerque who has treated survivors of the dark side of religion for more than 30 years. His professional consultation practice — SoulCare — is devoted to the tending of the soul. Dr. DeBlassie writes fiction with a healing emphasis. He has been deeply influenced by the mestizo myth of Aztlan, its surreal beauty and natural magic. He is a member of the Depth Psychology Alliance, the Transpersonal Psychology Association and the International Association for Relational Psychoanalysis and Psychotherapy.
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