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"...we finally made it into high Nzul, a forgotten realm of stark atmosphere beset by mist and grey-dark clouds, and of exquisite grandure shaped in snow and stone. The thick vapours briefly part and admit narrow shafts of sun that glow upon snow clad slopes. We took the rugged mountain pass and traversed the treacherous glaciers, at last nearing the super-fortress, the Arc du Baffay.

       A pale demigod from centuries remote awaits the pilgrim: the colossal effigy of The Dire. Chiseled out of a mountain crag and itself like a mountain in stature, it towers beside the crumbling bridge that spans the gorge of Kanth.  Ten thousand slaves of the ancient world

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Much of H.G, potter's writing is steeped in the classical and medieval tradition. His arrangements purposely evade modern rules and tones of conventional fiction and instead steer the reader toward the sense of an antique text. The words correspond to what an actual monk might have set down. He thereby provides for full immersion into the Whitehawk milieu. He insists that his writing be assigned a new term of genre, for it only borrows the forms of Fantasy, such as mysterious creatures or monstrous foes. He keeps close to a meta-historical this-world-narrative, much more ostensibly than we find in other parallel 'fantasy worlds.

                                                             THE WRITING OF H.G. POTTER

 

worked the precipice and formed the hooded image of Thendel the Apostate, founder of the Nzul. He stands as a sentinel, his mailed fist clenched upon the enchanted claymore Elmethodon. According to legend the rebel elf wielded the dark blade in combat during the Auroran wars. At the dawn of the world he strove against the very power of the sapphire throne on Mt. Argunizial. Banished to this outland, he nevertheless claims the title "Liberator."

        His visage veiled, the titan seemed to greet us with a sincere pity and tacit disdain."

                         Never Leave Your Monasterry (chapter 30)

For example, he will use such historically loaded terms as crusades.' This, he says "is contrary to Fantasy, certainly not found in Middle Earth or Narnia. However, if you can call something like "Pirates of the Caribbean" Fantasy, and not Historical Fiction, eventhough it takes place in historical time including religious context and references to Christ, then certainly my work also could be placed as Fantasy." Eventhough other-worlds were the launching point of Whitehawk, he wanted to transform it into something not distanced from the actual mind of Medieval times, focusing on, rather than avoiding, the centrality of religion. Religious engagement is often very diminished in mainstream Fantasy, which more often depicts only the pagan rites while relegating Christian knowledge and life to narrative structures, and certainly not mentioning the Church. Authentic encounter is decarnated as spiritual allegory or metaphor. Whitehawk instead would take on the full story of religion. His new subgenre he calls "Similitude" in which metaphysical realities are dream-crafted into a mythos system, giving a sense of fantasy while being rooted in this world. In many places he found it necessary to merge the prose narrative with epic poetry fashioning a "proem." He prefers to imitate ancient modes of presentation modeled after authors like Homer, Vergil, Dante, and Shakespeare. The representing style is epic and considerably more relaxed than the common fantasy writers who must conform to certain parameters, such as not mentioning God. He does not consider himself as a writer putting on a performance for the reader, rather more like a radio receiver picking up an unusual transmission from the past.

"...work on Never Leave Your Monastery began back in 2005, after being engrossed one night by a certain swashbuckling film of high adventure. I worked the epic over long periods, for some 15 years. The narrative is heavily imbued with Christian symbolism and anecdote, being meant as a continuation of the Western epic tradition that began with Homer, and I will also add that it features the solar journey-against-the-dark-overlord plot found wherever the mythos-culture thrives. It is meant to convey a journey for spiritual integration and maturity, a coming of age "tragi-comedy" with meditations on the Christian way, and the medieval communal archetypes of living beyond. In some sense, it is a solution offered against the modernist angst."
                                                                              -H.G. Potter

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H.G. Potter

Masters Greek & Latin WSU,

Masters of Divinity

Ordained 2009

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Opening ChapterAuthor reads NLYM
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Realms of  Whitehawk

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