This week, I’m excited to feature my favourite author, Jared Kane. His novels (Decline, Mya and The Underside of Wars) are some of the most thought-provoking and beautifully written books that I have come across since my university days studying English lit. He is also an incredibly talented poet who crafts some of the most profoundly dark and stirring poems found on social media today. Read on to find out more…
Introduce yourself and your work.
I’m Jared Kane, a writer of books, short stories, and poetry. I’ve had poetry published by both online and print publications. My novels are currently self-published, and are regrettably in the corner, unwilling to raise their hands to draw attention to themselves. They don’t want to be noticed at this party because they make the most noise, but because they are the most beautiful and profound thinkers in the group. Sometimes those types stay in the corner and are never discovered.
Explain the significance of your Instagram handle, Whirlpool of Crows.
I went through a couple before I landed on this one, and really, I only stuck with this one because it is how many first found me. It’s four syllables of seventeen of a haiku I wrote: a whirlpool of crows / swirls above, justifying / our murderousness. It also features in my first novel, Decline. And I have it tattooed on my arm.
Your first novel, Decline, reads very much like poetry. Tell me why you were inspired to write it like that and why a nameless/anonymous protagonist?
I wanted Decline to differ from all the other post-apocalyptic/dystopian stories out there. I conceived the story before the glut of post-apocalyptic media hit our shelves and screens, but by the time I finished it, a lot of these stories were already out there. So, I took inspiration from a Salman Rushdie book I read once—I’m not sure if I even liked the actual book that much, but the manner in which he wrote it, it felt like you could pull out any random paragraph, arrange it like a poem, and a beautiful poem it would be. At least, that’s how I felt at the time. So, I set about writing Decline with a different mindset: to couch the story in poetic language.
The nameless protagonist is a bit of a shameless homage to Cormac McCarthy’s The Road. Also, the novel is very “stream of consciousness”, like the reader is inside the narrator’s head, hearing what he hears, and seeing what he sees. I feel like his name would be superfluous, and maybe even colour the reader’s impression of him (everyone knows a John, or a Dave, or a Dominic—maybe less so the latter—and if the narrator was “John”, the reader might see their John’s face or hear their John’s features).
Explain the meaning and significance of the quote “Temporis Destruit Omne – Time Destroys Everything” as it applies to your second novel, Mya.
Temporis Destruit Omne is another one of my tattoos now—I hope there’s no Latin scholars out there who pipe in about how terrible my translation is.
Mya is a very intimate book. Without getting into spoilers, “Time Destroys Everything” guides most of what happens in the narrative. It’s a very intimate belief and feeling of mine: it doesn’t matter what you build, what you create, who you become, it will all crumble to nothing in time.
There is no such thing as history and future, past and present—aside from what your senses are perceiving right this moment (itself an interpretation of the mind), everything else is dust or in a state of either becoming dust. A character in Mya proposes the theory of Eternalism, which is a sort of answer to this philosophy. Eternalism is the belief that past, present, and future all exist at once and are equally real (to put it mildly, this is the nutshell version, and I’m absolutely not an expert). This is reassuring in a way: all those times you had, or wish you’d had, they’re all out there still and possible, even if you will never return to them again.
The Underside of Wars protagonist, Matthew Talbot, is a writer frustrated with the state of the literary world and its inability to appreciate his work or give him his “break.” How much of that comes from your own experience as an indie author?
Underside is maybe my most personal book. This will be a very vulnerable answer.
The main character grapples with a lot of things I do, thinks some things I think, feels some things that I feel. Matthew’s experience does reflect my personal experience to some degree when it comes to personality shortcomings and substance abuse. He’s a bit of a cipher. While Matthew is supremely confident in his abilities, that confidence is so shaky that he’s fundamentally unable to accept being unsuccessful, or for success to look different than he always imagined. I am very confident in my ideas, my writing, and what I’ve created. And it can be very hard to accept being passed over. It’s all the more devastating to accept the possibility that I may never be successful (insofar as I define “success”). If that comes to pass, what else is there? There’s a lot more plot in Matthew’s journey, but those quandaries and principles are pretty central.
You’ve described your three novels as a trilogy. With different characters and storylines, how do they fit in/ mesh together as a trilogy? Do they need to be read in a specific order?
I call them my Apocalypse Trilogy. It’s more like they exist in the same universe, and fall somewhere on the same timeline. There’s no direct connection between them except for some easter eggs in Underside that point to it taking place a certain amount of time after Mya. If there was an order, it would be Mya, Underside, then Decline. They absolutely do not have to be read in that order. Though that’s not a bad order in which to read them. A new reader would probably find the language in Mya and Underside more accessible. Then, hopefully after they’ve read those two, they’d be willing to undertake the challenge of reading Decline.
What role does music play in your creative process? What else inspires your creativity? What bands/artists are currently on your writing playlist?
Music is everything to me. Life without music would be food without taste. I have a psychological dependence on music, sort of the way someone can become addicted to gambling: like a gambler feels a shot of dopamine when they pull the slot lever down, so do I feel a surge of dopamine when I hear the music I love.
I always match up a song with what I’m writing. If it’s a sad moment, I play a sad song. If an action sequence, I play a more aggressive song, and so on. I know some writers have difficulty focusing when they’re listening to music, and especially music with lyrics, but I don’t hear the lyrics. All I hear is mood.
In that regard, I have thousands of songs on my writing playlist—it all depends what type of dopamine hit I need at the time! For example, Decline is a quiet, sad, philosophical post-apocalyptic novel, so my playlist for that book included a lot of Lycia for the quiet, sad moments. For the more heartbreaking moments, the playlist would become more aggressively despondent, like Psyclon Nine’s “Under the Judas Tree”. Mya was very much influenced by songs from Yendri, while Underside is more raw, and had music from Amenra and Black Mare (see Black Mare’s “Ingress to Form”). Right at this moment in the block universe, I’m cycling through those three playlists (I still keep a separate playlist for each book on iTunes) as I write these answers.
What else inspires my creativity? Maybe everything, maybe nothing. I’m usually most inspired when I feel a lugubrious emptiness. It’s a profound need that feels deeply hollow. Ironically, it’s difficult to write at those times, because my mind will conjure up the same words and lines over and over. Instead, I’m most productive during times of (and I’m paraphrasing . . . someone . . . I can’t remember who, and I don’t remember the quote well enough to search it) sober reflection on past inspiration.
I’m sure you’re the cosmic love-child of dead poets. Who do you think they are ? What writing talents have you inherited from each of them?
I love this question. Anything that makes me turn around and consider my bookshelves is welcome. It’s like returning to nature after the city.
I’ll say William Wordsworth and Thomas Hardy, which is starting right at the beginning. From Wordsworth, I gained a sense of wonder at nature and a feeling for romanticism that is much more vast than our current crass concept of “romance”. From Thomas Hardy, I inherited a dark and tragic outlook. One is basically a response to the other. Hardy probably continues to have the most influence on my writing. His books can be one thing for 300 pages, and then deliver a gut punch out of nowhere in the last chapter (or last two pages in the case of The Woodlanders) that makes you completely re-evaluate your feelings about the entire book.
What do you hope readers will take away from your work? Do you prefer they read your novels or your poems or both? If they only read one of your books, which one would you most recommend?
I hope that my work evokes an emotional response from readers. The best books I’ve read, I’ll put down and feel different afterwards. The light will be a different warmth, and everything around me will look a little different than it did before. Sometimes this feeling lasts a few hours, a few days, sometimes it’s forever. I want my writing to land on that spectrum for readers. Honestly, as I veer back to the question of “success” that came up several questions back, that is true success. If I can make a reader feel that way, then let the rest of the chips fall where they may.
If I had to choose, I’d rather my readers read my novels. But I don’t write long-form poetry, so read both! Depending on the reader, they might want to start with Underside or Mya because they may go down easier to start.
Where can readers find you?
Go check out his books…