Books like Hawaiian Mythology

I write speculative fiction books that feature hidden or secret locations. I enjoy writing about closed communities where different rules apply, and they are less susceptible to outside intervention. Places where those in power can ‘get away with things’. I base the topography on real locations and adapt them for my purposes. I can visualise the locations, which are an amalgam of the real and the imaginary. For consistency, I draw maps incorporating real physical landmarks.

When in unfamiliar settings, people often feel isolated. This makes it easier to portray them as exposed or insecure, creating an atmosphere of fear or suspicion and opening up plot possibilities.

Becoming immersed in oral cultures was a massive wake-up call for me! Taught to privilege the written over the spoken word, as most literate people are, it took me years of living in the Pacific Islands, travelling regularly to their remoter parts, to appreciate that people who could neither read nor write could retain huge amounts of information in their heads – and explain it effortlessly. We undervalue orality because we are literate, but that is an irrational prejudice. And as I have discovered from encounters with oral traditions throughout Australia and the Pacific, India, and northwest Europe, not only are oral traditions extensive but may be thousands of years old.

Becoming immersed in oral cultures was a massive wake-up call for me! Taught to privilege the written over the spoken word, as most literate people are, it took me years of living in the Pacific Islands, travelling regularly to their remoter parts, to appreciate that people who could neither read nor write could retain huge amounts of information in their heads – and explain it effortlessly. We undervalue orality because we are literate, but that is an irrational prejudice. And as I have discovered from encounters with oral traditions throughout Australia and the Pacific, India, and northwest Europe, not only are oral traditions extensive but may be thousands of years old.

Becoming immersed in oral cultures was a massive wake-up call for me! Taught to privilege the written over the spoken word, as most literate people are, it took me years of living in the Pacific Islands, travelling regularly to their remoter parts, to appreciate that people who could neither read nor write could retain huge amounts of information in their heads – and explain it effortlessly. We undervalue orality because we are literate, but that is an irrational prejudice. And as I have discovered from encounters with oral traditions throughout Australia and the Pacific, India, and northwest Europe, not only are oral traditions extensive but may be thousands of years old.

When I stepped off the ferry onto Mainland Orkney, a piece of myself I never knew was missing suddenly slotted into place. Orkney became my geographic soulmate and I knew that The Darkest Court trilogy’s final book—and final battle—would have to take place there. Whenever I find myself longing to return, I pick up one of these books and throw myself back into the stories and histories that caught hold of my imagination all those years ago. I hope they stir your sense of magic and wonder the same way.

When I fall in love with a fantasy world, I want to consume as much of that world as possible. That’s why I’m drawn to illustration that is so dense with worldbuilding elements. In my own work, I started indulging this obsession by creating tiny one-by-three-inch books that contained fully-illustrated alien worlds before eventually moving on to bigger books like A is for Another Rabbit, a book crammed so full of hidden jokes, Easter eggs, and thousand-rabbit-wide crowd scenes that my hand hurt by the end of it. Extreme detail is a way of prolonging the delight and discovery inherent in reading picture books, and I intend to keep pushing it to the limit!

Being half-Chinese and half-Peranakan, I grew up in a mixed cultural environment but went to secondary school with a strong Chinese culture. I became aware of my inferior knowledge, not just of the language, but also Chinese culture and history. Hence I immersed myself in the Chinese environment. But there is so much in this long and illustrious history of one of the oldest civilisations that my initial motive to learn was soon replaced by a genuine interest. Now I am always on the lookout for anything related to China, its history, and the Chinese culture.

I have been fascinated by ancient sacred sites since I first visited the ancient Rollright Stones on the Oxfordshire/Warwickshire border decades ago. I am interested in how the study of folklore and local traditions can be used in conjunction with archaeology to trace the origins and purposes of ancient monuments. I am an author and researcher who has had seven books published on the subjects of ancient civilizations, prehistoric monuments, and supernatural folklore. Born in Birmingham, England, I am a qualified archaeologist with a BA in European Archaeology from the University of Nottingham, and an MPhil in Greek Archaeology from Birmingham University.

I’ve always been fascinated by monsters. Growing up I saw television shows and read books about famous ones like Bigfoot and Nessie, and always wanted to search for them and discover the truth. That led me to a degree in psychology to learn about human cognition and perception, and a career in folklore to understand how legends and rumors spread. But I also wanted field experience, and spent time at Loch Ness, in Canadian woods said to house Sasquatch, to the Amazon, Sahara, and the jungles of Central America looking for the chupacabra. Along the way became an author, writing books including Tracking the Chupacabra, Lake Monster Mysteries, Big—If True, and Investigating Ghosts. 

I came to the Arthurian legends through the medium of medieval Welsh literature, a subject that had intrigued and challenged me since I was an undergraduate. I found the language impenetrable and yet beautiful, while the literature it encoded was fascinatingly unlike the literary traditions of England and France. I wanted to connect with a version of Arthur that preceded the romance traditions of France and England and bears witness to a much older culture and social organisation. Though I've learned to love other versions of Arthur, and indeed I teach the Arthurian legends as part of my academic work, the stark drama of the Welsh poems and tales continues to intrigue me.