The novel to which this site is devoted represents my best effort to create a long work of literary fiction that blends my love of romantic symbolism and allegory, in the tradition of Hawthorne and Melville, with the realism and sometimes surrealism epitomized by 20th Century writers like Joyce and Hemingway. Hmm, that’s some well-established company I’m attempting to join. Please bookmark this site and follow along in the work.
While the book often embraces social and political issues–if only in a subtextual way–I have been vitally concerned with the universal issue of gender representation in works of art. The two protagonists (a wife and husband) share equal time onstage, and I take pains to represent their respective conflicts (both with each other, and with external antagonists and forces) with comparable gravity. You can learn more about this on the page describing the Narrative Structure.
The name Clotho refers not to any character in the novel, but to one of the ultimate powers of Greek mythology. This goddess, along with her sisters Lachesis and Atropos, the Moirae (Three Fates,) were believed to wield influence over human life which rivaled, and often eclipsed, that of the Olympian gods. Clotho (the weaver) was responsible for spinning the thread of human life, and the others for measuring or apportioning that life, and its course as either tangled or straight, and for finally cutting it. When thus managed, even the word of Zeus could not overrule the decisions of Fate.