In chapter one of “Lament of the morbid Soul,” I foreshadow the story of the character’s memoir: a story within a story, which should be indicative of a tragic life–a life much like that of “Benjamin Button,” one who seems to be out of harmony with time.
One knows how easily it is to step into wrong places, what is only to be identified as “stepping from the frying pan, and into the fire.” This is such a story, “Sully’s Magma.” Why? Because, when she begins writing, she begins spiraling into her own abyss, some would call madness, because she has become aware of everything that has happened to her, and all that she has done as reactions to her experiences. It is like an onion: a metaphor one would use, which is peeled slowly until you get to the meat of the vegetable.
(But in her case, it becomes more like the lava that must erupt from the volcano.)
“The world breaks everyone and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.
I believe there were many times I should have died, but for some reason I was spared. I was a sweet and innocent child most my life. Ultimately, things kept happening in my life that opened up my consciousness. All that is in this novel is not my own life, but many lives I’ve observed, as well as myself, and others I interacted with. Put it all together and you have a “character” study, in a novel.
© Lydia Nolan, September 1, 1996