Process and Zeitgeist

It was what Crowfeather called the Blue Star ceremony, or Above Air ceremony. It took place on Winter Solstice 2020. It wad during the enigmatic, unsettling and ominous period of COVID, the virus that was upsetting the balance of the world as we knew it and wanted it to remain. A group of us had gathered at Crowfeather’s home, and sitting outside, around the roaring fire, we reflected on and spoke our intentions, hopes and prayers to the angels, the ascended, the star-people. At one point during the ceremony, Crowfeather came over to me and said that a spirit had come to him and told him that I was meant to write something called Chronicles. The message wasn’t altogether clear. If I were meant to write something titled Chronicles, if I were meant to write Taos Chronicles, of the times we were living in, chronicles of a spiritual journey—all or none or some of the above. Crowfeather said he was simply relaying the message as he had received it. I kept that in mind. At the time, I had nearly completed my fifth novel, The Last Furies, and had started working on my sixth, No one Dreams in Color. Fast forward to 2023, when I completed my seventh novel, None So Distant. I had finished the work during a two-week retreat at my friend’s house in Santa Fe. I sat in contemplation for some time. I began to envision an umbrella under which a specific period or phase or spell existed. The official pandemic timeline was announced as March 2020-May 2023. May 2023 marked the end of pandemic status. Within the pandemic timeline I had completed three novels. This got me thinking about these three novels reflecting, encapsulating, and exemplifying a specific field of energy—the tints, flavors, and tones of a zeitgeist—and I kept on ruminating, tracking to Samuel Beckett, and the writing of his trilogy of novels—Molloy, Malone Dies, The Unnamable—written in Paris during a three-year span, 1947-50, following and you could say energetically hosting the trials, despair and desolation wrought by World War II. Calamity, on a profound or widespread scale, is often an incubator and catalyst for works that reflect, though not always directly or overtly or explicitly, the spirit of the times in which they were born. I then recalled Crowfeather’s ceremony, and his talk of the blue star, how we were in the time of the blue star, that the world and its paradigms were undergoing major upheavals and shifts, and that we were existing within the cradle and nucleus of a creation/destruction period. This is how I came to recognize these novels—The Last Furies, No One Dreams in Color, and None Do Distant—as the Blue Star Trilogy. They were spiritual kin, born under the blue star, or in the time of the blue star, and perhaps reflected or encapsulated the spirit of the times and the etheric womb from which they had emerged.   

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New Romantics

The call, and calling…

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Furies in Chaos

Candice Louisa Daquin’s insightful review of The Last Furies published in the November issue of Synchronized Chaos (an interdisciplinary journal of art, music, culture, science, and literature). Excerpt from the review:

“Viola felt as if she were watching a scene from a film that had never been made, in a time and a place that had never existed.

“Surrealism in film attempted the same; film-makers endeavored to tap into the unconscious mind, harnessing the seeming illogic of dream state, to reject norms of rationalism and conventional storytelling. Biscello employs kindred jarring, symbolic imagery; borrowing film-techniques of non-linear editing in how he writes, to disorientate and provoke deeper consideration. His writing mirrors surrealists attempts to revolutionize cinema from passive diversion, into a tool exploring hidden desires, fears, and different layers of reality, beyond usual consciousness, much as writer/artist Leonora Carrington did. Biscello invites us to suspend time and merge histories, with less scene-breaks and; ‘intimately swapped semblances of reality.'”

Read the full review here.

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Monk’s Dream (Take Five)

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American Poem

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Goblins

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Goblins

Red wind spirits. They carry people off. Mostly mothers, no, not mostly mothers, than is an allegorical kink, an innate twist, it feels like mostly-mothers, and so legend instantly concretizes itself in that feeling-force. The red wind spirits are also called goblins. I call them goblins when telling the story to the babies, my two sisters (their swimming moonseed eyes see me as caretaker, I am caretaker now, mother of story and home) … From nightmare and menace in real-time, dark fables are born. Flavored in furnace and runes. The burn remains on my tongue every time I tell the story, my tongue grows more ashen with each passing day (it has been seven weeks since we last saw our mother, seven weeks which we have turned into a blank slate of numberless agony, seven now part of void). I tell the babies about the goblins who steal people. They know the goblins by heart, young hearts weren’t meant to be branded with goblins, I sometimes think, sometimes reprimand myself for telling the babies about goblins. I am at a loss, word-and-otherwise. I am not a natural storyteller. This role was thrust upon me by conditional necessity. The babies know about goblins, about red wind spirits. Their moonseed eyes now flicker with the haunt of this profane knowledge, the dying of stars as perceived through aquarium glass, embers diffused and bewitched. The babies do not know about men in numbered suits, operating as brutal calendars and pale assassins, men who have grown eyeless through black wraparound visors, men with large hands, large enough to cover houses and neighborhoods. The babies do not know of men. They only know of goblins. They have one foot in fable, the other hopping off somewhere. I could, if I choose to, present my mother as evidence, as a series of curated photographs hinting at a life—the kitchens tattooed onto her elbows and wrists, walking the dog at the crack of dawn in her pajamas and slippers, the way her mouth forms a sickle when she is curious or doesn’t understand what you’re asking her … I could present this life, a life, my mother, our mother.

(every night

when i go to sleep

i feel

an army of fire ants

crawling on my skin

raising an empire

taking over

a body i cannot escape)

One of the babies cracked open her egg of fear, equal parts origin and shadow, by asking—Where is mama? The other baby, her sister, threaded the loop—When is mama coming home? That was seven weeks ago. They don’t ask anymore. I don’t know what they dream. I do know that they mutely pray every night to keep the goblins from abducting any more members of our family, of any family. And me? I give my tired mind silent permission to shrink down the colossal hands into something common, something manageable. I practice this useless alchemy, and sometimes I pray, same as the babies.

P.S. Last night me and the babies conducted a séance, using a hollowed-out gourd and mother’s heirloom silverware, just to see if contact was possible. We heard nothing, but one of the babies, wise beyond her years, suggested we give it more time.

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Reading at Teatro Paraguas

I am excited to be doing a reading and book-signing at Teatro Paraguas in Santa Fe, NM.

I got to see Theater Grottesco’s inspiring experimental production, Action at a Distance, this past May at Teatro Paraguas, and fell in love with the space: intimate, industrial, bare bones NYC underground meets theatrical enclave. I hoped to one day perform or stage something there, and feel grateful for the opportunity to present The Last Furies in this creative sanctum.

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Review in the Compulsive Reader

Louis Greenstein’s review of The Last Furies appearing in the Compulsive Reader.

Excerpt:
“The Last Furies inhabits a shamanic, liminal world where fantasies, yearnings, and radio waves merge to reveal secrets of the universe and mysteries of the human consciousness. From surreal desertscapes inhabited by eccentric, masked residents; to tarot readings come alive with magicians, fools, and hermits; to the anxious musings of an amputee former poet listening to a radio broadcast about a play about an amputee former poet; to a Joan of Arc inspired suicide cult; to a Mexican shrine to a mystical recluse, Biscello takes the reader deeper and deeper into a lyrical, spectral world.”

Read the full review here.

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Cover Reveal

Cover reveal for my sixth novel, No One Dreams in Color, which will be published by Unsolicited Press in April 2026.

I am thrilled that the cover features the artwork of Linda Stojak, one of my favorite contemporary artists who creates deeply haunting and illuminating images.

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