STEPHEN WEINSTOCK’S THE QARAQ and the MAYA FACTOR, BOOK TWO OF 1001:
THE REINCARNATION CHRONICLES
After the events of The Qaraq, Sahara Fleming has accepted that she can recall past lives, along with her qaraq, a group of intertwined souls who come together lifetime after lifetime. Now the distressing Maya Factor splinters their community—stemming from the Hindu “Maya,” the worldly illusion that shields us from visionary awareness, and blocks the qaraq from recalling reincarnation stories.
As the group shatters, Sahara must handle her aggressive husband’s advances to get her back. She enjoys their romance, but sees their reincarnations as visionary terrors.
As memories return, the qaraq discovers shocking links between ancient tombs, the sinister Red Isle, and a seventeenth century coven. Is there a grand vision to their lives? Or is it another layer of Maya that will tear them apart?
Structured as a modern Arabian Nights, Stephen Weinstock’s wildly imaginative 1001 conjures up magical, dark, humorous, and visionary reincarnation stories.
PRAISE FOR 1001: THE QARAQ, Book One of The Reincarnation Chronicles
“A love spat between two atomic particles, that tickled me—it could get dangerous!”—Eric Van Lustbader, bestselling author, Jason Bourne, Nicholas Linnear series
“Stephen Weinstock’s imagination is fevered, surreal, fantastical. It will take you places you never dreamed you would go.” —Barry Jay Kaplan, author, Black Orchid
“The kind of book that keeps you up later than you intended at night!”
“Whether you believe in reincarnation or not, this is a book which will expand your universe.”
ABOUT STEPHEN WEINSTOCK
In my past life before 1001, I created music for theater companies (Magic Theater, Eureka Theater), choreographers, and dance studios (Merce Cunningham, Martha Graham). I have worked as a musician/teacher on the dance faculties of UC Berkeley, Princeton, Juilliard, and the ‘Fame’ school in New York City.
For years I had the idea of a novel puzzling out an intricate past life history between a group of souls, but only with the epiphany of using the ancient frame tale structures of The Thousand and One Nights did I receive the courage to jump fields. By day I still bring dancers to ecstasy with my improvisations, but at night I enter the world of metempsychosis, time-honored storytelling, and worlds ranging from historical fiction to romantic fantasy.