As authors of Visionary Fiction, we all have our own take on the genre and how we go about enriching it with our own particular approach. However, all of these share a common purpose to go beyond mere “entertainment” and its various mind-numbing manifestations. This is writing with a purpose, designed to expand readers’ consciousness by means of conceptual and inspirational challenges with a potential capability of kindling fresh inspirations of their own…
Our genre covers a vast range of contexts, which includes acknowledging the precept that everything is in a constant state of flux and time is an illusion. We may, therefore, feel drawn to exploring various ways of weaving this aspect of the metaphysical into the corpus of our writing. How far we need to go before Visionary Fiction shifts into the realm of Meta-Visionary Fiction (MVF) is, no doubt, debatable. However, for the sake of the present argument, we can define MVF as being an approach drawing upon a range of literary devices to blur the borderline between “vision” and “hyper-vision”. “Fake News” is one of them. Although NOT the kind of “Fake News” you might imagine.
Instead of only using regular narrative or description, a great deal of important information is delivered in the form of press articles (such as the “imagined” Sydney Morning Herald cutting shown here), interview transcripts, website screenshots and other add-ons. All contributing to create a more dynamic environment designed to be “as real as the reader needs it to be”.
The first forays into “meta-visionary” territory appeared in the “Genesis Antarctica” trilogy between 2012 and 2016, preparing the ground for the multi-dimensional aspects of “Revelation Antarctica” in 2019.
There is a downside to all these good intentions, however. Some readers misunderstood the “Fake News” device and trashed “Genesis Antarctica” because “The Sydney Morning Herald didn’t use that typeface for its headlines in 1962”. Similarly, if just one of the 99 items in “Revelation Antarctica”* takes readers outside their comfort zone, feedback can be equally damning.
In addition to these characteristics, Meta-Visionary Fiction has yet another astoundingly unique aspect, to be fully explained in a future article. Suffice to say, it offers readers the option of glimpsing, first hand, what timelessness really implies… and how synchronicity orchestrates the “illusory” passage of time.
Unbending Science rejects MVF
One recent anecdote illustrates the kind of opposition we are likely to encounter in our “crusade” to stimulate a thirst for awareness among our readers. It is also rather amusing:
I had sent a message about “Revelation Antarctica” to an investigating scientist in Ohio who has studied evidence of aliens in Antarctica. He was very keen to find out what I know and how I came to discover it… I sent him a pdf of the entire book and we set a time for him to call directly the following day (no Skype or Zoom…). Our conversation lasted nearly two hours and he was very keen to know how I had managed to get hold of certain facts which are, apparently, VERY highly classified secrets!
When suggesting some of the information may have been partially channelled, he didn’t want to know. Although he did ask if I had seen any strange lights in my room when the “inspiration” manifested… Well, I hadn’t, although there was always a feeling of “guidance” pointing me in the right direction. (After watching Brad Swift’s interview on the VFA site discussing his latest book, The Fringe Candidate, I shall adopt the term “muse” from now on. Much better).
Anyway, our Antarctica scientist became even more excited when he saw the material was accompanied by my “pseudo-authentic” articles, screenshots, forum extracts, etc. He kept trying to discover my sources, emphasising he is a scientist solely interested in finding out how I had obtained so much classified information. Then, a couple of days later, I presume the penny dropped. Maybe it was my “as real as you need it to be” mantra that did it!
After sending another message developing the importance of VF as a trigger to awareness among a wider audience, he sent the following cryptic message with only a few words in the subject line. No message as such:
“I am only interested in truth ( -:)”
After so much initial enthusiasm from the scientist-investigator, this was a devastating comedown. Until I realised it was, in fact, an encouragement! If this “secret” information had been solid enough to grab – and retain – his attention for almost three whole days, we must be doing something right!
In the end, perhaps the extracts from the “Star Peace” movie script blew it? Or the article about “Remembering the Future”? It could also have been the alien-built (and rotating) moon…? Or the underlying reasons why certain people were unable to see the Masterships.
We will probably never know.
The next article will be largely focused on the 4 possible ways of reading “Revelation Antarctica”.
You can find out more about Revelation Antarctica on the VFA site here:
About the author
Initially a compulsive writer of poems, dramatic monologues and radio plays, from 1967 – 1973, Gordon Keirle-Smith was a visionary artist, producing highly symbolic paintings. Everything changed when he met Johfra and Ellen Lorien, two founder members of the Dutch meta-realist visionary art movement. He desperately wanted to emulate them… but lacked the formal training needed to come anywhere near their technical mastery… He therefore decided to start painting with words rather than oils and brushes. In 1973, he moved to France, where he drafted the first version of “Zandernatis” incorporating all the symbolic and visionary images he would never have had the time – or the skill – to paint. After a series of contrasting careers, Gordon founded his own communications coaching, copywriting and transcreation business in 1994, allowing him to hone his journalistic, creative writing and copy editing skills in an incredibly diverse range of fields. Perfect grounding for what came next. In 2013, he unearthed the original typescript of “Zandernatis” and began updating it, adding the innovative aspects of the work he was now able to introduce. Two years later, all three volumes of “Zandernatis – Where Legends Were Born” – a definitive “meta-realist allegory,” had been published with translation into French underway.