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I Am Endless: A Visionary Ghost Story For The Ages
After dying from a fear experiment, a young woman returns as a ghost, reaching back from the Alchemists to Nazi scientists for peace. To succeed, she will have to direct her family to make sure she dies again.
* * *
In post-WW II America, Evelyn Allford is informed by her dreams that her past is false. The dreams were planted by her dead daughter Avorra, but Evelyn doesn't recall her, and doesn't know she's a ghost.
Aided by Avorra, Evelyn learns of two men who shared her past. She connects with the first (Hugh Baff), whose memories are also false. Upon speaking with Evelyn, Baff literally returns to his original life, in Medieval England. There, Baff was overseer for the Richerd Allford estate. Also present are Richerd's partner Regineld, wife Evelyn, and daughter Avorra. After the girl is crippled, Richerd tries to return her health using pagan healing. Father and daughter are convicted of heresy. Richerd is exiled, but Avorra is burned dead. Devastated, Richerd enters an ancient sarcophagus, intending to revive Avorra in the future.
After this, Baff finds himself in the present again with Evelyn, who is next able to find Regineld. As aided by the ghost girl's dreams, Regineld returns to his past life in Nazi Germany, where he was an SS officer. There, he encounters Richerd, a scientist studying robotics. The two men recall nothing of their past lives. Neither does Richerd understand his robot that ancient sarcophagus.
Richerd and Regineld begin working on a project that will utilize fear as a weapon in order to vanquish enemy soldiers. Baff is their assistant.
Richerd has sex with a Jewish Evelyn. Soon after Avorra is born, Nazis discover them, and break the child's neck. Horrified, Richerd manages to enter the hollow mannequin. Again he vows to save his daughter in the future. This time, however, doctors revive the child.
After the Yanks win the war, they take some Nazi researchers back to America to complete the Fear Project. Included are Regineld, Baff, Evelyn, Avorra, and the mannequin. No one knows what happened to Richerd.
Because the Americans consider all of these Germans to be war criminals, they feel free to use them in their experiments. As subjects, Regineld, Baff, Evelyn, and even Avorra will face their greatest fears, which will be amplified using modern psychology and electrical stimuli, aided by mystical, medieval chemistry. The ultimate purpose is to terrify real war criminals into admitting their crimes.
When the first three German subjects face this fear interrogation, they are terrified, nothing more. The last, however, is Avorra, and she dies from an onrush of amplified fear.
Then her story begins, and her life as a ghost. It will only end peacefully if Avorra can return to her ancient deaths, and resolve them. This time, she does not intend to survive.
* * *
In post-WW II America, Evelyn Allford is informed by her dreams that her past is false. The dreams were planted by her dead daughter Avorra, but Evelyn doesn't recall her, and doesn't know she's a ghost.
Aided by Avorra, Evelyn learns of two men who shared her past. She connects with the first (Hugh Baff), whose memories are also false. Upon speaking with Evelyn, Baff literally returns to his original life, in Medieval England. There, Baff was overseer for the Richerd Allford estate. Also present are Richerd's partner Regineld, wife Evelyn, and daughter Avorra. After the girl is crippled, Richerd tries to return her health using pagan healing. Father and daughter are convicted of heresy. Richerd is exiled, but Avorra is burned dead. Devastated, Richerd enters an ancient sarcophagus, intending to revive Avorra in the future.
After this, Baff finds himself in the present again with Evelyn, who is next able to find Regineld. As aided by the ghost girl's dreams, Regineld returns to his past life in Nazi Germany, where he was an SS officer. There, he encounters Richerd, a scientist studying robotics. The two men recall nothing of their past lives. Neither does Richerd understand his robot that ancient sarcophagus.
Richerd and Regineld begin working on a project that will utilize fear as a weapon in order to vanquish enemy soldiers. Baff is their assistant.
Richerd has sex with a Jewish Evelyn. Soon after Avorra is born, Nazis discover them, and break the child's neck. Horrified, Richerd manages to enter the hollow mannequin. Again he vows to save his daughter in the future. This time, however, doctors revive the child.
After the Yanks win the war, they take some Nazi researchers back to America to complete the Fear Project. Included are Regineld, Baff, Evelyn, Avorra, and the mannequin. No one knows what happened to Richerd.
Because the Americans consider all of these Germans to be war criminals, they feel free to use them in their experiments. As subjects, Regineld, Baff, Evelyn, and even Avorra will face their greatest fears, which will be amplified using modern psychology and electrical stimuli, aided by mystical, medieval chemistry. The ultimate purpose is to terrify real war criminals into admitting their crimes.
When the first three German subjects face this fear interrogation, they are terrified, nothing more. The last, however, is Avorra, and she dies from an onrush of amplified fear.
Then her story begins, and her life as a ghost. It will only end peacefully if Avorra can return to her ancient deaths, and resolve them. This time, she does not intend to survive.
197 pages, Paperback
Published March 5, 2020
About the author
H.C. Turk
33 books11 followersA: This is hard.
Q: Why is making a bio so hard for you?
A: Because it's like talking. I don't like to talk; I like to write.
Q: But people want to know about authors. Reading a book requires a lot of effort.
A: Writing one ain't exactly playtime.
Q: That's better. Go ahead, tell us more. Did you have a pleasant childhood?
A: Ask my dog; he was there.
Q: Your dog is stuffed. He's not a real dog.
A: He's more real than you are. You can’t even ask a good question.
Q: Here’s one: Why should people read your books?
A: Because my puppy will be sad if they don’t.
Q: We need to get serious here. How many novels have you written?
A: 33.
Q: I’ll bet your dog can’t count that high. How long have you been writing?
A: I’ll answer if you promise not to kick my dog again (metaphorically).
Q: He wouldn’t feel it—he’s stuffed.
A: If someone kicked the stuffing out of you, I bet you wouldn’t enjoy it.
Q: Would I enjoy it more than reading one of your books? Or would it be equally painful?
A: You’re cruel to dogs AND to authors.
Q: If you answer my last question, I promise to be nice. How many years have you been writing?
A: [mumbles]
Q: That’s pathetic.
A: Why don’t you ask me about my stories?
Q: Stories are for campfires.
A: The basis of history’s greatest novels is the story: the story of nations, cultures, families, individuals. The greatest idea that can be expressed in fiction is story.
Q: Great, so tell me about your characters.
A: Dull and Dumb are not two of my characters, or characteristics.
Q: Do you ever write about animals, stuffed or not?
A: Rescued greyhounds in Heaven Again, tiny ponies in Only The Impassioned, mudfish in Resurrection Flowers, ghosts in An Atmosphere Of Angels.
Q: Ghosts aren’t animals, they’re unsettled spirits. If ghosts continue to read, what will they find in your novels?
A: They will find passion, idea, and spirited characters whose lives are a story. And puppies.
Q: Why is making a bio so hard for you?
A: Because it's like talking. I don't like to talk; I like to write.
Q: But people want to know about authors. Reading a book requires a lot of effort.
A: Writing one ain't exactly playtime.
Q: That's better. Go ahead, tell us more. Did you have a pleasant childhood?
A: Ask my dog; he was there.
Q: Your dog is stuffed. He's not a real dog.
A: He's more real than you are. You can’t even ask a good question.
Q: Here’s one: Why should people read your books?
A: Because my puppy will be sad if they don’t.
Q: We need to get serious here. How many novels have you written?
A: 33.
Q: I’ll bet your dog can’t count that high. How long have you been writing?
A: I’ll answer if you promise not to kick my dog again (metaphorically).
Q: He wouldn’t feel it—he’s stuffed.
A: If someone kicked the stuffing out of you, I bet you wouldn’t enjoy it.
Q: Would I enjoy it more than reading one of your books? Or would it be equally painful?
A: You’re cruel to dogs AND to authors.
Q: If you answer my last question, I promise to be nice. How many years have you been writing?
A: [mumbles]
Q: That’s pathetic.
A: Why don’t you ask me about my stories?
Q: Stories are for campfires.
A: The basis of history’s greatest novels is the story: the story of nations, cultures, families, individuals. The greatest idea that can be expressed in fiction is story.
Q: Great, so tell me about your characters.
A: Dull and Dumb are not two of my characters, or characteristics.
Q: Do you ever write about animals, stuffed or not?
A: Rescued greyhounds in Heaven Again, tiny ponies in Only The Impassioned, mudfish in Resurrection Flowers, ghosts in An Atmosphere Of Angels.
Q: Ghosts aren’t animals, they’re unsettled spirits. If ghosts continue to read, what will they find in your novels?
A: They will find passion, idea, and spirited characters whose lives are a story. And puppies.
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