The Couple on The Green – Avie Bennett Blog Tour!

The Couple on the Green Tour Banner

Welcome to the The Couple on the Green Blog Tour!

Come and take the emotional journey that is The Couple on The Green and find out about the book readers are raving about.

 

product_thumbnail.php_What they say:

‘The course of true love never did run smooth, but is holding onto true love worth a lifetime of pain? Isobel and James are the couple everyone wants to be; wildly in love, compatible in every way and caught up in the sexually adventurous haze of young love, but just as they accept this life as theirs forever it is torn away from them. Theirs is the tale of an all-encompassing love-of-a-lifetime and the excruciating pain that so often accompanies it. This is the story of the love we all search for, but few can hold onto. James and Isobel get a second chance, but is it ever possible to get a happy ending?’

 Review by Max Radford:

The couple on the green is a story about the battle of true love. It’s realistic and heartfelt and at times heart breaking. A story that will resonate with a wide audience, make you feel the wave of love, the pain of loss and the contentment of true happiness.

It is the kind of book you can’t help yourself from getting absorbed in; you find yourself rooting for Isobel and James from the beginning. I felt like I cried with them during the hard times and smiled with them when they felt joy.

Quite simply, you can’t get away from this book. It stays with you and will make you think about your own relationships. One of the most realistic love stories I’ve read in a very long time.

 

Click Here To Buy This Book – UK

Click Here To Buy This Book – US

 

WATCH THE TRAILER

‘This is really an excellent debut, perfect for fans of Nicholas Sparks and lovely romantic (even heart-breaking) stories.’

 

– Marina, This Chick Reads

 

IMG_1396_C_fb-1024x687Author Bio:

Avie Bennett started writing at the age of fourteen and never really stopped. She’s had her work published in magazines, journals and newspapers but says she ‘never really thought’ to write a novel. That is, until recently when a burning desire bound her to do so.

Avie lives with her husband and children in Hampshire, England. When not writing, she can be found enjoying other creative pursuits such as art, music and photography.

 

Author Links

Website | Facebook | Twitter | Tumblr

 

GIVEAWAY!

a Rafflecopter giveaway
//

The Blues Blows In From Jersey Shore

If you like blues and jazz played by excellent musicians and spiced up by straight-talking (sometimes raunchy) lyrics, you’ll enjoy The Danny Petroni Blue Project (featuring artist Frank Lacy) by The Blue Project (released 11th January, 2014) This is late night music – the kind that used to be heard in smoke-filled rooms.

Petroni plays guitar in the band and all tracks are written by him. All the musicians and singers involved on this debut album, which include Frank Lacy on lead vocals, trombone and flumpet, bring something to the party. With the likes of Louis Jordan and Joe Turner sitting on Petroni’s shoulders, he explores different shades of the blues tradition. The guitar plucks at your heartstrings; the horns make you shuffle your feet. By the way, ‘flumpet’ isn’t a typo! I looked it up and, apparently, it’s a hybrid instrument which merges the trumpet and the flugelhorn.

Traditional blues kicks off the album, with I Changed My Ways, a slow song with vocals from Frank Lacy and Jo Wymer plus fabulous blues guitar and swampy violin. As well as terrific vocals from Frank Lacy throughout, which reverberate from years of experience, he gives us fine musical moments such as the trombone solo on Mouse in the House. Danny Petroni’s guitar playing is also assured, no matter what style he’s playing in. Cracker Jack and Diminishing Returns are the two instrumentals present, the former with jazz horns and country/ rock-tinged guitar and the latter featuring a mellow Petroni on a Fender Strat.

God of War is a hard-hitting anti-war protest and the most rock influenced track on the album. Requiem for the Working Man, probably my favourite contribution, begins with a wonderfully mournful upright bass intro. This song is about those on minimal wage struggling to get by, with simple lyrics which eloquently describe their plight. As for the track, Peanut Butter & Jelly, I can’t help thinking that “peanut butter and jelly” may be a euphemism for something…..

Danny Petroni’s motivation for forming this band from fellow Jersey Shore musicians was in the wake of Hurricane Sandy in 2012 when the aftermath saw the local music scene all but stop. This record is their phoenix rising from the ashes, so to speak.

There’s purity in this music, which shows a modern audience that you don’t need studio tricks and endless layers of production; you just need a soul.


Streaming link: http://theblueproject.bandcamp.com/   

 

 

…up in a puff of smoke

It probably came as a surprise to most to see that The Economist’s ‘Country of the Year’ for 2013 was Uruguay.  Their decision was in no small part down to the nation’s recent move to regulate the production, sale and consumption of cannabis.

“Prohibition”, observed the late American economist Milton Friedman, “is an attempted cure that makes matters worse—for both the addict and the rest of us.”  It’s time for the industry to be decriminalised and regulated, not because drug taking is acceptable, but because drugs create a problem too complicated to leave to the black market.

Think of a friend who desperately wants to use cannabis but who doesn’t use it because it’s illegal.  Stumped?  That’s no surprise.  Whether they’re prohibited or regulated, those who want to take drugs will.  All we do by banning cannabis is shove them into the open arms of dealers, and hamstring society’s ability to persuade them not to bother.

Organised criminals can sell whatever product they like, using whatever methods work, charging as much as they can get away with.  The result: adulterated drugs, potential for violence, and hugely inflated prices.  Prohibition simply fattens the criminal underbelly.  What’s more, cannabis becomes a ‘gateway’ drug as soon as the dealer pushes his customer to try something stronger.

Just because we legalise a substance doesn’t mean we endorse it.  Anyone over eighteen can down a bottle of vodka every day until they die.  The fact that it’s legal doesn’t make it socially acceptable; but it does remove the taboos that stand in the way of open, honest discussion about substance abuse and its consequences.  In a decriminalised Britain, advertising campaigns and accurate statistics (on drug-driving, for example) would stand a good chance of deterring many cannabis users from harming themselves and others.

Decriminalisation, then, doesn’t solely benefit the user.  It would save taxpayers money, for one thing—up to £1.25bn in total, according to the Institute for Social and Economic Research, and it’s not like we couldn’t use that at the moment.  Prisons wouldn’t be so strained; acquisitive crime would tumble; and guns, ninety-five per cent of which are linked to drug gangs in Britain, would hold less sway on the streets.  The more drugs we decriminalise and regulate, the greater these impacts.

Further afield, it’s even harder to justify prohibition.  In Mexico, drug-related violence has claimed the lives of over 60,000 people since 2006.  Topple one kingpin, and another tries to fill the void—it’s a never-ending merry-go-round of violence.  Perhaps more relevant to Britain, though, is the case of Afghanistan.  Taleban fighters only strengthen their influence through the drugs trade, as farmers grow the crops that make the most money: marijuana plants and, much more extensively, opium poppies.

The basic model isn’t that complicated—and it’s viable.  Portugal decriminalised way back in 2001 and has seen positive outcomes; Uruguay and two American states have followed suit with new strategies.  In a legal marketplace, production, preparation and purchases can be carefully controlled.  Rather than concentrating on punishment, efforts can be channelled into prevention instead.

Like it or not, people take drugs, always have, and always will.  Relying on criminal gangs to supply them is like flipping a weighted coin: heads they win, tails you lose.  A new year calls for a new approach, and cannabis should be top of the list.

Film Review: Paris When It Sizzles

You every get that feeling when all you want to do is to sit down in front of the TV and watch something that doesn’t require too much effort? Something that doesn’t ask too much of your concentration? Maybe you’ve been on your feet all day toiling and sweating and you’re physically exhausted or maybe you’ve got too much on your plate and it’s hard to focus on any one thing and all you wish is for something to take your mind of it for a little while. Either way, sometimes losing yourself in a slice of good-looking, light-hearted silliness can be just the ticket. Paris When It Sizzles is just such a slice of good-looking, light-hearted silliness.

It’s a 1964 romantic comedy and it stars William Holden and Audrey Hepburn who ten years earlier had set tongues wagging by having a brief romance of their own while making the film Sabrina. Holden was married at the time, after all. However, this most delicate bloom of an actress decided to end the relationship either on account that her lover was plagued with alcoholism or that he’d undergone a vasectomy and couldn’t have children. Or both. Years later Holden apparently still carried a torch for her so one can imagine their feelings when Paramount Studios insisted on them making the film together. Fortunately for us, if there was any awkwardness between the stars, it didn’t translate to the screen.

The plot revolves around Holden’s playboy screenwriter Richard Benson (he played another screenwriter in Sunset Boulevard 1950) who hires Hepburn’s secretary Gabrielle Simpson to stay with him in his hotel room over Bastille weekend in order to type up the screenplay that he has promised to his boss, Alexander Myerheim (Noel Coward). Trouble is, even though he’s already been paid for it, he hasn’t got a clue what he’s going to write and the several possibilities he comes up with stink. But he is soon inspired by the lovely Gabrielle and comes up with the title, The Girl Who Stole the Eiffel Tower. The rest of the film flits between their growing relationship in the hotel room and the imagined film playing out as Benson narrates. The end result is of course, utterly predictable but the journey is a lot of fun and it involves inept police and international spies. It also takes a few hilarious potshots at the movie business and there are several noteworthy cameos too, particularly from an uncredited Tony Curtis.

I laughed loudest at Curtis’s antics (his comedic ability has always appealed to me – see Some Like It Hot, The Persuaders etc) particularly towards the end when he shares the screen with Holden but the truth is, while the film has some incredibly silly moments, the entire cast manages to carry the absurdity of the story in an almost pantomime-like style and for me, this ensures there are laughs to be had all the way. There are a couple of marvellous cameos too (don’t we just love cameos?), one if which is the voice of one of the greatest singers the world has ever known. Check it out. I guarantee you’ll laugh – or at the very least giggle.

The film was directed by Richard Quine whose other credits include Bell Book and Candle (1958) and How to Murder Your Wife (1965). George Axelrod, – he of The Seven Year Itch (1952) fame – adapted the screenplay from an earlier French film called Holiday for Henrietta (1952). The music is from Nelson Riddle – composer, bandleader, arranger – who worked with some of the greatest singing talents ever and the exterior shots of Paris, which make you just want to go there, come courtesy of cinematographer Charles Lang, whose credits include A Farewell to Arms (1932), Some Like It Hot (1959) and The Magnificent Seven (1960). Whether it’s a bright sunny day or a neon-lit night shot, seeing Paris on film always makes me want to jump on Eurostar.

While it might not have a place in the pantheon of romantic comedies like say, Hepburn’s Roman Holiday (1953) or Jack Lemmon’s The Apartment (1960), it is worth a look. It teems with that glamorous ’60s European chic and there are some great lines from some of Hollywood’s greatest stars. And besides, you didn’t want to be  entertained too much anyway.

 

Monks of Mellonwah Are Becoming Addictive

Take a great big cooking pot; put in some experimental Incubus, a pinch of epic theatricality from Muse, and spice it up with Red Hot Chili Peppers. Leave to simmer under the baking Australian sun and what do you get? Monks of Mellonwah have this stew coursing through their veins but still manage to be original.

This alt-rock/indie band from Sydney (Vikram Kaushik – vocals, Joe de la Hoyde – backing vocals/guitar, John de la Hoyde – bass and Josh Baissari – drums) has been together since October, 2009, and they are as tight as the proverbial drum. They’re going from strength to strength having gained lots of airplay and have also developed a fan base from their national and international tours. Plans for 2014 tours in America and Europe will promote their latest offering, which is their debut full-length album, Turn the People. A&R Worldwide signed the band, and they can certainly hold their own with the likes of stable mates, Muse and Coldplay.

Turn the People has actually been part released, teasing and drip- feeding fans with tantalising selections. Volume 1, released in June, 2013, is titled Ghost Stories. This was followed up in October, 2013 with the second volume, titled Afraid to Die. Volume 3, with the title, Pulse is scheduled for release in March, 2014, along with the album in its entirety. Having already heard (and reviewed) Volume 2 – Afraid to Die – I’m familiar with the four songs on that EP that appear on the new release, namely title track Afraid to Die, Downfall, Alive For a Minute and I Belong to You. My earlier review of the first three tracks reflected my great enthusiasm for the music but inability to connect to the lyrics. However, the powerful ballad, I Belong to You blows me away, always threatening to make me cry.

As for the remaining tracks on this new album, the opener, Ghost Stories – Intro is 57 seconds of a strange, otherworldly instrumental. This is followed by Ghost Stories, an epic drama with inventive, unnerving and menacing lyrics. You can feel the kick of Kiedis and Co. on the aggressive rock of Vanity and the gentler Pulse, which also has some gorgeous harmonising.  Tear Your Hate Apart has exceptional vocals and dark lyrics.

A frenetic outpouring puts you within those “hallowed walls” in Escaping Alcatraz. Sailing Stones rocks along, with a surprising Arabian Nights-like instrumental break.  The track, Turn the People has great imagery and ends with soaring guitars.  Sky And The Dark Night – Part 2 – Control, as the title implies, is part two of an earlier release – more great imagery and guitar virtuosity.

Superb production, arrangements and musicianship are in evidence throughout. Lyrically, the simpler and more direct ones work better for me. When they rock, they rock hard; when they go the electronic route – it’s inventive, and vocalist, Vikram Kaushik has the emotional weight to take you with him to some sublime places. The cover art indicates this is going to be experimental and outside the norm, but what I like about this band is you never know what’s coming next.

Turn the People is an emotional rollercoaster – the kind of album where you’ll hear something new with each play. This band is really getting under my skin.

Soundcloud (https://soundcloud.com/monksofmellonwah/sets/turn-the-people

 

A Painful Truth…

This week I must report both sad news, and happy news. I debated making two posts of this and keeping them separate, yet the two subjects collide in an odd manner, due to a shared theme: Death.

I have spent a great deal of my life contemplating death. I have, on several occasions, attempted to end my own life. The last occasion, in the summer of 2011, was so very nearly successful that I have found people have acted differently around me since. Friends, family, it’s like they caught a glimpse of something horrific, something so utterly terrifying that they are almost afraid to look at me in case they see it again.

I did not truly understand this reaction. I understood, in the abstract, the notion that people hate the thought of someone they love taking their own life, because it means they will have to mourn the loss. They will have to grieve. And that will be unpleasant for them. I have often heard it said that the act of suicide is one of the most selfish things a person can do, and I have been told—by more than one friend or relative—that I ‘have’ to keep living because it would be unfair of me to die. It would be selfish of me to inflict the pain of losing me on people for whom I profess I care.

Unquiet MindI have never seen it this way, and have in fact always viewed it from the alternate perspective: I have always found it utterly selfish of my friends and family to expect me to live through times in my life when I have wanted nothing more than to die. Since my diagnosis and the start of proper treatment and medication, as my life has so painfully slowly started to get back on track and I have begun, ever so cautiously, to hope that the worst is behind me, I find myself wishing less and less that I were dead. As I’m sure you can understand, everyone I know seems pleased by this, but I still find it incredibly hard to articulate to anyone ‘in the throws’, as it were, of an episode, exactly why it is a bad idea to try and kill themselves.

After all, it’s rather hypocritical, is it not, for me to sit there and say ‘no matter how bad it gets, you should never resort to that, it’s not an answer’, for I myself HAVE resorted to that, because at the time it felt very much like it WAS the only answer. When I was feeling like that I despised those people around me who told me I couldn’t do the one thing I was absolutely convinced would end my suffering. As a result, I feel useless when confronted by a person in that state of mind, because I know full well there is not one single thing—and I really do mean NOT. ONE. SINGLE. THING—that can be said to make them feel better, and anything you do say is likely to make it worse.

To that end—and here we come to my good news—I began writing a series of books exploring notions such as these, in an effort to provide something tangible to those people who felt like I had, both in the past and often during the time I was writing the first one.

Chasing Azrael is a novel about Death. More specifically, it is a novel about the obsession with Death, and how it can lead people to take their own lives, or spend so much of their time fixating on taking their own lives that they have no real life to speak of anyway. I began this novel in 2010, when I was first diagnosed with rapid cycling, Bipolar Disorder I. For the first time in my life I had a reason for some of the things that had happened to me, the way I had felt at certain times, and the possibility that it might get better. I was, to my horror, to find that it had to get considerably worse before things ultimately began to improve, but as I wrote my book, and tackled issues of plot, and dialogue, and characterisation, I found it was something I could hold onto in times when I was feeling impossibly low.

Chasing AzraelI designed the novel very carefully. It is not a manual for suicide, but rather a warning for those who contemplate it, and for the people in their lives who may—albeit unwittingly—be pushing them towards it through sheer ignorance. For years I had lived with friends and family who could not understand my often utterly irrational behaviour. My relationships with most of my family were strained, and the friends I had one by one fell away, until I was, at one stage, left with absolutely nobody but my brother, to whom I am eternally grateful for always standing by me, giving me a place to stay and a job. When I was diagnosed this changed. People became more understanding. Some of the friends who had abandoned me came back, realising that whatever it was I had done to upset them I had not intended, I had not meant, and more often than not I had not had the slightest amount of control over. The same was true of my family. My mother and sister are now a huge part of my life, something that was simply never the case before, as neither of them could understand me, and I resented them for it. My brother, on the other hand, went the other way. We have grown apart since, partly due to him getting a girlfriend, settling down, and us seeing less and less of each other, but partly also because the mention of my condition unnerves him. It makes him… uncomfortable. You can see it in his face whenever it comes up in conversation. I do not think he is consciously aware of it, but for whatever reason, he won’t talk about it. Almost as if, if he can pretend it’s not there, somehow it will go away and stop bothering his little sister.

This reaction is understandable, but it is not helpful. To a person who has a condition like bipolar, it is necessary for the people in their lives to be as understanding as they can manage to be, to have as much comprehension of their condition as they can, if for no other reason than to keep them from saying things like ‘well, we’re all down sometimes’, when you’ve phoned them from the railings of a very high bridge and are on the verge of jumping. The people in your life need to know what they can and can’t say when you are in the various states that overtake you. They need to know how best to handle you, and when they are really best not handling you at all. Perhaps most importantly though, they need to acknowledge that you have a mental health illness, that this is not your fault, that it doesn’t make you ‘wrong’ in the head, or any less of human being, and that it is no different, not really, to any number of physical condition such as diabetes. One involves changing levels of insulin over which you have no control, the other involves changing brain chemicals over which you are similarly powerless.

To that end, I also wanted my books to provide people who didn’t have any kind of mental health problems with a deeper understanding of what it is like to live with such conditions. It’s a tall order, but I would like nothing more than for someone with no history of depression to pick up my book, read it, and come away not only having (hopefully) enjoyed a good story, but also with the feeling that they know, at least a little, what it is like to live with being depressed, to such an extent that you regularly consider ending your own life, and that to you, that is not an abhorrent or selfish act to contemplate, it is the light at the end of a tunnel full of horrors, the glimmer of hope in an otherwise desolate landscape. I want them to come away understanding why to people like me, it isn’t the ones who commits suicide who appears selfish, but the ones who repeatedly keep a person from dying. In short, I want to pick my readers up, take them to the very brink of insanity, then yank them back to the world of the living, a place where yes, they can acknowledge how bad it gets, yes, they can understand the impulse to do it, the need to have it over, but they can also see that there is a way back from that place.

I want the people who have stood on that bridge to know there is a way down.

And I want the people who have been on the other end of the phone while they were up there to know that once they are down, they can find a way to have a life again.

Life Asked DeathIt’s a long time since I have actively contemplated killing myself. I had a slightly dicey few weeks around October-December last year when I recognised how I was feeling and I knew it was possible I’d get that impulse again. I handed my MEDs over to my mother who has had them under lock and key ever since.

You are probably wondering how on earth I can possibly class this as ‘happy’ news, and if this is the good, what the hell is the sad?

Well, the happy news is that Chasing Azrael is soon to be released on the world. As of the 26th of April it will be available in paperback and Kindle formats, from Amazon and a host of other retailers, as well as directly from myself. For those of you who read this blog regularly and enjoy my writing, I hope that you will pick up a copy, but more than that, I hope that you will let me know what you think of it. I am still writing the remaining books in the series, and I want to ensure the rest—one in particular, which is very personal to me—really achieve the effect I have in mind.

And this of course leads me to the sad news. I have begun to understand over the last week or so why it is my friends and family have had that look about them since my last suicide attempt so very nearly worked. On the 5th of January I lost a very dear friend. To say that her death was unexpected would be redefining the word to mean something infinitely stronger than its current denotation. She was young; she was healthy; she has three teenage children. I was speaking to her on January 1st. We were thanking each other for our respective Christmas cards and talking about AuthorCon, a convention of independently published authors which is taking place in Manchester, on April 26th, and at which I will be launching my book. Lindsey, also a writer, had booked a table and was planning to come up, along with another friend of ours (again, another writer, you can see a trend here…), so that it would be the three of us signing books at the convention. I was incredibly excited about this, not only because it was my book launch but because it meant meeting Lindsey in the flesh. The latter was pleasing because despite her being a very good friend, we never actually met. We knew each other only via an online writing group of which we are both members.

She went out for a walk with her family later that day, came home, began complaining of back pains, and was rushed to hospital. Despite an operation that appeared to be successful, she was placed in a medically induced coma. She never woke up. I cannot adequately describe the utter shock, and horror, that I felt when I was told. I have lost people before, but only elderly relatives, people who had been ill for prolonged periods of time and whose death was, while still terribly painful, not unexpected and in some ways a relief, as you knew it was inevitable, and hated seeing them in that amount of pain.

Now I know what horror it was my friends and family glimpsed, that last time I tried to die.

Now I understand why people say it’s selfish.

DominosIt’s not because they enjoy seeing you in pain, not because they think it’s better that you suffer than they do, it’s the sheer fallout of it. The impact one death has is as a fall of a well-placed domino; one goes down, the rest soon follow. I do not know Lindsey’s family, although they have been in my thoughts a lot these past days. I do however know a lot of her online friends, many of whom were in our writing group, and many of whom are currently feeling as lost and broken as I am over the whole thing. The shock is bad enough. The loss when you have actually managed to process it is unbearable.

The issue that I have here is that I only ever knew Lindsey online. I found myself sending her an invitation via Facebook yesterday, because for a few moments I forgot. It was second nature to me, to include her in the things I do. I hit the invite button and immediately felt a fresh wave of grief, as if being told for the first time all over again. There is an oddness to the internet. Her profile is still there, so in many respects she has the appearance of still being there, as much as she ever was previously. It takes a minute to recall that she is no longer on the other end of this infinite thing we call ‘Internet’.

And that thought got me wondering. If my entire friendship with Lindsey can take place across the vast void of cyberspace, can it not somehow continue across the void that now exists between this world, the ‘living’ worlds, and wherever it is she has gone?

I am not a religious person, but I have spent a considerable amount of time thinking about what happens to a person after they die. Chasing Azrael can be described in many ways. It’s urban fantasy; a supernatural mystery; gothic literature, but at the heart it is one very simple thing: it’s a ghost story.

Not Finished

Throughout the book I explore why people die, as well as what happens to them afterwards. I have often wondered what, had I been successful in any of my attempts, would have happened to me after. Would I truly have felt any better? Would the bipolar be gone once I no longer had a physical brain with that pesky chemical imbalance? If I no longer had bipolar, would my personality alter drastically, or would I still possess all the same flaws I currently have, because the bipolar did not cause them, but merely amplified them, the repeated trauma experienced as a result of my mood swings affecting the person I was to the point that, even if you took the bipolar away, and I no longer had that awful pendulum in my head, I would still be as I had become as a result of my experiences. It’s easy to blame it all on the bipolar, but one must also take responsibility for one’s own actions, one’s own faults, and acknowledge that while you may not have developed them were it not for the bipolar, once you have them, and are aware of them, it is your responsibly to control them wherever possible.

This week I have found myself thinking about Lindsey, and whether or not she is ‘out there’ somewhere, in a world such as the ghostly world I have imagined for my novels. I wonder if she can see how much she is missed, and how much she is loved, and I wonder if that would make it easier or harder for her. I am still working on the final edits of the novel, and I have to say that having so recently suffered the loss of a friend I find myself looking at it with new eyes.

Lindsey was a great writer, a wonderful friend, and a great help to me at a time when I was very much alone and my life was a complete mess. She read several drafts of my novel, offering comments and help on each, and was supposed to be present on the day it was launched. I will miss her terribly, and although I look forward to the release of my novel, I know the day will be tinged with grief no matter my excitement, because someone who should have been there, won’t be.

Or will she?

I realises this has been a much longer post than usual, and I thank those of you who have taken the time to read to the end. I would also like to leave you with a final thought for consideration:

Death can only be an answer if you fully understand the question, and it is difficult to understand anything fully when you are in the midst of a depressive episode.

Moreover, death may not be the end you think it is, and if it isn’t, if you wake in some new world to find you’re just as broken in that one as you were in this one, what will you do then?

There will be nothing to do but stare down at the ones you left behind, and watch them all fall after you.