The series of "Art & Beauty in Weird/Fantasy Fiction" interviews engage contemporary authors & artists to reveal their muses; this one features Katrina Sisowath, contributing author at Ancient-Origins.net. The Doom of Undal is a beautiful blend historical fiction and alchemical fantasy (Doom-S.E. review and Fall of Undal -S.E. review). The Dragon Court series continues with the recently released Fall of Undal. Let's learn about the author’s muses. Thanks to Katrina Sisowath for sharing her weird attraction to serpents, mythology, and sacred pregnancies!
About Katrina Sisowath
Katrina Sisowath, (1979--) British-American, born in
Frankfurt, Germany. Grew up in South-east Asia and Europe, now lives in
England. Mother of 2.5 children (dog thinks he's human), experienced in making
brownies.
On a personal level, Katrina is an avid book reader and
loves mythology, history, ancient civilizations and anything to do with occult
ideologies and practices. Mages, Serpent Priestesses and the 'real' Gods, aka
the ANNUNAKI (the prototypes for those we know today in the form of Greek,
Roman, Indian and even the Biblical characters) are all addressed on her
website, with descriptions of Dragons, consciousness altering drinks and
powders and what the scarlet clad priestesses really got up to in their sacred
chamber. She also is a guest writer on Ancient Origins, writing about the
Serpent Cult, Mystery Schools and their politico-military branches. 'Serpent Priestess of the Annunaki' (Dragon Court Series
#1), published by 5 Prince Publishing was released June 19, 2014, quickly
rising up the Mythology charts, becoming a best-seller. This was followed by
Doom of Undal (#2, 2015), and now Fall of Undal (#3, 2016).
1) SE: The Dragon Court series seems to be both alternate history and mythology. The Annunaki deities in your books appeared based on a variety of ancient cultures (Greek, Roman, Indian and even Biblical characters). Can you reveal inspirations, both real and fantastical? Likewise, are there some design aspects, such as associating certain fictional-characters with particular real-cultures?
KS:
The Dragon Court is based on the ancient Serpent Cult, which seems to have
originated in Sumer and spread to Cambodia, China, India, Egypt and eventually
Europe. I’ve studied the works of authors such as Arthur Waite, Dr Waddell,
Laurence Gardner, Gerald Gardner, Philip Gardiner and Gary Osborn, who have
researched various aspects and written very interesting books. My inspiration
comes from their research as well as mythology, the occult and even the Bible
(which has a lot to say about Serpents).
I’ve
found that there are a lot of correlating accounts between the various
mythologies, so that the same stories are told in many countries, with the gods
and goddesses given different names. The fact that many of them are tied in
some way with the dragon or serpent mythology led me to create a world in which
figures like Innana were real and the Serpent Cult was a powerful entity of
kingdoms devoted to the religion. It may have been the first advanced
civilization which kept its power through sending emissaries to newly
developing kingdoms, offering wealth and knowledge in return for fealty, with a
marriage cementing the deal. This may be why most of the Royal Families of
today claim descent from a Serpent Prince or Princess who had come from over
the seas. What’s interesting is that it’s through that marriage the Royal
Family was able to claim divinity.
It
is this idea that the Serpent Cult existed and was focused on protecting its
bloodline that sparked the story in my head. In some accounts they were wise
and noble, in others they were a danger to humanity. I hope to be able to
balance both accounts in the Dragon Court series, showing those involved to be
fallible and thus capable of being good or evil.
2) Are you afraid of snakes in real life (or serpents in your dreams)? If so, is it therapeutic to create art (i.e.,write) about your fears? Did you ever have a nightmare about giving birth to a serpent?
KS: I'm not actually scared of snakes, I once thought a wire in our garden in Indonesia was a snake and my mom caught me pulling it out of the ground (luckily in time). I'm more likely to scream when I see a mouse than a snake.
I do find these images disturbing, though, and I wonder if they spark the same response in others. So if there is therapy in my writing, it's trying to come to terms with the emotions I feel when I see these images and balance the stories about them with the writings of David Icke and Graham Hancock. I still don't know what to make of them.
I think I find the legacy of family, beliefs and expectations to be quite terrifying and restrictive (descendant of Jewish Huguenots, have traced our ancestry back far enough to learn the names of those sent to the stake) in terms of how others view you and how you view yourself and your family tree.
I think I find the legacy of family, beliefs and expectations to be quite terrifying and restrictive (descendant of Jewish Huguenots, have traced our ancestry back far enough to learn the names of those sent to the stake) in terms of how others view you and how you view yourself and your family tree.
I've never dreamt of giving birth to a serpent, but I have worried about passing on my fears, faults, and foibles to my children.
3) "The Doom of Undal" had an interesting blend of young female protagonists involved with some fairly dark rituals, especially with pregnancy. What is your take on balancing the "beauty" many associate with woman & birth against "darkness"?
KS:
I know that in many stories, particularly romance tales, the idea that a man
and woman fall in love and pregnancy is the result is treated as the most
wondrous moment of their lives. And it can be, but there is also the issue of
arranged marriages, difficult pregnancies and traumatic childbirths, and I
think in the ancient world the news that you were about to be married would
have been terrifying for a lot of girls.
 |
| (Ecce Ancilla Domini (1850), Tate Britain, London, D. G Rossetti) |
I
think the expression on Mary’s face in this painting sums it all up (see inset).
With
Serpent Priestess of the Annunaki, I focussed on the beginning of a bloodline
and the rituals, beliefs and procedures fomented to protect it. With The Doom
of Undal, a lot of time has passed and the children born into the Dragon Court
have their paths set out for them almost from birth. Yet the question is what
happens when they choose their own path? What are the consequences?
For
women, in particular, when the emphasis is on maintaining a bloodline, there is
perhaps no greater act of rebellion than in choosing to have a child ‘without
permission’. The Undal books look at the weakening of the bloodline through
inbreeding, the old guard still maintaining strict control on each generation
and follow three sisters from childhood into adulthood. The eldest does as is expected, while the two
younger deviate from the norm. But only one causes a great schism and worldwide
war.
Although
the Dragon Court series is fantasy, I still try to maintain a sense of realism
in the storyline and the characters themselves.
4) What are your artistic muses?
KS: I seem to be drawn to
the Pre-Raphaelite artists and so William Holman Hunt, Dante Gabriel Rossetti,
John William Waterhouse and the other members of the Brotherhood have created
my favourite paintings.
5) Besides writing, do you practice other art? If so, please share which media.
KS:
I wish. My mother is a fantastic artist, as are my grandfather, my cousins and
my eldest daughter. It seems to have by-passed me entirely. My grandmother and
uncle were incredible musicians, but I do not possess a musical bone in my
body. My father’s side is fonder of putting words to paper, so I seem to have
inherited that trait. I do appreciate music and art, though.
6) Any inspirational fine art to share?
K.S. Happily.
These are some of my favourites and there is a lot of symbolism contained in
these images, while telling stories that are familiar to us.
The Fall of Undal is out now via Amazon website globally (US centric link provided).
“The lines are drawn between the Royal House of Undal and the Dragon Court, led by the Royal House of Magan. Cronous and Rhea have gathered to their side ten nations, forming their own empire, one great enough to confront their former friends and allies. Yet victory is not assured. The Annunaki have their own plans on how to deal with the upstart King and Queen and they keep their own counsel, leaving those that serve them uncertain of what is to come.
With both sides forced to seek out new allies, to make and carry out plans never before conceived in order to win the war, who will go too far? At what point will one side tip the balance in war and unleash devastation upon the entire planet?
Drawing upon accounts of devastation and global war from ancient texts
(including the Bible) and exploring the concept of ‘passing through fire’ and
the Baal rites, The Fall of Undal is the thrilling conclusion to The Doom of
Undal.
