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Alternative love story about disgraced and lonely goddess of mischief and sex - musicians, lovers, cursed love, angels, tricksters, demons, road trip, Underworld,  predatory mermaids, wild west,  vampires, Mexican Day of the Dead.

 A new novel Cursed Love Blues

If you’re a fan of Neil Gaiman’s captivating fantasy, if Caitlin Moran’s straight talking feminism brings a smile to your lips, or if you have a soft spot for Graeme Simsion’s Professor Don Tillman in ‘The Rosie Project’, then you’ll enjoy this

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A free-wheeling retelling of the Orpheus myth, Cursed Love Blues is a road trip novel blending modern fantasy with various strands of mythology -  from the gods of ancient Greece, the fallen angels of the Book of Enoch, the tricksters of Native America and the Mexican saints of the Dead.

Embark on a wild, blues-soaked road trip that takes you into a twilight world of disgruntled angels, charming tricksters, desperate lovers, predatory mermaids and friendly goats...

An exiled goddess, scorned as a joke among the gods, Atë has been cursed to wander the earth in human form, wrecking the lives of everyone she encounters.

History has not been kind to Atë.

In ancient Greek myth, she is known as the goddess of recklessness, infatuation and ruin.

And the years since haven’t been much better either – Shakespeare’s Dark Lady, Spenser’s Fiend of Hell, Green’s Black Magic Woman – it seems the lover of kings, artists and fools has quite a bit to answer for.

Now, at the turn of the millennium, drifting anonymously across the desert freeways and bars of America, she finds herself mysteriously drawn to Hako and Sue, a couple of young blues musicians in love touring Route 66.

When Sue disappears during a Mexican fiesta and Atë sees an unwelcome face from her past, she is confronted with the painful realisation that hiding is no longer an answer.

Because it isn’t so much the supernatural world that's the problem, but the human world - messy, confusing and inconvenient as it is.

And it’s time to face up to some awkward truths because saving Sue's angry, unappreciative soul may very well hold the key to releasing her from her own curse.

Set to a soundtrack that gives each chapter a song title, embark on a road trip to the sounds of Nina Simone, Nick Cave, cat power, funkadelic, pj harvey, captain beefheart, sister rosetta tharpe, smashing pumpkins, david bowie, Odetta, patti smith, edith piaf,  howling wolf, billie holiday, siouxsie and the banshees, screaming Jay Hawkins, the Doors and more...

Join the R.A.W.  movement today

R.A.W. celebrates stories which are inventing a new female mythology for our times – stories which are broadening the range of female roles and showing willingness to explore and confront alternative, wilder and more authentic sides of the female psyche.

This is a riveting novel, epic in its scope on many fronts: the phantasmagorical, colourful, multi-dimensional and broad landscape is vividly portrayed with a dramatic film-like quality and populated with haunting, powerful characters; the writing is rich with insights into human nature, described in punchy, evocative, fresh and original language that is a real pleasure to read.
— Jo Daughtry
Atë! I’ve been waiting for you for so long! At last, a woman (or Goddess) who encapsulates so much more than many of the mediocre female characters I’ve met in books before. I feel like I’ve fallen a little bit in love with her, despite, and because of all her flaws. As I travelled with Atë, the journey twists and turns through the vivid landscapes of Mexico and the USA, it paints a picture of a grotesque yet fascinating underworld (which if I’m honest, kind of ruined mermaids for me). Along the way I grew to know and love the characters like old friends, as their essence is so beautifully created. This is one of those books that I raced through, then ended up heartbroken at the end when I put the book down and came to realise how much I was going to miss them.
I think that if you’re a fan of Neil Gaiman’s captivating fantasy, if Caitlin Moran’s straight talking feminism brings a smile to your lips, or if you had a soft spot for Graeme Simsion’s Professor Don Tillman in ‘The Rosie Project’ then I think you’ll enjoy this.
— Caroline Tack
A powerful vision of the narcissistic perspective a goddess would have... I love the exploration into a goddess’s gaze onto the human race, grasping some things about what compels and motivates us but also in her failure to comprehend our complicated emotional needs.
— Gary Shiiladay
If you know your Greek myths Ate has a pretty bad press. Kate Wickens aims to set the record straight, but that’s just a starting point in this epic tale. ‘On the Road’ meets ‘True Blood’.
— Mike Manson author of 'Rules of the Road'
From the first chapter to the final page, I was hooked.

As vivid as a film, Ate is now one of my favourite characters of all time. Not only because of the beautiful prose (a goddess perspective of love-making!) but the fact she is an anti-heroine, a female protagonist that you can’t decide whether to revere or be disgusted with. Sometimes I loved her, other times I didn’t - but I was always interested in what happened next and how she would react.

My favourite part of the book was set in the Underworld and the description of that mountain they have to crawl up is haunting. I look forward to reading the next one.
— Kate Marillat, best-selling author of 'Transform Your Beliefs, Transform Your Life'
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The way the book meanders through different time periods reminds me of David Mitchell’s ‘Cloud Atlas’. I adore books with a strong female lead and Atë is certainly a force to be reckoned with. This is not your average ‘safe’ book... I felt how I did after I’d walked out of the cinema after watching Lord of the Rings in 3D... My mind was blown.
— Sarah Paoletti

The story of Atë


When I found Atë, it was after an incredibly long audition.

It felt like I’d been in a school hall for days - the smell of old gym shoes and deodorant lingering in the air; heavy curtains shutting out the daylight.

And I still wasn't done:  hopeful deity after hopeful deity – Mafdet,  Qadesh, Eos, Hedone, Pahket – all doing their stuff upon the stage to convince me they had what it took for the lead role.

They all had commendable star qualities -  and none of them were someone you’d want to piss off. But it was a big commitment and I had to be sure I was going for the right one.

Pahket had currently been in the front running – a huntress of the night, who was both gentle and ferocious; a protector of motherhood. She was feline headed and killed snakes with her claws.  No one was going to mess with her when she got cross.

 But... the story still felt a little too straightforward with her in the main role.

So I ditched the Egyptians and considered the Greek pantheon.  I wanted to avoid the heavy-hitters, as they were too well known and I wanted more freedom to weave my own tale, so then my eye landed on Hedone, smiling flirtatiously while eating a dripping mango.

Well, the story would certainly be sexy with her around. And frankly, I was too eager to start writing to worry anymore whether the story felt straightforward. There’s nothing wrong with a straightforward story.

That’s when I left the hall and saw Atë lurking around the boys’ toilets, smoking a cigarette and offering hand jobs in exchange for a song.

No one knew much about her.  They just knew she was trouble and that you’d best stay away from her. Bad things happened to people who got tangled up with her.

And that’s when I knew I’d found my perfect anti-heroine...

In classical Greek mythology, on the rare occasion when Atë is mentioned, it is usually to hold her responsible for having led people astray and for compelling them to do foolish rash things.  

In The Iliad, she is blamed for tricking her father, Zeus, which leads to him throwing her out of Olympus. Agamemnon tells this story as an explanation for his feud with Achilles – it was because he had been deluded by Atë, you see.  She is the personification of ruin, delusion and rash action – an ‘arch-destroyer of the mind’*.  And, after all, if she is able to trick the king of gods, then you can hardly blame Agamemnon for being susceptible to her wiles.

Occasionally, in the classical tragedies, she is acknowledged to be an agent of justice, avenging evil deeds.  Shakespeare also trots her out on occasion as an invocation of infernal vengeance.

What’s interesting though is that little more is ever said about her; she just becomes a convenient scapegoat – a devilish monster who gets pulled onto the stage whenever an explanation for a man doing a foolish or hot-headed deed is needed; only to be thrown off the stage once that job is done. We certainly never get to hear her side of the story.

And it was her side of the story that I was drawn to.

I wasn’t interested in making Atë some poor, hard-done-by doormat though.  In my story, she’s definitely guilty of having done some terrible things.  She’s proud, unreliable and self-absorbed. But she’s also thoughtful, socially awkward, intrepid and untameable. Indeed, an anti-heroine; indeed, a classical god.  

By the time we pick up her story in Cursed Love Blues, she’s been exiled among humans for three thousand years.  And she has an incredibly rich tale to tell: mistress of kings and empresses; lover of writers and artists; consort of charlatans and magicians.  

Alienated from the world of gods and the world of humans, Atë lurks around the shadowy edges of history and myth. Is she the original inspiration behind Shakespeare’s dark lady? Did she bring about the downfall of Dr John Dee? Is she the original Witch of Endor? Did she discover Billie Holiday? 

During her three millennia of exile, she’s learned a lot about herself and humans; often the hard way. As a powerful woman who’s never been afraid to speak her mind and who has always been disdainful of human social niceties, it’s no wonder that she’s been so feared and maligned by ruling societies.

Over the centuries, she’s been burned at the stake, drowned, stoned, lynched, imprisoned, criticised, persecuted and ignored.

In Alessandero’s diary, which is set in Venice, 1753, (here’s a piece of trivia for you: his best friend, Giacomo, is Casanova), we see the growing fear and hostility of this highly libertine but nonetheless repressive society towards a woman who refuses to play by the rules.

By the time, she meets up with Hako and Sue at the end of the 20th century, she has become more adept at blending in, having accepted a quiet life of anonymity and drifting namelessly from place to place.   

She’s still guilty of self-absorption though, and she still often misjudges people and situations, sometimes to fairly devastating effect. It would help matters also, if she wasn’t in such denial about herself and the cursed role she has played in so many lives.

But this is a tale of redemption and she has many painful lessons to learn. 

*Homer. The Iliad. Book 19. 163

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