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The discovery of a six-sided pyramid creates a stir in the archaeological world. A team of international archaeologists are sent to excavate the site in the bleak Sahara; however, in the midst of unexplained phenomena, military corruption and paranormal sightings, they uncover a sinister presence.
When Australian archaeologist Carl Langley experiences visions and protective urges for site relics while in the newly-discovered tunnel entrance to Sinesi 1, he is progressively beset with deeper mystical connections with what he believes is the long dead Pharaoh of Upper Egypt.
Conditions worsen. Now the presence is in full force, believed to be haunting the ruins, and the military has threatened to shut down the site.
Can Langley overcome his mystical possession, by a force of which he has no comprehension? He must hurry, for there are other diabolic forces that wish to penetrate one of the greatest archaeological finds of the century!
Chris is a prolific author of fantasy, adventure, and science fiction. His writing spans many genres: heroic fantasy, sword and sorcery, speculative fiction, thriller and humour. His books include: the Rogues of Bindar series, Future Destinies, Fantastic Realms and Denibus Ar.
Chris is also a prolific painter, with nearly a thousand oil art works to his name. He has also been involved in extensive studio recording. After graduating from University of Waterloo in Honours Mathematics and Computer Science, 1990, he backpacked and biked throughout Europe and Asia before teaching computer programming courses in Ottawa, Canada.
In the light of his lamp, Quapseth craned his neck, curious at what might lie beyond this peculiar stone. He saw a low, squat tunnel racing into the inky gloom. The catacomb was barely wide enough for him to crawl through. Yet at its end, lay a hollow disc of watchful darkness. Its too-smoothly polished walls guarded the strange quality of death. At the outset, the suspicion seemed purely irrational, but yet, a sentiment of intuition screamed at him: “Cover up the hole. Get out of here! Never look back!”
Lips curled, Qapseth puzzled over the conflicting emotions brewing in his brain. The smell of incense wafted from deeper within the tunnel. He could retrace his steps, explore the leftmost passage where branched the initial T junction, but some vague intuition told him to abandon the enterprise. Why did he not just continue ahead?
The young boldness in him had a sudden unnerving sensation: cold unforgiving eyes bored in his back. He ducked out of the tunnel, whirling on his haunches, glaring at the statue with a nervous apprehension.
What was this? A flicker of movement? The sudden glinting of eyes in the ram’s head?
The hairs on the back of Qapseth’s neck stood on end. The statue seemed to have moved closer.
Qapseth chided himself, dismissing it as a trick of the eye. It was the product of nervous tension, an imagination running rampant!
Despite his flippant assurance, he felt chilled, and hunted for the source of the probing, unseen scrutiny. The presence watched him from beyond the elegantly crafted walls—intelligent awareness needing not a living body to perceive the invasion of his design.
His unspeakable fear took every ounce of power to fight. But eventually the fright was matched by the shame of defeat in his comrades’ eyes.
Qapseth fell on his belly, wormed his way into the narrow tunnel. With elbows and knees thrusting awkwardly, he burrowed into the tunnel, lamp splayed in front.
Interview with Chris Turner
What will readers like about your book?
I think Denibus Ar has a powerful story line. It features modern day archaeology and also delves into ancient history. The text is well written and the characters are very real; one can almost reach out and touch them! Additionally, the theme is very profound, and has a lot to do with our present-day world encroaching on the older one. What are the repercussions we must suffer as a result of our intrusions?
Why did you self publish?
No other real option. I think an unknown writer can write the most fantastic story and be ignored by the traditional publishers—or spend years trying to get noticed. With self-publishing, authors can upload their brainchild in a heartbeat, and if one is keen, he/she can market the book successfully with the many online tools available, like Indieebooks. Self-published work can sink or soar on its own merit. I think this is really what excites me. The presence of an open, receptive market empowers every author with the chance of success.
What is your writing process?
I write a lot of material and edit a lot. I think sheer discipline and a love for story-telling keeps me going. It’s the final product that matters the most: when I read a work that is ‘finished’ and flowing beautifully, I can get a smile of satisfaction from the spirit of passion that is carved on those pages. As for the spark (where the ideas come from), I have traced it as, first a snatch of setting, usually an exotic world, and then the characters appear, with their struggles and karma forming the basis of a story. Conflicts shape the plot and from there the novel writes itself . . . Sounds easy? I wish it were so!
How long does it take you to write your first draft?
The first draft comes quickly. Denibus Ar took about 3 months, after I had recently returned from an inspiring trip to Egypt, but this was full-time writing and it was not until recently that I finished the editing. The subsequent editing is the killer and time-consumer for me. Months and months of it! I’m a stickler for quality, and will not settle for second best. I make good writing style my trademark—and I stick to the maxim that ‘it’s all worth it’.
What inspired you to write this particular story?
I had visited Egypt in 2001 and was blown away by the archaeology—the tombs, temples and pyramids—set against the backdrop of the Sahara desert. While exploring these mystical places, I was struck with the speculation about what the Pharaohs would feel, knowing that their sacred burial sites were disturbed by a bunch of roving tourists, or that their resting places had become ‘public museums’ for all to see. My conclusion was ‘not very much’, thus, the story Denibus Ar, unfolded.