COMPASS came from the concept that nothing needs to stay as it is, just because some people say so. The ‘majority’ of voters have not elected anybody to do anything in any democracy for a very long time, and the voice of the ‘group’ conscience does not speak on this planet.
BL Mooney is painfully sure that perception makes reality, and not the other way around. Her past personalities have included complainers, whiners and chronic low-grade failures instead of game-changers or daredevils. She knows how much time she wasted, and how little time remains. She’s no longer responsive to politics, organized (i.e. founded on ‘guilt’, ‘sin’, or ‘unworthiness’) religion, traditional social custom, manipulative advertising (which is almost all of it), borders, or the eleven o’clock news. She thinks if you go to bed with bad junk in your brain, you spread it around to others while you sleep. Therefore she doesn’t look much at stuff anymore. She thinks it’s better to pretend the world has inherent goodness, and that mind is more powerful than body, and she’s pretty sure if a couple billion more people would think that, the world would experience a weight-shifting renovation of consciousness.
But, like she says–what does she know?
Words change peoples’ minds, and hardly anything else does. Words are dangerous in the wrong hands. Proceeding from that unfortunate truth, Storrie is difficult to get along with in the face of social, political and corporate systems that are illogical and maintained by rhetoric. Ask her husband and children. Storrie drives them nuts with her soap box. Her favorite question on any subject is WHY, which makes her about as wise and compassionate as a two-year-old, and equally exasperating.
Mooney gets away with challenging ‘the way things are’ by using the defense that she has never allowed anyone to explain anything to her properly, and very few people seem to be able to, when she lets them try. Mainly the answer she gets is some variation of ‘because it’s been proven to be in the best interests of the majority, and here’s how it came about’–
How is the world doing so far? Haven’t we mainly agreed that the world is past its tipping point and pretty much doomed? Isn’t all that carbon impossible to put back? Isn’t genocide getting bigger and badder instead of littler and quieter? Don’t we look kind of helpless and ineffective right now? Aren’t we raising a generation of depressed and apathetic children who would rather hide behind a glass screen than go outside and talk to people face to face? Is it possible our children subconsciously think (with good reason) their lives lead hardly anywhere?
COMPASS is a series of adventures proceeding from the accidental collision of eight irredeemable losers who don’t like each other, but sure as hell could use each others’ help. The series’ birthplace is the Brooklyn Bridge on 9/11, but COMPASS has absolutely nothing to do with 9/11, except to say that on that morning, other things happened in the world. On that morning, everyone knows the world, as we trust it, changed. But maybe, just maybe, something else kicked in. Something shiny. The COMPASS gang is scheduled to do a lot of world-changing things because they don’t know they can’t, and they’re too stupid to listen to anyone who says so. These eight characters will get into the kind of trouble their wimpy author would never be brave enough to get into, and wishes she was.
It’s great being a hero while hiding behind a glass screen.
The draft pages of the first COMPASS installment won ‘Best Novel Award’ in the Muskoka Novel Marathon in 2012. Now complete under the working title SOUTH WEST OF SOMETHING ELSE, it is seeking representation. The rest of the series is underway.
More about COMPASS soon.