Sylvain De Ville-Amois

The Ancient Trinity is presented to the reader in three tomes: Volume 1 takes on the form of a myth: a series of short stories, ones as old as the illusion of time itself. The myth is meant to be a cognitive exercise whose resolution will invite the reader to construct a logistical framework effectively addressing the concepts presented to him in the subsequent volumes of the series. The myth continues in Volume 2: Gofer's Paradox. Volume 2 is the dissertation's introduction, and addresses the inaugural question of "The Nine Dots Prize"; a demonstrably regional literary competition intended for an academic audience, preferred but not officially limited to the ivory tower circuit of southeastern UK. The second tome is meant to be a satirical response to a rhetorical statement masquerading as the inaugural question of The Nine Dots Prize: "Are digital technologies making politics impossible"? Volume 3 is the dissertation proper. It addresses the devolution of the universe: one whose process cycle is devolving from a model based on quantum mechanics to one based on inductive observations. Observations which, inside the earthbound confines of Midgard, were first undertaken and refined into a series of hypothesizes by the ancient Norse philosophers who crafted the original version of The Poetic Edda. Ironically, it is The Ancient Trinity's Epilogue which is of interest to the aspirant, the first three volumes serving as a form of introductory reference manual; one which places the aspirant's illusion of past cogitation into context, making it possible for it to commune with The Ancient One according to His Will. The Ancient Trinity was in no way penned by the stated editor. Rather, The Book was but heedlessly transcribed by the latter, following a series of gruesome nightmares; ones transferred to it by The Book's Creator. S. P. Otte is unable to take credit for this Work: The Original Author far too powerful to be dismissed any longer. Empires come and go. The Ancient One is timeless.

"Are digital technologies making politics impossible"? Rhetorical question. The second tome of The Chanterelle Chronicles is meant to be a satirical response to a rhetorical statement masquerading as the inaugural question of The Nine Dots Prize, a demonstrably regional literary competition intended for an academic audience, preferred but not officially limited to the ivory tower circuit of southeastern UK. The second tome also serves as an introduction to The Chronicles philosophical dissertation. One that seeks to be an original cognitive exercise in response to ancient societal issues. An exercise whose resolution will invite the reader to construct a historical and logistical framework to effectively address the concepts presented to him in the subsequent volumes of the series. The second tome ends where the first began; with the expansion of an ancient Scandinavian myth; one with a contemporary bent. The protagonist of this latest installment of the myth faces his own paradox. One which is strikingly similar in purpose and intent to the paradox hidden between the lines of the inaugural question: The Paradox of Impossible; Gofer's Paradox. Empires come and go. Chanterelles are timeless.

Chanterelles have long been considered a food of kings and noblemen. An indulgence fallen to by the rulers and instigators of empires. Ironically, they have also been a food of survival for explorers, foraging as they blazed trails through the forests of the New World.Alas, empires come and go. Chanterelles are timeless.The first tome of The Chanterelle Chronicles defines the principle cast of characters whose stories evolve, at times in synchrony, at others in hysteresis with the entities they confront.Characters who are not always what they seem to be. Ones that are both physical and figurative in nature. Interacting with others inside and outside their own environment. Interactions that bring the reality of the universe around them to life.Though each short story resides in its own distinct realm of space and time, they are all linked to the reality of the author's presence. He is both narrator and actor. At times, he is the observer of the events that have unfolded before him. At others, he views events through the prism of a distant past.Though this is the fifth edition of the Chronicles' myth, it should actually be the sixth. The original transcript lost in the Realm of Time: a past once silenced, and now rekindled.