Glowing In Darkness I — The Stokerdine Conspiracy
Glowing In Darkness I — The Stokerdine Conspiracy
Description
A Suspenseful and Fun Read from Stacy Stewart Smith
A Chicago-based clinical psychiatrist, Dr. Marak Burad solicits funding from Stokerdine's International and a major religious organization to conduct a three-year study of the sleep patterns of gifted children. Allison Mugler's only son, Martin, is of interest because he possesses the ability to Life Trance by floating — an advanced type of out-of-body experience that allows the child to leave his physical presence and visit other people. The gift strengthens as Martin grows, causing him to produce a kind of coveted vibrant energy. The only complication is that Martin's Life Trance body becomes trapped in a 17th-century anniversary clock, which is stolen, leaving him as a child with special needs.
Charly Bergeron is an aspiring jazz singer and art collector. In fact, he has everything it takes to make it — even more than most gay guys in their twenties. He acquires the vintage clock in 2008 from a shop in Brooklyn, winds it, and consequently releases the trapped Life Trance presence, opening a portal to 1978.
Details
- Format: Paperback
- Pages: 250
- ISBN-10: 152287738X
- Publication Date: December 13, 2015
- Dimensions: 5.5 x 0.63 x 8.5 inches
- Language: English
Care
Stacy Stewart Smith offers made-to-order garments, fine art, and digital publications — each requiring different care. Please refer to the product description for care and handling instructions specific to your purchase. For garments: dry clean or spot clean unless otherwise noted; do not machine wash. For fine art: keep away from direct sunlight and humidity; handle with clean, dry hands or cotton gloves. For digital products and publications: no physical care required; download and archive your files upon receipt.
Design
Every Stacy Stewart Smith piece begins as a drawing and ends as a decision — a deliberate choice of textile, construction method, and proportion made by a single designer with five decades of practice. The same eye that composes a painting composes a coat: line, weight, negative space, and the relationship between form and the body that inhabits it. Garments are produced in New York City, one at a time, to the measurements and preferences of the individual client. No two pieces are identical. No production run exists. This is not manufacturing — it is making.
The atelier sources textiles for their hand, weight, and longevity. Sustainability here is not a campaign. It is the natural consequence of making only what is wanted, from materials chosen to last, by a craftsman who will not put his name on anything less.