Tag Archives: Survival

#AndThenWeVanish Whether We Like It Or Not

For a brief moment, as the world-altering realities of life during a pandemic sank into the pit of my stomach as the new normal, I struggled with whether or not I should stick to the original release date for my new short story collection And Then We Vanish. But it quickly became the least of my worries, and so, April 7th 2020 was going to be the release date whether we liked it or not, and now here we are. And we have not vanished.

Eleven tales made up of old and new stories curated from over a decade or work, And Then We Vanish represents literary fiction with a twist. The stories are married to the theme of people vanishing or wanting to vanish. Most of the stories are dark, but apart from many of the characters wanting to escape their lives, and a few meeting their untimely demise, the stories are connected with strains of hope. When faced with bizarre events, trauma, and the absurd, most of these characters find ways to survive and move on.

I hope that we can all do the same in the wake of recent real-world events.

– D. H. Schleicher

Buy the paperback from Amazon for $9.99.

Download a copy to your Kindle for $3.99, or with your subscription to Kindle Unlimited.

Ask your local indie bookstore to stock their shelves through Indiebound.

Add And Then We Vanish to your Goodreads “Want to Read” pile.

Cover design by Violeta Nedkova

Spying on Whales Reveals the Greatest Survival Story Ever Told

I’ve been on a science reading kick lately, following up last year’s reading of Sy Montgomery’s The Soul of an Octopus (a fascinating psychological study of octopi and the people who love them) with Nick Pyenson’s enthralling Spying on Whales. Pyenson weaves a fascinating adventure tale, as he globe-hops from archaeological digs in South America to whaling stations in the arctic, in his insatiable quest to track the past, present, and future of the largest animals ever to inhabit the earth.

Clearly blessed with the spirit of an adventurer and a natural-born storyteller, Pyenson is able to revel in the scientific details without losing the lay reader. His personal thoughts on the matters are often poignant, sometimes puzzling. As a new father, I was heartbroken by his personal anecdote of his young son writing him a “I miss you” letter while he was on a mission thousands of miles away. I can’t ever imagine that kind of lengthy separation. But later in the book, he walks with his son on a beach, and his son discovers a fossil that turns out to be of a previously unknown species of whale, and the fossil gets classified under the boy’s name, providing a kind of longer view outlook on the impact of his life’s work on his family. What a memory for a child to have! What type of legacy is Pyenson leaving in his both his professional field and at home? What types of adventurers will his children become?

The center piece of the book is the vivid depiction of a sprawling archaeological dig in the Atacama Desert of Chile poetically called Cerro Ballena, where excavation of a new highway has uncovered layers upon layers of complete whale skeletons – a historic find that not even Indiana Jones could’ve imagined. In a race against time and human expansion, our fearless scientists must salvage as many fossils as they can. These chapters unfold in thrilling fashion while perfectly blending in colorful side-characters, political intrigue, science, and adventure. Continue reading →

Nevertheless They Persisted at Dunkirk

The closest we get to an audience proxy in Christopher Nolan’s relentless exercise in tension and survival is the young soldier played by Fionn Whitehead. He could be anyone’s son, and he’s a partly shell-shocked but still wily (and very observant) lad in Nolan’s wartime nightmare/day scream. We open with him walking through abandoned French coastal village streets as pamphlets rain down announcing, “We surround you.” That first gunshot, setting him off on a run for his life, is so piercing you feel like you’ve been shot at…and it invites the audience to partake in this immersive first-person narrative. He’s the first and last one we see in the film, and his Murphy’s Law-ridden week-long escape from the besieged French shores anchors the multi-POV time-collapsing narrative. Most notably, his struggle to survive is not alone. He doesn’t get from point A to point Z without interacting with others equally driven to survive, and not without help.

Elsewhere, on one fateful day, we have another brave boy named George (Barry Keoghan) selflessly join his friend (Tom Glynn-Carney) and friend’s father (a superb Mark Rylance) as they take their pleasure yacht to join a civilian fleet heading to Dunkirk to pick up some of the 400,000 soldiers stranded there between the English Channel and encroaching enemy tanks on the land. When he hops aboard the vessel after only supposed to have helped father and son set off, the wise elder tells him, “It’s a war, George.” To which George calmly and confidently replies, “I could be of use, sir.”

The film is filled with that kind of stark to-the-point dialogue, interspersed judiciously in a cinematic story otherwise devoid of spoken language but swelling with human emotion transmitted visually across a sprawling canvas of land, sea, and air. Continue reading →

The Cathedral of Space and Brand Survival in Interstellar

Interstellar 3

Christopher Nolan might not be the incomparable artiste that Paul Thomas Anderson has become, the lyrical poet that Terrence Malick succeeds at being, or the rabble-rousers that the sicko David Fincher and the pop pastiche-aholic Quentin Tarantino are…but damn it, he’s the best Brand there is in Hollywood.  You know what you are getting every time you see a Christopher Nolan film, and unlike, say a Michael Bay, you should be ecstatic you’re getting it.  He’s going to entertain you and make you think while conjuring his own impossible cinematic dreams, attempt (sometimes clumsily but always admirably) to tap into a zeitgeist, dazzle you with his technical skill, twist the plot and up the dramatic ante every time he steps behind that camera.

His sprawling space opera, Interstellar, is no exception.  It is at times wondrously ridiculous and miraculously beautiful in its ambitions

In the not so distant future, food is running out from over-population and environmental calamities that have produced a new Dust Bowl.  There people are forced into farming as society has transformed from one of innovation to one of scraping by that has been branded as “caretaking.”  It is here where the widowed Cooper (Matthew McConaughey) eeks out an existence with his son and daughter, Murphy (played by Mackenzie Foy as a child and Jessica Chastain as an adult), while he dreams of his lost opportunity to be an astronaut after a test flight crash and the disbanding of NASA years earlier.  The boy has already been tested by the school system and found to be a perfect candidate to be a farmer, while the smart-as-a-whip Murphy gets suspended for bringing a book to school that teaches the Lunar landing as a fact and triumph of the human spirit, when the new consensus teaches it was Cold War propaganda (and no one should ever dream of space travel again as growing food is the only noble pursuit).

But strange things start happening.  Automatic technology (drones and plows) begin acting up.  There are gravitational anomalies happening.  And Murphy thinks there is a ghost in the farmhouse trying to deliver her a message.  It all adds up to father and daughter stumbling upon a secret base where, lo and behold, Cooper’s former professor, Dr. Brand (Michael Caine), is leading an underground NASA team that has discovered a wormhole beyond Saturn and is plotting manned voyages to search for inhabitable planets on the other side.  The very survival of the human race is dependent on their mission, and they want Coop to pilot the next one which will be headed by Dr. Brand’s own daughter, the aptly named Amelia (Anne Hathaway). Continue reading →

The Blues and The Grey

Shit...just when Liam Neeson thought things couldn't get any worse...he crash lands into the den of Sarah Palin's Alaska.

Man, Liam Neeson has the blues something fierce.  The poor guy has completed one of the oddest transitions of recent memory by going from Oskar Schindler to “Total Bad Ass” in films both criminally overrated (Taken) and glumly forgettable (Unknown).  Now in Joe Carnahan’s transcendent survivalist thriller, The Grey, Neeson plays a man named Ottway who is reeling from the kind of blues that lead men to self-inflicted gun shot wounds to the head.  The film opens grimly enough with Ottway working on an oil refinery as a wolf sniper in the remote Alaskan wilderness amongst men “not fit for civilization.”  He waxes mournfully in voice-over about being separated from his wife (presented to the audience in smartly lit, intimate Nolan-esque slivers of memory) and working “a job at the end of the world.” 

One night he walks out from the rowdy violence of the camp bar into the snow to blow his brains out – but then he hears the ghostly howl of those beasts he’s been paid to study and control.  He can’t help but wonder if maybe he belongs out there – like the wolves – a stalker – a survivor.  He posits himself as much against Mother Nature as he is against his own nature.  These opening moments offer the viewer the type of emotional and philosophical trappings not usually found in your typical Hollywood product – especially thrillers of this sort.  With the help of his resurrected from the doldrums director, Carnahan (who finally fulfills the promise he showed in Narc after years of wallowing in the mediocrity of La La Land), Neeson completes his evolution as an actor through Ottway.  Here we finally have a character who marries the gravity of an Oskar Schindler with the gruff bad-assery of Neeson’s more recent commercial incarnations. 

Of course the bulk the of the film concerns Ottway and his motley crew of cohorts surviving a horrific airplane crash on their way to Anchorage only to be stalked through the frozen wilderness by a pack of ravaging and unmerciful wolves.  But it returns from time to time to those small moments and to the epic human pondering on live and death.  Continue reading →

The Road Often Taken

Over the years these grisly post-apocalyptic scenarios have become a dime a dozen in film and literature.  When award-winning author Cormac McCarthy decided to put his spin on the idea with his novel The Road, people took notice.  By focusing on a father-son relationship instead of the usual action and horror that lends itself so well to post-apocalyptic tales, McCarthy received mountains of praise for his stark, horrific fable.  Now, just in time for the holiday film season — and honestly, what screams holidays with the family more than a cannibal holocaust? — director John Hillcoat (previously responsible for the grim Aussie western, The Proposition) delivers his adaptation of McCarthy’s celebrated novel to the big screen. Continue reading →