Title: Chameleon
Author: Zoe Kalo
Genre: Young Adult, Gothic
Release Date: February 2, 2017
**99cents February 15-21**
Summary:An isolated convent, a supernatural presence, a dark secret…
17-year-old Paloma only wanted to hold a séance to contact her dead father. She never thought she would be kicked out of school and end up in an isolated convent. Now, all she wants is to be left alone. But slowly, she develops a bond with a group of girls: kind-hearted Maria, insolent Silvy, pathological liar Adelita, and their charismatic leader Rubia.
When, yet again, Paloma holds a séance in the hope of contacting her father, she awakens an entity that has been dormant for years. And then, the body count begins. Someone doesn’t want the secret out…
Are the ghost and Paloma’s suspicions real—or only part of her growing paranoia and delusions?
From Chapter 9:
Madre Estela remained standing by the door. “Get a bucket and fill it with water.”
Her hypercritical eyes sliced through my self-worth as I grabbed one of the metal buckets, lifted it into the sink, and turned on the faucet. I watched, transfixed, as the water gushed like a torrent spurting from an open artery. The cold spray raised goosebumps on my arms.
Madre Estela snapped her fingers. “Move.”
As I hauled the bucket to the door, some of the water slushed over the edge and splattered to the floor.
“Add the detergent,” she said stiffly, irritated by my clumsiness.
I chose a green bottle, twisted the cap, and poured. The acrid pine smell stung my nostrils.
“Get a sponge and a brush from there. Get going. We don't have all evening—unless you want to work in the dark.”
I gritted my teeth, but pretended not to be bothered. I suspected that the one thing that this nun couldn’t stand was indifference.
Outside, it was almost dusk. In spite of the intense screeching of the coquíes, the drum of the waterfall hit my ears. It was louder now than the last time I’d been here. How was that possible?
I felt a drop of rain. Great.
Madre Estela put one hand out, palm up. “My, my. What’s this?” She looked chagrined, and I suddenly realized why. If it rained, I would have to go inside, ruining her plans. “What are you standing there for? Start scrubbing.”
I was tempted to throw the bucket of greenish water at her face. Instead, I prayed for rain as I walked across the rose garden. Once at the gate, I glanced back at her.
“You’ll work until I come for you, understood?” she said, hands on hips in her usual stance. She pointed to one of the second-floor windows. “I’ll be watching from there.”
And that was it. She was gone.
For a moment I just stood there. If only my friends could see me now. They would never believe it.
I opened the gate and walked into the graveyard. The statue of Gabriel greeted me, its face fiercer in the dusk. The temperature must have been in the low seventies. I was glad I had my cardigan.
Suddenly, the garden lamp post lit up. I turned, startled. I wasn’t sure if it had automatically switched on or if someone, maybe Madre Estela, had done it from indoors. I glanced up at the second-floor window, expecting to find her face. I had the chilling sensation of being watched. There was nothing. The windows glowed with yellow light, a multitude of feral eyes keeping guard.
However, behind one of the ground-floor windows on the right, a figure appeared. Tall, blurred. Madre Superiora? I was sure that was her office. Yet, something about the shape of the head and the shoulders made me think of…Rubia. What was she doing in Madre Superiora’s office?
Just as abruptly as it’d appeared, the figure vanished from view.
The incident left me strangely unsettled.
Focus.
I splashed some of the water on one of the tombstones and got to work. The sound of hard bristles against stone blocked the hum of the waterfall. Almost.
Go away, damn it.
As I crouched to work on a second tombstone, doing my best not to get wet in the process, something shifted at the edge of my vision. I jumped to my feet, my heart thudding. Gabriel. Its wings had rippled with movement.
Dear God…what’s happening to me?
I rubbed my forehead and grimaced, my fingers shaking.
I felt another drop of rain. If it was going to rain, why didn’t it? The sky was playing with me, too. Mocking me.
I cursed the clouds and started scrubbing again.
I had another sensation of being watched and this time, yes, it was Madre Estela behind the window. I pretended I hadn't seen her and tried to keep focused on the task at hand. The water had turned blackish with grime.
I don’t know how long I scrubbed. I lost track of time. But it was dark. My back and shoulders were sore and my hands stung from the harsh detergent.
Madre Estela was long gone from the window.
Half panting, I sat down on the edge of the tombstone and tossed the brush aside in disgust. I looked at the statue again, but it was motionless. I turned to the windows again, my eyes slowly moving from one to the other.
From one to the other.
Expecting to see the face. Wanting to see it.
Nothing.
Yet, that weird sensation of being watched, again.
My gaze shifted to the woods, to the exact place where the cemetery ended and the forest started. There was a path there. Narrow, obscured by the trees. For a long moment I sat, mesmerized. Then I stood up and began to approach it. The breeze picked up as I got closer, carrying with it the cool, slightly pungent smell of the waterfall.
I stopped at the very edge, the darkness enveloping me, the dampness seeping through my clothes.
The wind sighed, rustling the leaves and fluttering my hair.
Icy breath, on the back of my neck.
I’m in here… a voice whispered from the shadows.
I spun around in terror.
Then I hit something hard.
Madre Estela remained standing by the door. “Get a bucket and fill it with water.”
Her hypercritical eyes sliced through my self-worth as I grabbed one of the metal buckets, lifted it into the sink, and turned on the faucet. I watched, transfixed, as the water gushed like a torrent spurting from an open artery. The cold spray raised goosebumps on my arms.
Madre Estela snapped her fingers. “Move.”
As I hauled the bucket to the door, some of the water slushed over the edge and splattered to the floor.
“Add the detergent,” she said stiffly, irritated by my clumsiness.
I chose a green bottle, twisted the cap, and poured. The acrid pine smell stung my nostrils.
“Get a sponge and a brush from there. Get going. We don't have all evening—unless you want to work in the dark.”
I gritted my teeth, but pretended not to be bothered. I suspected that the one thing that this nun couldn’t stand was indifference.
Outside, it was almost dusk. In spite of the intense screeching of the coquíes, the drum of the waterfall hit my ears. It was louder now than the last time I’d been here. How was that possible?
I felt a drop of rain. Great.
Madre Estela put one hand out, palm up. “My, my. What’s this?” She looked chagrined, and I suddenly realized why. If it rained, I would have to go inside, ruining her plans. “What are you standing there for? Start scrubbing.”
I was tempted to throw the bucket of greenish water at her face. Instead, I prayed for rain as I walked across the rose garden. Once at the gate, I glanced back at her.
“You’ll work until I come for you, understood?” she said, hands on hips in her usual stance. She pointed to one of the second-floor windows. “I’ll be watching from there.”
And that was it. She was gone.
For a moment I just stood there. If only my friends could see me now. They would never believe it.
I opened the gate and walked into the graveyard. The statue of Gabriel greeted me, its face fiercer in the dusk. The temperature must have been in the low seventies. I was glad I had my cardigan.
Suddenly, the garden lamp post lit up. I turned, startled. I wasn’t sure if it had automatically switched on or if someone, maybe Madre Estela, had done it from indoors. I glanced up at the second-floor window, expecting to find her face. I had the chilling sensation of being watched. There was nothing. The windows glowed with yellow light, a multitude of feral eyes keeping guard.
However, behind one of the ground-floor windows on the right, a figure appeared. Tall, blurred. Madre Superiora? I was sure that was her office. Yet, something about the shape of the head and the shoulders made me think of…Rubia. What was she doing in Madre Superiora’s office?
Just as abruptly as it’d appeared, the figure vanished from view.
The incident left me strangely unsettled.
Focus.
I splashed some of the water on one of the tombstones and got to work. The sound of hard bristles against stone blocked the hum of the waterfall. Almost.
Go away, damn it.
As I crouched to work on a second tombstone, doing my best not to get wet in the process, something shifted at the edge of my vision. I jumped to my feet, my heart thudding. Gabriel. Its wings had rippled with movement.
Dear God…what’s happening to me?
I rubbed my forehead and grimaced, my fingers shaking.
I felt another drop of rain. If it was going to rain, why didn’t it? The sky was playing with me, too. Mocking me.
I cursed the clouds and started scrubbing again.
I had another sensation of being watched and this time, yes, it was Madre Estela behind the window. I pretended I hadn't seen her and tried to keep focused on the task at hand. The water had turned blackish with grime.
I don’t know how long I scrubbed. I lost track of time. But it was dark. My back and shoulders were sore and my hands stung from the harsh detergent.
Madre Estela was long gone from the window.
Half panting, I sat down on the edge of the tombstone and tossed the brush aside in disgust. I looked at the statue again, but it was motionless. I turned to the windows again, my eyes slowly moving from one to the other.
From one to the other.
Expecting to see the face. Wanting to see it.
Nothing.
Yet, that weird sensation of being watched, again.
My gaze shifted to the woods, to the exact place where the cemetery ended and the forest started. There was a path there. Narrow, obscured by the trees. For a long moment I sat, mesmerized. Then I stood up and began to approach it. The breeze picked up as I got closer, carrying with it the cool, slightly pungent smell of the waterfall.
I stopped at the very edge, the darkness enveloping me, the dampness seeping through my clothes.
The wind sighed, rustling the leaves and fluttering my hair.
Icy breath, on the back of my neck.
I’m in here… a voice whispered from the shadows.
I spun around in terror.
Then I hit something hard.
What was your inspiration for Chameleon?
Like Paloma, I was partly educated in a convent school run by Catholic nuns. The convent was also an orphanage for girls, and actually some of the girls—Ramona and Sylvy—were based on real people. Adelita and Rubia were pure creations of my imagination. I did attempt to do a séance in one of the classrooms once, an act that made me end up in Madre Superiora’s office…but I didn’t get kicked out…nor experience a ghost.
Some of the scenes in the book depict the nuns in a very negative way. Can you comment on that?
Some of the nuns are nice, others…not so nice. That’s just the way it was. Except for Madre Superiora, all of the nuns in my book are based on real nuns. Madre Estela, Madre Julia, Madre Margarita were all real. Yes, Madre Julia with her giant wooden spoon, real. It may seem hard to believe, and certainly it would be tough to believe nuns can behave like that nowadays. But remember the story takes place in 1970s Puerto Rico. Catholic nuns were very strict back then, their disciplining methods cruel, but this was considered normal.
How long did it take you to complete the book?
On and off, about two years. But the story and characters simmered in my mind for years before then.
Did you have to do a lot of research?
I did a tremendous amount of research on psychopaths and psychopathy, and a fair amount on natural drugs found in tropical forests, though I ended up using only a tiny fraction of the material. I also consulted a police officer for the parts about police procedural and interrogation.
You like to use mimic writing, don’t you?
Yes, I do! I used it in Daughter of the Sun when the protagonist was drugged, and also in this book in the climax with Paloma. The writing becomes erratic and stream of consciousness because it reflects and mimics the altered mind of the character. No commas, no punctuation, one run-on sentence after another. I love using this literary technique but sometimes it can be confusing for the reader, so trying to find a balance can be very challenging.
Did you listen to any particular kind of music while working on the book?
I sure did! I can get quite obsessed about that, listening to the same compositions again and again. This was my music list for Chameleon… all of them haunting, mysterious and dark!
Like Paloma, I was partly educated in a convent school run by Catholic nuns. The convent was also an orphanage for girls, and actually some of the girls—Ramona and Sylvy—were based on real people. Adelita and Rubia were pure creations of my imagination. I did attempt to do a séance in one of the classrooms once, an act that made me end up in Madre Superiora’s office…but I didn’t get kicked out…nor experience a ghost.
Some of the scenes in the book depict the nuns in a very negative way. Can you comment on that?
Some of the nuns are nice, others…not so nice. That’s just the way it was. Except for Madre Superiora, all of the nuns in my book are based on real nuns. Madre Estela, Madre Julia, Madre Margarita were all real. Yes, Madre Julia with her giant wooden spoon, real. It may seem hard to believe, and certainly it would be tough to believe nuns can behave like that nowadays. But remember the story takes place in 1970s Puerto Rico. Catholic nuns were very strict back then, their disciplining methods cruel, but this was considered normal.
How long did it take you to complete the book?
On and off, about two years. But the story and characters simmered in my mind for years before then.
Did you have to do a lot of research?
I did a tremendous amount of research on psychopaths and psychopathy, and a fair amount on natural drugs found in tropical forests, though I ended up using only a tiny fraction of the material. I also consulted a police officer for the parts about police procedural and interrogation.
You like to use mimic writing, don’t you?
Yes, I do! I used it in Daughter of the Sun when the protagonist was drugged, and also in this book in the climax with Paloma. The writing becomes erratic and stream of consciousness because it reflects and mimics the altered mind of the character. No commas, no punctuation, one run-on sentence after another. I love using this literary technique but sometimes it can be confusing for the reader, so trying to find a balance can be very challenging.
Did you listen to any particular kind of music while working on the book?
I sure did! I can get quite obsessed about that, listening to the same compositions again and again. This was my music list for Chameleon… all of them haunting, mysterious and dark!
A certified bookworm and ailurophile, Zoe Kalo has always been obsessed with books and reading. Reading led to writing—compulsively. No surprise that at 16, she wrote her first novel, which her classmates read and passed around secretly. The pleasure of writing and sharing her fantasy worlds has stayed with her, so now she wants to pass her stories to you with no secrecy—but with lots of mystery. She lives amongst cats and books in Belgium, and is the author of the Cult of the Cat young adult fantasy series and the Retribution novella series for adults.
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**99cents February 15-21**
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