If f/32 treated the (female) body, then "EHMH" will treat the "soul"—a more mystical, inclusive subject.  While my primary passion and commitment is to author original prose of literary value and build a body of work, my consistent challenge within this work is to deobjectify women, translate gender codes, and sustain the pre-literate intimacy that language becomes in the mouth of women.
     I was inspired to write "EHMH" by a number of coincidences: the Waco tragedy whose flames proved how potent a 1,500 year old text can be; the nationalist civil war in Yugoslavia, which revealed the propensity of history and the past to butcher the present; a Greek legend related to me as a true story by a sailor about an immortal mermaid, Alexander the Great's sister, who met his ship.  And finally by the nascent literary movement to replace the compulsory linear narrative and the patriarchal, canonical, authoritarian values of the traditional novel.  In the modern world of video transmissions, cellular phones, faxes, computer networks and virtual realities, of hackers and cyberspace experts, the novel needs to serve a new purpose: interactive, healing and transformative.  I conceived of a magnum opus that would define the millenial Western woman.
       The main themes in "EHMH" deal with questions of present time as non-existent other than as the extension of past and future; Western history and myth; the end-of-century America; woman as repository of history and disaster, of suppressed memories, the ultimate womb. 
     'EHMH: An Anatomical Prophecy,' or 'The Wrath Of God: An Oceanic Romance,' is a long novel comprised of three interconnected novellas tracing three multiethnic characters' end-of-century crises, and culminating in the apocalyptic tale of the coming out of an immense mermaid, whose appearance terrifies, seduces and transforms the Western world.
"EHMH" is a novel composed of three chapters.  The first chapter, "Before," introduces the main characters and the end of the century realities which they inhabit.  Three women, Atalanta, Medea, and Pasiphae, whose distinct lives converge in their need for liberation from a life of absence, eventually all seek salvation by jumping into the sea.  EHMH is a mythic mermaid whose evergrowing body shelters history's disenfranchized. 
      The second chapter, "And," relates the Dantean voyage of the three women who find themselves inexorably drawn into the gargantuan mermaid EHMH, and together they chart a hazardous course through her inner body until they reach her brain, where they manage to break open the abandoned safe of her millenial thoughts.  This initiates EHMH's decision to come into the world. 
     The third chapter, "After," describes the apocalyptic changes EHMH's shocking and unfathomable (ineffable) presence effects on the    socio-political prejudices of the Western world (where she is treated alternately as God and Godzilla), and culminates in a celebration of the end of history on EHMH's body-turned-city, capital of the new world.
The first chapter, "Before," the (postmodern) exposition, employs a medical metaphor; "And," the (Dantean) complication, develops a biological metaphor; "After," the (neo-biblical) climax and denouement, is supported by an astronomical-physical (as in physics) discourse, where EHMH becomes the New Jerusalem. 
      When I began this project, I wrote skeleton material for four interconnected romances: "Atalanta and Moses: A Running Romance" tells the story of a woman who runs nonstop, literally; even after she escapes from the world, she can't escape from her mind.  "Medea and Kronos: A Shopping Romance" follows the life and death of a woman immigrant who shops nonstop.  Set in a consumer-mad America, it subverts the American dream and the American fear of death.  "Pasiphae and Lexis: A Written Romance" describes a day in the life of a woman who writes nonstop.  It takes place on a movie set where screenplay, movie action, phone conversation, memory and various side characters merge into Pasiphae's circular self-as-text.  Finally, "Emmanuelle and the World: An Oceanic Romance" introduces an ageless, immense "nouvelle mermaid" whose appearance terrifies, seduces and transforms the Western world. 
      As I began to write, the four narratives commingled.  I became interested in weaving a narrative free of conventional time and sequence.  At the same time, the qualities of the three women became clear: Atalanta as the celestial, Olympian aspect; Medea as the terrestrial, materialistic element; and Pasiphae as the infernal, creative force.  Together they form a trinity, not unlike the Christian triad or the threefold prehistoric goddess of nature; and they drive the lyrical, baroque, and often comic narrative toward the apocalypse that is the novel's core.   
      EHMH is an epic novel.  It has required extensive research in medicine (such as cancer and viral infections), physics (black holes), anatomy (female), warfare (contemporary), Western history and theory of history, seafaring techniques and tales (Melville, Conrad), philosophy (Bergson, Benjamin), mythology, feminist thought (Irigaray, Kristeva), and of course the study of St. John's Apocalypse, Blake's Prophetic Books, and the Apocrypha—and of the feminist discourse in each of these fields.
     I began writing "EHMH" in 1993. It will take years to finish.
I am fearful of repeating mistakes I made when f/32 went into publication.  Much like "EHMH," f/32 began as an M.A. thesis.  While shooting a film in the desert in India, I received a telex informing me that the manuscript had been submitted to the Fiction Collective Two Contest and won. The editors sent me a contract and proofs.  I strongly felt that the manuscript was not ready for publication. It was not a final draft; I was too committed elsewhere to rewrite it. The award had been announced and the book had to come out on the year of the award.  Only when Virago decided to print it in England, did I have the time to produce the novel I wanted to see in print. So two or more versions exist today.
     The excerpt from EHMH is not in chronological order, but rather a representative collage of some of the many voices and narratives in the book.