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Author: Fletcher Vredenburgh

An Abhorred Monster: Frankenstein by Mary Shelley

An Abhorred Monster: Frankenstein by Mary Shelley

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Like most people these days, my first encounter with the patchwork creature from Mary Shelley’s novel, Frankenstein (1818), was through adaptation. I truly cannot remember whether it was a moulded plastic Halloween mask, a comic strip, James Whale’s 1931 movie Frankenstein, starring Boris Karloff, or Abbott and Costello Meet Frankenstein (1948) that I saw first. Which one doesn’t matter — that green-makeup-painted face with flat head and neck bolts was an image that was everywhere: comics, cartoons, a giant statue on top of a bar & grill on my hometown of Staten Island. In each case, Victor Frankenstein’s creation was presented as a lumbering, platform-booted monster. At some point, I learned that Shelley’s was a very different creature than that which Whale had created for the screen, but that knowledge was unable to dislodge decades of Whale’s iconic image.

While normally presented as a horror story — and there are great, horrific elements in the book — it is really one of the first science fiction novels. Victor Frankenstein is a warped version of the Enlightenment man, rejecting the supernatural entirely, pursuing material and empirical knowledge to the point “no man was meant to know”. The Creature, foreshadowing countless androids and cyborgs, is tormented by the question of his standing in the universe as a man-made being. I thoroughly enjoyed this terrific, if slightly flawed, book.

I imagine most people know the basic story of Frankenstein‘s creation. As part of a storytelling contest between herself, her lover, the poet Percy Shelley, the poet Lord Byron, and Byron’s sidekick, Dr. John Polidori, eighteen-year-old Mary Shelley conjured a scientist obsessed with creating life. The poets’ tales were never finished, but Polidori wrote one of the first vampire tales, “The Vampyre” (1819). Shelley’s idea was potent enough to turn into a full-length novel.

I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world.

Mary Shelley from her introduction to the 1831 edition of Frankenstein
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A Tale of Wonder: The Last Unicorn by Peter Beagle

A Tale of Wonder: The Last Unicorn by Peter Beagle

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When Molly Grue yells at the unicorn, it expresses a little how I felt on reading Peter Beagle’s The Last Unicorn (1968) this past month for the very first time:

First edition

But Molly pushed him aside and went up to the unicorn, scolding her as though she were a strayed milk cow. “Where have you been?” Before the whiteness and the shining horn, Molly shrank to a shrilling beetle, but this time it was the unicorn’s old dark eyes that looked down.

“I am here now,” she said at last.

Molly laughed with her lips flat. “And what good is it to me that you’re here now? Where were you twenty years ago, ten years ago? How dare you, how dare you come to me now, when I am this?” With a flap of her hand she summed herself up: barren face, desert eyes, and yellowing heart. “I wish you had never come, why do you come now?” The tears began to slide down the sides of her nose.

Of course, what Molly learns is that she needn’t have waited for wonder and transcendence to find her, but should instead have sought them. Taking her lesson to heart for myself, I felt betrayed and angry for only a moment before yielding to chagrin that I hadn’t sooner sought this perfectly-cut gem of a story. The book sat on a shelf for twenty years, gathering dust and losing to the sun the richness of color of its wonderful Gervasio Gallardo artwork.

If The Last Unicorn was a lesser book, I could offhandedly describe it as an illustration of the universal need to undertake a quest, to find wonder — whether from beauty or love or something more ineffable. But Beagle has given us so much more. He’s tucked treasures inside prose that echoes with the sounds of hidden woodland glens and that is painted in the colors of lost and recovered dreams; he’s elucidated the value that can be gleaned from loss, sacrifice, regret. And further, he’s told a story about stories, and how they don’t reflect reality, except when they do. He’s played with the various elements of fantasy — the quest, the wizard, the princess, etc. — in a way that loves them as much as it punctures them.

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A Potent Draught of Distilled Fairy Fruit: Lud-in-the-Mist by Hope Mirrlees

A Potent Draught of Distilled Fairy Fruit: Lud-in-the-Mist by Hope Mirrlees

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I’m back with a new column. Each first Friday of the month I’ll be writing about a work of fantasy I’ve never read (or read only once a long time ago; I insist on room for maneuvering!). Because of Lin Carter’s magnificent taste, it may at times seem I’m simply going through titles from his Ballantine Adult Fantasy series, but my goal is to rummage around in the basement and attic of fantasy, exploring works that preceded, or exist outside of, modern commercial fantasy. My reach will extend at least as far back as the Gothic novels first appearing in the late 18th century, and I hope it will come forward to today. So far, my planned reading includes Gormenghast, The Last Unicorn, Once Upon a Time, The Ship of Ishtar, Melmoth the Wanderer, and Frankenstein. If all goes well, I’ll even go for The Worm Ouroboros and The Manuscript Found in Saragossa, too.

Fantasy has become a successful commodity. Witness the gargantuan force of A Song of Ice and Fire, both in print and on the screen. And what are the leotard-clad protagonists of superhero movies but updated versions of the heroes panegyrized by the skalds and griots? Fantasy, to which I’ve dedicated untold numbers of hours reading and writing about, is more successful than I could ever have imagined forty-odd years ago when I first read The Hobbit, and yet I’ve found my taste for it diminishing with each passing year.

Excellent and original work is being created, but you have to hunt for it. Most new fantasy simply mimics ideas already done to death a long time ago, bringing nothing new or substantial to the field. I love the Ramones, but after four or five albums, you’ve heard everything they have to say. I feel the same way about new fantasy. And yet, I still find myself drawn to fantasy, remembering how it’s allowed me to shrug off the bonds of reality and slip into the world of dreams. I just don’t want another thousand-page story exploring the magically-augmented struggle for the throne of some imaginary kingdom, or a supposedly realistic disquisition on power politics in a “grittier” analogue of the real world, or about how there really isn’t good and evil, only gray morality. Even my beloved sword & sorcery begins to seem a little wan after reading eighty or ninety stories a year. Only in the best of hands do I find new stories that still hold my interest.

I recently reread Mikhail Bulgakov’s The Master and Margarita, a tale of the devil visiting Moscow, a writer and his lover, and a novel about Pilate and Christ. While a serious novel about art, love, and totalitarianism, it’s also fantasy. The form allowed Bulgakov to explore ideas he might not, under Stalin, have attempted otherwise (and still it was censored until decades after his death). Some of the deepest, most affecting scenes are pure fantasy, drawing on myth and nightmare instead of psychology and our five senses, allowing them to find a way to our soul that a realistic version could not. Bulgakov wrote to satisfy himself, not the dictates of the market. And though there’s nothing wrong with the latter, the result will rarely be a Bulgakov. You won’t encounter another book like The Master and Margarita because it wasn’t written to conform to genre considerations. Bulgakov never set out to become a “fantasy” writer, just a writer who would find the best way to tell the stories he wanted to tell.

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Barbarians at the Gates of Hollywood by P. J. Thorndyke

Barbarians at the Gates of Hollywood by P. J. Thorndyke

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Barbarians at the Gates of Hollywood by P. J. Thorndyke-small Barbarians at the Gates of Hollywood by P. J. Thorndyke-back-small

Let me start with a story from when I was fifteen and had yet read only the Lancer Conan the Warrior, but was friends with several serious Conan (and Kull, and Solomon Kane) readers. They learned that Creation Con in Manhattan would include a presentation about the upcoming movie Conan the Barbarian featuring Valeria actress Sandahl Bergman, and they quickly convinced a bunch of us to get tickets. On a Saturday afternoon, we made the drive into the city. My memories of the convention itself are pretty hazy, but the movie preview is etched in my brain. Bergman was beautiful and funny. Any teenage boy would want to see the movie after seeing her. The rest of the presentation, though — woohoo, it stank. It was a slide show, just a batch of lifeless stills that, if they didn’t kill our enthusiasm for the movie, they definitely dimmed it. Nonetheless, we all saw it as soon as we could.

All these years later, I can’t speak to how my friends felt, but I hated the movie. I just rewatched it and now, having read all of Howard’s original stories several times, I hate it even more. But that’s a conversation for another day. My opinion, sadly, didn’t matter, and Conan the Barbarian became a cult success, helped make Arnold Schwarzenegger a star, and set the stage for an explosion of barbarian-themed movies. It’s that eruption of films starring loin-clothed, overly-muscled warriors that is the subject of  Barbarians at the Gates of Hollywood by P.J. Thorndyke.

When I stepped back from reviewing at Black Gate (almost two years ago — holy shlamoley!) I knew there could always be something to lure me back. Clearly, John O’Neill knew what that something was when he saw it. He e-mailed me a copy of Barbarians at the Gates of Hollywood, I scanned it and immediately knew I had to read it.  It opens with a solid history of sword & sorcery and closes with a brief explanation of why the film genre died. The heart of the book are synopses of dozens, if not all, of swords and sorcery movies of the eighties. If you’ve ever had any interest in movies like Thor the Conqueror or how Richard Corman came to produce such fare as Deathstalker II: Duel of the Titans in Argentina, this is the book for you.

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Upon the Flight of the Queen by Howard Andrew Jones: a Trailer

Upon the Flight of the Queen by Howard Andrew Jones: a Trailer

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9781250148803November, 19th is a date worth marking on your calendar. It’s the day Upon the Flight of the Queen (St. Martin’s Press), the second installment of Howard Andrew Jones’ Ring-Sworn Trilogy debuts. I loved For the Killing of Kings, the first book. You can read my review of it here. It’s a terrific swords & sorcery tale with a heavy dose of swashbuckling. If you haven’t read it yet, it should be clear I heartily recommend it. It’s felt like an age since my last post here at Black Gate. I’m still not sure when I’ll return here with any sort of regularity, but for books like this, I’m willing to make an appearance.

I’m old, so the idea of doing a trailer for a book isn’t something I’ve ever thought of. Apparently it’s a thing and it can be pretty cool. Up above is the brand new one for Upon the Flight of the Queen and it was done by Jones’ son, Darian Jones, an animator (as well as many other talents as will become clear later). As trailers are a whole new concept for me, I figured I’d ask Darian about himself and how he created the one for Flight.

Fletcher: So, Darian, can you please, tell us about yourself and your animation background?

Darian: Hello! Well, like my father, I have always been a performer and a storyteller. As a kid, he and I would be unable to watch a movie or listen to a song without taking it apart and analyzing it together. Animation seemed like the natural marriage of writing, art, and music, all things I loved to create. It started with simple comics during middle school at recess (and anytime the teacher wasn’t looking). Then I tried my hand at stop motion using stuffed animals and action figures. Over time I just fell in love with the medium. There is a vast storytelling potential in animation. I believe it is the best way to make any story visually beautiful and expressive. Unlike film, animation grants its creator the most minute control over every detail. I determine exactly what colors I use scene-by-scene. I determine how a character gesticulates and how their face emotes when they speak. I can give them shark teeth or hair made of drifting clouds if I want. My commitment to the study of animation earned me straight As and a position as Lead Animator on our class’ student thesis film. My professor said it was not only my skills with the medium but also my ability to negotiate calmly and effectively during times of extreme stress that won me the title. Now I have graduated college and I’ve been making little animations every chance I get to build my portfolio and, hopefully, win new positions at studios. Until then, I’m doing freelance work for writers and businesses.

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For the Killing of Kings by Howard Andrew Jones

For the Killing of Kings by Howard Andrew Jones

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oie_53921t7oYJGMSWhen comes my numbered day, I will meet it smiling. For I’ll have kept this oath.

I shall use my arms to shield the weak.

I shall use my lips to speak the truth, and my eyes to seek it.

I shall use my hand to mete justice to high and to low, and I will weigh all things with heart and mind.

Where I walk the laws will follow, for I am the sword of my people and the shepherd of their lands.

When I fall, I will rise through my brothers and my sisters, for I am eternal.

 

 

Pledge of the Altenerai

 

Kyrkenall, veteran of the great war that almost destroyed the realm of Darassus, and Elenai, a young squire, both members of the Altenerai, an elite corps of warriors, find themselves on the run from their comrades in Howard Andrew Jones’ rapid-fire new book, For the Killing of Kings. At an almost brief 350 pages, it moves at an astounding pace, each chapter ratcheting up the suspense and the danger until everything seems ready to spin out of control. This is exciting storytelling from one of the best and most knowledgeable writers of heroic fantasy around. If you haven’t yet read Jones, this is an awesome place to start.

A little less than a decade before the book begins, the barbarian Naor almost conquered Darassus. In the end, the Naor were driven to near collapse by the Altenerai under the leadership of N’lahr. Following their massive battlefield defeat, the queen of Darassus, against the advice of the Altenerai, offered the barbarians peace. They accepted and withdrew to their ancestral lands. As the book begins, though, it seems the barbarians are on the move, threatening to bring fire and death once more to Darassus.

During the war a prophecy had been made that Mazakan, warlord of the Naor barbarians, would die at the hand of N’lahr by his sword, Irion. Though Mazakan surivived and N’lahr died, Irion hangs in the Altenerai’s hall and has remained a totem strong enough to deter the Naor from a full invasion. Until now.

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Rescued from the Vaults of Time: The Sapphire Goddess – The Fantasies of Nictzin Dyalhis

Rescued from the Vaults of Time: The Sapphire Goddess – The Fantasies of Nictzin Dyalhis

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oie_801451Zc9o2K4DDave Ritzlin, impresario of DMR Books, has rescued another writer from the distant, fog-obscured days of pulp fantasy. He has done for Nictzin Dyalhis as he did for the nearly-forgotten Clifford Ball (reviewed by me here). If you, like most people, have no idea who Dyalhis was, Ritzlin presents as much information as is available in an excellent introduction to The Sapphire Goddess (2018), his new collection of all nine of the author’s fantasy and science fiction stories.

A quote from the introduction:

Even though Nictzin Dyalhis was the eccentric author’s legal name at that time, it’s highly unlikely he was named that way at birth. He claimed that “Nictzin” was a Toltec Indian name and “Dyalhis” was an old English (or, alternately, Welsh) surname. Neither of these claims is true. Many speculated that his real name was Nicholas Douglas or Nicholas Dallas or something similar, which he modified into something more exotic.

Nonetheless, Weird Tales publisher Farnsworth Wright swore to Donald Wandrei that all the checks for Dyalhis’s stories “were made out to that name.” Whatever the reality, there’s something wonderfully perfect about a fantasist being remembered solely by a name of mysterious origins.

The nine stories in The Sapphire Goddess were published between 1925 and 1940. Eight were published in Weird Tales, with only “He Refused to Stay Dead” published in another magazine, Ghost Stories. Save for the explicitly sci-fi “When the Green Star Waned” and its sequel “The Oath of Hul Jok”, they are a mix of horror and heroic fantasy. Running through most of them is a theme of reincarnation or forgotten past lived in another dimension.

“When the Green Star Waned” (1925) and “The Oath of Hul Jok” (1928) are two adventures of the planet Venhez’s greatest heroes. The first concerns a journey to the now-silent planet Aerth to determine why no one’s heard anything from its inhabitants in years. Dyalhis’s first published story, it’s not an especially finely-wrought story, but it is very successful at creating a nightmare atmosphere, made all the more malevolent with horrible semi-material monsters from the dark side of the moon. It also seems to have introduced the word Blastor for ray guns. That alone is a more than worthy legacy for any pulp story.

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Endings and Beginnings: The IX: Prelude to Sorrow by Andrew P. Weston

Endings and Beginnings: The IX: Prelude to Sorrow by Andrew P. Weston

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51h5Zzyi6VLWith The IX: Prelude to Sorrow (2018), Andrew P. Weston brings the curtain down on his trilogy that started with The IX (2015) and continued with The IX: Exordium of Tears (2016). Driven to near-extinction by the all-devouring Horde, the humanoid Ardenese turned their fate over to an AI called the Architect. The Architect transported human military personnel from all across the ages in hope of finding people with new ideas about how to fight the Horde. In The IX, men of the fabled Roman IX Legion and their Celtic adversaries, along with 19th century US Cavalry, Plains Indians, a British SBS team, and some terrorists are dragged away from Earth just at the moment they are about to die.

The first book introduced the various soldiers as well as the Horde. Utterly alien monsters, at first the Horde seem to exist solely to devour every living thing in their path. As the story unfolds it becomes clear they are a far more complex enemy than the Ardenese and their new allies realize. The most striking of Weston’s achievements in the book is conveying the strangeness of the Horde.

In the next installment the temporarily victorious humans and Ardenese, warned by the seemingly mystical insights of the leader of the Native American contingent, Stained-With-Blood, launch a massive interstellar attack on the remaining Horde. Filled with massive space battles and planetary-scale destruction, the book is a blast. In the end, despite great losses, it seems the Horde has been finally defeated and the future of a hybrid Ardenese-human civilization has been ensured.

Prelude to Sorrow reveals that the victory thought won was only temporary. In fact, the situation faced in this new book is even worse than that in the beginning of the series. A new enemy, one that threatens not only the Ardenese’s existence but all existence, is revealed.

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That’s All (for now)

That’s All (for now)

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The Way I Feel
The Way I Feel

Over five years:

55 Short Story Roundups, each of at least four stories, making for a minimum of 220 reviewed. It’s probably at least half-again as many.

157 Book Reviews, including 11 books by Glen Cook, 7 by PC Hodgell, 7 by Andre Norton, 6 by TC Rypel

12 Essays

That’s how much I’ve written at Black Gate since my inaugural post, The Best New Sword & Sorcery of the Last Twelve Months. I should also add I co-wrote a review of Rafael Sabatini’s Captain Blood books with Howard Andrew Jones and conversed with Adrian Simmons and Chris Hocking on the subject of CJ Cherryh’s award-winning Downbelow Station. I’m happy with most of the posts I’ve written and actually proud of more than a few of them. I bring this all up because I’ve decided it’s time to hang up my sword for at least a little while. I’ve reached the point where readingreviewingediting every week has become a grind. In fact it’s been a bit of a hard slog for a while now, which is why I mixed things up with classic sci-fi last year and the entirety of Glen Cook’s Black Company series this year. Both of those undertakings were a lot of fun. It’s been years since I’ve read any of those books. Some, like Hal Clement’s Mission of Gravity, I had never read ever. Still, it wasn’t enough to thwart this hiatus.

Don’t get me wrong, most of the time doing these posts is a tremendous amount of fun. Discovering writers I didn’t know or had forgotten all about (or discovering those I had once loved who were better left forgotten) was a blast. If I hadn’t done these posts I probably would never have read Paul Kingsnorth or Tim Willocks or made friends with scores of fellow S&S fans out in the digital wild. Even the weakest books I read still offered me something: how to find the best parts of something bad and how to treat an author’s efforts with respect even if the end result was poor.

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I, Severian: The Book of the New Sun by Gene Wolfe

I, Severian: The Book of the New Sun by Gene Wolfe

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Severian of the Guild-smallDespite being one of the densest sci-fi/fantasy works I’ve ever read, packed with Classical and Biblical allusions as well as being an homage to the dying Earth genre, Gene Wolfe’s four-volume The Book of the New Sun is magnificently compelling. While it can be read, just barely, as an adventure story, it’s so much more — and missing out on the “so much more” would be a crime. According to Wolfe, in the valuable series companion, The Castle of the Otter, he wanted to create a vast and believable fantastic setting with many distinct lands and cultures, and tell the story of “a young man approaching war.” He accomplished both these things and more. The story is not just of one young man’s salvation, but also of his emergence as his world’s savior. If these themes alone don’t spark your interest, let me add that they’re all conveyed in some of the flat out best writing I’ve ever read.

Looking back over all four books, it’s far easier to discern what Wolfe was doing than when I was in the middle of them. Severian, while he has an eidetic memory, regularly withholds or presents information so as to make himself appear in the best possible light. The second book in particular, The Claw of the Conciliator, left me puzzled, to say the least. While the other three books, The Shadow of the Torturer, The Sword of the Lictor, and The Citadel of the Autarch present as mostly linear accounts of Severian’s adventures, much of Claw is made up of mysterious visions, inscrutable dreams, and encounters seemingly untethered to the rest of Severian’s reality. Over the following two books, new and previously omitted details are provided by Severian and the series’ arc becomes more clear. Severian, no matter how kindly he is, was bred to violence. Gradually his growing empathy and eventual revulsion at the things he has been trained to do are transforming. The battles between the bandits and the Ascians in which he participates in Citadel serve the same purpose. From the perspective of the last pages much of the mystery of Claw makes sense. Severian is a man cut loose from literally everything and everyone he has known and is finding the world a duplicitous and unjust place. The weirdness reflects the massive spiritual and mental dislocation he is suffering.

In the dying Earth elements of The Book of the New Sun there are obvious summonings of the spirits of William Hope Hodgson and Clark Ashton Smith. The secret identity of the reigning Autarch and some of the Christian elements are more than reminiscent of G.K. Chesterton. The ancient rituals, dank chambers and dark tunnels of the torturers and the Matachin Tower echo much of Mervyn Peake’s Gormenghast trilogy. It’s Cordwainer Smith and his Instrumentality of Mankind stories I am most reminded of after finishing all four of Wolfe’s books. Like Smith, Wolfe is concerned with human stagnation.

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