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Author: Jason Ray Carney

This is Hanuvar’s Moment: Howard Andrew Jones’ Lord of a Shattered Land

This is Hanuvar’s Moment: Howard Andrew Jones’ Lord of a Shattered Land

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Lord of a Shattered Land (Baen Books, August 1, 2023). Cover Art by Dave Seeley

From the beginning, Sword and Sorcery has been an existentialist literature of the outsider. The rogue, the mercenary, the outcast, the criminal: from Conan to Elric, Fafhrd to Corwin of Amber, Jirel of Joiry to Grimnir the Corpse-maker, the S&S protagonist finds themselves at odds with their society, confronted with aggressive meaninglessness and called upon to carve out their own meaning in a chaotic, ever-changing, and often hostile world. This allows them to critique their society, test its values, and even challenge its assumptions. It is an intriguing literary tradition that has been a creative sandbox for several ambitious literary artists.

But this is not how most readers vaguely familiar with the term understand the genre. Sword and Sorcery has a reputation for being puerile and violent male wish-fulfillment fantasy. This stereotype derives from several obscure causes. One major cause might be the 1960s and 70s “Clonan” (Conan + clone) type of Sword and Sorcery, an assembly of several barbarian warriors and their formulaic adventures inspired by the commercial success of the Lancer reprints of Robert E. Howard’s Conan the Cimmerian stories (beginning in 1966 and featuring the famous covers by Frank Frazetta). Though not entirely without entertainment value, this group of works features the adventures of Lin Carter’s “Thongor,” John Jakes’ “Brak the Barbarian,” Gardner F. Fox’s “Kyrik,” and many more.

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Frontguard Sword and Sorcery: John Shirley’s A Sorcerer of Atlantis

Frontguard Sword and Sorcery: John Shirley’s A Sorcerer of Atlantis

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A Sorcerer of Atlantis (Hippocampus Press, 2021). Cover by Daniel V. Sauer

A Sorcerer of Atlantis: With A Prince in the Kingdom of Ghosts

John Shirley’s A Sorcerer of Atlantis: With A Prince in the Kingdom of Ghosts, published by Hippocampus Press (2021), includes two autonomous works: the novel A Sorcerer of Atlantis, which relates the hack-and-slash and demon-haunted adventures of Brimm the Half-Savant and Snoori, his mischievous, short-statured, mustachioed sidekick; and the novella, “A Prince in the Kingdom of Ghosts,” a haunting gateway fantasy that evokes the trans-dimensional tales of Roger Zelazny’s Chronicles of Amber and the psycho-cartographic tradition of Dante’s Inferno.

Although bound together, both works are distinct, excellent reading experiences. Nevertheless, both works might be equally labeled “sword and sorcery,” the pulp fantasy literary tradition of Robert E. Howard. Indeed, one of the joys of this book is how it showcases the dramatic range of that pulp tradition as it evolved after Howard. Put simply, Shirley’s book is no mere pastiche, the re-hashing of a passé sword and sorcery formula, although A Sorcerer of Atlantis does engage Weird Tales and Henry Kuttner nostalgia. Instead, Shirley’s unique work reminds us that the purview of sword and sorcery is a wide, unfolding, and dynamic literary conversation that is heating up today.
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How Sword and Sorcery Brings Us To Life

How Sword and Sorcery Brings Us To Life

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Savage Scrolls, Volume One, edited by Jason Ray Carney (Pulp Hero Press, 2020). Cover by Jesus Lopez

When I was working on the introduction to Savage Scrolls, I re-read all of Lin Carter’s Flashing Swords introductions. Something caught my attention: Carter starts Flashing Swords 1 with an epigraph, a stanza from William Morris’s six-stanza poem, “Prologue of the Earthly Paradise.” It is a beautiful apologia of fantasy literature. The speaker, Morris, attempts to comfort his reader, a weary, disenchanted worker, by celebrating the transformative nature of the heroic poetry of premodernity. But Morris does so hesitantly:

The heavy trouble, the bewildering care
That weighs us down who live and earn our bread,
These idle verses have no power to bear.

Morris is not making hyperbolic claims for the power of literature here; he is no Percy Shelley, claiming “Poets are the unacknowledged legislators of the world.”

No. Morris is comparably modest. Do you have bills to pay? Taxes to file? Mouths to feed? Alas, admits Morris, imaginative literature will not help you bear these miserable burdens. But it might help in other, nuanced ways.

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Bran Mak Morn: Social Justice Warrior

Bran Mak Morn: Social Justice Warrior

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Worms of the Earth by Robert E. Howard (Ace Books, 1979). Cover by Sanjulian

“Worms of the Earth” was published in Weird Tales in November of 1932, and was thus described in the table of contents as “a grim shuddery tale of the days when Roman legions ruled in Britain–a powerful story of a gruesome horror from the bowels of the earth.” It features Bran Mak Morn, the King of the Picts, one of Howard’s barbarian characters. A quasi-Faustian tale, the story dramatizes Bran Mak Morn’s greatest transgression, a dark pact the king makes with diabolic force to avenge his dying and brutalized race: the Picts.

Many consider “Worms of the Earth” one of Howard’s masterpieces, truly haunting and enigmatic, its impact lingering long after a reading, like a stagnant tobacco smell or a leathery flapping of shadowy wings. The story is also notable for its inclusion of allusions to H.P. Lovecraft’s mythos, specifically the ancient Mesopotamian god “Dagon” and the sunken city of “R’lyeh,” home to dreaming Cthulhu. Undoubtedly, the story’s themes of racial degeneracy and the violent power of geologic time are steeped in Howard’s legendary 1930s correspondence with Lovecraft.

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