Black Gate

According to either Google or Oz the Great and Powerful (I forget which, and for God’s sake, don’t look behind that curtain!), over 300,000 books are published in the United States every year. That’s over 800 a day, every day, day in and day out.

Most, of course, are utterly worthless and are destined to vanish without a trace almost immediately (see Sturgeon’s Law), and given the magnitude of this never-ceasing flood of words, even worthy books by fine writers will inevitably go out of print sooner or later — most likely sooner.

But here’s the thing — even when they drop out of print, books that are good enough are remembered, and sooner or later, like Marely’s Ghost or that particularly embarrassing anecdote that your mother loves telling at every family gathering (especially when a new significant other is present), the good ones come back.

Hence The Rim of Morning: Two Tales of Cosmic Horror, an omnibus volume reprinting two novels that William Sloane wrote a long time ago: To Walk the Night (1937) and The Edge of Running Water (1939). The books have been reprinted a few times, mostly in paperback, over the more than seventy five years since their first appearance, but the last editions were over thirty years ago under the Del Rey imprint (see the hardcover and paperback editions in a previous BG post here.)

Sloane was not exactly prolific; the two novels collected here are the only ones he ever wrote (or are at least the only ones that were ever published; I for one am hoping that there’s a big trunk somewhere, stuffed with manuscripts that he never bothered to mail in.) Shortly after writing them, Sloane launched a literary career of impressive solidity, especially coming from a man who had mostly given up writing himself. He started his own publishing house, edited a pair of science fiction anthologies, taught at the prestigious Bread Loaf Writer’s Conference for over twenty five years, and eventually became the managing director of Rutgers University Press, a position he held until his death in 1974.

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After the past several months of Socratic dialogue/pie fight/drunken Hell’s Angels motorcycle-chain melee (in other words, after dozens of articles and hundreds – thousands? – of comments on the Hugo debacle, for you late arrivers), we here at Black Gate have firmly answered the nonmusical question, “What are awards good for?” In a nutshell, we have established that awards can help writers find a wider audience, they can provide a bit of financial leverage for those who win them, and perhaps most of all, they can be tangible forms of validation and encouragement for those whose work is often difficult, lonely, and (unless your name starts with George, has two middle initials, and ends with Martin) financially unrewarding.

All of that being said however, consider this: Tolstoy never won the Nobel Prize for Literature. (He was passed over ten times.) Cary Grant never took home a Best Actor Oscar. Martin Scorsese didn’t win Best Director for Taxi Driver, Raging Bull, or Goodfellas — he won for The Departed (do you really want to argue that one, tough guy?) and Howard Hawks, the director of Red River, The Big Sleep, Bringing Up Baby, His Girl Friday, To Have and Have Not, Rio Bravo, and (unofficially) The Thing From Another World, was never even nominated.

F. Scott Fitzgerald never won the Pulitzer Prize for Fiction — but Edna Ferber did, the year The Great Gatsby was published. The Best Picture Oscar of 1952 went to The Greatest Show on Earth. (I’ll spare you some Googling and tell you that it’s a Cecil B. DeMille circus picture. Now you just take a minute and think about that.) Try watching The Greatest Show on Earth today — just try. Only don’t do it alone; you’ll definitely want someone present to hear all of your witty zingers and rude asides, or to perform the Heimlich Maneuver if you choke on a buffalo wing during the epic train derailment scene, in which Jimmy Stewart scales unheard-of heights of tragic heroism… all in clown make-up.

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Stop me if you’ve heard this one: a dark horse, celebrity candidate with no experience in government comes out of nowhere to ride a wave of nativist populism all the way to the Republican presidential nomination – and the White House.

No, I’m not talking about The Donald, though, just as 1967 has entered American mythology as the year of the Summer of Love, here in 2015 we seem to be mired in what is destined to be remembered as the Summer of Trump. (What the two events tell us about historical progress or regress I won’t venture to say.)

Instead, I’m talking about the American hero of heroes, Charles A. Lindbergh, in Philip Roth’s 2004 novel, The Plot Against America. Though the book was received indifferently by most genre critics and readers (a fate often suffered by mainstream authors who poach on the SF preserve), Roth’s book is as genuine and full-blooded an alternate history as any of the classics of the genre – Ward Moore’s Bring the Jubilee (1953), Philip K. Dick’s The Man in the High Castle (1962), Keith Roberts’ Pavane (1968), or any number of works by the current king of the form, Harry Turtledove.

In The Plot Against America, the story is told from the point of view of seven year old Philip Roth, a third grader living in the Weequahic section of Newark, New Jersey, with his father, mother, and big brother Sandy. They are a happy, close-knit, sociable group with a circle of gregarious friends. (Think of the working class family depicted with such affection by Woody Allen in his film Radio Days.) Philip is an ordinary American kid, occupied with his school, his family and friends, and with his hobby, that epitome of nerdish inoffensiveness, stamp collecting. (In this, Philip has been inspired by President Roosevelt, himself an ardent philatelist.) The Roth family just gets by on the earnings of Philip’s father (who works as an insurance agent) aided by the efficient budgeting of his mother, but they don’t consider themselves strapped or put-upon; though they are Jews, they share with the rest of their countrymen the optimistic American creed that always expects things to get better.

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Fantasy, like all life-consuming obsessions (fly fishing, stamp collecting, running for public office) has a language all its own, one that can seem arcane and incomprehensible to the uninitiated. Polder, thinning, underlier, Dark Lord, secondary world, Hidden Monarch, threshold, time abyss, mythago – each of these names a vital fantasy concept or device, and of all such terms, none is more important to the modern genre than worldbuilding.

Worldbuilding is, according to Wikipedia, (the greatest repository of fantasy on the internet) the process of “developing an imaginary setting with coherent qualities such as a history, geography, and ecology,” and it “often involves the creation of maps, a backstory, and people for the world.”

In worldbuilding as in so many other things, it was J.R.R. Tolkien who set the standard for all who followed. His Middle Earth, with its immensely deep and detailed history, cosmogony, and geography, was worldbuilding on an unprecedented scale, even to the creation of complete languages for the various races that inhabit this invented milieu.

Post-Tolkien fantasy is largely the story of the primacy of this kind of worldbuilding, as the maps, glossaries, and genealogies that pad the backs of so many fat paperbacks attest, and almost all epic fantasies published since The Lord of the Rings owe a large debt to Tolkien and his example. But all writers are worldbuilders, Hemingway and Updike as much as Jordan and Martin, and perfect as the Tolkien method is for a particular kind of tale, there are many ways to create a believable world — even a fantasy one.

The kind of construction exemplified in The Lord of the Rings is largely external, which is well suited to Tolkien’s rather formal purposes. There is another kind of worldbuilding, however, one less concerned with royal lines and the names of rivers than with what might be called the mythic geography of ordinary life. A superb example of this kind of work is Charles G. Finney’s The Circus of Dr. Lao. Published in 1935, it is one of the greatest fantasy novels ever written; indeed, in some moods I’m inclined to think that it is the greatest of them all.

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John Jakes is a publishing phenomenon. That is always the first thing mentioned whenever he is written about and will doubtless be the first line of his obituary (not that I’m trying to hurry him). From 1974 through 1979 he produced the eight volumes of The Kent Family Chronicles, which follow the fortunes of an American family from revolutionary times through the end of the nineteenth century. The series has sold over 50 million copies and is still in print, and Jakes followed it with the even more successful North and South trilogy. Appearing from 1982 to 1987 and set in the Civil War era, it tells the story of two closely connected families, the Hazards and the Mains, one from Pennsylvania and the other from South Carolina, as they live through the country’s greatest conflict.

In the succeeding years Jakes has written other books of the same stripe, and while none have generated the huge numbers that either earlier series did, he is still one of America’s most popular authors. He is the reigning master of the American historical blockbuster; his historicals are straightforward, thoroughly researched, expansive in scope (and in page count), and unashamedly, old-fashionedly melodramatic. They are the sort of  stories that used to be called “lusty.” Tolstoy they ain’t (and Jakes has never claimed that they are), but they are solid, well-constructed entertainments that deserve their wide success.

But before he became the writer of a New York Times number one bestseller (a distinction earned by North and South, the first volume of the trilogy that bears its name), John Jakes spent his time cranking out yarns about a Conan clone named Brak the Barbarian, and one-off heroic fantasies like The Last Magicians and the humorous Mention My Name in Atlantis, as well as science fiction novels such as the Westworld-flavored Six-Gun Planet (three years before Westworld). None of these books ever made the New York Times bestseller list. Once he glimpsed those green (and I mean green) pastures, Jakes understandably left such low-paying, low-prestige science fiction and fantasy work behind, seemingly forever — he wrote his last fantastic fiction in 1973.

Was his exit from the ranks of the genre any loss? Is there anything to be found in the pre-respectability John Jakes but slapdash schlock? Is any of it still worth reading? Well, brothers and sisters, that’s what I’m here to tell you! And yes, that means that there are spoilers galore in the following review of a forty two year old book. Sue me.

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