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The Other Sax Rohmer

The Other Sax Rohmer

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bianca HCbianca italiaI recently penned an article examining the possibility that four privately-printed titles by The Theosophical Society of London might have been the work of a young Sax Rohmer since he and the author of the four theosophical works were both born in the UK as Arthur Henry Ward in 1883. Rohmer shared a lifelong interest in theosophy and occasionally wrote non-fiction pieces on the topic and other occult interests. The current article is concerned with a second mystery writer with the name Sax Rohmer or, more correctly stated, Elizabeth Sax Rohmer.

Credited on the back of her lone novel as the daughter of Sax Rohmer, Elizabeth was in fact his wife. Born Rose Elizabeth Knox into a family of Music Hall entertainers, her brother Teddy was one of The Crazy Gang whose influence in British comedy ranged from The Goon Show to Monty Python. While never as prolific as her husband, Elizabeth penned at least two short stories, “Spikey” and ” ‘arker” under the name Lisbeth Knox in 1924 and 1932, respectively. Under the name Elizabeth Sax Rohmer, she scripted a number of radio and television scripts with her husband. Sadly, no copies of the programs survive and her short fiction remains obscure.

Elizabeth Sax Rohmer’s lone novel, Bianca in Black was published in 1958. At the time, her husband was battling poor health and involved in a protracted court case over his literary rights. Strapped for cash, Elizabeth went to work on a novel herself for Thomas Bouregy’s Mystery House imprint in the US and for Ryerson Press in Canada. A paperback edition by Airmont would follow four years later. Elizabeth acknowledged that her husband helped her with the story and writing of the book. While it is clearly his wife’s work primarily, Sax Rohmer’s hand is evident in certain aspects. The story itself has some slight echoes of his 1954 mystery, The Moon is Red.

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The Fionavar Tapestry Book 1: The Summer Tree by Guy Gavriel Kay

The Fionavar Tapestry Book 1: The Summer Tree by Guy Gavriel Kay

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oie_2954621i1N7me0pWhile Guy Gavriel Kay is probably best known for his fantasies set in lightly fictionalized versions of the real world — such as The Lions of Al-Rassan or the Sarantine duology — his first book was The Summer Tree (1984). It’s the opening volume of The Fionavar Tapestry, a trilogy of epic high fantasy that manages to cram into its pages nearly every important Germanic or Celtic myth you can think of. You want a dark lord in an impregnable northern fortress? Check. How about noble elves practically glowing with an inner light, and noble blond horse-nomads? Double check. Considering that at the age of twenty, Kay was picked by Christopher Tolkien to help him collate his father’s papers into The Silmarillion, it’s understandable.

The Summer Tree is a book of beginnings and setting the pieces on the table. The game that will be played out in the two succeeding books, The Wandering Fire and The Darkest Road, is the usual one of long-imprisoned dark lord frees himself and sets out to get right this time his efforts to subvert creation and rule the world. Or in this book’s case, THE WORLD. Fionavar is the first world, the one from which all others, ours included, spring and are but shadows of.

The book opens in Toronto where five grad students, Jennifer, Kevin, Kimberly, Paul, and Dave go to hear Prof. Lorenzo Marcus lecture at the Second International Celtic Conference. He reveals to them that he is really Loren Silvercloak, a sorcerer from another world, and he would like them to travel back there with him for two weeks. In one of the book’s weaker moments, it doesn’t take much to convince them to go along. Dave balks at the last minute, which results in him arriving in a far different part of Fionavar than his friends, and having several chapters all to himself. What none of them knows is that while Loren has said he simply wants them to cross over in order to be present at a celebration for the king, the reality is he knows they have yet undetermined roles to play in Fionavar.

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Sea Trolls, Spaceship Captains, and Immortal Warriors: Publishers Weekly on Warrior Women

Sea Trolls, Spaceship Captains, and Immortal Warriors: Publishers Weekly on Warrior Women

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Publishers Weekly has given a starred review to Paula Guran’s latest book Warrior Women, calling it an “Epic anthology… truly impressive.”

Two dozen stories of women warriors form this epic anthology of stories about those forced to fight, those who chose to fight regardless of odds, those who ran from their destiny as warriors, and those who will end war at any cost. In Caitlín R. Kiernan’s “The Sea Troll’s Daughter,” the titular daughter of a fearsome beast reluctantly confronts the woman who slew her father. In Carrie Vaughn’s nonspeculative “The Girls from Avenger,” a WWII pilot tries to determine the cause of her friend’s mysterious crash. An immortal wandering warrior meets an immortal prisoner in George R.R. Martin’s hopeful but bleak “The Lonely Songs of Laren Dorr.” Spaceship captain Tory Sabin must battle bureaucracy and physics to locate a missing friend in “The Application of Hope” by Kristine Kathryn Rusch. The warriors include girls as well as grown women: young Thien Bao is offered the chance to end a cataclysmic war at an unimaginable cost in Aliette de Bodard’s “The Days of the War, as Red as Blood, as Dark as Bile,” and a girl who discovers her father is a “monster” grows into a woman who tries to save others from his fate in Ken Liu’s “In the Loop.” Each story contains strength and compassion, even when the personal cost is high. The depictions of battle and trauma are rarely graphic, but they’re as hard-hitting as the subject demands. This is a truly impressive accomplishment for Guran and her contributors.

See the complete table of contents here, and the complete Publishers Weekly review here. Warrior Women will be published by Prime Books on December 17, 2015. It is 384 pages, priced at $15.95 in trade paperback. The cover is by Julie Dillon. See more details at the Prime Books website.

Jeffrey Ford on Scott Nicolay’s After

Jeffrey Ford on Scott Nicolay’s After

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Scott Nicolay After-smallJeffrey Ford took a chance on an unknown magazine, and sold us a story for the very first issue of Black Gate. (And a terrific story, too — a gonzo mystery set on an alien world, “Exo-Skeleton Town.” You can read the entire thing at Infinity Plus.) We’ve been pals ever since. One of the things I like about Jeff is he treats his Facebook friends to great, punchy mini-reviews of some excellent (and often hard-to-find) titles. That was the case yesterday, when he wrote the following about Scott Nicolay’s creepy horror tale After. He gave me permission to post it here. Enjoy.

if you get a chance, check out Scott Nicolay’s stand alone novella, After. About a woman who returns to her home in Seaside Heights after super storm Sandy to check on the damages. FEMA says she’s not allowed to stay but she does only to find out that some strange creature has been brought in by the storm and is lurking beneath her house.

This one’s got everything I like in a horror story — the slow burn, deep characterization so I care about the character, and the rare instance of a metaphorical resonance between the fearsome aspect of the world (the monster) and the defining condition of the character (in this case an abusive relationship). All this in a neat little book, well made (from Dim Shore Press) with a great cover and nice illustrations by Michael Bukowski.

Scott Nicolay is also the author of Do You Like to Look at Monsters? and Ana Kai Tangata: Tales of the Outer the Other the Damned and the Doomed.

After was published by Dim Shores on August 4th 2015. It is 104 pages, priced at $10 in trade paperback. The cover is by Michael Bukowski. The Dim Shores website is here.

See all of our recent Reviews here.

October Short Story Roundup

October Short Story Roundup

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oie_1703334C3k1rSDiJust because I’ve taken a turn toward epic high fantasy in my reading of late doesn’t mean I’ve forsaken swords & sorcery. In fact, here’s my latest look at short stories from a trio of magazines you can read for free every single issue.

I’m starting this month off with Beneath Ceaseless Skies. I’ve written here before about my love-hate relationship with the magazine. Too often it just doesn’t print stories I’m interested in. Even when it does, its editors definitely have more literary taste than the pulpish flavor I prefer in my heroic fantasy. Issue #185 is a reminder of why I still look forward to BCS’s arrival every two weeks. Topped by a gorgeous painting by Feliks Grzesiczek that could easily pass for the locale of a Hammer film, the issue bills itself as “fantastically monstrous…for Halloween.” And it is.

“Demons Enough” by Ian McHugh is a little like Underworld (if Underworld wasn’t awful), set a little to the left of Beowulf’s Geatland. In other words, you get a shapeshifter throwing down with vampires, and folks named Thorfinn and Freydis trying to kill the lot of them. When the component elements of a story have been played with by an untold host of other writers over the years, the author has a lot of work to bring something original to the mix. That happens here with McHugh’s vampires, or leeches as they’re called. Cloaked by night and magic, they take on a more human form. In the sunlight, stripped of most of their power, their true selpulchral nature is revealed. Gloomy atmosphere, gut-squishing violence, and apprehension are delivered with a more than adequate degree of skill.

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Robert E. Howard, Exile of Cross Plains

Robert E. Howard, Exile of Cross Plains

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NOTE: The following article was first published on March 21, 2010. Thank you to John O’Neill for agreeing to reprint these early articles, so they are archived at Black Gate which has been my home for over 5 years and 250 articles now. Thank you to Deuce Richardson without whom I never would have found my way. Minor editorial changes have been made in some cases to the original text.

subterranean-kull-slipcasesubterranean-kull-limitedThe transformation of literary genres in the early twentieth century was marked by a series of intriguing parallels and recurrences. When Raymond Chandler, displaced as much in England as California, started down the mean streets of writing pulp fiction, he used an Erle Stanley Gardner story as his template. Chandler prepared a detailed synopsis of Gardner’s story and then re-wrote the story himself, comparing the results to the original.

Chandler’s first published pulp story, “Blackmailers Don’t Shoot” (1933) introduced the prototype for the hardboiled private eye who emerged six years later in Chandler’s landmark first novel, The Big Sleep in the form of Philip Marlowe. Likewise Chandler’s literary heir, Ross Macdonald, displaced as much in Canada as California, would use The Big Sleep as the template for his own first novel, The Moving Target (1949) and, in the process, introduced Marlowe’s successor, Lew Archer who would arguably represent the hardboiled detective realized to its full potential.

When Robert E. Howard, an outcast in his native Cross Plains, started down the path that would eventually give the world the genre now known as Sword & Sorcery, he used Paul L. Anderson’s story, “En-ro of the Ta-an” as the template for his various “Am-ra of the Ta-an” story drafts. Anderson would likely be a completely forgotten literary figure but for the efforts of Howard scholar, Rusty Burke. Even without Anderson as a reference point, Howard’s first attempts at creating a noble savage are instantly familiar to the modern reader as being works that are highly derivative of Edgar Rice Burroughs’ Tarzan, Pellucidar, and Caspak novels. Just as the seminal Black Mask writers took the western and successfully brought it to an urban setting creating modern detective fiction in the process, so Burroughs and those he influenced took Rudyard Kipling’s Mowgli tales and laid the foundation for modern myth-making by cross-breeding jungle adventures with the lost worlds tales of Jules Verne, Sir Arthur Conan Doyle, and H. Rider Haggard.

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Approbation and Obloquies for the Lord of Strange Deaths

Approbation and Obloquies for the Lord of Strange Deaths

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LOSDWEBFuman_frontIt is not easy to be a fan of classic pulp fiction and a person of good conscience in the 21st Century. It is far easier to embrace steam punk and all that has followed in its wake which treats the past as if it had the mores and indeed the colloquialisms of the present. As it is, one never knows when the Thought Police, those self-appointed guardians of right thinking, will decide a Dashiell Hammett is no longer possessed of literary merit because he also threw around racial slurs that were common in his day and didn’t have the foresight to have an enlightened view of sexuality when it came to capturing the world he lived in and wrote about.

So what does this have to do with Sax Rohmer? Actually quite a lot. After a two year delay, Strange Attractor Press has finally published Lord of Strange Deaths, their impressive critical study of the man and his works. Such a tome was long overdue and very welcome indeed. Many of the individual essays are excellent and display the insight and level of research one expects from academics. Sadly, the book comes from the second decade of the current century which means one has to be reminded over and over that Sax Rohmer was a very bad person. He lived in colonial times and exploited the fears of the Boxer Uprising to create a criminal genius who heralded from China.

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Short Speculative Fiction: “The Karen Joy Fowler Book Club” by Nike Salway

Short Speculative Fiction: “The Karen Joy Fowler Book Club” by Nike Salway

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This is the marvelous sort of story that never quite allows you to form a picture in your head, because it’s always contradicting itself. It seems to exist on three (or more?) levels at once, strange images super-imposed on each other. On the one hand it seems a story of everyday modern life, Facebook and all, told with keen emotional resonance.

There’s for instance, this passage from a mother’s perspective when her daughter has an abortion:

“And afterwards, her daughter wanting ice cream and to sit by the river and watch the waterbirds dancing in the shallow water. Alice had rested her head on Clara’s shoulder, curled her feet up under her bottom like a child. Her breath had smelled of milk and sweet biscuits, and her hair of antiseptic. It is the last time Clara can remember her daughter wanting to be held.”

This passage sounds the sort of thing you could read in any mainstream fiction magazine, rich in sensory detail and lived-in experience.

But no. It’s firmly of our genre. Do you want to discover for yourself the speculative element, which slowly and imperceptibly bleeds into the tale? Go and read this lovely tale by Nike Sulway for free at Lightspeed, here. Then click on for the full review with spoilers.

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Red Moon and Black Mountain by Joy Chant

Red Moon and Black Mountain by Joy Chant

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oie_1024853Qhsh9stJoy Chant’s first novel, Red Moon and Black Mountain (1970), was published when she was only twenty-five years old. In the afterword to a later novel she explains how the world of her stories, Vandarei, grew out of fantasies she made up for herself as a child. At one point she made herself the great and majestic Queen of this world. The story of three siblings — Oliver, Penelope, and Nicholas — pulled out of England into the land of Vandarei, it reads a little like the Chronicles of Narnia crossed with The Lord of the Rings and wrung through Alan Garner’s darker fantasies.

The novel has often been dismissed as a mere clone of Tolkien’s work — most recently right here at Black Gate by Brian Murphy — but RMBM is a book that has also received tremendous praise over the decades. In his introduction to the first American edition, published as part of his Ballantine Adult Fantasy series, Lin Carter refers to it as a masterpiece. James Stoddard, author of The High House, calls it the best fantasy novel no one reads. It was the second recipient of the Mythopoeic Award back in 1972.

I first read RMBM about fifteen years ago, but retained only the dimmest memories of it. Rereading it, I will say it is one of the best works of epic high fantasy I’ve ever read. While not the toil of a lifetime, Chant draws on the same deep body of European mythology and archetypal characters as Tolkien with similar power and effect. Maybe due to its roots in her childhood imagination and definitely out of a deep well of talent, in Vanderei, its people, and its legends, Chant created a deeply heartfelt and fantastic world.

A mysterious figure lurking along the garden path sends the children out of this world and into Vandarei out of grave necessity. Penelope and Nicholas materialize along a path trod by the grave and steely princess In’serinna and her retinue. Oliver arrives among the nomadic Khentors and their single-horned horses. All the children have a part to play in an upcoming struggle for the future of Vandarei. Oliver, especially, will find himself tested to his limits.

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Warring Supercomputers, Deep Space, and Cold Equations: 5 Tales from Tomorrow

Warring Supercomputers, Deep Space, and Cold Equations: 5 Tales from Tomorrow

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5 Tales from Tomorrow-back-small 5 Tales from Tomorrow-small

5 Tales from Tomorrow
Edited by T. E. Dikty
Crest Books (176 pages, $0.35, December 1957)
Cover by Richard Powers

T.E. Dikty edited a bunch of SF anthologies, mostly throughout the Fifties and many in collaboration with Everett F. Bleiler. Aside from Clifford Simak and perhaps one-hit wonder Tom Godwin, the names in this volume are not quite the SF A-list, but the results are mostly not bad.

“Push-Button Passion,” by Albert Compton Friborg

As I was reading this story I couldn’t help wondering if Friborg was the pseudonym for a better known author – Kurt Vonnegut. It has that whimsical, satirical feel that one tends to associate with Vonnegut. Turns out that it is indeed a pseudonym, but for an academic named Bud Foote, whose SF output was limited to this and one other short story, also published in the Fifties.

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