Black Gate – Page 1059 – Adventures in Fantasy Literature

Vintage Treasures: The People of the Black Circle by Robert E. Howard

Saturday, April 27, 2013 John ONeill Comments 37 comments

I may have more books by Robert E. Howard in my collection than any other writer.

I’m not certain, as I haven’t counted, and if you allow anthologies then he’ll be beaten out handily by folks like Isaac Asimov and Martin H. Greenberg. But the venerable Mr. Howard occupies more than two shelves in my library, which is astounding for someone who died at the age of thirty.

I came to Howard early. The first story I read by REH was “Pigeons from Hell,” which Charles Saunders mentioned in a speech he gave to the Ottawa Science Fiction Society in 1981, the year his groundbreaking Imaro was released. “Horror doesn’t usually scare me,” he told us. “‘Pigeons From Hell’ scared me.”

I think the second REH tale I read was the Solomon Kane tale “Skulls in the Stars,” which I enjoyed even more. (I wrote about the two Bantam Solomon Kane collections, Skulls in the Stars and The Hills of the Dead, last year.)

But I wasn’t a Conan fan. Most of it was prejudice — in those days, all those novels with barbarians on the cover were considered the lowest form of fantasy, and I generally snubbed them. Oddly, I don’t think I even associated Conan with Robert E. Howard.

I surreptitiously tried a Conan book in my early teens, a collection of tales mostly by L. Sprague de Camp and Lin Carter, if I remember correctly. Didn’t impress me. That was all I needed to confirm that I was better than this stuff and return to reading books of quality, like Perry Rhodan and Alfred Hitchcock and the Three Investigators.

All that began to change with The People of the Black Circle, a Christmas gift from my brother Michael.

…

Read More Read More

Some Thoughts on Grimus

Saturday, April 27, 2013 Matthew David Surridge Comments 0 Comment

Grimus Brian Aldiss has told a story (and I have no reason to doubt it) in which he, Arthur C. Clarke, and Kingsley Amis were the jury for a 1975 Sunday Times science fiction award. One of the books they were strongly considering for first prize was a novel called Grimus, by a 25-year-old first-time writer who worked in advertising. But as they deliberated, the publisher pulled the book from the competition, evidently because said publisher didn’t want the book given the label of ‘science fiction.’ Odd to think of the impact on the writer’s career: “Had it won,” Aldiss has been quoted as observing, “he would have been labelled a science-fiction writer, and nobody would have heard of him again.” As it happened, Salman Rushdie’s second novel, 1981’s equally-fantastic Midnight’s Children, won the Booker Prize (as well as both the 25th anniversary and the 40th anniversary “Booker of Bookers” prize, which pitted all the books that had won the prize up to those points against each other); he’s gone on to have a distinguished and controversial career, though one famously marked by the outrage his writing provoked in certain quarters.

Reading Grimus, I find that, whatever his publisher might have wanted, it’s easiest to define it as that subset of fantasy called science fiction. At times, and perhaps by the end of the book, that’s even the best way in which to read it. But the novel’s so strange and supple it moves quickly and effortlessly from one genre to another, one narrative approach to the next. It reinvents its form as it goes, incorporating what came before while opening up new ways for its tale to proceed. You can see why a jury of writers would look at it as a potential prize-winner; it’s remarkable, and if I found it only sporadically involving on a human level, its fluidity of prose and image still made it work — there’s a pleasure in storytelling, here, and in the plasticity of story, in story that refuses to be bounded by any descriptor and so spills out to embrace all genres.

…

Read More Read More

Intrigue and Dinosaur Beasts: Tangent Online on “The Sorrowless Thief”

Friday, April 26, 2013 John ONeill Comments 0 Comment

John Sulyok at Tangent Online reviews Ryan Harvey’s sword & sorcery tale, published here on April 7:

The narrator, a beggar nearly given up on life, spends what little money he has in dream-smoke-filled drug dens, indulging in the illusions brought on by the smoke of the mokkah flower. What wanders in one night is no illusion, it is the thief Dyzan Ludd. He seems immune from the smoke, and immune from what has brought so many into the den: the Sorrow. These facts stir the narrator. He and Dyzan find themselves in conversation about Dyzan’s upcoming plan to rob a caravan coming from the north. It is a fool’s errand, but Dyzan doesn’t listen to reason…

Ryan Harvey’s “The Sorrowless Thief” exists as part of a larger science-fantasy series. The world of Dyzan includes few guns and many (magically) tamed dinosaur beasts… These surrounding details thicken the setting and the plot, adding a lot of intrigue to the events herein…

Ryan Harvey won the Writers of the Future Contest in 2011 for his story, “An Acolyte of Black Spires,” part of the science-fantasy series on the continent of Ahn-Tarqa, which is also the setting for “The Sorrowless Thief,” his ebook novelette “Farewell to Tyrn,” and upcoming novel Turn over the Moon. He writes a regular weekly column at Black Gate. Read John’s complete review here.

The complete catalog of Black Gate Online Fiction, including stories by Steven H Silver, Nina Kiriki Hoffman, Emily Mah, David C. Smith and Joe Bonadonna, Aaron Bradford Starr, C.S.E. Cooney, Vaughn Heppner, E.E. Knight, Howard Andrew Jones, Harry Connolly, and others, is here.

“The Sorrowless Thief” is a complete 7,000-word sword-and-sorcery tale. It is offered at no cost. Read the complete story here.

Pass the Salt, Please

Friday, April 26, 2013 Violette Malan Comments 7 comments

According to some people, I spend an inordinate amount of time thinking about food. That’s right, I’m one of those people who start planning lunch while we’re still sitting at the breakfast table. But, see, there’s a reason for that: something might need to come out of the freezer, or come in from the garden.

I also have a good grasp on where my food comes from. As a child, one of my aunts kept chickens in her patio, and we kids used to flush rabbits for my uncle and his friends to kill with sling shots – real slings, by the way, not catapults.

Now that I live in the country, I buy meat and cheese from the people who produce them – my neighbours. I also have a very large garden where I grow my own produce, and as it happens, there’s not a lot about freezing, canning, and preserving that I don’t know.

One thing’s for sure: it takes up a lot of time. And in a pre-industrial age – the time period that most of us use for our secondary world fantasies – it took up almost all of the time. So why don’t we see more of it in our books? Well, it’s just that, for most of us, how to get dinner, where dinner comes from, how to pay for it, grow it, etc. isn’t the story we want to tell – nor the story our readers want to read.

But as I’ve suggested already (and no doubt will again), this is information we need to know. Not doing this right – or not doing it or at all – is the mark of an amateur. Sometimes, in our modern technological world, we’re so far removed from how the food gets produced, that we can easily make serious mistakes – or worse, overlook significant motivation – by not understanding where food comes from, and how it was produced in a pre-industrial age.

…

Read More Read More

Set Sail on the Waters of Darkness

Friday, April 26, 2013 William Patrick Maynard Comments 4 comments

Waters of Darkness is the new novel from David C. Smith and Joe Bonadonna, published by Damnation Books. Longtime readers of my column will recognize Bonadonna as the author of the well-received sword & sorcery title, Mad Shadows and the recent space fantasy, Three Against the Stars. David C. Smith will be familiar to Robert E. Howard fans for his series of Red Sonja novels in the 1980s.

The shade of Robert E. Howard lingers over every page of Waters of Darkness, the first collaboration by these two talented authors to see print.

The principal characters, Crimson Kate O’Toole and Bloody Red Buchanan, would have fit in nicely had this 17th Century swashbuckler first seen print in the pages of Weird Tales in the 1930s. A quest for fabled treasure sets these two buccaneers sailing for the Isle of Shadow in the far distant Eastern Seas.

They find themselves combating an evil priest of Dagon and the sorcerer in his thrall along the way and most of the crew of the Raven pays the cost for their having crossed paths.

…

Read More Read More

Goth Chick News: Walpurgisnacht, or Those Germans Know How to Party

Thursday, April 25, 2013 Sue Granquist Comments 0 Comment

redrum2 As you may (or may not) have noticed, there was no Goth Chick News last week. This was due to my need to spend a little quality time outside of the office with my blender and a bottle of Red Rum.

No I’m not making that up – Red Rum is for real and it’s my fav and so much for those of you who thought this was all an act and I really spend my vacations in Branson, Missouri drinking ginger ale.

Beyond just sitting around soaking up sun and exploring the many different uses for a quality bottle of spirits, I was also deeply engaged in researching an interesting phenomenon that I only just discovered. The impetus was a Black Gate chat with a charming German fellow, who shared it with me just before sliding out of his lounge chair and out onto the deck… where he was promptly collected and hustled away before completing his tale, prompting me to order up another Red Rum and research this intriguing bit of info.

Apparently, the Germans celebrate their version of Halloween on April 30^th and unlike the American version, the German take is decidedly “adult” and the “candy” involved is largely a euphemism.

The Walpurgisnacht festival takes its name from Walpurga of Devon, England, an abbess from the 700’s who was canonized as the patron saint of rabies – yes rabies.

…

Read More Read More

New Treasures: Dangerous Waters, by Juliet E. McKenna

Thursday, April 25, 2013 John ONeill Comments 1 comment

I’m such a sucker for paperbacks. Seriously, put a rogue with a sword and a ship on the cover, and I’ve got that thing to the cash register faster than you can say, “Paper or plastic?”

I think it’s partly because I find paperbacks very inexpensive. That wasn’t always the case. When I made my weekly pilgrimage to downtown Ottawa bookstores in my teens, clutching ten bucks of hard-earned babysitting money, that was barely enough to get 2-3 paperbacks — if I was selective.

I agonized over each choice. Keith Laumer’s The Time Bender, or Fritz Leiber’s Swords Against Death? Edgar Pangborn’s West of the Sun, or Arthur C. Clarke’s Imperial Earth? These are the life choices that kept me up at night.

Today things are easier. For one thing, paperback prices haven’t budged in over 15 years. I paid $7.99 for a paperback copy of Connie Willis’s To Say Nothing of the Dog in 1998, and I paid $7.99 for the copy of Juliet E. McKenna’s Dangerous Waters I bought last week.

That’s an incredibly long period for anything to be stable in publishing — look at how paperback prices quadrupled in the 15 years between 1965 (around a buck) and 1980 (around 4-5 bucks).

Paperback prices won’t stay this way for long. But while they do, I’m enjoying them. $7.99 (minus my 10% Barnes & Noble member discount) is still an impulse buy for me. Which means I can pick up a book based on nothing more than a cool cover, and take it home guilt free.

I have no idea what it says on the back of Dangerous Waters, but I think I’ll read it now and find out.

…

Read More Read More

Teaching and Fantasy Literature: More on Writing Fantasy Heroes

Thursday, April 25, 2013 Sarah Avery Comments 5 comments

Last week I began a review of Writing Fantasy Heroes: Powerful Advice from the Pros, Jason M. Waltz’s collection of essays on craft. Most of the authors seem to assume the reader is a newcomer to fiction writing, but some of the advice is sufficiently specialized that many veteran writers will also find it useful. It’s also a pleasure to see the authors pull back the curtain on their own work, walking the reader through passages, sometimes in early draft, that illustrate the particular technique or concern of each chapter.

Picking up where we left off last week, we find Ian C. Esslemont coming up with something genuinely new to say about the old adage, “Show, don’t tell.” For the benefit of newer writers, he goes over the familiar territory: why to avoid infodumps, how to recognize them in one’s own drafts, ways to replace them with opportunities for dramatic action, classic blunders like “As you know, Bob” dialogue. Stick with Esslemont to the end, though, despite the groanworthy title of “Taking a Stab at Sword and Sorcery,” and he complicates the choice between showing information and telling it with a third possibility I’ve seen handled in other ways, but never right in a discussion of “Show, don’t tell.”

…

Read More Read More

Sean T. M. Stiennon reviews The Black Prism

Wednesday, April 24, 2013 Sean Stiennon Comments 3 comments

How could I have ever doubted this cover, this beard?

The Black Prism
Brent Weeks
Orbit Books (640 pages, hardcover first edition August 2010, $25.99)

I’ll admit that, if I hadn’t already devoured Brent Weeks’s Night Angel novels, I probably wouldn’t have picked up The Black Prism (despite the cool, shadowy cover of a man in a magnificent goatee brandishing a mirror-polished blade). The reason for that is a shallow one: The magic system sounded stupid. It is, in short, rainbow magic, sorcery based on splitting white light into one or more of its component colors to create a magical effect. But the Night Angel books were awesome, and I gave Weeks a chance to impress me again. It took me ten pages to be thoroughly hooked on his story, and another hundred pages to be sold on his unique approach to magic.

In the world of the Seven Satrapies, trained drafters can draw color out of appropriately shaded objects (or white light viewed through a tinted lens) and draw it into their bodies to create a substance called luxin. The properties of luxin differ dramatically based on its color: Red luxin is a hyper-flammable jelly, while super-violet luxin (just above the visible spectrum for most people) is as light and strong as spider-silk. Each color also carries with it a particular emotional state that overtakes the person drafting it. Green is wild and impetuous, orange slick and dissimulating. It’s a simple idea with complex uses, both for war and for technology, and the applications Weeks finds for various kinds of luxin are a big part of the The Black Prism’s unique appeal.

Monochromes draft one color, and represent the majority. Bichromes, the elite among drafters, have access to two, usually contiguous on the color spectrum (i.e., red and orange), and a small handful are polychromes, commanding three or four. Only one man — the Prism — can split light into all seven stable colors, and he is regarded as high priest of the one god Orholam, the source of all light. When there is imbalance in the world caused by one color being drafted more than another, it is his vocation to correct it.

…

Read More Read More

Vintage Bits: Sword of Aragon

Wednesday, April 24, 2013 John ONeill Comments 26 comments

I’m a huge fan of computer games, and especially role playing games. Perhaps the thing I enjoy most about them is they’re so clearly descended from the hobby I loved as a teen — desktop role playing and Dungeons and Dragons, itself a direct descendent of Sword & Sorcery as written by Robert E. Howard, Jack Vance, Roger Zelazny, and Fritz Leiber.

The things I cherished as a young man have grown up and conquered Western Civilization. The only thing that could be better would be if the Spider-Man and Avengers comics I zealously collected forty years ago suddenly spawned billion-dollar media properties — but come on, what are the chances of that?

But back to computer games. This isn’t going to be a computer-games-aren’t-as-great-as-they-used-to-be diatribe. The fact is, modern computer games are fabulous. I can sit on my couch for hours and be thoroughly entertained watching my son play games like Arkham City, Heavy Rain, Borderlands and Enslaved. These are truly immersive experiences, with captivating plots, great characters, and outstanding pacing.

Still, you’ll notice that I didn’t say I played these games. No, my enjoyment these days is pretty much limited to watching Drew play.

I don’t game much any more. That’s not because the games suck; it’s because I grew up with a very different kind of gaming experience, and the games I want to play just aren’t made any more.

I’m not asking for the industry to roll back 20 years. What I really want to do is play all those great old games once more — something that is sadly impossible, unless I can find a way to get my old IBM 286 machine to boot up again.

What games are those? Old school dungeon-crawls, like Wizardry, Pool of Radiance, Dungeon Master, and Dragon Wars. Science Fiction RPGs like Starflight and BattleTech: The Crescent Hawk’s Inception. Adventure games like The Lurking Horror and The Secret of Monkey Island. And tactical wargames like MechCommander.

And especially the brilliant blend of wargaming, role playing, and adventure gaming that is the underrated classic Sword of Aragon, one of the finest fantasy games ever made.

…

Read More Read More