Viy is the colossal creation of the common folk’s imagination. The Little Russians (Ukrainians) use this name for the chief of the gnomes, whose eyelids on his eyes reach all the way to the ground. This whole story is a folk legend. I did not want to change anything about it, so I am narrating it in almost the same simple form which I heard it.
Nikolai Gogol, footnote to “Viy“
None of that is true. There are no Slavic folkloric sources, Ukrainian or otherwise, describing a gnome king, let alone one with great, drooping eyelashes (The name Viy appears derived from the Ukrainian word for eyelash). Some have claimed a Serbian connection, but that appears to be false, as well. Nonetheless, Gogol’s story of a monk, a witch, and Viy has become so deeply embedded in Russian and Ukrainian culture that many people believe the terrible creature is a real part of those countries’ folklore.
Nikolai Gogol was one of the greatest Russian writers and simultaneously the greatest Ukrainian writer (though, he didn’t write in Ukrainian and both nations have fought over his legacy). Born in Sorochyntsi in 1809, a Cossack town between Kyiv and Kharkiv and over a hundred miles from each. He died in 1852 by starving himself to death during a period of extreme religious asceticism. Before he became famous for absurdist stories like “The Nose” or sharp-eyed satires like his play The Inspector General, he wrote a series of stories that drew on his youth in the Ukraine and its customs and legends. From St. Petersburg where he had moved and gained the friendship of such luminaries as Alexander Pushkin, he would write to his mother asking for descriptions and details about all manner of information on the Ukraine. “Viy” is one of those early stories, first appearing in his 1835 collection, Migorod, alongside the Cossack epic, “Taras Bulba.”
The Queen of Days (Harper Voyager, October 24, 2023). Cover design by Richard L. Aquan
Greta Kelly is the author of the Warrior Witch duology (The Frozen Crown and The Seventh Queen, both from Harper Voyager). I’m hearing a lot of pre-release buzz about her latest, The Queen of Days, a fantasy heist tale released in hardcover in two weeks.
The Queen of Days is the tale of a lovable band of thieves hired to steal a statue during a religious celebration. Like all tales of great heists, this one goes very wrong — in this case, accidentally ripping open a portal that allows warring gods into the world, threatening the entire city.
Publishers Weekly calls it “A high-stakes heist in a secondary world populated by gods, demigods, and plenty of wily rogues,” and Library Journal says it’s packed full of “”Incredible worldbuilding [and] fast-paced action… a fantasy heist novel filled with interesting characters, a vivid world, and protagonists trying to find their way through.”
September-October 2023 issues of Analog Science Fiction & Fact,
Asimov’s Science Fiction, and The Magazine of Fantasy & Science Fiction.
Cover art by Shutterstock, Tomislav Tikulin, and Marianne Plumridge
There’s plenty of great stuff in this month’s print magazines, including a new Diving Universe novella by Kristine Kathryn Rusch, an homage to the 1958 classic The Blob by Eric Choi, a chilling story of the Dead Letter Office by David Erik Nelson, the gruesome secret of the alien Deviltree by Monalisa Foster, a truck driver who discovers the dreadful truth of his unknown cargo during the “Night Haul” by Andrew Crowley, and the twelfth and final installment of Gregory Feeley’s distributed novel Neptune’s Reach.
The big SF magazines are packed with brand new fiction from Lavie Tidhar, Lisa Goldstein, Derek Künsken, Dean Whitlock, Howard V. Hendrix, Nina Kiriki Hoffman, Phoebe Wood, Christopher Mark Rose, Tessa Yang, and lots more. See all the details below.
Good aftevenmorn (whensoever you read this article),
When last speaking of video game to series adaptations, I left off one extremely brilliant adaptation. This was for two reasons. The first was that it was an adaptation into an animated series, which means a great deal more improbable things would work due to the medium that made adapting a little easier. The second was, shamefully, I completely forgot it existed.
The first big series I did here at Black Gate was Discovering Robert E. Howard. And I was excited to get one of my favorite Westerns writers, the beyond-prolific, James Reasoner, to talk about REH’s Westerns. Continuing on with our recent Westerns theme, here’s James’ essay on trail towns in REH’s traditional Westerns. Saddle up and hit the trail!
When Robert E. Howard was growing up in Cross Plains in the 1920s, it was entirely possible that some of the older men in town might have gone on cattle drives in their youth, as the great trails from Texas to the railheads in Kansas opened up after the Civil War and changed the focus of the Lone Star State’s economy. Whether a young Bob Howard ever listened to these old cowboys spin yarns about those days, we don’t know, but he certainly might have.
J. Marvin Hunter’s classic book Trail Drivers of Texas appeared in 1927, and this volume might well have caught Howard’s interest, too, although we have no record of him ever reading it.
What we do know, however, is that Howard wrote several Western stories in which the trail towns which served as destination points for those great herds of Longhorns play an important part, beginning with “Gunman’s Debt”, which went unpublished during Howard’s lifetime but is one of his best Westerns. It’s set in the small Kansas settlement of San Juan, and although Howard tells us that the rails and the trail herds haven’t reached it yet, it’s clear that they’re on the way. San Juan is new and raw and more than a little squalid:
Three saloons, one of which included a dance hall and another a gambling dive, stables, a jail, a store or so, a double row of unpainted board houses, a livery stable, corrals, that made up the village men now called San Juan.
Table of Contents for Weird Tales 1, edited by Lin Carter (Zebra Books, December 1980)
For yesterday’s Vintage Treasures post, I finally had the chance to discuss Lin Carter’s early-80s attempt to resuscitate the Magazine that Never Dies, the long-running weird fiction pulp Weird Tales.
Since I examined all four paperbacks, there wasn’t room in that article to look back at some of the fascinating discussions they’ve triggered over the last four decades, including lengthy commentary from Carter himself — especially his (largely unfulfilled) plans for the future volumes — or reviews of the stories within from modern readers. So I took the time to do that today.
Weird Tales , Volumes 1 -4 (Zebra Books, December 1980
– August 1983). Covers by Tom Barber (#1-3) and Doug Beekman (#4)
Lin Carter was one of the finest genre editors of the 20th Century, and Weird Tales magazine was the most important fantasy magazine of the last century, publishing the career-defining work of Robert E. Howard, H.P. Lovecraft, Clark Ashton Smith, and hundreds of other writers. In December 1980 Zebra Books published the equivalent of a genre superhero Team-Up, the first two volumes of a paperback relaunch of Weird Tales helmed by Lin Carter.
The ambitious effort had several things in common with the original pulp incarnation. Namely, it was criminally underfunded, published sporadically, and doomed.
But it also had a hugely talented and hardworking editor, and in three short years it published a total of four volumes containing ‘lost’ stories by Robert E. Howard and H.P. Lovecraft, an original John the Balladeer story by Manly Wade Wellman, reprints of classic tales from the pages of Weird Tales, and original fiction by Ramsey Campbell, Carl Jacobi, Tanith Lee, Mary Elizabeth Counselman, Steve Rasnic Tem, Hannes Bok, Joseph Payne Brennan, Evangeline Walton, Charles Sheffield, Frank Belknap Long, Lin Carter, and a lot more.
Agents of Insight (Tor, October 1986). Cover by Barclay Shaw
Back in 2017 I bought a copy of Agents of Insight, and thought it would be interesting to do a brief write up of the genre-blending science fiction-P.I. novel for Black Gate. But I immediately ran into a problem. The author, Steven Klaper, was a complete mystery. This was the only work of any kind I can find published under that name. No other novels, short stories, comics, nothing. When that happens, I automatically assume the name is a pseudonym — and I’m usually right. But even after 30 years, I couldn’t find any record of the name “Steven Klaper” used by a more well-known writer.
I made a plea on for information on Facebook, and Gordon van Gelder, publisher of The Magazine of Fantasy and Science Fiction, immediately offered a useful suggestion.
Thirty-one years isn’t that long ago and there are plenty of Tor Books employees with long memories like Beth Meacham and Claire Eddy who probably know if Klaper was a pen name for, say, the guy who published as Samuel Holt or if in fact Klaper was just a guy who only ever published one book.
Tor Editor extraordinaire Beth Meacham did indeed remember Steven, and this is where things got interesting.
Spooky season is upon us and that means it’s time to binge watch everything scary. From episodic favorites like American Horror Story and True Blood, to perennial films like Halloween (the original) and The Shining, the only thing better than filling up the month of October with all sorts of video goodness, is getting off the couch long enough to attend some haunted attractions. Though most streaming services pay some sort of homage to Halloween, I have to say I’m pretty darn impressed with the lineup being offered by Peacock TV for the month of October.
Now, the good news is that if you don’t have Peacock, you can purchase it for one month only (I checked), without cutting into your PSL budget. The channel is offering a month of unlimited watching that includes ads, for $5.99 and an ad-free version for $11.99, which is cheap when you see the lineup of films the channel has teed up especially for us horror fans.
Dray Prescot 20: A Sword for Kregen (DAW Books, August 1979). Cover by Richard Hescox
About 1979, while in college at Arkansas Tech University, I visited a local used bookstore and found a copy of A Sword for Kregen.
The great cover, drawn by Richard Hescox (who I got a chance to meet), had what looked like a human locked in a sword fight with a creature with four arms and a tail with a hand on it. The four arms immediately reminded me of the Tharks of Barsoom. No way I was leaving the store without that book. It only cost me $1.17. (The price is still written on the cover.)
The book proved to be Sword & Planet and had one of the best swordfights I’d ever read. And, the human hero turned out ‘not’ to be the best swordsman in the fight. I’d never imagined such a thing from reading Edgar Rice Burrough’s Barsoombooks and the works of Gardner Fox and others. I fell in love. And best of all, the cover said this was #20 of a series! I had a lot more good reading ahead of me, and I didn’t know the half of it.
