Black Gate – Page 450 – Adventures in Fantasy Literature

The March Fantasy Magazine Rack

Monday, March 19, 2018 John ONeill Comments 2 comments

It’s a bonanza of print this month… all the titles above are print magazines, with the exception of Kaleidotrope (top row, second from right), which is new to the list. Kaleidotrope was a recommendation from Rich Horton; I’d never heard of it, but it featured prominently in Rich’s 2018 Hugo Recs list, so I thought I would check it out this month. Rich is right — it’s a very impressive magazine, with brand new fiction by Mari Ness, Octavia Cade, and others.

But they don’t seem very web-savvy, especially for a web magazine. The site loads extremely slowly, and the culprit seems to be the beautiful but massive 1.26 megabyte (!!) PNG cover image. I was able to convert it to a visually identical 90 Kb jpeg file less than 8% the size in about 15 seconds on my machine. Doing that at their end would greatly speed up loading times, and cut their monthly bandwidth costs by about 90%. I hope someone helps them get that sorted.

Here’s the complete list of magazines that won my attention in early March (links will bring you to magazine websites).

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Birthday Review: John Gribbin’s “Something to Beef About”

Monday, March 19, 2018 Steven H Silver Comments 3 comments

Cover by Tim White

John Gribbin was born on March 19, 1946. Gribbin has published both fiction and non-fiction, including non-fiction titles The Jupiter Effect with Stephen Plagemann, In Search of the Big Bang, and The Science of Philip Pullman’s His Dark Materials with Mary Gribbin. His own novels include The Sixth Winter with Douglas Orgill, Ragnarok with D.G. Compton, and solo works Timeswitch and Father to the Man.

“Something to Beef About” was first published in Interzone 49 in July 1991, edited by David Pringle and Lee Montgomerie. In 2016, a revised version of the story was reprinted in the anthology Existence is Elsewhen, published by Elsewhen Press.

Gribbin opens “Something to Beef About” by falling into the trap described by Mark Rosenfelder in his satirical “If All Stories Were Written Like Science Fiction.” He describes the mundane aspects of David Jenkins’s life in an attempt to set up a future society in which Jenkins lives, but for the most part it comes across as telling the readers something they should already know. Instead of setting the scene, it makes the reader very aware that the story is a construct.

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Vintage Treasures: A Midsummer Tempest by Poul Anderson

Sunday, March 18, 2018 John ONeill Comments 9 comments

A Midsummer Tempest Poul Anderson-back-small

Cover by Luis Bermejo

Poul Anderson formed a pretty consistent part of my paperback SF diet in the late 70s and early 80s. Novels like Mirkheim (1977) and classic tales like the Hugo Award-winning “No Truce with Kings” (1963) made me an early fan. But I always thought of Anderson as an SF writer, and as a result I never paid much attention to his fantasy. It wasn’t until my fellow writers here at Black Gate educated me that I learned what I was missing:

Ryan Harvey on The Broken Sword
Fletcher Vredenburgh on The Whole Northern Thing: Hrolf Kraki’s Saga by Poul Anderson
Gabe Dybing on Poul Anderson and the Northern Mythic Tradition: An Introduction
Gabe Dybing on Chaotic and Lawful Alignments in Poul Anderson’s Three Hearts and Three Lions
Gabe Dybing on Northern Matter in Poul Anderson’s “Middle Ages” of The Broken Sword and in J.R.R. Tolkien’s Middle-Earth
Gabe Dybing on Sex and Violence in Poul Anderson’s Rogue Sword

I’ve recently started exploring more of Anderson’s fantasy back catalog, and last month I purchased a copy of A Midsummer Tempest, an alternate world fantasy in which William Shakespeare was an historian, rather than playwright, and the events he recorded were all factual. While the plot draws from multiple Shakespearean plays, as the name implies it is chiefly based on A Midsummer Night’s Dream and The Tempest. It was nominated for both the World Fantasy Award and a Nebula, and won the 1975 Mythopoeic Award for Best Novel.

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Birthday Reviews: Marcos Donnelly’s “As a Still Small Voice”

Sunday, March 18, 2018 Steven H Silver Comments 2 comments

Cover by Peter Stallard

Marcos Donnelly was born on March 18, 1962. He has published a handful of short stories, mostly dealing with religious themes and three novels, Prophets for the End of Time, Letters from the Flesh, and The Mostly Weird Chronicles of Steffan McFessel, the last in collaboration with Ted Wenskus.

Donnelly’s debut story, “As a Still Small Voice,” appeared in 1989 in Full Spectrum 2, edited by Lou Aronica, Shawna McCarthy, Amy Stout, and Pat LoBrutto. It has never been reprinted.

Father Jim is a priest at a small seminary where the rumors that one of the students, Danny, actually hears God’s voice. Jim has mixed views about Danny’s gift and sees him as an innocent child who needs to be protected, particularly from one of the other students, Bob, an older man who has come to the seminary after servicing in the marines. Jim can only see Bob as a bad influence on Danny, although the reasons for Jim’s mistrust don’t seem to be fully justified by anything aside from Jim’s own biases.

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Looking at the Density of Comic Book Page Layouts

Saturday, March 17, 2018 Derek Kunsken Comments 7 comments

I may have picked the most boring blog post title in history, but this is something I’ve been thinking a lot about lately.

I was listening to Kieron Gillen’s excellent podcast Decompressed. Decompressed is a look under the hood at the craft of comic book creation and in the 4th one, he interviewed Matt Fraction and David Aja, the creative team behind Marvel’s Hawkeye from 2012. During the episode, Matt Fraction mentioned that Hawkeye was meant to feel different from most of the mainstream comics at the time, especially with respect to how much compression there was.

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New Treasures: First-Person Singularities by Robert Silverberg

Saturday, March 17, 2018 John ONeill Comments 2 comments

A new book by SF grandmaster Robert Silverberg is a cause for celebration. It took a while for the cake and balloons to arrive, but we’re now ready to celebrate his collection First-Person Singularities. It gathers stories spanning the last six decades, all told in first person singular. Here’s Kirkus Reviews.

The sheer diversity of storylines is nothing short of extraordinary. In “House of Bones,” a time traveler is marooned more than 20,000 years in the past and is forced to assimilate into a tribe of nomadic cavemen. “Ishmael in Love” chronicles a bottle-nosed dolphin’s attempt to woo a human researcher with whom he’s fallen in love. The Nebula Award–winning “Passengers” tells the tale of a man living in a future where aliens have invaded Earth and can temporarily take possession of human minds and hijack their bodies. “Going Down Smooth” is told from the perspective of a computer, designed to help psychoanalyze troubled human patients, that finds itself slowly losing its sanity. “Caliban” chronicles a normal man’s plight in a world where everyone looks like a model. But arguably the most memorable story is “The Reality Trip,” about an alien spy — a beetle-ish creature living inside a humanlike body made of synthetic flesh — who must deal with an amorous woman who lives, as he does, in Manhattan’s Chelsea Hotel and is bent on seeking an intimate relationship with him…. this book [is] a master class in first-person narrative for aspiring writers. Additionally, each story is preceded by a short introduction by Silverberg that offers invaluable insight into the cultural landscape, the publishing industry, and the author’s personal life at the time of writing.

Decades after being originally published, most of these stories are still just as entertaining and powerful as they were when first released. A singularly unique collection.

The collection includes multiple awards winners and nominees, including the Hugo Award-nominated “Our Lady of the Sauropods,” the Nebula Award-winning “Passengers,” and the Locus Award-winning novella “The Secret Sharer.”

Here’s the complete Table of Contents.

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The Complete Carpenter: Prince of Darkness (1988)

Saturday, March 17, 2018 Ryan Harvey Comments 3 comments

This is where I came in. I’ve reached the point in my John Carpenter career retrospective where I’m writing about a movie to which I’ve already given a full Black Gate article. In fact, it was writing about Prince of Darkness for its 2013 Blu-ray release that planted the idea in my head of surveying the full Carpenter filmography. I’ll make my best effort to offer new insights on Prince of Darkness, but overlap with the previous article is inevitable as I look at the second of John Carpenter’s self-proclaimed “Apocalypse Trilogy,” which starts with The Thing (1982) and ends with In the Mouth of Madness (1994).

Prince of Darkness was Carpenter’s return to indie filmmaking after a series of financial disappointments and general aggravation with the big studios. Carpenter made the movie as part of a multi-picture deal with Alive Films that would also include They Live. Universal picked up Prince of Darkness for distribution, and in the fall of 1987 it achieved that rare distinction among Carpenter films: it was a financial success during its initial theatrical run.

The Story

An English priest (Donald Pleasence) discovers a secret that for centuries has been under the protection of an enigmatic monastic sect called the Brotherhood of Sleep: a giant cylinder of swirling green energy held in the underground vault of a church in downtown Los Angeles. The priest calls on his professional acquaintance, physics professor Edward Birack (Victor Wong), to investigate the bizarre phenomenon, which the priest believes is beginning to “awaken.” Birack gathers a team of his graduate students and other researchers for a weekend camp-out in the church to make observations.

To make a long and often baffling story short and perhaps more baffling … The team learns from a medieval volume filled with Latin, Greek, Coptic, and quadratic equations that the cylinder contains Satan, an energy entity that is the son of the Anti-God from an antimatter dimension. The Catholic Church kept the physicality of the evil disguised for two millennia behind religious symbolism. Satan’s essence escapes the containment cylinder and possesses members of the observation team, while a horde of zombified homeless people encircles the church to prevent escape. Nightmare visions possibly sent from the future through tachyon particles portend an apocalyptic nightmare if the Anti-God isn’t prevented from crossing into this reality. Alice Cooper impales a tech nerd on a bicycle and it only gets stranger from there.

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Birthday Reviews: James Morrow’s “The Fate of Nations”

Saturday, March 17, 2018 Steven H Silver Comments 0 Comment

James Morrow was born on March 17, 1947. In addition to the novels in his Godhead trilogy, beginning with Towing Jehovah, Morrow has written several other books, including Galápagos Regained and The Last Witchfinder. Many of his works deal with the role of religion in a rational society. He has also edited three volumes of Nebula Award anthologies as well as the SFWA European Hall of Fame, the last with his wife, Kathryn Morrow.

James Morrow won the Nebula in 1989 for his Short Story “Bible Stories for Adults No. 17: The Deluge” and again in 1993 for the novella City of Truth. His novel Towing Jehovah and novella Shambling Towards Hiroshima were nominated for both the Hugo and the Nebula. Towing Jehovah and Only Begotten Daughter both received the World Fantasy Award for Best Novel and Shambling Towards Hiroshima won a Theodore Sturgeon Memorial Award. A translation of Towing Jehovah received the Grand Prix de l’Imaginaire.

“The Fate of Nations” was originally published in Ellen Datlow’s Sci Fiction on May 14, 2003. Morrow included it in his 2004 collection The Cat’s Pajamas & Other Stories and it was also reprinted by Paula Guran in Future Games.

Morrow produces a short, clever conspiracy story in “The Fate of Nations.” It’s written as a diary entry by Carlotta, who explains something she’s just learned that has surprised her. Her husband has developed an avid interest in sports, cheering on all sorts of teams and watching games to the detriment of their relationship. When she asks him to attend a marriage counselor, she learns the truth about a conspiracy of all men with interstellar ramifications.

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Unbound Worlds on Where to Start with Gothic Space Opera

Friday, March 16, 2018 John ONeill Comments 4 comments

I didn’t even know one of my favorite SF sub-genres had a name. But it does, and over at Unbound Worlds Matt Staggs tells us what it is.

In a gothic space opera, pseudo-medievalism, superstition, insanity, and decay are juxtaposed with space travel: a perfect embodiment of progress, science, and rationality. The starship becomes a stand-in for the haunted mansion, and the universe at large the misty moors that surround it.

Cults, all-powerful religions, and demonic forces are commonly found in the genre, and the wear and tear of space travel — time dilation, and the assumption of death-like states of suspended animation for examples — on human relationships are often emphasized. Human life far from civilization becomes stranger, perhaps even hostile. In gothic space opera, human beings become the aliens they fear.

Gothic space opera! It’s like Dracula married Star Wars and they had a little goth space baby. Matt says gothic space opera is “Movies like Event Horizon and Sunshine, the popular wargame franchise Warhammer 40,000, and the video game Dead Space.” I like all those things, so I’m on board (I also like Alien, the ultimate haunted-space-ship movie, but maybe that’s a separate sub-sub-genre or something. I don’t question the experts.)

It was probably Warhammer 40,000, with its exciting tales of the Dark Ages of a vast galaxy-wide empire paralyzed by superstition and constant warfare, that really cemented my love of this brand new sub-genre. Matt suggests some excellent starting points for curious fans; and this is where I really paid attention. Here’s a few of the highlights.

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We Don’t Get No Respect

Friday, March 16, 2018 Violette Malan Comments 0 Comment

alatriste bar It’s often struck me that writers get more respect in other countries than they do in North America (I’m thinking specifically Europe here, since that’s the limit of my experience). When I told my (Spanish) mother as a child that I was going to be a writer when I grew up, she asked why was I wasting time talking to her, why wasn’t I getting started?

When a friend told her (Canadian) mother she wanted to be a writer, her mother told her she’d never make a living that way, and that she should go to law school. My mother recognized writing as a profession, and she further recognized that many writers do “other things” in order to live, because the writing doesn’t always pay. She always told people “my daughter is a writer” regardless of what I was doing to pay the bills.

When I tell non-writing strangers in Canada that I’m a writer, they ask me how much money I make; when I tell them I write fantasy, they either say “I don’t read that stuff” or they want to know why my books haven’t been made into a TV series. In Spain people congratulate me when they learn I’m a writer, are impressed when I say I write fantasy, and want to know if my books have been translated into Spanish.

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