Black Gate – Page 479 – Adventures in Fantasy Literature

China’s Silicon Valley, but With More Tea: Derek Visits Hangzhou

Saturday, December 23, 2017 Derek Kunsken Comments 0 Comment

As a writer, I don’t usually suffer from imposter syndrome, but some wonderful moments can appear from nowhere and blindside me. My latest such moment came via The Future Affairs Administration, a new online Chinese SF magazine (imagine a Chinese Lightspeed or Clarkesworld).

FAA partnered with Ant Financial to fly 9 scifi writers into Hangzhou to learn about Ant Financial’s high-tech financial operations and some of what they’re dreaming about for the future, in the hopes that we writers would each write a scifi story inspired by what we saw. It was pretty cool.

Six of the writers were from the west: Australia’s Samantha Murray, the UK’s Ian MacLeod, USA’s Lawrence M. Schoen, Carolyn Ives Gilman, and Stephany Quiouyi Lu, and me from Canada. Three of the writers were from China: Stanley Chan (whom I met in Chengdu a couple of weeks earlier), Jiang Bo, and Qi Ge.

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January/February 2018 Asimov’s Science Fiction Now on Sale

Saturday, December 23, 2017 John ONeill Comments 0 Comment

Asimov’s SF wrapped up its 40th Anniversary year on a high note last issue, and soldiers on fearlessly into its 41st year with the January/February 2018 issue.

This one features two big novellas: a classic lost-city tale of the 1930s from Rudy Rucker and Paul Di Fillipp, “In the Lost City of Leng,” and a far-future adventure in Kristine Kathryn Rusch’s Diving Universe, “The Rescue of the Renegat.” Plus new stories by Cixin Liu, Matthew Hughes, Allen M. Steele, James Gunn, and much more. It’s on sale now at finer newstands.

Here’s editor Sheila Williams’ issue summary.

Our forty-first year sweeps in with the January/February 2018 issue! Two action-packed novellas feature in this exciting installment. Rudy Rucker and Paul Di Filippo take us back to the 1930s and the days of exploration for a thrilling adventure “In the Lost City of Leng.” Hugo Award-winner Kristine Kathryn Rusch rockets us forward in time for her breathtaking account of “The Rescue of the Renegat.” These tales will keep you on the edge of your seat throughout as you wonder who will survive till the curtain falls.

Multiple Hugo Award-winner Allen M. Steele escorts us once again to the planet Coyote for a dangerous journey to “The Barren Isle”; while we know the world may end in fire or ice, Hugo Award-winner Cixin Liu’s first tale for Asimov’s reveals just how perilous the pursuit of art can be in “The Sea of Dreams”; Mathew Hughes returns after too long an absence to expose us to some “Solicited Discordance”; the distinguished James Gunn continues his tales about pilgrims in “The Seeds of Consciousness: 4107’s Story” and “The Final Commandment: Trey’s Story”; new author S. Qiouyi Lu examines the stark choices facing a single parent and the sacrifices that may be made in “Mother Tongues”; Robert R. Chase brings us another thriller with “Assassins in the Clouds”; and Ian Creasey looks at the effect “The Equalizer” will have on tomorrow’s society.

Robert Silverberg’s Reflections on walls continues in “Gog and Magog II”; James Patrick Kelly’s On the Net advises that we “Don’t Read the Comments”; James Gunn brings us a Thought Experiment on “Space Opera and the Quest for Transcendence”; Paul Di Filippo’s On Books reviews works by Daryl Gregory, Jacqueline Carey, Cat Sparks, Neil Clarke, and others; plus we’ll have an array of poetry and other features you’re sure to enjoy.

The introductory blurb to “In the Lost City of Leng” refers to Lovecraft’s “At the Mountains of Madness” as “perhaps the greatest SF tale of all time.” Interestingly, you can buy a canvas print by Rudy Rucker depicting some of the decidedly Cthulhuesque goings-on the story. Here’s a sneak peek.

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Batman Returns Is My Favorite Christmas Movie and That’s Not a Joke

Saturday, December 23, 2017 Ryan Harvey Comments 2 comments

Mistletoe can be deadly if you eat it…

Why do we fall in love with a specific work of art that to others is either an object of mere curiosity or full derision? How does a bizarre novelty gizmo leap out of the pile of toys and become beloved? It boils down to a simple, elegant question: Why does this speak to you?

I’m glad to hear a spirited defense of a book or film that’s never meant much to me but means the universe to another. Sure, you love Jaws, because everybody loves Jaws. I want to hear about your non-ironic embrace of Exorcist II: The Heretic. Lay it on me. I’ll learn something.

The weird wind-up toy I present to you this Winter Solstice Season: Batman Returns, the second of the Tim Burton-Joel Schumacher Batman Quartet — and my personal favorite Christmas movie. This might not be a stunner of a revelation considering my holiday movie pick last year was Rasputin the Mad Monk. I was stretching to find a Hammer movie with something akin to seasonal dressing. So… it’s Russia, it’s winter, there’s lots of red wine. Fine, call it a Hammer Christmas movie.

There’s no stretching necessary with Batman Returns. To me, it’s a Christmas movie. No irony or smirk. It was released during the summer of 1992, but now it’s difficult to envision it outside of winter (and I was there in the theater that summer). Imagine the busy New York mall from Miracle on 34th Street,* except it’s run by Ebenezer Scrooge, and he’s in league with an aquatic bird version of Uriah Heep dwelling in the sewer. Now picture Charles Dickens, Edward Gorey, and F. W. Murnau getting into a three-way knife fight over the corpse of Clement Moore, and Fritz Lang filmed the whole thing and put it in theaters for a holiday release. Think of a Christmas tree decorated with all the holiday trimmings, but leathery bats and black cats peer from between the needles. That’s Batman Returns and my idea of a festive December.

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Decide the Fate of the World With Tiny Plastic Ships: Axis & Allies by Avalon Hill

Friday, December 22, 2017 John ONeill Comments 11 comments

When I was in grad school at the University of Illinois in the early 90s we used to play games in the lobby of Daniels Hall. I played things like Star Trek: The Adventure Game from West End Games, and card games like Hearts. But the hardcore gamers in the corner would push a bunch of tables together and cluster around a massive game board, playing Axis & Allies.

I admit to an enduring fascination with Axis & Allies. It reminded me of the obsessive games I used to play with my gaming group back home in Ottawa, like SPI’s War of the Ring and 4000 A.D. The board was huge, there were hundreds of playing pieces, and every game seemed a constant back-and-forth of razor-thin victories, crushing setbacks, unexpected reversals, and hard-won strategic triumphs. I never had the time (or the courage) to commit to a weekend-long session of Axis & Allies though, and when I graduated I lost my chance. I lost contact with a permanent gaming group… and without that incentive, I never shelled out the (considerable) cash for a copy of the game.

Turns out that was a mistake. The gaming fiends in central Illinois weren’t the only people who loved to simulate the epic struggle of World War II, apparently. Milton Bradley’s Axis & Allies, an expensive game in a niche market, eventually went out of print, but not before enjoying a lengthy and historic run. Over the years the game acquired an almost mythic reputation among strategy gamers, and the few complete copies in circulation quickly became collectors items — and very hard to obtain. I eventually set out to acquire a copy for my collection, and for over a decade I’ve failed.

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Lost and Found Treasure

Friday, December 22, 2017 Elizabeth Cady Comments 6 comments

A few weeks ago, I was cruising Facebook when I stopped up short at a familiar image.

It was on our esteemed editor John O’Neill’s wall. And as is often the case with such things, I was struck by a wealth of memories. I received Sword and Sorceress VII as a gift for my 12th birthday. It was probably bought at the B. Dalton in College Mall in Bloomington, IN, one of two easily accessible bookstores on that side of town back in 1990. (Before anyone does the math too fast, yes, I’m celebrating a big birthday next year. It’s in May, if you want to send gift cards for more books.)

I couldn’t tell you exactly which stories were in this volume. I know it had one of Mercedes Lackey’s “Tarma and Kethry” tales in it, but beyond that none of them stand out alone. But as a whole, that volume changed my life as a reader. While I’d feasted on the The Chronicles of Narnia, Robin McKinley, and Susan Cooper, this book was my first exposure to fantasy for grown-ups. And it was full of women.

When I think casually, 1990 doesn’t feel that far away. But in terms of the way women were portrayed in fiction it was another era entirely, and in ways I can’t even begin to explain unless you were there.

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There’s No Place Like Home

Friday, December 22, 2017 Violette Malan Comments 2 comments

Peake gormen 1 We’re always hearing about using setting as a character , and there’s no doubt that some stories simply can’t be told if they were set somewhere other than the place they’re in. Like, say, the wuthering heights in Wuthering Heights. You know, places that aren’t just somewhere for the characters to be (everyone has to be somewhere) but that in some way inform the whole story, and perhaps the characters as well.

I’m not here today to talk about setting in general, however. No Middle Earth, no Barsoom. No landscapes, thank you. At the moment I’m far more interested in human-made structures: people’s homes, public buildings, etc.

I’m tempted to suggest that buildings first gained their literary eminence in the gothic novels of the 18^th century. Works like Horace Walpole’s Castle of Otronto, and Anne Radcliffe’s The Mysteries of Udolpho relied so much on their buildings – which gave the novels their sense of place and situation – that we’d have to ask ourselves whether the gothic would even be possible without the dark creaky old house/monastery/castle? Sure, we’ve also got the natural sublime, the mountain crags, the fogs and the mists, but they’re just the background for the titular buildings.

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Goth Chick News: Christmas Is for Ghost Stories… Or At Least it Used to Be

Thursday, December 21, 2017 Sue Granquist Comments 7 comments

This week I came across a fascinating article at Smithsonian.com about the long-forgotten association between Christmas and ghost stories. Okay, maybe not that long forgotten as quite a lot of us indulge in some version of Charles Dickens’ 1843 classic, A Christmas Carol this time of year (Scrooged anyone?)

But mostly, that’s about as far as it goes.

For the last hundred years, we have kept ghosts in their place, letting them out only in October, but it wasn’t always this way. The holidays belonged to a once-rich, now mostly forgotten tradition of telling ghost stories. Dickens’ supernatural yuletide terror was no outlier, since for much of the 19th century the winter season was indisputably associated with the supernatural.

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Fantasy as Something Brighter: Peter S. Beagle’s The Overneath and Jane Yolen’s The Emerald Circus

Thursday, December 21, 2017 Steve Case Comments 0 Comment

The Overneath by Peter S. Beagle (Tachyon Publications, 336 pages, $15.95 in trade paperback, November 14, 2017)
The Emerald Circus by Jane Yolen (Tachyon Publications, 288 pages, $15.95 in trade paperback, $9.99 digital, November 14, 2017)

In 1900 Frank L. Baum published The Wonderful Wizard of Oz, arguably the first truly American fairy tale. Now, a century and counting along the Yellow Brick Road, what can be said about the current state of the fairy tale in America? We seem deep in the wilds of dystopias like Hunger Games and its darker cousin, The Walking Dead, captivated by the grim fantasies of American Gods and Game of Thrones. Is this the new reality for the American fable, for literary fantasy that aspires to be anything more than a Disney retelling?

Against this darker background, a pair of recent collections from San Francisco’s Tachyon Publications attempts to reestablish or at least reconfirm fantasy as something brighter, if no less compelling. The Overneath by Peter S. Beagle and The Emerald Circus by Jane Yolen (both published November 2017) together provide a sample of American fantasy by two of its most enduring and cherished voices. Beagle and Yolen are both giants, with hundreds of publications and dozens of awards between them. They have won the highest accolades in the fields, and both now write from positions of something like legend. But do the unicorns of Beagle or the Arthurian retellings of Yolen have anything to give readers who have come to expect a heavy dose of grim realism or even grimmer apocalypse in their high fantasy?

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Vintage Treasures: Red Dust by Paul J. McAuley

Thursday, December 21, 2017 John ONeill Comments 2 comments

Paul J. McAuley was the first book reviewer for Black Gate, way back in 2000-01. His first novel, the far-future space opera Four Hundred Billion Stars (Del Rey, 1988) won the Philip K. Dick Award, the sequels Of the Fall and Eternal Light appeared in 1989 and 1991.

His first standalone novel Red Dust, set on a far-future Mars colonized by the Chinese, was published by Gollancz in the UK in 1993 and AvoNova in the US in 1995. It was packed with big ideas and technologies that are still being explored in SF today, including personality downloads, biotech, virtual reality, nanotech, A.I, and a lot more. Kirkus Reviews raved, saying:

An extraordinary saga.. Seven hundred years hence, a depopulated Earth is ruled by the Consensus eco-fanatics who allow nothing to change; on Jupiter, a self-aware probe calling itself the King of the Cats broadcasts rock music and propaganda; various dwindling groups of dissenters inhabit the asteroid belt; and Mars, habitable but slowly reverting to dust and drought and populated mostly by Chinese, is ruled by a committee of ruthless old men called the Ten Thousand Years, who, in a secret pact with the Consensus, have agreed to let Mars die in return for personal immortality. Young technician Wei Lee, who believes himself beholden to his great-grandfather, one of the Ten Thousand Years, stumbles upon a spaceship crashed in the dust… McAuley’s Mars is at once satisfyingly familiar and disquietingly alien: cultural contrasts, persuasive inventions, and constant surprises are set forth with a weird yet compelling logic. Superb.

The novel has never been reprinted in the US, but copies are still fairly easy to find online. I bought the brand new copy above on eBay for $4 two months ago. It was published by AvoNova in November 1995; it is 392 pages, priced at $4.99 in paperback. The cover is by Tim Jacobus. A digital edition was published by Gollancz/Orion in 2010. Our previous coverage of Paul J. McAuley includes his recent Choice Series and his Confluence novels.

Carl Burgos and Air-Sub “DX”

Wednesday, December 20, 2017 Steve Carper Comments 1 comment

Amazing Mystery Funnies #10, June 1939, cover art by Bill Everett

Twenty-two-year-old artist Carl Burgos entered comics in 1938. He almost immediately started creating his own features as artist/writer, achieving immortality in the field when an android bizarrely named the Human Torch burst into flames in the legendary Marvel Comics #1 (October 1939), the same issue that introduced Bill Everett’s Sub-Mariner. The Torch’s name got passed on to Johnny Storm when The Fantastic Four debuted and the original received one of the weirdest revivals in comics’ history as the Vision in Avengers #57 (October 1968). (No relation to a 1940s character called the Vision.) The Avengers’ brainier members quickly traced his heritage to that android created by scientist Phineas Horton in 1939, conveniently forgetting that Burgos himself stopped calling him an android after about three issues. For the next decade, the Human Torch seemed to be a regular human whose body was fire, or could be set on fire, or contained fire, or something else equally unclear. The Golden Age lacked continuity police.

Probably only a few comics historians understand how obsessed Burgos was with artificial people. Just before the Human Torch he created a cyborg or robot named Iron Skull whose origin story changed every couple of issues and a few months later he produced an unquestioned android, Manowar the White Streak. Despite the name, Manowar was a utopian who fought evil in the cause of peace. (And wasn’t white. And not the same as Paul Gustavson’s contemporary Man of War for the same company. Writing comics history is footnotes all the way down.)

Comic books were so new in 1939 that, like Leacock’s Lord Ronald, they rode madly off in all directions. Superman, the the sensation of 1938, spawned more of what we now call superheroes but they didn’t dominate. The 64-page comic books had already made a swift transition from reprinting newspaper comic strips, with 30 or more titles inside a single book, to all-new titles containing eight stories (seven pages each to account for ads and filler material) and eight different heroes. How they decided which contributed to sales is anyone’s guess, although letters from kids surely guided them, but tables of contents changed virtually every issue.

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