Beneath Ceaseless Skies, Issue #217 (January 19, 2017)

Beneath Ceaseless Skies, Issue #217 (January 19, 2017)

Beneath-Ceaseless-Skies-217-smallOnce again, Beneath Ceaseless Skies delivers a pair of stories that convey a genuine sense of wonder by exposing the reader to ideas and imagery that they never experienced before.

It starts with “Proteus Lost” by Tony Pi, a story about the perils of shapeshifting. So often, magic in fantasy is portrayed in recipe format. Mix these ingredients with those magic words and you get a spell. In this story, we get a genuine sense of the dangers involved in casting a spell on yourself. The “spells” involve a series of conjurations written in a spell book as a list of visual riddles. Get any one riddle wrong and you end up in the wrong shape and need to work your way back to the intermediate shape where you lost your way. Tony Pi pulls off the amazing trick of making two guys sitting in a room reciting spells feel suspenseful.

Next up is “Requiem for the Unchained” by Cae Hawksmoor. I’ll be honest and say that I found the premise of this story to be rather confusing. At its heart, it’s about a captain taking a ship on a dangerous mission rather than losing it. There are old themes here about the old way of doing things being replaced by new ways and a genuinely compelling concept of a sea of ghosts. But the story seemed to have a lot of build-up before the action that didn’t clearly explain what exactly was being done. A smarter reader will probably think I’m just a slow learner, but that was my take on it.

As usual, you can read both stories (as well as a podcast recording and archived story) for free at www.beneath-ceaseless-skies.com/issues/issue-217, but these publications only survive through financial support. So why not drop ninety-nine cents and actually pay for it?

We last covered Beneath Ceaseless Skies with issue #216.

The Best of a Master Fantasist: The Zoran Zivkovic Collection

The Best of a Master Fantasist: The Zoran Zivkovic Collection

Impossible Stories-small Impossible Stories II-small The Papyrus Trilogy-small The Five Wonders of the Danube-small

Serbian master fantasist Zoran Zivkovic has an enviable international reputation. His novels include The Writer (1998), Impossible Encounters (2000), and The Ghostwriter (2009), and his mosaic novel The Library won the World Fantasy Award for Best Novella in 2003.

But his appearances in English here in the US has been spotty. Which is one of the reasons I was so delighted to see Cadmus Press publish The Zoran Zivkovic Collection, four gorgeous volumes of his best work, translated into English:

Impossible Stories I — 422 pages, $34, November 10, 2016 (Includes “Time Gifts,” “Impossible Encounters,” “Seven Touches of Music,” “The Library,” and “Steps through the Mist”)
Impossible Stories II — 428 pages, $34, Dec 10, 2016 (Contains the collections Four Stories Till the End, Twelve Collections, The Bridge, Amarcord, and Miss Tamara, the Reade)
The Papyrus Trilogy — 608 pages, $41, August 1, 2016 (The cases of Dejan Lucik. Includes three novels: The Last Book, The Grand Manuscript, and The Compendium of the Dead)
The Five Wonders of the Danube — 198 pages, $26, August 1, 2016

All four are hardcovers featuring striking cover art by Japanese artist Youchan Ito. On his website the author calls them “the first four volumes of The Zoran Živković Collection,” which implies there will be more. The publisher claims all four volumes “will be available in hardcover, trade paperback, and electronic editions,” but for now the hardcover editions are the only ones I can find.

Goth Chick News: A Fan Girl Meltdown Over Amazon’s Good Omens

Goth Chick News: A Fan Girl Meltdown Over Amazon’s Good Omens

good-omens-smallI can say with certainty that I almost never get worked up over film adaptations of books, with good reason; they rarely live up to their source material.

But today I make an exception.

I might actually squee… Well probably not, but still.

Amazon Studios recently announced a six-part adaptation of Neil Gaiman and Terry Pratchett’s novel Good Omens which will debut in 2018.

Insert small squee here.

I first picked up the book Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch in an airport bookstore in 2006. I then proceeded to laugh out loud on my flight from San Jose to Chicago, and laughing out loud at a book is something I haven’t done since my first reading of Hitchhikers Guide to the Galaxy.

Later I picked up of the audio version which I listened to in the car and nearly drove off the road. Finally, in January of 2015 I acquired the BBC Radio 4 dramatization, performed with a full cast and fell in love all over again.

There is no better cure for a bad day then listening to a few chapters of Good Omens.

But what is just so darn amusing about the story?

For me it has all the elements — demons, angels, witches, the Antichrist — all wrapped in a story that boldly showcases the absurdity of it all in the most biting and British of ways.

The book is set “today” but the show will be set in 2018 and in both, the world is on the brink of an apocalypse. But follies ensue when Aziraphale, a somewhat fussy angel, and Crowley, a demon, aren’t all that enthusiastic about the end of the world, having grown quite comfortable with their lives on earth. Also, they may have misplaced the Antichrist. And he may just be an ordinary boy who wants to stay in his small town with his gang of friends.

I’m snickering just typing that.

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Tea and Sympathy with the Paranormal: An interview with Steampunk Goddess Gail Carriger

Tea and Sympathy with the Paranormal: An interview with Steampunk Goddess Gail Carriger

GailCarrigerParasolHeadshot_VanessaApplegate-small

Photo by Vanessa Applegate

Gail Carriger has published several series of best-selling and award-winning novels starting with her Parasol Protectorate Series.

Gail, you have developed what the publishing industry considers as a distinctive brand. Not only have you capitalized on the subgenre of Steampunk, but you’ve also added a distinguishing paranormal twist with many of your major characters being Preternaturals, Werewolves or Vampires. What inspired you to carve out this niche for yourself?

From my perspective, I felt that the real momentum of social media happened around 2007. I knew that to be a published author I’d have to choose to have a social media presence. So, I poked my nose about to see what some of my favorite authors were doing — who was doing a good job of it and who wasn’t — and made pretty thoughtful choices form the get-go about everything from how my website was designed as to how I would appear on social media, as well as my public image. That might sound a bit manipulative, but I’m one of those evil authors that are a bit Machiavellian — that all I’m doing as an author is playing with your emotions.

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Nightmare, Issue 53 (February 2017)

Nightmare, Issue 53 (February 2017)

Nightmare_53_February_2017-smallQuiet horror is a genre that’s a hard sell these days. It’s rarely cinematic, so that you don’t see a lot of film adaptations. And it can be something of an acquired taste. Thankfully, there are some high-profile markets that will take a risk on this sub-genre and, as the February issue of Nightmare demonstrates, those risks can yield darkly wondrous rewards.

We begin with “The Garbage Doll” by Jessica Amanda Salmonson. Dolls are always a creepy and the story is tinged with a sense of regret that comes with age. The dreamlike narrative style might be off-putting to some, but if you read it just before bedtime, you may find yourself wondering where the story ends and your own dreams begin.

“The Dying Season” by Lynda E. Rucker combines the “town with a secret” trope with the “gaslit wife” trope to form an unsettling narrative, where both the reader and the protagonist never quite know what’s going on, even if both agree that getting the hell out of that town is the best course of action.

“Youth Will be Served” by Andrew Fox is another “town with a secret” story, although this secret is only known by a handful of people. Taken as a story about the horrors of growing old, gentrification, or just the sacrifices we’re willing to make for others (and how those sacrifices often benefit us as well), this is a great slow-burn horror/mystery piece.

Once again, Nightmare chooses to save the best for last with “Word Doll” by Jeffrey Ford. Again, dolls are always creepy, but here the author really digs into the concept of dolls and what it means to play with them. There are no simple animated killer toys in this one, but rather something less tangible (and thus more difficult to fight). Unlike so many dark fantasy stories, the “mythology” built up in this story is utterly fascinating.

As with all Nightmare issues, you can certainly read all of the stories online for free, but these publications only survive with financial support, so it’s really better if you drop $2.99 for a copy at www.nightmare-magazine.com/issues/feb-2017-issue-53.

We last covered Nightmare magazine with issue 52.

Heroic Fantasy Quarterly 31 Now Available

Heroic Fantasy Quarterly 31 Now Available

Heroic Fantasy Quarterly 31-small

From far-distant nether dimensions of imagination, editorial overlords have transmitted another fabulous issue of Heroic Fantasy Quarterly to our mundane plane of existence. Teams of blind scribes in the Himalayas, listening intently to the vibrations of the snow butterflies of Nepal, have transcribed the text with eager hands. And once again, the world owes them a great debt. (And maybe a case of beer. From a mico-brewery, not the cheap stuff.)

The latest issue includes stories by Dennis Mombauer, Aidan Doyle, Raphael Ordoñez, and HFQ editor James Rowe. Here’s the complete TOC, with fiction links.

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Modular: James Sutter Fields Some Starfinder RPG Questions

Modular: James Sutter Fields Some Starfinder RPG Questions

starfinderPaizo Publishing is a major force in the fantasy gaming industry, having taken the core mechanics of Dungeons & Dragons edition 3.5 and transforming it into the Pathfinder RPG, an impressive stand-alone game system in its own right. Beyond the core tabletop roleplaying game, Pathfinder has also diversified out into the Pathfinder Tales series of novels, the various versions of the Pathfinder Adventure Card Game (including a digital edition), audio dramas, comic books, and ever-expanding other platforms and formats.

But ultimately the Pathfinder game is set in a fantasy adventure world, and retains the feel of the Dungeons & Dragons adventures from which it was derived.

Last fall, Paizo announced a new game system that would take them into the distant future with their Starfinder RPG, and would set a far more distinctive course. This is a game that will take the basic Pathfinder mechanics, but translate them into a far future space opera style of setting.

Last fall at GenCon, I spoke with the Creative Director of Starfinder, long-time Black Gate friend James L. Sutter. In addition to being the author of a couple of great Pathfinder Tales novels, Death’s Heretic and The Redemption Engine, James is also the author of the recent Pathfinder Campaign Setting: The First World, Realm of the Fey (Amazon, Paizo), a supplement that explores a portion of the Pathfinder setting that I have long been hoping would get some additional attention.

Between our GenCon discussion and subsequent information, such as a great GameInformer interview, we got new information about the new classes and races, the backward compatibility with Pathfinder, and some hints about what to expect from starship combat. Everything about this game is looking and sounding great.

Toward the end of January, I ran into James again at the Detroit convention ConFusion, and asked him if I could buy him a beer and riddle him with some additional questions.

He said no.

Instead, he asked if I could e-mail him the questions, because he was heavily booked over the weekend. Below is our exchange, which I hope sheds some some new light on what to expect from the Starfinder RPG, due out from Paizo this August (and available for preorder now).

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New Treasures: Universal Harvester by John Darnielle

New Treasures: Universal Harvester by John Darnielle

Universal Harvester

It’s great to be plugged into the industry, so I can hear what editors and publicists think are going to be the big books each season. And it’s incredibly helpful to be involved with a network of bloggers and reviewers who give me their take on the same thing.

But nothing beats hearing from readers — and what I’m hearing from readers is that John Darnielle’s modern horror novel Universal Harvester is the book that’s currently keeping them up at night. It’s available now in hardcover Farrar, Straus and Giroux.

Jeremy works at the Video Hut in Nevada, Iowa. It’s a small town in the center of the state ― the first a in Nevada pronounced ay. This is the late 1990s, and even if the Hollywood Video in Ames poses an existential threat to Video Hut, there are still regular customers, a rush in the late afternoon. It’s good enough for Jeremy: it’s a job, quiet and predictable, and it gets him out of the house, where he lives with his dad and where they both try to avoid missing Mom, who died six years ago in a car wreck.

But when a local schoolteacher comes in to return her copy of Targets ― an old movie, starring Boris Karloff, one Jeremy himself had ordered for the store ― she has an odd complaint: “There’s something on it,” she says, but doesn’t elaborate. Two days later, a different customer returns a different tape, a new release, and says it’s not defective, exactly, but altered: “There’s another movie on this tape.”

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SFWA Announces the 2016 Nebula Award Nominations

SFWA Announces the 2016 Nebula Award Nominations

The-Obelisk-Gate-smallerThe Nebulas are here! The Nebulas are here!

Ahem. Excuse me if I get a little giddy. The Nebula Award is one of the most prestigious awards in our field. I was asked to present the award for Best Novelette at the 2015 Nebulas in Chicago, and last year the Awards were even more exciting, as several Black Gate bloggers and authors — including Amal El-Mohtar, Lawrence M. Schoen, and our website editor C.S.E. Cooney — were nominated for major awards.

So it’s always exciting when the Science Fiction Writers of America (SFWA) announces the nominees — and this year is no exception. This year’s nominees are (links will take you to our previous coverage):

Novel

All the Birds in the Sky, Charlie Jane Anders (Tor; Titan)
Borderline, Mishell Baker (Saga)
The Obelisk Gate, N.K. Jemisin (Orbit)
Ninefox Gambit,Yoon Ha Lee (Solaris)
Everfair, Nisi Shawl (Tor)

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In Viriconium by M. John Harrison

In Viriconium by M. John Harrison

oie_213541TcmWZhNHAnd so we come to the end of M. John Harrison’s trilogy of novels set in the far, far future of our world. For In Viriconium (1982) Harrison drops almost all elements of heroic fantasy in presenting the story of the artist Ashlyme. Ashlyme’s effort to rescue another artist, the reclusive Audsley King, from a plague outbreak is set against the antics of two manic deities. Woven through the novel are characters and clues that tie it to the previous two, The Pastel City and A Storm of Wings (reviewed at the links). Some build on the earlier stories while others seem to deconstruct and reconfigure them.

The Low City, the poorer section of Viriconium and the one most given over to decay, has been struck by a strange malady:

The plague is difficult to describe. It had begun some months before. It was not a plague in the ordinary sense of the word. It was a kind of thinness, a transparency. Within it people aged quickly, or succumbed to debilitating illnesses — phthisis, influenza, galloping consumption. The very buildings fell apart and began to look unkempt, ill-kept. Businesses failed. All projects dragged out indefinitely and in the end came to nothing.

Day by day it is spreading, restricting travel in and out of a growing portion of the Low City. Hidden away in her rooms above the Rue Serpolet, Audsley King remains the most famous and sought after artist in Viriconium. Even as the plague pares away the substance and people of the city, her agent, Paulinus Spack, is hoping to produce a new play with sets designed by her. All across the High City, Viriconium’s wealthy district, patrons are itching to invest in something featuring King’s creations. She, for that to happen, must leave the Low City — but she does not wish to. In addition to her acceptance of eventual death from the plague, she is repulsed by her potential benefactors:

“Besides,” she said, “I would not go if they did. Why should I go? The High City is an elaborate catafalque. Art is dead up there, and Paulinus Rack is burying it. Nothing is safe from him — or from those old women who finance him — painting, theater, poetry, music. I no longer wish to go there.” Her voice rose. “I no longer wish them to buy my work. I belong here.”

Spurred by a desire to save one of Viriconium’s most important figures, Ashlyme agrees to convince King to flee to the High City. If she cannot be convinced he will, with the help of the astronomer Emmet Buffo, kidnap her and bring her out anyway.

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