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Year: 2011

Edgar Rice Burroughs’s Venus, Part 5: “The Wizard of Venus”

Edgar Rice Burroughs’s Venus, Part 5: “The Wizard of Venus”

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wizard-of-venus-roy-krenkel-frontpieceThe Venus series ends not with a novel, but a novella. Consequently, this will be the shortest entry in my survey of Burroughs’s last series, but I have appended a wrap-up with my final thoughts on the Venus books as a whole.

Our Saga: The adventures of one Mr. Carson Napier, former stuntman and amateur rocketeer, who tries to get to Mars and ends up on Venus, a.k.a Amtor, instead. There he discovers a lush jungle planet of bizarre creatures and humanoids who have uncovered the secret of longevity. The planet is caught in a battle between the country of Vepaja and the tyrannical Thorists. Carson finds time during his adventuring to fall for Duare, forbidden daughter of a Vepajan king. Carson’s story covers three novels, a volume of connected novellas, and an orphaned novella.

Previous Installments: Pirates of Venus (1932), Lost on Venus (1933), Carson of Venus (1938), Escape on Venus (1941).

Today’s Installment: “The Wizard of Venus” (1964)

The Backstory

Edgar Rice Burroughs’s experiment of writing the previous Venus book as four linked novellas succeeded — commercially, at least — so he forged ahead with a new story in 1941 to start a second quartet. But no magazine purchased “The Wizard of Venus.” ERB moved on to the second story, which he started on 2 December 1941 in his home in Hawaii.

You can see where this is headed.

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Romanticism and Fantasy: The Emergence of the Romantic

Romanticism and Fantasy: The Emergence of the Romantic

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Lyrical BalladsLast week, I described the neo-classical attitudes of the Age of Reason, which dominated English literature through most of the 18th century. This week I want to take a look at how and when things changed.

In 1798 William Wordsworth and Samuel Taylor Coleridge published the first edition of Lyrical Ballads, a collection of poetry that some critics have pointed to as the start of Romanticism in English literature. In fact, you can fairly easily find precursors to one aspect or another of the phenomenon called Romanticism; Blake, for example, was publishing his illuminated prophecies in 1789. But there were a number of works preceding him, as well, and I’m going to look here at some of those texts that seem to pave the way for Romanticism, particularly in the thirty years from 1760 to 1790.

Since I’m interested in Romanticism as a form of fantasy, the texts I’ll look at have to do broadly with the impulse toward fantasy and away from realism. I think the fantastic is a key characteristic of the romantic, while the classical or neo-classical emphasis of the earlier eighteenth century effectively went hand-in-hand with realism. It has to be said that there are other ways to look at Romanticism; it’s certainly true that Wordsworth in particular emphasised the importance of doing away with Enlightenment conventions, and with an outdated poetic diction, in order to focus on life as it was really lived across all social classes. Romanticism is an amorphous term. Writers of the era did not call themselves Romantic, and did not group themselves together the way we group them now. As a result, strict definitions are useless. If you look too long at the vast territory often ascribed to ‘romanticism,’ sooner or later you find significant overlap with ‘the enlightenment.’

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Dream a Dream: The Chronicles of Everness by John C. Wright

Dream a Dream: The Chronicles of Everness by John C. Wright

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everness1The Last Guardian of Everness
Tor (336 pages, Sept 2004, $25.95)
Mists of Everness
Tor (352 pages, Feb 2005, $25.95)
By John C. Wright

The Everness of the title is simply a house, a sprawling mansion built on the northern Maine coast.  Everness is a memory palace made real, a house whose features and layout are identical in both the waking and dream worlds, and one of the few gateways where dreams can cross over into manifest reality.  It is a conduit for all the normal dreams that come to humans in their sleep, but it is also a border to be defended.  The run-down seawall of the manifest world is a towering battlement in the Dreaming.

John C. Wright’s Chronicles of  Everness is an epic in two moderately sized volumes dealing with an assault upon our world (the waking world) and a horde of unspeakable evils from our nightmares.  Literally.  The world of the fantastic exists, but only in a vast dream-world composed of a vast population of gods, demons, monsters, fairies, selkies, angels, and supernatural princes.

It’s a difficult pair of books to encapsulate in any reasonable number of words, simply because of the sheer number of ideas, fantastic settings, plot threads, and scenarios Wright manages to stuff between his covers.  On the most basic level, they’re a tale of good versus evil, but that battle is fought in locations ranging from a suburban living room to the towers of an undersea Hell.  The books bite off a lot, and manage to chew through most of it with style.

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Eat Flaming Laser Death: An Evening of RoboRally

Eat Flaming Laser Death: An Evening of RoboRally

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roborallyThese are good times for board gamers.

After the death of Avalon Hill as an independent game publisher (its remnants were purchased by Hasbro in 1998), it sure seemed like the era of the board game was over.  SPI, FASA, Task Force Games, GDW, Yaquinto, West End Games, Fantasy Games Unlimited, Mayfair Games, TSR, and finally Avalon Hill… the leading lights of board game design in the 20th Century had all perished by the end of the 90s. It looked like those of us who loved to move cardboard counters around abstract hex grids were relegated to paying ridiculous prices for out-of-print copies on eBay.

But that was before Fantasy Flight proved there was still life in board games yet, with a stellar line up of beautifully produced — and profitable — titles. Mayfair Games returned from the dead, phoenix-like, with the English language rights to the blockbuster Settlers of Catan. Wizards of the Coast purchased TSR and built on their rich tradition with D&D-inspired board games like The Conquest of Nerath (read Scott Taylor’s terrific review here). And, surprise of surprises, Hasbro has kept the Avalon Hill name alive, putting out high quality games like Battle Cry and Axis and Allies.

So on a Sunday night when I’ve managed to pull Tim and Drew, my two teenage sons, away from Gears of War 3 and sit them down at the gaming table, I find I actually have a choice of intriguing modern games to offer them. Should we go for complex and fascinating, like Axis and Allies? Colorful and fun, like Descent: Journeys in the Dark? Quick and light, like Cheapass Games’ Kill Doctor Lucky?

Rhetorical question, of course. When one of the choices involves lasers, killer robots, and blowing each other up in a frenetic race for mechanized glory, the answer is pretty much a foregone conclusion. It was RoboRally in a landslide.

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The Nightmare Men: “The Ghost-Seer”

The Nightmare Men: “The Ghost-Seer”

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9781840225396Aylmer Vance, agent of the enigmatic Ghost Circle, made his first appearance on the nightmare stage in 1914. The creation of husband-and-wife writing team Alice and Claude Askew, Vance appeared in eight consecutive issues of The Weekly Tale-Teller between July and August. The stories-“The Invader”, “The Stranger”, “Lady Green-Sleeves”, “The Fire Unquenchable”, “The Vampire”, “The Boy of Blackstock”, “The Indissoluble Bond” and “The Fear”-ranged from grotesque to gentle, and are, by and large, of a slower pace than those featuring Vance’s contemporaries, such as Carnacki. Only one of the stories has been regularly anthologized (“The Vampire”), with the rest languishing in obscurity until the release of recent collections by Ash-Tree Press and Wordsworth Editions respectively.

Like John Silence, Vance inhabits an England of soft spiritual influence, where elementals, ancient memories and ghostly manifestations cling to the unseen corners and visit just long enough to inject the mundane with a booster shot of the strange. Unlike Carnacki’s Outer Monstrosities and Malign Visitors, the apparitions that Vance faces are utterly human in their aspect, if not their motivation. Death is no barrier to the desires of the flesh or the dreams of the determined, and it is when these elements intrude on the hard-won peace of the Edwardian mind that the Ghost-Seer must intervene.

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Apex Magazine 28 Arrives

Apex Magazine 28 Arrives

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apex28The 28th issue of Apex Magazine is now on sale.

This issue features two new short stories, “Namasté Prime” by Grá Linnaea, and “Frank” by Betsy Phillips, plus a reprint: “Gemphalon” by Elizabeth Engstrom.

Erik Amundsen contributes a poem: “And Cut Down a Moment Later,” and the award for Best Title of the Issue goes to John H. Stevens, for his non-fiction piece “The Improbable, Inevitable Domestication of the Great Old Ones: H.P. Lovecraft’s Iconic Influence on 21st-Century Fantastic Literature and Culture.”

Seriously, that’s one great title.

This issue of Apex Magazine is edited by best-selling writer and short-timer Catherynne M. Valente. Lynne Thomas will be taking the reins for future issues.

Apex Magazine 28 is sold online for $2.99; it’s also available in Kindle, Nook, and a downloadable format through Smashwords.

Apex is published monthly. Previous issues are available through their back issue page. We last profiled Apex with issue 27.

You can subscribe and get 12 issues for just $19.95.

Interzone #236 September-October 2011

Interzone #236 September-October 2011

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374The new Interzone features contains stories by Jason Sanford (“The Ever-Dreaming Verdict of Plagues”), Mercurio D. Rivera (“Tethered”), Jon Ingold (“The Fall of the City of Silver”), Fiona Moore (“The Metaphor”) and Stephen Kotowych (“A Time for Raven”); art by Richard Wagner, Ben Baldwin, Jim Burns and Martin Hanford. There’s also the regular columns, Ansible Link by David Langford, Mutant Popcorn by Nick Lowe,  and Laser Fodder by Tony Lee; book reviews including an interview with Lavie Tidhar conducted by Maureen Kincaid Speller.

You can also download issue 230 for free, containing stories by Aliette de Bodard, Nina Allan, Lavie Tidhar , Patrick Samphire and Tim Lees.

In other news, Locus reports that the Amazing Stories trademark has been acquired, possibly for use as the title for an online magazine. This would be how many times the dead magazine has been resurrected? Although this time, a true resurrection, as it wouldn’t have a physical paper form.

Tangent Online reviews Matthew David Surridge’s “The Word of Azrael”

Tangent Online reviews Matthew David Surridge’s “The Word of Azrael”

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yearsbest2011Reviewer Nader Elhefnawy at Tangent Online offers a detailed review of the latest volume of Rich Horton’s The Year’s Best Science Fiction and Fantasy 2011, including Matthew David Surridge’s story from Black Gate 14, “The Word of Azrael.”

In Matthew David Surridge’s “The Word of Azrael” (which first appeared in the Winter issue of Black Gate magazine, an excerpt of which can be read on the magazine’s web site), warrior Isrohim Vey encounters the Angel of Death on the battlefield. Having seen the Angel’s smile once, he spends the rest of his life pursuing another glimpse of it – a colorful, wide-ranging, action- and adventure-filled epic journey in the tradition of Conan the Cimmerian and Elric of Melnibone. The resulting piece is one of the strongest heroic fantasies I have seen in years.

Fine praise indeed, for a terrific story that’s been one of the most acclaimed pieces we’ve published in recent years.

You can read the excerpt from “The Word of Azrael” here, and the complete Black Gate 14 Table of Contents is here.

And you can read more about Rich’s excellent The Year’s Best Science Fiction and Fantasy 2011 here.

Blogging Alex Raymond’s Flash Gordon, Part Fourteen – “Power Men of Mongo”

Blogging Alex Raymond’s Flash Gordon, Part Fourteen – “Power Men of Mongo”

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flashgordonpowermenofmongopower-men1“Power Men of Mongo” was the fourteenth installment of Alex Raymond’s Flash Gordon Sunday comic strip serial for King Features Syndicate. Originally published between April 14, 1940 and January 12, 1941, “Power Men of Mongo” picks up the storyline where the thirteenth installment, “The Ice Kingdom of Mongo” left off with Flash, Zarkov and Katon speeding by rocket-engine to Mingo City in a desperate attempt to rescue Dale. The rocket-engine is hijacked by Logun and the remnants of the Freemen who happily rejoin the battle to overthrow the Emperor of Mongo. They succeed in infiltrating the city, but one of the Freemen, Pital betrays Flash for the reward promised by Ming. The Emperor sets a trap to capture Flash and the Freemen when they meet in a warehouse at night. Dale starts a chemical fire in the warehouse to warn Flash of the danger. Ming leaves her to burn. Unable to remove her from the blazing warehouse, Flash settles for putting out the fire and then making a daring escape.

Flash successfully infiltrates Ming’s royal guard and very nearly succeeds in rescuing Dale, but Ming outmaneuvers him. Hunted by the police, Flash is rescued by Katon who leads him to the underground electrical works where the Power Men of Mongo are employed. Ergon, head of the Lodge of the Power Men has already befriended Zarkov and is eager to have the Power Men join the rebellion against Ming. The Power Men cause a blackout in the palace during which Flash and Zarkov (disguised as Power Men) eventually succeed in rescuing Dale. It is interesting to note that Flash’s Power Man outfit makes him look suspiciously like DC’s superhero, The Flash. Zarkov is given more of a chance to show his heroism. A turning point comes when Flash finds many of his former Freemen working in Ming’s munitions factory. Flash orchestrates a workers’ revolt and has the men turn on their foremen and seize control of the factory.

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Is The Lord of the Rings Literature?

Is The Lord of the Rings Literature?

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alan_lee_the20lord20of20the20rings_coverPart 2 of a 2-part series

Part 1 of this article set the stage for the question, Is The Lord of the Rings literature? Part II examines six criteria commonly used to define works of high literary quality and applies them to The Lord of the Rings.

1. Popular appeal

The argument against: The Lord of the Rings might be popular, but that doesn’t make it literature.

The counterargument: There’s popular, and then there’s an omnipresent, mammoth, overshadowing level of popularity.

How popular is The Lord of the Rings? At last count, it has been translated into 57 languages and is the second best-selling novel ever written, with over 150 million copies sold. Its also a repeat winner of multiple international contests for favorite novel (note the broad term novel, not just fantasy novel). For example:

  • In 1997 it topped a Waterstone’s poll for Top 100 Books of the Century.
  • In 2003 a survey (The Big Read) was conducted in the United Kingdom to determine the nation’s best-loved novel of all time. More than three quarters of a million votes were received, and the winner was The Lord of the Rings.
  • A 1999 Amazon poll administered to its customers yielded the same result.

In short, readers of all stripes, from all around the world, adore this book more than just about any other.

All that said, I will fully admit that this is the least convincing argument, because mass appeal is not necessarily a good indicator of quality. See Justin Bieber. So let’s look at some other criteria.

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