Browsed by
Year: 2015

There Will be Blood Books

There Will be Blood Books

Huff PriceThe great thing about the people in Tanya Huff’s Blood Books is that they act like… well, like people. This is remarkable for two reasons. First, not all of them are people; second, not all authors allow their characters to act like themselves all the time. Huff insists on it. Even when it makes writing the story difficult.

Let me qualify. All the characters in the Blood Books are people. Not all of them are human. They do act like themselves all the time, which isn’t to say that they act the way you expect them to. Not at all. More often than not, they’ll surprise you. But they’ll surprise you in a way that makes you go “Oh! Wow!” And not in a way that makes you go “Huh? What?”

The human protagonist, Vicky Nelson, was an extremely successful police detective, the kind who doesn’t suffer fools, and therefore doesn’t make a lot of friends among her peers. When she develops night blindness, she has two options, take a desk job, or leave the force. Being who she is, she chooses to leave the force and start her own detective agency. She’s stubborn, arrogant, and strong – exactly the kind of person you’d need if you were in trouble. Immanent blindness doesn’t change that.

The vampire protagonist, Henry Fitzroy, is the Duke of Richmond, the bastard son of Henry VIII. He doesn’t act like a young man living at the end of the 20th century. He acts like the son of a king, who’s been around for 450 years, has actually lived through all the changes that took place in those years, and who subsequently knows how to pretend that he’s a man living in the 1990’s. He’s a vampire, but he’s also the son of a powerful king, so for him, “territory” always has two meanings.

Read More Read More

Goth Chick News: How Much for the Party Coffin?

Goth Chick News: How Much for the Party Coffin?

HAA Halloween and Attractions Show-smallFor the fifteenth year, Transworld invited Black Gate back to cover one of the largest horror industry trade expos in the US; the Halloween and Attractions Show (“HAA”) in St. Louis, MO.

If you’ve ever wondered where the movie special effects guys go when they aren’t slinging gore for the latest scream-fest, then I can safely report that I know – they’re cooking up crazy makeup, animatronics and other visual gross-outs for the professional haunt industry.

The HAA is a “trade only” event, meaning the general public isn’t invited, but that didn’t stop a perpetual crowd from standing around outside the main entrance to the America’s Convention Center in order to get a glimpse of the attendees.

And as always, there is quite a lot to glimpse.

Over 250 exhibitors, some with what were essentially full-scale, mobile attractions, filled the cavernous convention space displaying everything from fog machines (with realistic “scents” – let’s just say yuck right here) to audio backgrounds and latex makeup elements to $15K+ robotic effects. As one attendee put it, “This is Christmas in March for everyone in the horror industry.”

Read More Read More

New Treasures: Image Firsts Compendium, Volume One

New Treasures: Image Firsts Compendium, Volume One

Image Firsts Compendium-smallThere’s a lot of good work going on in comics. Correction: there’s a lot of great work going on in comics, especially if you’re a fantasy fan.

It’s hard to keep up with it all. However, I’ve developed a simple system over the years. Once a month I visit my local comic shop here in St. Charles (Graham Cracker Comics; and here’s a shout out to Dan W. and Kurt Biallas, who’ve been selling me terrific comics since Kurt was about ten years old), and buy the first few issues of anything that looks interesting.

I take them home and give them to my 19-year-old son Timothy, whom I’ve studiously trained in the art of comics — starting by reading the entire Lee-Ditko run on Amazing Spider-man to him and his younger brother Drew when they were both still in footie jammies. Timothy patiently reads these comics cover-to-cover, and lets me know which ones are worth my time.

Everyone should have a 19 year-old son like Timothy. He’s also handy when the lawn needs to be mowed, or the driveway needs to be shoveled.

Sadly, Timothy made an unfortunate life choice last year (unfortunate for me, anyway). He went off to college in another state. The stack of comics waiting to be read now fills nearly an entire box, and it’s gathering dust in the corner, neglected. Clearly, I need a new system.

Apparently I’m not the only person to have this problem. When I was in the comic shop last month, I found Image Firsts Compendium, Volume One propped up near the cash register. It’s a fat, 320-page full cover graphic novel, containing the first issues of no less than nine new titles from Image Comics. And it’s priced at $5.99 — less than it will cost you for two measly comics.

Read More Read More

The Ballantine Adult Fantasy Series: Dragons, Elves, and Heroes edited by Lin Carter

The Ballantine Adult Fantasy Series: Dragons, Elves, and Heroes edited by Lin Carter

Dragons Elves and HeroesDragons, Elves, and Heroes
Edited by Lin Carter
Ballantine Books (277 pages, October 1969, $0.95)
Cover art by Sheryl Slavitt

It’s been a while since my last post, and no, I haven’t fallen off the face of the Earth, run away to join the circus, or been abducted by aliens. Although there have been times I’ve considered that circus thing. Or maybe gypsies.

No, I’m just overloaded this semester (my day job is in academia), which hasn’t left a lot of opportunity to read at a time when I’m not likely to fall asleep after a few pages.

And I wanted to take my time and do this one right. Dragons, Elves, and Heroes is the first of a two volume set in which Carter collects heroic fantasy imaginary world stories, beginning with a selection from Beowulf. This volume ends in the 1800s, although the most recent selection isn’t the last. The companion volume, The Young Magicians, will pick up where this one left off.

Anyway, this book looked like it would take some concentration, so I tried to read it when I would have time to devote to it. But enough about what happens to the well laid plans of mice and men.

I found the selections on the whole to be thoroughly enjoyable, with a few exceptions. I used the word “selections” intentionally, because other than a handful of poems, most of the stories Carter selected were excerpts. The one notable exception was the entire text of The Princess of Babylon by Voltaire was included. I wish Carter had stuck to his practice of using excerpts, but I’m getting ahead of myself.

Read More Read More

Get Ready For 11 Best-of-the-Year Volumes

Get Ready For 11 Best-of-the-Year Volumes

Best British Horror 2014-smallWe’re entering the Best-of-the-Year season.

Starting in May we’ll see no less than eleven volumes collecting the best short fiction of last year, beginning with Jonathan Strahan’s Best Science Fiction and Fantasy of the Year: Volume Nine (released May 12), and ending in October with the release of the latest volume in Stephen Jones’ long-running Mammoth Book of Best New Horror. We’ve showcased eight as Future Treasures in just the last few months (click on the links below for details on each.)

The Best Science Fiction and Fantasy of the Year: Volume Nine, edited by Jonathan Strahan (May 12)
Best British Horror 2015, edited by Johnny Mains (May 25)
The Year’s Best Military SF and Space Opera, edited by David Afsharirad (June 2)
The Year’s Best Science Fiction & Fantasy Novellas: 2015 edited by Paula Guran (June 16)
The Year’s Best Science Fiction & Fantasy 2015, edited by Rich Horton (June 16)
The Year’s Best Dark Fantasy & Horror 2015, edited by Paula Guran (June 24)
The Year’s Best Science Fiction: Thirty-Second Annual Collection, edited by Gardner Dozois (July 7)
The Best Horror of the Year Volume Seven, edited by Ellen Datlow (August 4)
The Best American Science Fiction and Fantasy 2015, edited by John Joseph Adams and Joe Hill (October 6)
Year’s Best Weird Fiction Volume 2, edited by Kathe Koja (October)
The Mammoth Book of Best New Horror 26, edited by Stephen Jones (October)

After 18 volumes, we lost David’s Hartwell’s Year’s Best SF in 2014 — a major loss– but we’ve added three to the list this year: the Afsharirad, Adams, and Paula Guran’s Best Novellas book. (And Year’s Best Weird Fiction just started up in 2014). I don’t remember any time in the history of the genre when we had this many Year’s Best volumes; certainly there’s been no time when I’ve looked forward with anticipation to nearly so many. I take it as a sign that there’s still a very healthy interest in short fiction in this market. Stay tuned over the next six months, and we’ll bring you additional details as they hit the market.

Into the Pits: Ody-C Issues 3 and 4

Into the Pits: Ody-C Issues 3 and 4

ODY-C issue 3-smallOdysseus’ encounter with the Cyclops is (and has consistently been for several thousand years) one of the best known episodes from the Odyssey. It’s exciting, it’s graphic, and it displays Odysseus’ most notable quality: his cunning. So I was eager to see what Ody-C would do with this episode when it reached that point. It did so fairly quickly, and issues 3 and 4 span the telling of this encounter for Odyssia and her crew.

The results were mixed. There are things I loved, and a few I really didn’t. But first, to touch on what Homer did first. Not because it’s the meter by which we should judge Ody-C but because I like some of the ways Matt Fraction is playing with the prototype here.

For those who don’t remember, Odysseus and his crew wash up on the shores of the island of the Cyclopes. They find a large, empty cave, and help themselves to cheese and milk while waiting for the inhabitant to return. When he does, he isn’t a human but the massive Cyclops Polyphemus. Polyphemus proceeds to eat many of the sailors, until Odysseus gets him drunk and gouges out the Cyclops’ eye with a massive pole. The men then tie themselves beneath Polyphemus’ sheep in order to escape the cave when the flocks are let out to graze.

In Ody-C, the fundamentals are all here but the differences are significant. Odyssia and her women arrive on the planet Kylos. They find a massive fortress, and rather than looking for sustenance, Odyssia orders a break of the citadel in the hopes of finding treasure.

Read More Read More

Eastercon 66: Fun and Friction in Science Fiction

Eastercon 66: Fun and Friction in Science Fiction

banner_gap2_plus_text-1140x445

Last weekend I had the good fortune to attend Dysprosium, the 66th Eastercon, in London. It was only my second big convention and I was impressed by the number of people, dealers, panels, and events. Big cons are definitely my thing!

The convention was held at The Park Inn at Heathrow Airport, which is appropriately decorated with images of aviation and space pioneers. The elevators have glowing plastic panels that change colors and made me feel like I was in an Italian science fiction movie from the 1960s. The con was stretched out. Two large common rooms were connected by a long corridor. This meant that there was no main dealers room. Instead, each dealer had their own room and they took advantage of this by hosting their own events. Elsewhen Press gets my vote for friendliest dealer for offering plenty of friendly chatter, UFO-shaped candies, and several readings. Another dealer hosted a fascinating talk on Malaysian folklore. This worked out well for the guests but I heard more than one dealer complain they felt isolated from other dealers.

Like last year’s Worldcon, which I reported on here, diversity and inclusion was a central theme. Several of the panels reflected this, such as one on Fencing for Writers, in which two women demonstrated various ways to slash and skewer your opponent. They gave several anecdotes about female swashbucklers in the Renaissance. One French lesbian fought numerous duels with men over women and even saved her lover from a nunnery by burning the place down! That’s just begging to be made into a novel. The presenters made the telling point that, “Historians have dismissed these women as exceptions, but when you look at the sources, there are an awful lots of exceptions.”

Read More Read More

Future Treasures: Blood Sisters, edited by Paula Guran

Future Treasures: Blood Sisters, edited by Paula Guran

Blood Sisters Paula Guran-smallIn her lengthy intro to her new anthology Blood Sisters, Paula Guran traces the modern literary history of the vampire, from C.L. Moore (“Whether… Moore’s “Shambleau” (1933) is a vampire story may be open to question, but one can make a good argument that the alien Shambleau is a form of vampire”) to Stephen King (“Salem’s Lot… downplayed vampiric eroticism, upped the level of terror, and focused on the vampire as a metaphor of corrupt power”) to Chelsea Quinn Yarbro (“Saint-Germain was the first genuinely romantic and heroic vampire”), and beyond.

In Blood Sisters Guran collects 25 vampire stories by Carrie Vaughn, Catherynne M. Valente, Nancy A. Collins, Suzy McKee Charnas, Pat Cadigan, Nalo Hopkinson, Chelsea Quinn Yarbro, Melanie Tem, Charlaine Harris, and over a dozen other women. It’s a stellar line-up, and one of the most intriguing collections of any kind I’ve seen this year.

A tantalizing selection of stories from some of the best female authors who’ve helped define the modern vampire.

Bram Stoker was hardly the first author — male or female — to fictionalize the folkloric vampire, but he defined the modern iconic vampire when Dracula appeared in 1897. Since then, many have reinterpreted the ever-versatile vampire over and over again — and female writers have played vital roles in proving that the vampire, as well as our perpetual fascination with it, is truly immortal. These authors have devised some of the most fascinating, popular, and entertaining of our many vampiric variations: suavely sensual… fascinating but fatal… sexy and smart… undead but prone to detection… tormented or terrifying… amusing or amoral… doomed or deadly… badass and beautiful… cutting-edge or classic…

Read More Read More

Sex and Violence in Poul Anderson’s Rogue Sword

Sex and Violence in Poul Anderson’s Rogue Sword

Zebra Heroic Fantasy. Another ghastly cover. I guess that’s some Byzantium-esque architecture in the background. But who’s ever seen “armor” or a sword like that?
Zebra Heroic Fantasy. Another ghastly cover. I guess that’s some Byzantium-esque architecture in the background. But who’s ever seen “armor” or a sword like that?

As in The Golden Slave (and to lesser degrees in Three Hearts and Three Lions and in Virgin Planet) the major textures of Poul Anderson’s Rogue Sword sketch a love triangle. But at first our hero Lucas Greco’s love is not confined to only two women. No, he is a philanderer, a gallant, and the prologue establishes this as Lucas escapes the rage of Gasparo Reni, a jealous husband. This also shows Anderson’s impressive ability to construct symmetrical plots, for Gasparo and another in the prologue, Ser Jaime, shall be around for the duration of the novel.

The first chapter jumps ahead fourteen years. Lucas, with his friend Brother Hugh de Tourneville, surprise encounters Gasparo again, this time in the streets of Constantinople. Exhibiting rage apparently beyond all reason, Gasparo orders his men to fall on Lucas and to slay him on the spot. But, assisted by Brother Hugh, Lucas defends himself and escapes. During his escape, however, Gasparo’s slave woman, a woman who had been destined for a lord’s harem, joins herself to Lucas.

This slave, Djansha, becomes Lucas’s first love. It is notable that Lucas is not aware of this at first. He takes for granted Djansha’s complete faithfulness and service to Lucas. Lucas perhaps thinks that she is so into him because he is kind and supportive of her needs. Perhaps he believes that she would behave the same for any man who treated her in this manner. He also probably takes her for granted because she is a slave. Lucas cannot be blind to the strict social classes of 1306 A.D. (using Anderson’s signifier for era). And, naturally, he aspires for the heights. He actively pursues this state when he meets the lady Violante, a sensual and cunning member of the aristocracy married to the savage warrior Asberto.

Before briefing the reader on this third part of the triangle, however, we should pause a moment to focus on Anderson’s initial description of Djansha. I am struck now how, in a number of novels, Anderson has presented the reader with two female body “types.” What we read about Djansha also could describe Alionara from Three Hearts and Three Lions and perhaps Barbara from Virgin Planet and of course Phryne from The Golden Slave. Generally, this type is slim, childlike, and “boyish.” Here’s a description of Djansha.

Read More Read More

Vintage Treasures: Sturgeon is Alive and Well… by Theodore Sturgeon

Vintage Treasures: Sturgeon is Alive and Well… by Theodore Sturgeon

Sturgeon is Alive and Well-small Sturgeon is Alive and Well Pocket-small

Sturgeon is Alive and Well… was Theodore Sturgeon’s fourteenth short story collection. It was first published in 1971, and came following a five-year gap after Starshine (1966). As I mentioned in my write-up on that book, Starshine went through nearly a dozen printings in as many years. But Sturgeon is Alive and Well… had only three: a hardcover in 1971, a paperback reprint the same year from Berkley Medallion (above left, cover by the great Paul Lehr), and a Pocket reprint in 1978 (above right, artist unknown.)

It’s now been out of print for 37 years, and there is no digital edition.

The title is… unusual. It probably made more sense in 1971, when Jacques Brel is Alive and Well and Living in Paris was an unexpected smash hit off-Broadway. Sturgeon touches on what a five-year gap between collections meant for a writer who made a living on short stories in his introduction.

Read More Read More