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Author: Fletcher Vredenburgh

The Scottish Play: Macbeth by William Shakespeare

The Scottish Play: Macbeth by William Shakespeare

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All hail, Macbeth! that shalt be king hereafter!

Macbeth, ACT I, SCENE III

Looking back on my second time around here at Black Gate, I saw that each for the first two summers I’d undertaken the enjoyable, if somewhat pointless task, of writing about a Shakespeare play (for what can I possibly bring to such an effort). First, there was A Midsummer Night’s Dream, then The Tempest. I skipped last summer because a sense of inadequacy for the task had me struggling to finish my piece about T.H. White’s The Once and Future King (pt. 1, pt. 2).

Having already missed last month’s installment of my column due to an ongoing run-in with a  5 mm kidney stone, I decided getting back to Shakespeare might be just the thing to get me moving. But what to read? I’ve only read fourteen of his thirty-nine plays, so I don’t know which of them have fantastical elements. And, then, it smacked me on the head, Macbeth. Not only is it my favorite of the plays I’ve read, but it’s suffused with magic, all black and malign. Then, there are all the movie versions, including a recent one starring Denzel Washington and France McDormand. So, let me begin. …

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Back Among the Kencyrath: “The Gates of Tagmeth” by PC Hodgell

Back Among the Kencyrath: “The Gates of Tagmeth” by PC Hodgell

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One of the earliest reviews I wrote for Blackgate was of P.C. Hodgell’s 1982 sword & sorcery classic, God Stalk. It’s the story of Jame, a relative innocent at large in the very Lankhmarian city Tai-Tastigon on the world of Rathilien. She’s a High Born, the ruling race of a tripartite race called the Kencyrath (the other two are the Kendar — warriors and artisans — and the Arrin-ken — the lion-like judges of the three races).  She’s also a Shanir, a subset of her people gifted — or cursed as most have come to believe — with strange abilities. In her case, it’s retractable claws on her fingers.

The Kencyrath have been consecrated by their Three-Faced God to battle Perimal Darkness, a great evil that’s been devouring one world after another in a chain of parallel worlds for millennia. Every time, they’ve failed at their duty, having to retreat to one world or another. As of God Stalk, they’ve been on Rathilien for three thousand years. They escaped there following the Fall, a moment when the High Lord betrayed the Kencyrath and two-thirds were killed, their souls offered up to Perimal Darkness.

After a year in Tai-Tastigon Jame set off into the West in search of her twin brother Torisen and the Kencyrath homeland — well, at least the homeland they took possession of three thousand years ago. Over the following six books, Jame, forever a square peg in a round hole, emerges as a wild card in the political games between the various Kencyrath houses. Unwilling to adopt the cloistered and regulated life of most High Born women, Jame eventually finds herself a candidate in the Kencyrath military officer’s school. Along the way, she learns she is more than likely the prophesied incarnation of the destructive aspect of the Three-Faced God. She also discovers more of the supernatural underpinnings of Rathilien, how the Kencyrath’s arrival disrupted it, and that the final reckoning with Perimal Darkness is near.

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The Red Magician by Lisa Goldstein

The Red Magician by Lisa Goldstein

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In the town where Kicsi grew up there was a rabbi who could work miracles. It was a small town, and borders — Hungarian, Czech, Russian — ebbed and flowed around it like tides. Once, Kicsi remembered, she went too far from home and came to a place where the people spoke a different language. In the distance, on the horizon, stood the mountains, fat and placid as cows.

The Red Magician (1982) by Lisa Goldstein is a young adult, magical realist novel about a Jewish girl, during, and after the Holocaust. The author, herself the daughter of two Holocaust survivors, won a National Book Award for paperback original. The book, while short by today’s dreadful standards, is a compelling meditation on willful blindness in the face of great horror, misplaced vengeance, and the harrowing effects of survivor’s guilt.

Kicsi, which means little in Hungarian, lives with her family in a small town completely isolated from the evil smothering much of Europe. We meet her as she listens in on a conversation between her father, Imre, and the town’s rabbi. The rabbi threatens anyone who doesn’t remove their child from the town school with a curse. The school, in defiance of traditional belief, teaches Hebrew. The language, the rabbi insists:

will be spoken only when the Messiah comes and we return to the Holy Land. That is to say, when God wills it. Until then Hebrew is to be spoken only in prayer.

As punishment, the rabbi curses anyone connected to the school to be tormented by forty demons for forty days and nights. Imre insists that he isn’t scared of any curse and that his daughters will continue to attend the school Fortunately, a stranger arrives in the town, first appearing in the synagogue on Friday night.

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Immaculate Scoundrels by John R. Fultz

Immaculate Scoundrels by John R. Fultz

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Every job needed a crew.

from Immaculate Scoundrels

I keep revisiting the earliest days of writing about contemporary swords & sorcery lately. Last month I read and reviewed Rogue Blade’s fantastic new anthology, Neither Beg Nor Yield. Now, I’ve just finished John R. Fultz’s return to bash and thrash of the genre with Immaculate Scoundrels (2024).

Fultz was one of the first authors I encountered back in 2011/2012 when I started blogging about S&S. He was one of the writers I discovered through the electronic pages of Black Gate, along with James Enge, Howard Andrew Jones, and Ted Rypel in particular.

Between his collection The Revelations of Zang (2013 – I read it after winning a free copy in a giveaway here at Blackgate!) and The Books of the Shaper series, Fultz staked out a claim to being one of the best new voices in S&S.  These works were heavily inspired by Clark Ashton Smith’ and Lord Dunsany’s strange and often psychedelic fiction ladled over with more blood and thunder. If you think I’m maligning him, rest assured I am not. Anybody daring enough to take Smith as an inspiration and make it more violent, well, that’s not a bad thing.

Instead of more S&S, Fultz followed up with a Native American-themed sword & planet duology. I reviewed both The Testament of Tall Eagle (2015) and Son of Tall Eagle (2017) here. I might have been a little disappointed he hadn’t written more stories like his previous ones, but these are good books and Fultz isn’t one to sit around spinning the same tales again and again.

In the intervening years, he’s written enough short fiction to fill two collections. The first, World Beyond Worlds (2021) brings together his fantasy stories from the period. The second, Darker Than Weird (2023) contains fourteen straight-up horror stories. Now, with Immaculate Scoundrels, it’s back to swords & sorcery, but not like in any of his previous books.

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Neither Beg Nor Yield, edited by Jason M. Waltz

Neither Beg Nor Yield, edited by Jason M. Waltz

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Sword & Sorcery is a clenched fist thrust into the sky, a raised middle finger in the face of the Unknown, an epithet spat into the dirt through a rictus of bared teeth. S&S demands an attitude of not merely surviving but of dominating living, all else—everything else—be damned. The heroes of S&S continue living deeply until there are no more breaths to take. The only -ism S&S promotes is LIVE!-ism. Absolutely a rebellion against meaninglessness, it also fully embraces an I-don’t-give-a-damn-if-it-is-all-meaningless creed. “I live, I burn with life, I love, I slay, and am content.” Robert E. Howard, through Conan, again saying it best in “Queen of the Black Coast.”

Jason M. Waltz from “It’s Not Gentle,” the foreword to Neither Beg Nor Yield

I reviewed Return of the Sword: An Anthology of Heroic Adventure over at Stuff I Like: A Blog (called Swords & Sorcery: A Blog back then) twelve years ago. I had discovered the book by way of a mention here at Black Gate, which I had discovered while on the hunt for contemporary sword & sorcery. This book, more than anything else, convinced me there was a wealth of new and, more importantly, good S&S writing being done.

I had created my site to focus on ensuring the classics of S&S weren’t forgotten in the face of the seemingly irresistible tide of grimdark fiction that was new back then. Waltz’s book forced me to direct an increasing portion of my efforts toward the new stories. Howard Andrew Jones, James Enge, and John Fultz were all authors I first encountered in that period. There are also dozens of writers I found reviewing hundreds of new stories right here on the pages of Black Gate.

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A Christmas Carol by Charles Dickens

A Christmas Carol by Charles Dickens

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If I could work my will,” said Scrooge indignantly, “every idiot who goes about with ‘Merry Christmas’ on his lips, should be boiled with his own pudding, and buried with a stake of holly through his heart. He should!”

Ebenezer Scrooge

 

A Christmas Carol. In Prose. Being a Ghost Story of Christmas, published first in 1843, is nearly two hundred years old, and nothing remains to be said about it, it would seem. Charles Dickens’s fairy tale has become one of the great secular staples of the Christmas season. It’s been filmed many times; both wonderfully as in the Alastair Sim 1951 and George C. Scott 1984 versions and less wonderfully in the Reginald Owen 1938 film and the 2010 Jim Carrey motion capture monstrosity. Furthermore, there have been animated adaptations, musicals, and comics. It’s an isolated person, I suspect, who doesn’t know at least the basic setup: the uplifting story of a cold-hearted miser who turns to the good after the visitation of a trio of ghosts representing the spirit of the season. All I can do is comment on the bits that stood out for me while liberally quoting from this mordantly funny novel and Gothic fantasy of redemption.

The story is told by an omniscient narrator who intrudes on the story constantly, digresses from the narrative, and questions the reader at every turn. The opening words of A Christmas Carol, or at least a fair gloss on them, are well-known, particularly the seventh sentence: “Old Marley was a dead as a door-nail.” It’s a blunt matter-of-fact statement that lets the reader know where things stand. The narrator, though, immediately continues with something else.

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“not really now not any more” Red Shift by Alan Garner

“not really now not any more” Red Shift by Alan Garner

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He began  to  climb  the  inside  of  the  castle, the folly, the empty stone.
“Tom?”
He climbed.
“Don’t be so bloody dramatic!”
At the top he stood upright, jerkily, balancing against the air above the wall and the cliff.
“You’ll not frighten me!”
He spread his arms and lifted his head to the sky.
“Through the sharp hawthorn blow the winds,” he shouted. “Who gives anything to poor Tom? Tom’s a-cold! Bless thee from whirlwinds, starblasting, and taking!”
“Stop it! You’re all quote! Every bit! Any you call me second hand!”
“Pillicock sat on Pillicock-hill. Halloo, halloo, loo, loo!”
“You can’t put two words of your own together! Always someone else’s feeling! Other people have to hell to find words for you! You’re fire-proof!”

Red Shift (1973) by Alan Garner, is a complex book that weaves together three distinct but related stories. The main story, set in 1970s England, is about Tom and Jan, teenagers struggling to maintain their love in the face of Tom’s disapproving parents, looming separation as Jan prepares to enter nursing school in London, and Tom’s unsettled mental state. Jan is constantly expressing her love for Tom, but he seems incapable of really accepting that.

The second story is about Macey is part of a band of deserters from the Roman IX Legion named Macey and a tribal priestess raped and held prisoner by his comrades following the slaughter of her entire village. He is given to berserker rages where he fights like ten men and experiences visions of the other two stories.

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I Was A Teenage Abomination from Another Dimension: The Inhabitant of the Lake & Other Unwelcome Tenants by Ramsey Campbell

I Was A Teenage Abomination from Another Dimension: The Inhabitant of the Lake & Other Unwelcome Tenants by Ramsey Campbell

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Original Arkham House cover

Dear Mr. Campbell,

I have received your stories, but I have had time to read only one or two of them. I don’t want to comment on them in extended fashion until I’ve read all, but I do think them competent. However, there is one alteration I think you should definitely make; Mr. Wandrei would insist on it, and that is to remove your stories from the Lovecraft milieu. I mean, keep the Gods, the Books, etc., but establish your own place. This would give the stories vastly more authenticity as an addition to the Mythos rather than pastiche pieces, and it might then be possible for us to consider their book publication in a limited edition over here.

What I suggest you do is establish a setting in a coastal area of England and create your own British milieu. This would not appreciably change your stories, but it would give them a much needed new setting and would not, in the reader’s mind, invite a direct comparison with Lovecraft, for in such a comparison they would not show up as well as if you had your own setting and place-names for the tales.

August Derleth to Ramsey Campbell, 6 October, 1961

Inspired by HP Lovecraft’s stories to write his own tales of cosmic horror, at the age of fifteen, Ramsey Campbell was encouraged by friends to submit them to August Derleth and Arkham House. He did, and the rest was horror fiction history. Taking Derleth’s advice to heart, he created his own version of Lovecraft Country; a drear and haunted region of the Severn Valley wedged between the cities of Bristol and Gloucester and the western edge of the Cotswolds.

The Arkham House collection, originally titled The Inhabitant of the Lake and Less Welcome Tenants was released in 1964 when Campbell was eighteen. They may not be the best Lovecraft-inspired stories, and they’re definitely not Campbell’s best stories, but they are good fun and well worth a read.

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Viy by Nikolai Gogol

Viy by Nikolai Gogol

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daguerreotype of Gogol

Viy is the colossal creation of the common folk’s imagination. The Little Russians (Ukrainians) use this name for the chief of the gnomes, whose eyelids on his eyes reach all the way to the ground. This whole story is a folk legend. I did not want to change anything about it, so I am narrating it in almost the same simple form which I heard it.

Nikolai Gogol, footnote to “Viy“

None of that is true. There are no Slavic folkloric sources, Ukrainian or otherwise, describing a gnome king, let alone one with great, drooping eyelashes (The name Viy appears derived from the Ukrainian word for eyelash). Some have claimed a Serbian connection, but that appears to be false, as well. Nonetheless, Gogol’s story of a monk, a witch, and Viy has become so deeply embedded in Russian and Ukrainian culture that many people believe the terrible creature is a real part of those countries’ folklore.

Nikolai Gogol was one of the greatest Russian writers and simultaneously the greatest Ukrainian writer (though, he didn’t write in Ukrainian and both nations have fought over his legacy). Born in Sorochyntsi in 1809, a Cossack town between Kyiv and Kharkiv and over a hundred miles from each. He died in 1852 by starving himself to death during a period of extreme religious asceticism. Before he became famous for absurdist stories like “The Nose” or sharp-eyed satires like his play The Inspector General, he wrote a series of stories that drew on his youth in the Ukraine and its customs and legends. From St. Petersburg where he had moved and gained the friendship of such luminaries as Alexander Pushkin, he would write to his mother asking for descriptions and details about all manner of information on the Ukraine.  “Viy” is one of those early stories, first appearing in his 1835 collection, Migorod, alongside the Cossack epic, “Taras Bulba.”

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THE ONCE AND FUTURE KING, PT2 by T.H. WHITE

THE ONCE AND FUTURE KING, PT2 by T.H. WHITE

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“Thomas, my idea of those knights was a sort of candle, like these ones here. I have carried it for many years with a hand to shield it from the wind. It has flickered often. I am giving you the candle now — you won’t let it out?”

“It will burn.”

King Arthur to Tom of Warwick, p. 647 The Once and Future King

Read the first part of this review, Might For Right: The Once And Future King, Part 1 By T.H. White.

The first two volumes, The Sword in the Stone (1938) and The Queen of Air and Darkness (1939), of T.H. White’s The Once and Future King focus on the rise of Arthur Pendragon and the foundation of his kingdom, where right, not might, is the rule. The following two volumes, The Ill-Made Knight (1940) and The Candle in the Wind (1958), tell the story of Lancelot and Guenever’s affair and subsequent rot and collapse of the Round Table and Arthur’s kingdom. At the end of The Queen of Air and Darkness, White reminds the reader that in the tales of King Arthur, sin comes home to roost and that sometimes, even innocence isn’t enough to prevent ruination. In these two books, however, no one is innocent.

Lancelot made his first appearance in The Queen of Air and Darkness when his father lent his aid to Arthur for the Battle of Bedegraine.  It was then as a young boy that he had decided he would dedicate himself to Arthur’s vision of a better world.

Ill-Made Knight is the name Lancelot takes for himself. He is no Franco Nero or even a Robert Taylor (both played Lancelot in the movies), but instead a misshapen, ugly man.

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