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Author: Fletcher Vredenburgh

Lyonesse: Suldrun’s Garden by Jack Vance

Lyonesse: Suldrun’s Garden by Jack Vance

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oie_6184539ElxhnW3oLines from the song “Comedy Tonight” from A Funny Thing Happened on the Way to the Forum sprung to mind numerous times this past week while I was reading Jack Vance’s Lyonesse: Suldrun’s Garden (1983). While definitely not a comedy, it is by turns familiar and peculiar, convulsive and repulsive, as well as dramatic and frenetic. And sometimes, very funny. It is also one of the most inventive, strange, and bewitching books I have had the joy to read.

His first collection, the fantasy classic The Dying Earth (which you can read about in John O’Neill’s post here), helped make Vance’s early reputation as a writer of lapidarian prose, cynical wit, and above all as an inventor of incredibly original cultures, worlds, and characters. For the next three decades of his career he seemed to eschew straight fantasy, and most of his published work was science-fiction and mysteries. In 1983, though, he released a lengthy work of fantasy, Lyonesse: Suldrun’s Garden (L:SG). It rapidly shifts from studies of realpolitik, to fey whimsy, to dark violence that might make George R.R. Martin blush, yet it’s never jarring but completely complementary and intoxicating.

Over the following six years he added two sequels, The Green Pearl (1985), and Madouc (1989). With the latter, Vance beat out Gene Wolfe, Tim Powers, and Jonathan Carroll, among others, to win the 1990 World Fantasy Best Novel Award.

In European legend, both the lands of Lyonesse and Hy Brasil, as well as the city of Ys, sank beneath the sea. In Vance’s novel they are found among the “Elder Isles, now sunk beneath the Atlantic, [which] in olden times were located across the Cantabrian Gulf (now the Bay of Biscay) from Old Gaul.”

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Beneath the Shining Jewel by Balogun Ojetade

Beneath the Shining Jewel by Balogun Ojetade

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oie_242157WrHge7mkFor the most part I don’t review new fantasy novels. They get all the press they need, and I don’t read that many of them (though I am seriously looking forward to R. Scott Bakker’s The Great Ordeal). Once in a while, though, there’s something that intrigues me. This week, Balogun Ojetade’s sword & soul horror story, Beneath the Shining Jewel, caught my eye. And then chewed on it and swallowed it raw.

A few years back Ojetade and fellow sword & soul/steamfunk/cyberfunk impresario and author, Milton Davis, released an anthology called Ki Khanga (2013). I reviewed it at my site, Swords & Sorcery: A Blog. Ki Khanga is a world where sorcery and super science exist side by side, Godzilla-sized beasts endanger civilization, and flame thrower-equipped elephants battle monster beetles. It’s a wild setting painted with boldness and liveliness. While I found some of the stories too thin, reading like little more than character backgrounds, others punched hard and I found myself hoping there would be more tales from Ki Khanga in the future.

Last month I asked Davis, apropos of nothing at all, if there was anything planned for his and Ojetade’s shared world. He told me Ojetade had a horror novel set in the world due the very next week. That book is Beneath the Shining Jewel.

Ki Khanga is a large ocean-ringed continent split nearly in two by a gigantic inlet called the Cleave. Tradition holds that it was made when Daarila, the creator god, used his great axe to destroy two warring magical races who had dared to storm Heaven. The axe came down and cut a hole through which all sorts of dangerous creatures and magic now creep.

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April Short Story Roundup

April Short Story Roundup

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oie_1724340vOE0YC88Are you sitting comfortably? Then I’ll begin.

Another of 2016’s months has come and gone, which means it’s time to round up and review a batch of new short stories.

Swords and Sorcery Magazine #51  presented its usual complement of two stories in April. The first is by a newcomer to the magazine’s pages, Jason Ray Carney. “The Ink of the Slime Lord” gave me nearly everything I could want from a S&S story: a wicked sorceress, dire magics, a dashing pirate, and plenty of monsters.

A trio of evil sisters with dreams of dominion run up against powerful opponents:

The Three Sisters had established a cult centered on a book bound in human skin and inked with blood. This cult threatened the priesthood of Atok-the-Million-Eyed, and for this the sisters would be punished with impunity, the leaves of their philosophy scattered to the winds.

The youngest of the sisters, Mera, “was tenacious. She was able to put her head back on her body.” Revived, she sets off for the titular ingredient in order to bring her sisters back to life as well. Her quest builds in scope as she first faces off against a single wizard, then dives into the underworld in search of a certain pirate before making for a lost and ruined city and the temple of the demonic Slime Lord.

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More Metal on Metal: Swords of Steel II edited by D.M. Ritzlin

More Metal on Metal: Swords of Steel II edited by D.M. Ritzlin

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oie_905944pvOdEQohFrom its emergence out of the hard rock genre, heavy metal has drawn from the inspiration of swords & sorcery. “The Wizard” is the second track on what is considered the first metal album, the eponymous Black Sabbath. Uriah Heep upped the ante with its albums Demons and Wizards and The Magician’s Birthday. Manowar’s epic song “Battle Hymns,” from the album of the same name, channeled all the blood and thunder of heroic fantasy into 6 minutes and 55 seconds. Behold:

Gone are the days, when freedom shone – now blood and steel meet bone
In the light of the battle’s way, the sands of time will shake
How proud our soldiers stand, with mace and chain in hand
Sound of charge into glory ride, over the top of their vanquished pride

Other bands have gone as far as spinning songs directly from actual stories and novels. The Sword, for example, has Game of Thrones-inspired “To Take the Black,” and Manilla Road drafted both the plot and title of of a Robert E. Howard story for their “Queen of the Black Coast.”

The point is, metal and S&S have been fist in glove for many a year now. They have the same penchant for extremes — the big gestures not the subtle, small ones. The idea that heavy metal musicians could turn their love for S&S into prose makes perfect sense.

And that’s exactly what D. M. Ritzlin has encouraged, starting with last year’s Swords of Steel, an anthology of heroic fantasy written by members of heavy metal bands. While I gave it a mixed review, I was utterly sold on the idea. The authors’ ardor was undeniable, even overwhelming weaknesses in some of the stories. Each story was illustrated with a work of hand-drawn lo-fi art that harks back to sketches on the backs of D&D character sheets and murals painted on the sides of vans. Flaws be damned, I enjoyed the book and was happy to learn that a second volume was being planned.

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Once More Into the Primal Land: Tarra Khash: Hrossak! by Brian Lumley

Once More Into the Primal Land: Tarra Khash: Hrossak! by Brian Lumley

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oie_331744OeH2c07SWith Tarra Khash: Hrossak!, the British horror luminary Brian Lumley returns with six more stories of derring-do and magical skullduggery set in his primeval land, Theem’hdra. (Two years ago, I reviewed The House of Cthulhu, his first collection of swords & sorcery stories, here at Black Gate.) For those not familiar with the great island-continent, it’s another prehistoric land shoehorned into the Lovecraft Mythos timeline that includes Mu, Lemuria, Hyboria, Hyperborea, and several other forgotten places. It’s the sort of place endemic to tales of swords & sorcery, replete with strong-muscled heroes, conniving merchants, demon-haunted tombs, backstabbing villains, and dastardly wizards with faces hidden in deep cowls (all of which are found in this book).

Any moderately-read consumer of S&S will have experienced these elements, if not to the point of boredom, at least a whole bunch. To get away with the use of such hoary elements, an author must use them without a bit of irony, and with brio. Lumley does exactly that.

Lumley told Robert M. Price that his inspiration for The House of Cthulhu was the work of Clark Ashton Smith and Lord Dunsany, and it’s a claim only bolstered by the tales in this collection. While his prose is never as ornate or bejewelled as his models, there is a similar love for exotic, haunted landscapes draped in mystery and populated by ancient deities and uncanny magic.

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Cirsova and Pulp Literature

Cirsova and Pulp Literature

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CirsovaTwo incredibly impressive magazines crossed my desk this past month: the very first issue of the brand new Cirsova, edited by P. Alexander, and Pulp Literature #10, edited by the triumvirate of Mel Anastasiou, Jennifer Landels, and Susan Pieters. Both are hefty collections (Cirsova is 95 pages and Pulp Literature is 229) and are available as e-books as well as real live paper versions.

Unfortunately, authors and editors of sci-fi and fantasy fiction seem to want to deny the genres’ pulp roots, or to hold up their literature as worthy of being taken seriously only as it has moved away from that which led to its existence in the first place. Cirsova  is a celebration of those roots. In his afterword, Alexander writes:

There are a number of reasons why I wanted to launch a Cirsova magazine, not the least of which being Jeffro Johnson’s Hugo-nominated Appendix N Retrospective series which both coincided with and helped spur my own look into a lot of older SFF stuff. Planet Stories in particular has become a favored inspiration of mine, and while I would not say that I plan or planned to model Cirsova on that particular publication, I cannot and would not deny the influence.

If that piques your interest the slightest, then Cirsova is for you.

Schuyler Hernstrom’s “The Gift of the Ob-Men” kicks off the issue. Exiled from his tribe, the young warrior Sounnu, is changed into the tool that the Ob-Men, “tall heavy creatures, bearing the form of a mushroom bent into the shape of men,” will use to reclaim their ancient homeland. They transform Sounnu, growing a third eye in his forehead that lets him see the past and more importantly, all possible futures, and turning him into a nearly unstoppable killing machine. Before he reaches his destination he will face slavering ur-wolves and a mad artist haunting a ruined city. The best individual moments are the nearly psychedelic visions the young exile has when he sees all potential futures simultaneously.

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March Short Story Roundup

March Short Story Roundup

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ssm50March has come and gone and now it’s time for the short story roundup. It was a nice month for short swords & sorcery storytelling. Not a spectacular month, but a nice one.

I’ll start with Curtis Ellet’s Swords and Sorcery Magazine, Issue #50. Now in its fifth year, SSM, like most low-paying publications, is a hit-or-miss proposition for readers. Both of #50’s stories are hits.

“The Altar of the Toad” by Davide Mana is a simple and solid story with just enough characterization, world building, and action to serve as a perfect example of the minimum of what I want from the genre. I don’t need every S&S story to be a staggeringly brilliant literary achievement, only for it to take me away from the blacktop and the sounds of honking horns for a little while.

Aculeo, an ex-legionary, and Amunet, an Egyptian sorceress, make a tremendous mistake when they respond to a plea for help from a blind woman:

“I prayed for delivery,” she said, her head tilted to one side. A strand of stringy hair had come loose from her coif, and brushed her wrinkled cheek as she spoke. “I prayed for warriors, to deliver my daughter from the mouth of the Toad.”

In this genre that sort of request is bound to bring trouble. It does, and with more than a hint of Lovecraft Mythos terrors. Even though there are plenty of intimations that “Altar” is part of a larger narrative, it stands perfectly well on its own, something I prize highly. Mana has self-published several other stories of Aculeo and Amunet and I am very curious how they stack up against this one.

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The Wake by Paul Kingsnorth

The Wake by Paul Kingsnorth

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oie_41116gM9IFpIH                                                                                                             who is thu

                                                                                                             who is thu i can not cnaw

                                                                                                             what is angland to thu what is left of angland

                                                                                                             i specs i specs

                                                                                                             but no man lystens

                                                                                                                                                  from The Wake

For nearly four hundred pages Buccmaster of Holland, protagonist of Paul Kingsnorth’s The Wake, speaks — first warning against impending doom, then trying to rally his fellow Englishmen against their Norman conquerors, and always trying to explain and justify himself. Though most people he meets — his tenants, his family, even his fellow guerillas — don’t listen, I did.

Even though he speaks in an amalgam of Old and contemporary English, he speaks forcefully, and I listened to every word, every mad thought, every angry conversation with gods, and every poetic meditation on England. Numerous times I found myself speaking his words aloud, falling into a cadence at once alien and familiar. Alien because it’s an English stripped of nearly every non-Germanic accretion. Familiar because the author’s invented Saxon vernacular feels like it’s exposing some ancient rhythm that’s encoded into the very syntax and syllables of English. This is one of the most immersive and enthralling books I have ever read.

NOTE: Since readers here don’t have the benefit of the book’s glossary and pronunciation guide, I heartily recommend reading out loud the passages I’ve included in this review. Words that look odd will be immediately familiar when spoken aloud.

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The IX: Exordium of Tears by Andrew P. Weston

The IX: Exordium of Tears by Andrew P. Weston

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oie_2118595BlvQOK2dFrom his home in the Aegean, author Andrew P. Weston has sent out another blast of science fiction action (yeah, I don’t read only fantasy) with his new book The IX: Exordium of Tears, recounting the further adventures of the famous Legio IX Hispana. The preceding volume, The IX, was released last year and reviewed at Black Gate by me here.

To recap: the Roman IX Legion, their Celtic adversaries, US cavalry troopers, their American Indian foes, and a squad of British special forces operators were torn from their respective times just as they were about to be killed in battle, and teleported to the planet Arden. There, under the guidance of the planet-controlling AI “the Architect”, they were set to fight against the Horde, an endless force of energy-eating beings who had worked their way through the billions of inhabitants of the many worlds of the spacefaring Ardenese civilization. The Architect’s plan for surival is to store the genetic templates of the surviving Ardenese and revive them in the future, while using the warlike humans to destroy the Horde. In league with the survivors of previous groups of teleported humans from other timelines, guided by the super computer, and armed with such fun toys as mini-singularity bombs, the newcomers do just that. The books show their old school sci-fi roots in this bit of Campbellian human chauvinism. They also bring to mind stories by Gordon Dickson and Jerry Pournelle, a strong mark in their favor.

In the year between their victory and the start of the new book, many of the Ardenese are restored to life. Together, they and the humans are striving to restore the planet Arden to its pre-Horde state, but peace is fleeting.

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February Short Story Roundup

February Short Story Roundup

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oie_1541359R5APPf00This past February was a weak month for new swords & sorcery short stories. In fact, I have only three stories to review: two, as usual, from Swords and Sorcery Magazine, and another from Fantasy and Science Fiction. It was a month, from a story reviewer’s perspective, that just fell into the gaps. Both Heroic Fantasy Quarterly and Grimdark Magazine published issues last month (reviewed here already), and Beneath Ceaseless Skies and Fantasy Scroll were bereft of anything that fit the bill. Any other periodicals that might possibly publish something that at least sort of qualifies as S&S were quiet as well. That’s okay, though. It lets me spend a little time explaining why I prefer heroic fantasy in short story form to novel.

Swords & sorcery is action seasoned with darkness, with only one or two protagonists. A S&S short story, by its very nature, is forced to focus on the action and the hero. There’s no room for protracted descriptions of feasts or lengthy discussions of magic systems. Done right, it’s all short, sharp, shock. What I’m looking for from S&S is a jolt of escapism and I find it best delivered in small, adrenaline-rich doses. Think of the greatest classic S&S characters: Conan (“Red Nails”), Jirel (“Black God’s Kiss”), Fafhrd and the Gray Mouser (“Bazaar of the Bizarre”), Kane (“Reflections for the Winter of My Soul”). Their greatest tales, their best remembered adventures, are in short stories, not novels.

From S&S I want crazy ideas and unflagging plot momentum, things that don’t always hold up for five hundred, let alone a thousand, pages. I want to see the world through one daring character’s eyes. The genre’s roots are in pulp fiction; the same melange of adventure and violence that gave rise to tough gumshoes and six gun-wearing cowboys. It’s simple (not simplistic) and direct: hard men and women doing hard things in a hard world. In S&S’s case, with monsters.

This doesn’t mean long form S&S isn’t good or can’t work. Of course it can. Robert E. Howard’s Hour of the Dragon and Michael Moorcock’s Stormbringer show how. It’s just that most long form fantasy tends to be about the epic, the world-endangering events, and the struggles of whole nations starring casts of dozens, not a single hero. It gives the author the room to build the world he or she wants from the ground up, and fill page after page with lovingly detailed descriptions of any and everything. And that’s great and good when done well, but it’s not what I want from S&S.

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