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Author: Fletcher Vredenburgh

November Short Story Roundup

November Short Story Roundup

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oie_14247554qbnAW5It’s been a lot of fun getting deep into epic high fantasy over the past few months, and I hope you’ve been enjoying it as well, but it’s good to remember what got me started writing at Black Gate in the first place: swords & sorcery. So without further ado, here’s the November short story roundup.

Curtis Ellett’s Swords and Sorcery Magazine Issue 46 hit the virtual stands with its usual pair of stories, one by Brynn McNab and another by Black Gate‘s own Nicholas Ozment. As John O’Neill wrote last week, Ellet is planning on putting together an anthology of the best of his magazine’s first four years. Coupled with Heroic Fantasy Quarterly‘s “best of” anthology, it’s a good time for short fiction readers.

McNab’s story, “The Gargoyle and the Nun,” is a somewhat formless story of Merek and Arabella, a soldier transformed by a witch into a gargoyle and the woman he loves. The story, in which true love conquers all, feels very much like a fairytale and has some good moments. It suffers in the end, though, from being only three short scenes featuring characters without much character.

“Last Stand at Wellworm’s Pass” is a perfect dose of old school storytelling from Ozment. “Tamalin, one of the most feared and powerful mages in all of Rilsthorn” is on the run from a pack of assassins on the dark streets of Ment City. Cornered, he is rescued by a cloaked man named Kor. His deliverer offers to help the wizard escape through the maze of tunnels that run beneath the city and on to ultimate freedom by way of a place called Wellworm’s Pass. It’s a quick-paced story that, while it doesn’t offer anything startlingly new, is delivered with all the brio and skill needed to create a successful S&S tale. Any S&S story that can stuff in werewolves, demons, and djinns is alright by me.

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The Riddle-Master of Hed by Patricia McKillip

The Riddle-Master of Hed by Patricia McKillip

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“Who is the Star-Bearer, and what will he loose that is bound?”

                                             from the Riddle-Master of Hed

This week’s work of epic high fantasy, Patricia McKillip’s The Riddle-Master of Hed (1976), the first volume in her Riddle-Master trilogy, is more restrained than those I’ve reviewed the past few weeks. In his book Modern Fantasy, David Pringle calls the series “romantic fantasies of a delicate kind” and in the Encyclopedia of Fantasy John Clute describes McKillip’s development of the series’ lead characters as “handled with scrupulous delicacy.” While I detect a slightly dismissive tone in those comments, neither is completely inaccurate. If The Chronicles of Thomas Covenant are a great big Romantic symphony, then McKillip’s book is more like a piano sonata. There’s a lightness of touch, though not of tone, here, as well as a focus on the small details. So, though an ancient war is reignited, mysterious shapeshifting enemies appear out of nowhere, and the fate of the world is at stake, at the center of the story is a young hero and his struggle to refuse to submit to prophecies of which he wants no part.

My mother took these books out from the YA section in the St. George Library on Staten Island way back in 1979 for my dad. She thought he’d like them and she was right. He must have read them every other year or so between then and his death in 2001. Because he liked them so much I gave them a try and I was as enthralled as he clearly was. Like him, I was drawn into McKillip’s world of riddles, strange magics, and hidden and lost identities. I’ve probably read the trilogy four or five times myself, but this is the first time I’ve picked it up in over a decade. Having finished the first, I’m looking forward to the next two volumes, Heir of Sea and Fire and Harpist in the Wind, with great anticipation.

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The Fionavar Tapestry Book 1: The Summer Tree by Guy Gavriel Kay

The Fionavar Tapestry Book 1: The Summer Tree by Guy Gavriel Kay

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oie_2954621i1N7me0pWhile Guy Gavriel Kay is probably best known for his fantasies set in lightly fictionalized versions of the real world — such as The Lions of Al-Rassan or the Sarantine duology — his first book was The Summer Tree (1984). It’s the opening volume of The Fionavar Tapestry, a trilogy of epic high fantasy that manages to cram into its pages nearly every important Germanic or Celtic myth you can think of. You want a dark lord in an impregnable northern fortress? Check. How about noble elves practically glowing with an inner light, and noble blond horse-nomads? Double check. Considering that at the age of twenty, Kay was picked by Christopher Tolkien to help him collate his father’s papers into The Silmarillion, it’s understandable.

The Summer Tree is a book of beginnings and setting the pieces on the table. The game that will be played out in the two succeeding books, The Wandering Fire and The Darkest Road, is the usual one of long-imprisoned dark lord frees himself and sets out to get right this time his efforts to subvert creation and rule the world. Or in this book’s case, THE WORLD. Fionavar is the first world, the one from which all others, ours included, spring and are but shadows of.

The book opens in Toronto where five grad students, Jennifer, Kevin, Kimberly, Paul, and Dave go to hear Prof. Lorenzo Marcus lecture at the Second International Celtic Conference. He reveals to them that he is really Loren Silvercloak, a sorcerer from another world, and he would like them to travel back there with him for two weeks. In one of the book’s weaker moments, it doesn’t take much to convince them to go along. Dave balks at the last minute, which results in him arriving in a far different part of Fionavar than his friends, and having several chapters all to himself. What none of them knows is that while Loren has said he simply wants them to cross over in order to be present at a celebration for the king, the reality is he knows they have yet undetermined roles to play in Fionavar.

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October Short Story Roundup

October Short Story Roundup

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oie_1703334C3k1rSDiJust because I’ve taken a turn toward epic high fantasy in my reading of late doesn’t mean I’ve forsaken swords & sorcery. In fact, here’s my latest look at short stories from a trio of magazines you can read for free every single issue.

I’m starting this month off with Beneath Ceaseless Skies. I’ve written here before about my love-hate relationship with the magazine. Too often it just doesn’t print stories I’m interested in. Even when it does, its editors definitely have more literary taste than the pulpish flavor I prefer in my heroic fantasy. Issue #185 is a reminder of why I still look forward to BCS’s arrival every two weeks. Topped by a gorgeous painting by Feliks Grzesiczek that could easily pass for the locale of a Hammer film, the issue bills itself as “fantastically monstrous…for Halloween.” And it is.

“Demons Enough” by Ian McHugh is a little like Underworld (if Underworld wasn’t awful), set a little to the left of Beowulf’s Geatland. In other words, you get a shapeshifter throwing down with vampires, and folks named Thorfinn and Freydis trying to kill the lot of them. When the component elements of a story have been played with by an untold host of other writers over the years, the author has a lot of work to bring something original to the mix. That happens here with McHugh’s vampires, or leeches as they’re called. Cloaked by night and magic, they take on a more human form. In the sunlight, stripped of most of their power, their true selpulchral nature is revealed. Gloomy atmosphere, gut-squishing violence, and apprehension are delivered with a more than adequate degree of skill.

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Red Moon and Black Mountain by Joy Chant

Red Moon and Black Mountain by Joy Chant

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oie_1024853Qhsh9stJoy Chant’s first novel, Red Moon and Black Mountain (1970), was published when she was only twenty-five years old. In the afterword to a later novel she explains how the world of her stories, Vandarei, grew out of fantasies she made up for herself as a child. At one point she made herself the great and majestic Queen of this world. The story of three siblings — Oliver, Penelope, and Nicholas — pulled out of England into the land of Vandarei, it reads a little like the Chronicles of Narnia crossed with The Lord of the Rings and wrung through Alan Garner’s darker fantasies.

The novel has often been dismissed as a mere clone of Tolkien’s work — most recently right here at Black Gate by Brian Murphy — but RMBM is a book that has also received tremendous praise over the decades. In his introduction to the first American edition, published as part of his Ballantine Adult Fantasy series, Lin Carter refers to it as a masterpiece. James Stoddard, author of The High House, calls it the best fantasy novel no one reads. It was the second recipient of the Mythopoeic Award back in 1972.

I first read RMBM about fifteen years ago, but retained only the dimmest memories of it. Rereading it, I will say it is one of the best works of epic high fantasy I’ve ever read. While not the toil of a lifetime, Chant draws on the same deep body of European mythology and archetypal characters as Tolkien with similar power and effect. Maybe due to its roots in her childhood imagination and definitely out of a deep well of talent, in Vanderei, its people, and its legends, Chant created a deeply heartfelt and fantastic world.

A mysterious figure lurking along the garden path sends the children out of this world and into Vandarei out of grave necessity. Penelope and Nicholas materialize along a path trod by the grave and steely princess In’serinna and her retinue. Oliver arrives among the nomadic Khentors and their single-horned horses. All the children have a part to play in an upcoming struggle for the future of Vandarei. Oliver, especially, will find himself tested to his limits.

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Against Despair: Lord Foul’s Bane by Stephen R. Donaldson

Against Despair: Lord Foul’s Bane by Stephen R. Donaldson

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“To the Lords of Revelstone, I am Lord Foul the Despiser; to the Giants of Seareach, Satansheart and Soulcrusher, The Ramen name me Fangthane. In the dreams of the Bloodguard, I am Corruption. But the people of the Land call me the Gray Slayer.”

                                                                                                                                       Lord Foul to Thomas Covenant

Lord Foul’s Bane came out in 1977, one of two books pulled from the submissions pile by the del Reys in their search for another Tolkien. The first was the Lord of the Rings-derived The Sword of Shannara (reviewed here), which makes total sense. But this? It’s a work full of crushing despair along with a miserable and unpleasant protagonist who refuses to be the hero people want and need. He also rapes a 16-year old girl. This is not the rolling green hills of Middle-earth and hobbits.

I can remember the reactions of people in my circle. My father hated it all around. My friend’s mom, a high school English teacher, loathed it as well, supposedly for its criminally bad prose alone. I myself found it dense, impenetrable, and dull. I was only twelve but I had already read LotR twice, so I just assumed it was no good. The only person I knew who read it and its sequels was a friend who read any and all fantasy without a drop of discrimination.

Even today much of the reaction toward Donaldson’s series is negative. In Modern Fantasy: The Hundred Best Novels, David Pringle describes it as an “unearned epic.” During Cora Buhlert’s dustup with Theo Beale over morality in fantasy she said she could never get past Covenant being a rapist. James Nicoll wrote that Covenant should win a “special lifetime achievement award” for the “most unlikeable supposedly sympathetic protagonist.”

I finally read Lord Foul’s Bane a few years ago and found it a fascinating book. I got sidetracked from reading the rest of the initial trilogy but my present desire to read some epic high fantasy brought me back to it. Also, my friend, Jack D., keeps asking me if I’ve read these and if not why not. I don’t think he reads a ton of fantasy so his love for Donaldson’s work is something that I found especially intriguing. So I went back and came away a captive of Donaldson’s strange first novel.

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The Testament of Tall Eagle by John R. Fultz

The Testament of Tall Eagle by John R. Fultz

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oie_2654127zETQGQbIIn his 1978 essay “On Thud and Blunder,” Poul Anderson pointed out that heroic fantasy was “overpast for drawing inspiration from other milieus — Oriental, Near Eastern, North and Black African, Amerindian, Polynesian.” While I’m still looking for Polynesian swords & sorcery, Black Gate alumnus John R. Fultz, has written the first full Native American novel of heroic fantasy that I’m aware of: The Testament of Tall Eagle (2015).

I must admit I’ve corresponded and debated with John several times about heroic fantasy. He’s as deeply conversant with the history of S&S as anybody I know. He brings that knowledge plus a deep love for the genre to his writing. I recommend his collection The Revelations of Zang as well as his Books of the Shaper trilogy — both are wildly inventive and fun. So I went into his new book expecting good things and I was not disappointed.

Fultz’s novel is a wonderful throwback to the golden days of swords & sorcery of the 1970s. In only 324 pages, Testament recounts the adventures of Tall Eagle, a young man of a Great Plains Indian tribe in the days just before the introduction of horses to his people. It’s possessed of a straightforward narrative that’s as lean and fierce as a wolf. Instead of the Clark Ashton Smith-like prose of his previous books, much of Testament reads like a brutally realistic historical saga of 17th century Plains Indian life… until the monsters show up. And they do, in great, slimy droves.

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September Short Story Roundup

September Short Story Roundup

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oie_2021448ETqDlkzrHere we are again, friends, with a passel of new heroic fantasy tales to extol. And September was a splendid month for new stories. In fact, one is in contention for my favorite of the year so far…

…and I’ll start with that particular story: “Poor Bright Folk” by James Lecky in the latest issue of Curtis Ellett’s Swords and Sorcery Magazine, #44. Elathan is a bard of the Aos Si (more commonly called the Sidhe, or fey folk) traveling through the once brightly-colored land of Orialla. On entering a forest glade he meets a woman whose very appearance unnerves him:

Her hair hung in a long braid almost as far as her knees, deep lines marked her cheeks and forehead, yet she stood straight as a staff, her movements fluid and easy. Her clothing – a straight dress and a short cape – were a patchwork of various colours and materials, some smooth and strong, others coarse and faded.

The sight of her disturbed me in a way I could not give voice to and I wished for nothing more than to be away from this place and this strange woman.

Her name is Mual and when she asks him to play for her at her home he finds himself saying yes in words that seem to come from outside himself.

In Mual’s castle Elathan discovers she is working a vampiric sort of magic over her servants and now him. To escape her clutches and free his fellow captives the bard must use his wit and wiles. Lecky didn’t try, thankfully, to emulate some sort of old-timey style with his prose, yet “Poor Bright Folk” has the feel and resonance of the best fairy tales from out of the deeps of time.

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You Can’t Go Home Again: The Annotated Sword of Shannara: 35th Anniversary Edition by Terry Brooks

You Can’t Go Home Again: The Annotated Sword of Shannara: 35th Anniversary Edition by Terry Brooks

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oie_1203939lEtutubTOnce upon a time, said the storyteller, a band of brave travelers set off into the wilderness in desperate hope of destroying a mighty dark lord. The only thing that could destroy the villain was a single magic talisman wielded by one specific young man. Along the way they were beset by enemies known and unknown and eventually became separated. Some continued on the original quest while others decided to warn their allies in a mighty walled city of impending attack.

In the end, the young hero, after confronting his own inner demons, defeated the villain. At the same time, the walled city staved off defeat long enough that it could be saved by the propitious arrival of an ally’s army. The world was set right.

“Stop! Stop!” cried some in the audience. “We already know this one!”

“Shut up!” yelled others. “We liked it before and we like it this time too!”

The storyteller said, “I know you’ve heard it before, but I’m telling it my own way and I think you’ll like it.” Much of the audience cheered.

In the back of the room, a man and a woman smiled and smelled success.

In 1977 when I was eleven, I, along with hundreds of thousands of others, was part of the group that yelled “Shut up!” For us it didn’t matter that chunks of Terry Brooks’ The Sword of Shannara read like he’d simply xeroxed The Lord of the Rings, sped it up, and stripped out the hard parts, songs, and poetry. So what if the Skullbearers bore an uncanny resemblance to the Ring Wraiths and the city of Tyrsis to the city of Minas Tirith? Did it matter that gnomes were suspiciously like orcs? That the whole point of the book was to get a single young man into the dark lord’s kingdom and bring him down with a certain magic item? Heck no! We loved the first iteration of those things and wanted them all over again. We were happy to read even a slavish imitation of LotR. I read the book in about three days. At over seven hundred pages it was the longest book I had read to date. One friend stayed in his room and read it in a day.

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It Is A Busy Omniverse: The Sword of Shadows: The Voidal Vol. 3 by Adrian Cole

It Is A Busy Omniverse: The Sword of Shadows: The Voidal Vol. 3 by Adrian Cole

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Tyrandire, the Palace of Pain, moves secretly and silently through unseen tunnels between the many dimensions of the omniverse, traversing any of them that its grim master wishes to visit. A minute moon, perfectly circular, colder than terror, Tyrandire speeds on its way like light, sometimes lingering like a biting frost. The energy that charges this oval missile is greater than that of any sun, indeed greater than the energy contained within an entire universe, for it is the will of the outlaw god, Ubeggi the Deceitful. Where Ubeggi seeks to go, his Palace of Pain takes him. He has many missions, all of them selfish, all of them corrupt, for the Weaver of Wars exists solely for his own amusement and he delights in knotting together the workings of more thoughful gods or undoing their orderly tapestries of fate. All the gods know of Ubeggi, and when his Palace of Pain nears their own haunts in the omniverse, they curse him, knowing that his mischief will be upon them.

                                                                                                                from Part One: The Weaver of Wars

And so, with The Sword of Shadows, we come to the end of the Voidal’s saga. For a series I have already called favorably “a study in sensory overload,” and “excessive, over the top, and incredibly phatasmagorical,” author Adrian Cole ends things as madly and wildly as a reader could hope.

Three of its eight chapters, were published previously as short stories: “The Weaver of Wars,” “At the Council of Gossipers,” and “Dark Destroyer.” Unlike the two previous books, this one reads more like a coherent novel than as a fix-up.

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