Fantasy Out Loud – Part II
Yes, Black Gate’s focus is on the literature of the fantastic. But sometimes, fantasy needs a soundtrack.
In my first installment of “Fantasy Out Loud,” I focused on the act of reading adventure fantasy aloud. To children, by and large. But what happens once the darling tots are tucked into bed, with visions of sugarplums (or online MMO’s) dancing in their heads?
I’ll tell you what happens. I go downstairs and crank up the music. And what makes it onto the stereo more often than not? The music of the fantastic.
I’m not referring to film soundtracks, no, nor Wagnerian opera, though both surely count as fantastical (and I hope to treat both in future editions of “Fantasy Out Loud”). No, I’m talking here about rock music and its venerable forbear, folk. Folk music, with special attention here to the tradition of the British Isles, is positively rife with fantasy settings and tropes: swordplay (of both kinds), fairy abductions, marauding giants, the works.
Nearly every night, I read aloud to my boys. For Evan, my seven-year-old, I have lately been reading The Hobbit. Two nights ago, no sooner had I begun than Evan interrupted, saying, “It’s funny how they spell ‘Smaug.’”
As I began the second story in the latest issue of Black Gate, I was forcefully (but not forcibly) reminded of a review I wrote some years ago for Tangent Online.
Nearly a decade ago, having spent four nights reading my story “A New Grave For Monique” aloud to a late-night workshop audience, I won an award for fiction from the Santa Barbara Writer’s Conference. The audience (and the conference in general) was uniformly Caucasian.