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A Tale of Two Covers: The Last Page by Anthony Huso

A Tale of Two Covers: The Last Page by Anthony Huso

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The Last Page Anthony Huso-small The Last Page Anthony Huso paperback-small

I bought the hardcover edition of Anthony Huso’s debut novel The Last Page after reading Matthew David Surridge’s review in Black Gate 12.

The Last Page is a high fantasy steampunk novel, and a love story. We follow the sexually charged relationship between the improbably named Caliph Howl, heir to the throne of the northern country of Stonehold, and a witch named Sena. The two of them meet at university, go their own ways, and then come together again after Caliph has become king and Sena has acquired a vastly powerful magical tome…  what really makes the first book work is its language. The prose is strong, quick and dense in the best ways. The diction, the word choice, is inventive; the imagery is both original and concise. At its best, Huso’s language recalls Wolfe or Vance…

The last time I was in a bookstore I did a double take when I saw the trade paperback edition, which has been given a dramatically different cover. The hardcover edition (above left) was packaged as an urban fantasy, with a beautiful woman with glowing eyes on the cover. The paperback (at right) has been completely redesigned as a fantasy adventure novel, showing a huge fleet of airships massing over a sprawling fantasy landscape. If you’re not paying attention, it’d be pretty easy to mistake it for a completely different book.

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Acquiring Michael Whelan’s Cover for The Bane of the Black Sword

Acquiring Michael Whelan’s Cover for The Bane of the Black Sword

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Michael Whelan The Bane of the Black Sword-small Michael Whelan The Bane of the Black Sword DAW-small

I thought I’d move a bit further ahead in time tonight than my usual pulp related posts, though it does have a bit of a pulp connection for me. I was discussing this piece with a friend of mine earlier today, so I figured I’d post it. By Michael Raymond Whelan, this is the cover for The Bane of the Black Sword by Michael Moorcock, featuring the one and only Elric of Melnibone (click the art for bigger versions). Both Deb and I loved the Elric books when we read them as teenagers, in the DAW editions featuring all those great Whelan covers, and when we had the chance to pick this up, we jumped at it.

We bought this in a hotel room many years ago, from our friend Randal Hawkins. He and his wife Donna drove up from the K.C. area with the painting, and we met them at a hotel about half way between there and Chicago to do the deal. It wasn’t the only time we did a deal like that in a hotel room with Randal — we bought other art from him that way as well, over the years, as well as many pulps. Hence the bit of a pulp connection for me. Those were good hotel rooms! Randal passed away much too young, but we have fond memories of visiting with him and Donna in K.C., looking at their great art collection, as well as their place in Las Vegas. And we often think of him when we look at this piece.

Frank Kelly Freas Illustrates A. Bertram Chandler’s “The Far Traveller”

Frank Kelly Freas Illustrates A. Bertram Chandler’s “The Far Traveller”

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Frank Kelly Freas The Far Traveller-small Frank Kelly Freas The Far Traveller b&w-small

Analog August 1976-smallI thought I’d go back to Frank Kelly Freas today, and post one that most folks won’t be familiar with, at least as it looks in the original. This was an interior illustration by Freas for the August 1976 issue of Analog, illustrating A. Bertram Chandler’s “The Far Traveller” (click on the images above for full-size versions). This was one of the tales in Chandler’s Commander Grimes series. The Analog cover, by John Schoenherr, is at right.

Since it was an interior, it was printed in black and white (which you can see above), but the original was in color. I assume Freas did that for the shading effects he’d get when it was reproduced in black and white, but perhaps one of my artist friends can chime in with their thoughts on that.

Art from the SF digests during that period holds a special place for me. This was the summer when, as a 12 year old, I discovered that SF digests were still being published. A few months earlier, I’d found my first SF digests (primarily F&SF from the 1950’s and early 1960’s) at a garage sale in a large barn. But in May 1976, I was spending the day at my dad’s office, and after lunch I went to the drugstore across the street.

There I found the June 1976 issues of both F&SF and Analog, and snapped them up in a heartbeat. After that, I bought them and the other couple of digests then being published religiously. I was fortunate enough many years ago to acquire the cover to that June 1976 Analog (which I’ll post at some point), but the cover for the June 1976 F&SF continues to elude me. But one day!

Witch Doctors and Mind-Reading Sleuths: Richard Powers’ Interior Art for 1950s Men’s Adventure Magazines

Witch Doctors and Mind-Reading Sleuths: Richard Powers’ Interior Art for 1950s Men’s Adventure Magazines

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Richard Powers White Witch Doctor men 1957 01-small

In going through several hundred issues of men’s adventure magazines for this year’s upcoming Jerry Weist estate auction at the Windy City Pulp and Paper Convention, I came across the interior illo above by Richard Powers. It’s from the January 1957 issue of Men.

I was actually surprised how many great artists appeared in the issues of Men that I went through, including Bama, Saunders, De Soto, Belarski and many, many more. Some really great art in there!

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Tracking Down Frank Kelly Freas’ Planet Stories Cover for “The Ambassadors of Flesh”

Tracking Down Frank Kelly Freas’ Planet Stories Cover for “The Ambassadors of Flesh”

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Planet Stories Summer 1954-small

A little while ago, I posted one of our two big IlluxCon purchases — a Hubert Rogers Astounding cover that we had arranged to buy over the summer from a friend, and the deal was completed at IlluxCon. This is the other major piece we picked up there, also from the same friend (click for a bigger version).

It’s by the great Frank Kelly Freas, and is the cover for the Summer 1954 issue of Planet Stories. It illustrates “The Ambassadors of Flesh” by Poul Anderson, which was the third of his Dominic Flandry stories. Needless to say, Flandry saves the day, and the girl.

Like all of the original Planet Stories covers I’ve seen, the block where the magazine’s logo went was just painted as a solid color. My friend had the logo scanned and printed onto mylar, which is laid in on top of the painting as it’s framed, so the logo is actually not on the artwork. Freas won the first of his ten Best Artist Hugos in 1955, about a year after this painting was published.

On a side note, artist Herman Vestal, a Fiction House regular, contributed a double-page spread which ran as the interior illustration for this story. Several years ago at Windy City, I managed to pick up the left half of that illo (still looking for the right half!), which has Flandry in a good action scene. I’ll post that down the road.

Bradley W. Schenck Shows Us Grace Keaton on Her Aeroflite Flying Scooter

Bradley W. Schenck Shows Us Grace Keaton on Her Aeroflite Flying Scooter

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Grace Keaton on her Aeroflite

Over on his Webomator blog, artist Bradley W. Schenck has posted a work-in-progress I like a lot, part of his ongoing Retropolis art series. He tells this brief story to go along with the painting.

Here’s Grace Keaton on her aged but serviceable Aeroflite flying scooter; it’s a work vehicle, standard issue for couriers in the Retropolis Courier Service. Grace makes her deliveries on the notoriously dangerous Route X and she’s the longest-lasting (in fact, the only surviving) courier on that route.

Route X couriers make four times the wages of normal couriers and Grace works half days. That’s a comfortable living for a graduate student. Unless you weaken. But somebody has to deliver along Route X. How else would the denizens of Retropolis’ Experimental Research District get their ‘mildly’ toxic chemicals, their suspiciously glowing minerals, or their generally illegal biological specimens?

See all the details here.

Ancient Lixus: A Roman City in Morocco

Ancient Lixus: A Roman City in Morocco

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The amphitheater of Lixus. Photo courtesy Almudeana Alonso-Herrero.
The amphitheater of Lixus. Photo courtesy Almudena Alonso-Herrero.

Happy New Year! Or Sana Sayeeda as they say in Arabic! I’m back from another trip to Morocco, and this time besides staying at our usual place in the medina of Tangier, I and my wife also visited the ancient city of Lixus on Morocco’s Atlantic coast.

Like many cities of Roman Morocco, it’s been inhabited since prehistory, and became a Phoenician colony starting around the 8th century BC. The Phoenicians called Lixus Makom Shemesh (“City of the Sun”). It is believed to be their southernmost colony, but considering the many good bays and coves that stud the Atlantic coast to the south, I’m wondering if an archaeological survey might uncover more.

The ruins stand on a hill overlooking Oued Loukos estuary and the city was an important fishing port as well as a fish processing and salt panning center, the products then being shipped to the Mediterranean. Salt is still being panned in this region today.

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Guides to Worlds Fantastic and Strange

Guides to Worlds Fantastic and Strange

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I’ve always loved maps — following rivers to the seas, tracing the shores of those seas, and then crossing them by fingertip to a distant land. My dad had a giant Rand-McNally atlas that I took possession of when I was ten or eleven and never returned. I would pore over its pages, puzzling out how to say the names of cities like Dnepropetrovsk or Tegucigalpa and wondering what exactly was the Neutral Zone between Saudi Arabia and Iraq.

Today, my favorite atlas is the Cram’s Unrivaled Family Atlas of the World 1889 that my grandfather scavenged from a work site. As with my dad’s, I quickly assumed ownership of the book. Better than a lot of history I’ve read, it conveys the reality of the past in finely drawn lines. The vast scope of the British and Russian empires — the web of conquered lands covering Africa and Asia — are right there in clear pastel pinks and yellows. Images conjured up in my brain while reading were made concrete on the pages before me.

And, of course, I love maps in fantasy books. Always have, from those very first ones I saw in The Lord of the Rings and the Conan books. While Tolkien’s maps are intricate, lovingly created works of art, and the one of Hyboria is spare and undetailed, both intensify the illusion that the books’ worlds are real. They may not have been as vast and detailed as my dad’s atlas, but they were as captivating. While a book doesn’t need to include a map, I’m a fan of one that does. It’s an added bonus that I really dig. (To read another piece I wrote about maps several years ago, you can click HERE).

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Hubert Rogers’ Astounding Covers — And His Fascinating Correspondence with Robert A. Heinlein and L. Sprague de Camp

Hubert Rogers’ Astounding Covers — And His Fascinating Correspondence with Robert A. Heinlein and L. Sprague de Camp

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Astounding April 1941 Hubert Rogers-small

At IlluxCon this past October, one of our major purchases was a pulp painting by artist Hubert Rogers. Rogers was Astounding Science Fiction’s primary cover artist from late 1939 to early 1952, with a break from 1943 through 1946 due to World War II (which he spent in Canada painting war posters and other paintings related to the war). We’d made arrangements over the summer to buy it from a friend of ours, who had owned it for many years, and he drove it up to IlluxCon with him so we could complete the deal.

This one appeared on the cover for Astounding, April 1941, and illustrated “The Stolen Dormouse” by L. Sprague de Camp. Shortly after its publication, De Camp wrote to Rogers, asking if he could acquire the painting, which he did.

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New Treasures: Penguin Science Fiction Postcards: 100 Book Covers in One Box

New Treasures: Penguin Science Fiction Postcards: 100 Book Covers in One Box

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Penguin Science Fiction 2

We’ve already established that I’m a sucker for a cool cover. I don’t have time to read a fraction of the books I buy, but I can look at great cover art all day long. Put an eye-catching cover on your book, and you’ve got my immediate attention.

Put a hundred cool covers on your book, and you can just shut up and take my money.

I think that’s the overall idea behind Penguin Science Fiction Postcards: 100 Book Covers in One Box. It’s sort of like a science fiction book with a great cover, but minus the book. And with 99 other covers. And with the added bonus that you’ll never lack for postcards again, when you need to drop a note to your uncle to remind him to return your copy of The Stars Like Dust. And did I mention the cool box?

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