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Guides to Worlds Fantastic and Strange

Guides to Worlds Fantastic and Strange

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

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

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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Vintage Treasures: Rudy Gutierrez Does Nalo Hopkinson

Vintage Treasures: Rudy Gutierrez Does Nalo Hopkinson

Brown Girl in the Ring-small The Midnight Robber-small Sister Mine-small

About fifteen years ago, I received an unsolicited fantasy story from a young author in Canada. I rejected it, and the author didn’t take the rejection well. She wrote me a pretty grumpy letter.

You sometimes get grumpy letters when you reject stories. Usually the best thing to do is ignore them. But I didn’t in this case, because the author had a point. It was an excellent story, and she knew it. The author’s name was Nalo Hopkinson, and I had rejected her story because of its frankly adult tone and content.

Well, she took me to task for that. Black Gate was brand new at the time, and Nalo challenged me for rejecting a story purely on the grounds of sexual content. She found it cowardly, and I didn’t blame her. That’s no way to build a reputation for a new magazine, she said. In my response, I told her I would have loved to publish her story — but not in Black Gate, which we had worked very hard to make suitable for readers 12 and up. I thought there was a clear market niche for a family-friendly fantasy magazine, and had set out to create one. Her story was very strong, but no so strong that I was willing to go back on the promises I’d made to our investors, distributors and advertisers. Nalo got that immediately, wrote me a warm and thoughtful response, and we hit it off. I’ve followed her career with great interest ever since — and what a stellar career it’s been.

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British Museum Presents Egypt: Faith After The Pharaohs

British Museum Presents Egypt: Faith After The Pharaohs

Seated figure of the ancient Egyptian god Horus, wearing Roman military costume, limestone, Egypt, 1st–2nd century AD © The Trustees of the British Museum
Seated figure of the ancient Egyptian god Horus, wearing Roman military costume, limestone, Egypt, 1st–2nd century AD © The Trustees of the British Museum

Ancient Egypt is famous for its elaborate religion with a multitude of deities and an obsession with the afterlife. While there have been many exhibitions on ancient Egyptian religion, it’s rare to see one that traces Egypt’s transformation from a land that was mostly pagan to one that was mostly Christian, then mostly Muslim, with a strong tradition of Judaism running through it.

Now a major exhibition at the British Museum, Egypt: Faith after the Pharaohs, uses about 200 objects to explore the history of religion in this fascinating country. The first gallery emphasizes that Egypt still has a sizeable Christian community. While that community has been targeted by extremists in recent years, there is also a large amount of cooperation between the two faiths. Photos from the Arab Spring show Christians making a protective ring around Muslims as they pray, and the Muslims returning the favor around churches on Sunday. The Western media tend to skip these stories of tolerance for more ratings-friendly tales of bloodshed, thus giving a skewed picture of the situation. As one of my old newspaper editors said, “If it bleeds, it leads.”

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British Museum Explores Celtic Identity

British Museum Explores Celtic Identity

The Battersea Shield. Bronze, glass. Found in the River Thames at Battersea Bridge, London, England, 350-50 BC. © The Trustees of the British Museum
The Battersea Shield. Bronze, glass. Found in the River Thames at Battersea Bridge, London, England, 350-50 BC. © The Trustees of the British Museum

 

For many of us, the Celts are an enduring fascination. Their art, their mysterious culture, and the perception that so many of us are descended from them makes the Celts one of the most popular ancient societies. So it’s surprising that the British Museum hasn’t had a major Celtic exhibition for forty years.

That’s changed with Celts: Art and Identity, a huge collection of artifacts from across the Celtic world and many works of art from the modern Celtic Revival. The exhibition is at pains to make clear that the name ‘Celts’ doesn’t refer to a single people who can be traced through time, and it has been appropriated over the last 300 years to reflect modern identities in Britain, Ireland, and elsewhere. “Celtic” is an artistic and cultural term, not a racial one.

The first thing visitors see is a quote by some guy named J.R.R. Tolkien, who wrote in 1963, “To many, perhaps most people. . .’Celtic’ of any sort is. . .a magic bag into which anything may be put, and out of which almost anything may come. . .anything is possible in the fabulous Celtic twilight.”

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Society of Illustrators Inducts Richard Powers into Hall of Fame

Society of Illustrators Inducts Richard Powers into Hall of Fame

Richard Powers Of all Possible Worlds-small Richard Powers The Goblin Reservation-small The-Man-in-the-High-Castle-Richard-Powers-small

Tor.com is reporting that legendary paperback artist Richard Powers, who illustrated hundreds of science fiction and fantasy paperbacks, has been inducted into the Hall of Fame by the Society of Illustrators.

Richard Powers began illustrating covers for American paperback publishers in 1950. He was extremely active in the 50s, 60s, and early 70s, painting hundreds of covers for Berkley, Ballantine, Putnam, Doubleday, and many others. He died in 1998, and was inducted into the Science Fiction Hall of Fame in 2008.

The Society of Illustrators has been electing artists recognized for their ““distinguished achievement in the art of illustration” into the Hall of Fame since 1958. The newest Hall of Fame inductees include Beatrix Potter, Peter de Seve, Marshall Arisman, Guy Billout, Rolf Armstrong, and William Glackens.

Click on any of the images above to see Powers’ artwork in all its high-resolution glory.

The Best Of Heroic Fantasy Quarterly, Volume 1

The Best Of Heroic Fantasy Quarterly, Volume 1

The Best of Heroic Fantasy Quarterly-smallIt is hard to believe that David Farney and I started Heroic Fantasy Quarterly in the waning half of 2009. Six years ago; and internet years are like dog years so that’s, well, that’s a long time.

It’s also hard to believe that we’ve been talking about this best-of idea since 2013! We finally did it, though, and made hard choices from our first eight issues to bring out the best work, summoned the incredible skills of artist Justin Sweet, and even brought Black Gate‘s own John O’Neill in on it.

And now it is a real thing, available for pre-order and going live/shipping on Black Friday.

Our table of contents:

Introduction: “Over the Hills and Far Away…and Hiding Right Next to You” by John O’Neill

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