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Self-Published Book Review: Bitterwood by James Maxey

Self-Published Book Review: Bitterwood by James Maxey

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If you have a book you’d like me to review, please see this post for instructions to submit. I’ve received very few submissions recently, and I’d like to get more.

Bitterwood-coverThis month’s self-published book review is of Bitterwood by James Maxey. I’m stretching the definition of self-published in this instance, as Bitterwood was initially published by Solaris in 2007. But the version I’ve been reading is in Bitterwood: The Complete Collection, which appears to have been published by the author, and includes new material. The reason that I’m stretching definitions here is that I’ve received very few submissions recently. So if you’re interested in seeing your novel reviewed, please submit it to me.

Bitterwood is the story of a world ruled by dragons. These are not your standard fantasy dragons, though. They are four limbed — two hind claws, and two wings with foreclaws that allow manipulation — and they do not breathe fire. They’re also considerably smaller than fantasy dragons, the smaller ones being not much larger than a man, but they are considerably more civilized. They have a well-developed culture, and a hierarchy ruled by the large sun-dragons, served by the deft and scholarly sky-dragons, and the worker, earthbound earth-dragons. And beneath them all are the humans who work the fields and pay tribute. The dragon king, Albekizan, owns the entire known world, and everyone lives on it at his sufferance. The humans are considered little better than parasites, held in contempt and hunted for sport.

Except for Bant Bitterwood. Converted at a young age to a harsh form of Christianity by the wandering prophet Hezekiah, Bant was force to abandon his family by the prophet, and subsequently lost them to the dragons. Bitterwood abandoned his faith and swore vengeance, and has been hunting dragons ever since. Every dragon knows his name, and fears him as The Ghost Who Kills — a man who should be dead, who comes and goes like a ghost, and kills without mercy.

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Headshots and Cusswords, Baby: The Return of TV Executive Jay Odjick to Indie Comics!

Headshots and Cusswords, Baby: The Return of TV Executive Jay Odjick to Indie Comics!

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Jay Odjick isjay1 a Canadian graphic novelist who in 2014 became the Executive Producer and lead writer for the animated TV series Kagagi: The Raven, which was an adaptation of his own indie graphic novel. His TV show about a teen native American superhero is running on APTN in Canada and FNX in the USA and other foreign markets have shown considerable interest.

In the fall of 2016, Jay will have a new graphic novel coming out called The Outsider, and the 12-page The Outsider #0 is available for free download right now here. I caught up with Jay this week to talk about his return to comics.

Thanks for the chance to talk Jay! What’s the concept pitch for The Outsider?

It’s just your average run of the mill post-apocalyptic, ultraviolent, exploitation/grindhouse, Western with a dash of fantasy, gonzo Saturday morning cartoon on acid. Y’know, one of those old yarns!

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The Hugo Nominations, 2016; or, Sigh …

The Hugo Nominations, 2016; or, Sigh …

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2007 Hugo Award-smallI wasn’t sure I should bother writing this this year, as I’m not sure I have anything new or interesting to say that hasn’t been said, but I feel like getting some thoughts off my chest. This isn’t, I should add, my detailed analysis with voting thoughts … that will come later, after I’ve read the stories.

As most of you know by now, the Hugo Nominations for 2016 were dominated to an even greater degree than last year by the Rabid Puppies slate, organized by Theodore Beale (“Vox Day”). The Sad Puppies also put forth a recommendation list (“Not a Slate™”), and indeed they seem to have done so in good faith – openly gathered a set of recommendations from readers, and using that set put together a list of the most-recommended items in each category, a list longer than the nomination ballot. I don’t see anything whatsoever wrong with this. That said, their direct influence on the final ballot seems to have been minimal – which is, or should be, just fine: so was Locus’ influence, so was mine, etc.

The Rapid Puppies slate took over 75% of the ballot, and apparently the percentage would have been higher except that some nominees withdrew. There are very interesting analyses at Greg Hullender’s Rocket Stack Rank and Brandon Kempner’s Chaos Horizons. Using slightly different statistical models, they came up with estimates of 200 or so to 300 or more Rabid voters. (Vox Day claimed 750 adherents.) It seems likely that the Rabid nominators were much more disciplined in sticking to slate voting this year.

A cursory glance at the fiction entries on the ballot shows that there are some worthwhile, Rabid-supported, entries on it. In Best Novel, for instance, the two Rabid choice, Neal Stephenson’s Seveneves and Jim Butcher’s The Cinder Spires: The Aeronaut’s Windlass seem pretty reasonable. Likewise in Best Novella, all four of the Rabid entries are at least decent.

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One More Time(Piece)

One More Time(Piece)

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Robinson Kill EditorIn my last post I talked about John D. MacDonald’s The Girl, the Gold Watch and Everything, and today I’d like to take a look at Spider Robinson’s homage to that classic story, Kill the Editor.

I should begin by telling you that Kill the Editor was published separately as a limited edition (1991) but also appears as the first two thirds of his longer Lady Slings the Booze (1992), which is in itself a follow-up (avoiding the dreaded “s” word) to Callahan’s Lady. In Lady Slings Robinson tips his hat to several other mystery/crime writers in his acknowledgements, but it’s MacDonald’s watch that interests me here.

As you’ll recall if you read my last post, Kirby Winter inherited a watch that would stop time for the person holding it. A ton of other people wanted to get his secret from him – most without knowing exactly what the secret was – and defending himself and defeating the bad guys constitutes the plot of that story. (Or the plot of pretty much any story, I suppose.)

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The Series Series: Guile by Constance Cooper

The Series Series: Guile by Constance Cooper

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Guille with Constance CooperGuile begins with the girl, but here we must begin with the town.

First, posit a dream-logic variation on Louisiana, a region of lovely old towns sinking inexorably into swamp, linked along their river by villages of stilted cabins. People here live by their river, inevitably — subsistence fishing is the most common livelihood — but the river can’t be trusted. Not just because it floods, but because of the mysteries it carries from dangerous lands upstream.

Because this is a dream-logic Louisiana, the pollution the river carries is not a thousand miles of industrial effluent, but the residual magic of a civilization that collapsed long ago. It’s a pervasive, contaminating magic, full of advantages for those who understand it — but it also breaks down the dividing lines between humans, beasts, and objects. People cope poorly when such boundaries get blurred, so even though the effort to police them is futile, policing them nonetheless is one of the principal priorities of this world’s customs. The heroine’s high town relatives are what you might get if H.P. Lovecraft and his prissy Providence aunts had made their respectable home just a mile from a slumful of Deep Ones.

The river might make a tool so intent on the task it was cast for that anyone who touches it can do nothing else. It might warp the bodies of divers who gather old artifacts to sell, webbing their fingers and gilling their throats. Animals who narrowly avoid drowning in the river emerge in a new kind of danger, endowed with human intelligence and speech, to the sometimes violent horror of actual humans. And minds contaminated by the magic can detect the magic, come to recognize its forms and functions, and use it where they find it, while those who’ve kept clean remain magic-blind.

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The Iron Dragon’s Daughter: A Wholly Biased Review

The Iron Dragon’s Daughter: A Wholly Biased Review

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The-Iron-Dragons-Daughter-smallAh, The Iron Dragon’s Daughter. John O’Neill asked me for a review a few weeks ago, and I thought, “Really? You want me to be objective when she and I are so very much in love?”

Because it is love, you know? And it burns hot enough to turn all negative comments to ash.

I’ve driven friends away with this obsession. “What do you see in The Iron Dragon’s Daughter?” they ask. “She’s so incoherent. She has practically no… no character.”

Yes, all right, all right. We’re talking about a book here. I knew that. Ink and paper, rather than flesh and bone. Born — apologies! — published in 1993. To some, like myself, it became a classic, but others greeted it with bewilderment and it has collected a slew (31%) of apathetic reviews on sites like Amazon.

The book has flaws, you see? It takes the type of liberties that would have most sane reviewers flinging stars away like wasps found on a beloved child.

“Where’s the plot?” they cry.

“Why is the main character so bland?”

Both of these accusations ring true. Michael Swanwick’s story does have an arc that flows from the first page to the last, but rather than a rushing torrent, what we have here meanders across an exotic plain of wonders, leaving half-finished tales behind like so many oxbow lakes.

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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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Blogging The Insidious Dr. Fu-Manchu by Sax Rohmer, Part Six – “The Call of Siva”

Blogging The Insidious Dr. Fu-Manchu by Sax Rohmer, Part Six – “The Call of Siva”

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NOTE: The following article was first published on May 2, 2010. Thank you to John O’Neill for agreeing to reprint these early articles, so they are archived at Black Gate which has been my home for over 5 years and 260 articles now. Thank you to Deuce Richardson without whom I never would have found my way. Minor editorial changes have been made in some cases to the original text.

ColliersSivainsidious6“The Call of Siva” was the fifth installment of Sax Rohmer’s serial, Fu-Manchu first published in The Story-Teller in February 1913. The story would later comprise Chapters 13-15 of the novel, The Mystery of Dr. Fu-Manchu (initially re-titled The Insidious Dr. Fu-Manchu for its U.S. publication). Rohmer had built several of his Fu-Manchu stories on protracted paranoia and had previously made good use of a Limehouse opium den as a setting, but “The Call of Siva” sees him letting his plotline be dictated by the altered state of the waking dreamer for the first time and to great effect.

The story opens with our narrator, Dr. Petrie relating a strange dream which begins with him writhing on the floor in agony. Rohmer makes good use of Stygian darkness, Oriental tapestries, and Mohammedan paradise as suggestive imagery that Petrie’s queer dream, at once both mystifying and terrifying, is uniquely Eastern in origin. This point is confirmed as Petrie awakens with Nayland Smith as his cell mate. Only at this point does Rohmer resume something approaching a conventional narrative with Petrie’s murky recollection of he and Smith rushing to warn Graham Guthrie that he has been marked for assassination when they are abducted by unseen assailants from a passing limousine.

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The Public Life of Sherlock Holmes: Enter Jim Chee

The Public Life of Sherlock Holmes: Enter Jim Chee

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Chee_NavajolandSo, The Public Life of Sherlock Holmes has talked about Tony Hillerman here and Joe Leaphorn here. Leaphorn had featured in the first three novels: The Blessing Way, Dance Hall of the Dead and Listening Woman. This week, we turn our attention to Jim Chee

For his fourth Navajo Police novel, People of Darkness, Hillerman needed a less wise, less assimilated policeman. He actually considered flashing back to a younger Leaphorn but decided against that and instead created the younger, more naïve, Chee. He would hold for the next three books.

In addition to providing an alternative protagonist, Hillerman also changes the opening. In prior books, they begin outside, painting a picture of the reservation: Louis Horsman, on the run from the law, is setting traps to catch kangaroo rats (when he encounters a skinwalker – a witch). George Bowlegs is out running to practice for a Zuni religious ritual (and has a similarly unhappy encounter). And how about this descriptive passage to begin Listening Woman:

“The southwest wind picked up turbulence around the San Francisco Peaks, howled across the emptiness of the Moenkopi plateau, and made a thousand strange sounds in windows of the old Hopi villages at Shongopov and Second Mesa.”

But People of Darkness begins with somebody looking out her office window in a cancer clinic. Things certainly do get started with a bang!

Chee’s introduction is reminiscent of the opening scene of Raymond Chandler’s The Big Sleep. We have a “common” private investigator visiting a rich client of higher social standing. Rosemary Vines wants Chee to take some leave and find a box of keepsakes stolen from her husband. Her husband says it’s all a big mistake: no worry. Hillerman mixes in the Native American Church (the ones that caused the big legal furor over using peyote in their rituals).

Of all Hillerman’s books in the series, this one is most like a private eye novel and has a bit of a Ross MacDonald feel to it, as an event from long ago hangs over the current investigation.

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