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Going Home

Going Home

PHBI’ve lived away from the house where I grew up since I went off to college at the age of 17. That was only a couple of years shy of three decades ago (yikes!). Since then, I’ve lived in three different cities, including one in another country. By any reasonable measure, I’ve spent more years living somewhere other than that house than I ever did under its roof. Yet, no matter how long it’s been since I last lived there, no matter how long it’s been since I last visited it, whenever I return, I’m home. Indeed, when I talk about my parents’ house and the city where it’s located, I reflexively use the term “home” for both, this despite the fact that I’ve now lived with my wife as long as I ever lived with my parents.

It’s a strange habit of mind, one I doubt is unique to me and that manifests itself in other ways. Since high school, for example, I’ve studied four different foreign languages. Just last week, I started learning a new one. Even though I attained a reasonable degree of literacy in all of them, I never gained significant verbal fluency, in large part because I never learned to think in another language. I am always thinking in English and mentally translating from it to whatever other language I am attempting to speak. In short, I continue to be an English speaker, even when I am trying to speak French or German.

Though Dungeons & Dragons was my first roleplaying game and a staple of my hobby for more than a decade, by the mid-90s, I’d largely stopped playing it. The reasons for my doing so are several and not very important. Shortly before Wizards of the Coast released its new edition – Third Edition or 3e – I was working as a writer at a games magazine and was given early access to the forthcoming rulebooks as background for an article I was tasked to write. I did not expect to like the new edition, let alone like it enough that I’d come back to D&D after a prolonged absence, but I did. I owe Wizards of the Coast a big debt of thanks for having helped me to fall in love with Dungeons & Dragons again.

Over the next six years or so, I played Third Edition intensely. I got to know the game and its rules very well, so well, in fact, that I started to find them ponderous to the point where they were getting in the way of the kind of tabletop experience I wanted. This led me to start to think seriously about what I liked in RPGs and how I could best get it. Ultimately, that thinking led me back, ironically, to the games I’d played in my youth, including the earliest editions of Dungeons & Dragons.

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The Shout of a Young Man Who Finds the World a Complicated Place: The Eternal Champion by Michael Moorcock

The Shout of a Young Man Who Finds the World a Complicated Place: The Eternal Champion by Michael Moorcock

oie_272267fTHTh1HnWhen I was a kid, all my friends read Michael Moorcock’s sprawling Eternal Champion series. Endlessly resurrected and reincarnated, the Eternal Champion exists to right the balance between Law and Chaos. According to Moorcock in the introduction to the 1994 edition of the novel, The Eternal Champion:

I use the ideas of Law and Chaos precisely because I am suspicious of simplistic notions of good and evil. In my multiverse, Law and Chaos are both legitimate ways of interpreting and defining experience. Ideally, the Cosmic Balance keeps both sides in equilibrium. By playing “the Game of Time”… the various participants maintain that equilibrium. When the scales tip too far toward Law we move toward rigid orthodoxy and social sterility, a form of decadence. When Chaos is uppermost we move too far towards undisciplined and destructive creativity.

Seemingly deep stuff for teenagers to be reading, but I think it was part of the series’ appeal. Teenagers are constantly pushing boundaries and trying to get a grip on right and wrong. I think many of them are as suspicious of supposedly “simplistic notions of good and evil” as Moorcock was. It appeared to be presenting a more nuanced way of looking at the world.

Most of the guys (and it was all guys) I knew who read swords & sorcery back in the 1970s and early ’80s were SF/F geeks, potheads, or metalheads and there was a lot of overlap amongst those groups. In my experience, gaming had a lot to do with bringing those tribes together and we all loved Moorcock’s stories and heroes.

Most preferred the morose albino, Elric, of doomed Melniboné. Dressed in black armor, wielding the evil soul-drinking sword Stormbringer, and riding a dragon — I totally get it. A few liked Dorian Hawkmoon von Koln and his adventures across post-apocalyptic Europe and America better. Personally, I did and still do enjoy the two trilogies about Corum Jhaelen Irsei, last of the Vadhagh. Steeped in Irish myth and a gloomy Celtic miasma, I think they’re the most intense and beautiful books in the series.

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Compiling The Big Book of Swashbuckling Adventure

Compiling The Big Book of Swashbuckling Adventure

The Big Book of Swashbuckling Adventure-smallGreetings, Black Gate readers! You may be familiar with my work as the game designer Lawrence Schick – possibly from role-playing material like the White Plume Mountain D&D scenario, video games such as Sword of the Samurai, or my recent work as Loremaster for The Elder Scrolls Online.

But I also write, edit, and translate historical fiction as Lawrence Ellsworth, and in that capacity I have a new title coming out from Pegasus Books, an anthology called The Big Book of Swashbuckling Adventure. Our friends at Black Gate asked me to write an article about compiling that anthology, and here it is.

I’ve been reading and collecting swashbuckling adventure fiction for many years – my whole life, really. A couple years ago, while in the middle of a long (and still uncompleted) translation project, it occurred to me that I probably knew enough about the subject to be able to compile a pretty interesting anthology. The more I thought about the idea, the better I liked it, so I sat down and starting making notes.

I decided the anthology had to meet four criteria. First, it would need to catch the attention of contemporary readers, which meant including recognizable, marquee names, of both characters and authors. Second, it would have to be attractive to mainstream publishers, which meant inexpensive to produce (works in the public domain), and couched in a familiar, saleable format – in this case, a “Big Book,” a fat collection of at least 200,000 words. Third, for variety I wanted a good mix of pirates, cavaliers, and outlaws – and they all had to be cracking good stories that would hold the attention of modern readers. Fourth, not just any stories would do – I wanted carefully hand-picked works that weren’t overly familiar and would re-introduce some of my favorite forgotten authors to the 21st century.

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The Weird of Oz Weighs In: Go Go Go Godzilla!

The Weird of Oz Weighs In: Go Go Go Godzilla!

“History shows again and again / How nature points up the folly of man / Go go go Godzilla!” — Blue Oyster Cult

photo-9Our intrepid reporter on the kaiju beat, Ryan Harvey, has done a masterful five-part chronicle of Godzilla’s 60-year film history for Black Gate. Last week, he topped it off with his review of the American re-launch of the venerable franchise, which you can (and should) read HERE. I’m not going to retread what he has covered, but I think the return of the King of Monsters is big enough to warrant two commentaries! I find myself in virtual agreement with Harvey’s review, so I’ll just be adding a few random observations. Here are some of my thoughts after seeing the film . . .

First, take a look at the marquee I snapped a pic of while in line to buy my ticket. See the third film from the bottom? God’s Not Dead — no indeed, and just underneath you’ll see that he’s back in 3-D!

Okay, some may take that little joke as sacrilege, but you know I couldn’t pass up that juxtaposition. I also find it interesting that the first two films are Spider-Man 2 and Captain America 2. This week you can add the new X-Men film to the line-up — jeez, Marvel is ruling at the box office. Seems like they are the box office. So this is where it may be amusing to note that Godzilla, too, was once part of the Marvel world.

Marvel Comics licensed that other big green goliath from Toho back in the ‘70s, but they didn’t just do a spin-off comic like with many other independently-owned franchises (G.I. Joe; Star Wars): no, they worked him right into Marvel continuity! He battled the likes of the Fantastic Four. S.H.I.E.L.D. was on his trail as he rampaged across the United States. Spider-Man even had a brush with the atomic-powered lizard! A couple years back, Brian Michael Bendis (the guy who pens, like, half the Marvel comics in recent years) made the wry observation that, although Marvel no longer has the license to the character, they never wrote him out of continuity. In other words, Bendis noted, Godzilla exists in the Marvel Universe to this day. So up there on the marquee with all those Marvel superheroes, he is in familiar company.

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Everything’s Coming up Aces: All the Covers of Galactic Derelict

Everything’s Coming up Aces: All the Covers of Galactic Derelict

Galactic Derelict 1961-big Galactic Derelict 1971-small Galactic Derelict 1978-small

Click any of the images to see the complete wrap-around covers.

Last week I wrote a brief Vintage Treasures article about Andre Norton’s classic SF adventure novel Galactic Derelict. Here’s what I said about the book’s printing history:

Galactic Derelict was published in 1959 by the World Publishing Company and has been reprinted in eight different editions over the last half-century. It first appeared in paperback from Ace Books in 1961. It is 192 pages in paperback, priced at 35 cents. The cover is by Ed Emshwiller. If I have a few moments this weekend, I may assemble some of the other covers to display them here.

Well, on this leisurely Memorial Day weekend, I finally have a few minutes to pull together half a dozen covers from the book’s five decades in print, and here they are.

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Sumerian Zombies, Chicago Vampires, and Stephen King: David C. Smith’s The Man Who Would Be King and Other Stories

Sumerian Zombies, Chicago Vampires, and Stephen King: David C. Smith’s The Man Who Would Be King and Other Stories

The Man Who Would Be King and Other Stories David C Smith-smallDavid C. Smith has been a friend to Black Gate almost as long as we’ve been around. I remember attending a World Fantasy Convention with Howard Andrew Jones many, many moons ago when we were both four years old (or thereabouts), when Howard dragged me excitedly to an autograph session to meet him. Dave was astoundingly gracious to two young sword & sorcery fans, entertaining us with tales of writing Red Sonja novels with Richard L. Tierney and the wild S&S publishing scene in the 1970s.

In person and on the page, Dave is a natural storyteller. We both live in Chicago and I’m honored that we’ve become friends over the past few years. We’ve published his fiction and non-fiction here at Black Gate — including an excerpt from his new noir thriller Dark Muse, and one of the most popular works of fiction we’ve ever posted: an excerpt from his supernatural pirate dark fantasy novel Waters of Darkness, written in collaboration with Joe Bonadonna

Dave and Joe co-wrote one of our most popular blog posts in 2012, “The Big Barbarian Theory,” and Dave followed it up with a classic article that still brings traffic to our site today, “New Pulp Fiction for Our New Hard Times.” Howard interviewed Dave for us in 2007, and Jill Elaine Hughes conducted a interview/career retrospective a few months later.

Dave’s latest book is a new collection of four new short stories, a novella, and more — including “The Man Who Would Be King,” the tale of a writer who resents Stephen King’s success, until an odd encounter with the most popular horror writer in America changes his life. The Man Who Would Be King and Other Stories also includes a story set in the universe of his popular novel Oron, a zombie tale, a sample chapter from The West Is Dying, author notes, and much more.

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Vintage Treasures: The Year’s Best Horror Stories: Series XIII edited by Karl Edward Wagner

Vintage Treasures: The Year’s Best Horror Stories: Series XIII edited by Karl Edward Wagner

Year's Best Horror Stories 13-smallI’m still working my way through the fabulous collection of pulps, digest magazines, and paperbacks I brought back from the Windy City Pulp & Paperback show in April.

I found the artifact at left mixed in with a delightful assortment of 80s horror paperbacks near the back of the Dealer’s Room. It’s the 13th volume of The Year’s Best Horror Stories, which Karl Edward Wagner took over from editor Gerald W. Page in 1980 with the eighth volume.

The Year’s Best Horror was a long-running paperback horror anthology published by DAW. Like Donald Wollheim’s World’s Best SF and Lin Carter and Arthur Saha’s Year’s Best Fantasy, both also from DAW, it was a staple on bookstore shelves through the late 70s and early 80s, and served as a terrific introduction to a wide range of new and established writers every year.

For young readers new to science fiction, fantasy, and horror, DAW’s annual Best collections were a terrific way to explore the field. They were ubiquitous, extremely well edited, and — best of all — marvelously inexpensive.

Wagner edited fifteen installments in the series, until he drank himself to death in 1994. The last one was volume XXII, and the series died with him.

If you want to collect DAW’s World’s Best SF and Year’s Best Fantasy, you’re on your own, relegated to tracking down tattered paperbacks in the collector’s market — and paying a pretty penny when you found them. Karl Edward Wagner Year’s Best Horror volumes, however, established an early and enviable reputation as a treasure trove of high-quality horror… so much so that Underwood Miller made the unprecedented decision in the early 90s to collect them  in hardcover omnibus editions, three per volume, under the title Horrorstory — and what gorgeously packed volumes they were.

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Love in War and Realms Beyond Imagining: The Fish, the Fighters and the Song Girl by Janet Morris and Chris Morris

Love in War and Realms Beyond Imagining: The Fish, the Fighters and the Song Girl by Janet Morris and Chris Morris

The Fish, the Fighters and the Song Girl-small

“Your commander reaches for yonder stars and gods do eye him. And there are more Fates in the wide worlds of men than those whom he has aided.” – from The Fish, the Fighters and the Song Girl.

The Fish, the Fighters and the Song Girl
Janet Morris and Chris Morris
Revised Author’s Cut, published by Perseid Press (386 pages, May 24, 2012, $24.95)
Cover art: Peter Paul Rubens, “The Consequences of War” (detail), 1637-1638

The team of Janet Morris and Chris Morris once again grace us with another excellent collection of Homeric Heroic Fantasy, featuring Tempus, Niko and their Sacred Band of Stepsons. This compilation is comprised of both new stories and earlier tales, herein revised from the original Thieves’ World® series, stories such as “What Women Do Best,” “Power Play,” and “Sanctuary is for Lovers.” Brand-new tales, written especially for this book, include “Shelter from the Storm,” “Lemnian Deed,” “Ravener, Where Art Thou?” and the title story.

All the magic, action, adventure, humor and human drama I’ve come to expect from Janet and Chris Morris are here in spades, and there are enough revelations and plot twists along the way to keep you on your toes.

This collection takes place after the Morris’ masterpiece, The Sacred Band, and gives us more of the history of the Sacred Band as Tempus takes his Stepsons and Thebans north, a world away, into unexplored regions and a mythic country. Though they are courageous, these fighters, they are no strangers to fear. Though they are warriors, hard and tough, they are not immune to love and compassion, to decency and common humanity.

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Future Treasures: Thrones & Bones: Frostborn by Lou Anders

Future Treasures: Thrones & Bones: Frostborn by Lou Anders

Thrones and Bones Frostborn-smallLou Anders is the editorial director of Pyr Books, one of the most exciting publishers on the market for adventure fantasy fans. Last month, while talking about the latest upcoming title from Pyr, I described Lou as “the closest we have to Lin Carter in the field today: an editor with impeccable taste and boundless energy, who has also been a tireless champion for sword & sorcery.”

Here’s a secret: one of the reasons I described Lou as “tireless” is that — just like Lin Carter — he’s also a talented fantasy writer in his own right. His debut novel Frostborn, an adventure-filled Viking-inspired middle grade series featuring two charming and humorous heroes, arrives in two months from Crown Books. Keep an eye out for it — you won’t want to miss it.

Meet Karn. He is destined to take over the family farm in Norrøngard. His only problem? He’d rather be playing the board game Thrones and Bones. Enter Thianna. Half human, half frost giantess. She’s too tall to blend in with other humans but too short to be taken seriously as a giant.

When family intrigues force Karn and Thianna to flee into the wilderness, they have to keep their sense of humor and their wits about them. But survival can be challenging when you’re being chased by a 1,500-year-old dragon, Helltoppr the undead warrior and his undead minions, an evil uncle, wyverns, and an assortment of trolls and giants.

Readers will embark on a sweeping epic fantasy as they join Karn and Thianna on a voyage of discovery. Antics and hair-raising escapades abound in this fantasy adventure as the two forge a friendship and journey to unknown territory. Their plan: to save their families from harm.

Frostborn, the first book of Thrones & Bones, will be published by Crown Books on August 5, 2014. It is 310 pages, priced at $16.99 in hardcover and $10.99 for the digital version.

New Treasures: Space Opera edited by Rich Horton

New Treasures: Space Opera edited by Rich Horton

Space Opera Prime Books-smallHallelujah! Rich Horton’s Space Opera anthology is finally here. And it’s massive.

I’ve been waiting for this book since it was announced over six years ago, back in April of 2008. Rich shared his proposed table of contents at the time (and it was groundbreaking enough to be picked up as a news story at places like SF Signal, and listed at ISFDB), but the volume was eventually canceled. I thought that was the end of it, until I saw it back on the Prime Books schedule last year.

I am delighted to finally have it in my hot little hands. The project has become much more ambitious over the years. Did I mention it was massive? Rich’s original TOC listed 11 stories — the finished product has twice that many, from authors like Greg Egan, James Patrick Kelly, Chris Willrich, Kage Baker, Jay Lake, Alastair Reynolds, Ian McDonald, Aliette de Bodard, Robert Reed, Ian R. MacLeod, and many others.

Rich also provides a fascinating introduction, exploring the genesis of the term “space opera” in early SF and the way perceptions of it have changed over the years — as well as a survey of overlooked classics. Here’s a taste:

The term space opera was coined by the late great writer/fan Wilson (Bob) Tucker in 1941, and at first was strictly pejorative… Even so, much work that would now be called space opera was written and widely admired in that period…. most obviously, perhaps, the work of writers like Edmond Hamilton and, of course, E.E. “Doc” Smith…

It may have been Brian Aldiss who began the rehabilitation of the term with a series of anthologies in the mid-70s: Space Opera (1974), Space Odysseys (1974), and Galactic Empires (two volumes, 1976). Aldiss, whose literary credentials were beyond reproach, celebrated pure quill space opera as “the good old stuff,” even resurrecting all but forgotten stories like Alfred Coppel’s “The Rebel of Valkyr,” complete with barbarians transporting horses in spaceship holds. Before long writers and critics were defending space operas as a valid and vibrant form of SF…

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