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Blogging Sax Rohmer… in the Beginning, Part One

Blogging Sax Rohmer… in the Beginning, Part One

illo-Sax Rohmerrohmer2“The Mysterious Mummy” marked Sax Rohmer’s first appearance in print. Only 20 years old at the time, Rohmer was then writing under the byline of A. Sarsfield Ward. Born Arthur Henry Ward, Sarsfield was a surname of historical repute from his mother’s side of the family, which he adopted at the start of his writing career.

A preview of the story was featured in the November 19, 1903 issue of Pearson’s Weekly, with the full story printed in the November 24 issue. “The Mysterious Mummy” languished in obscurity until it was reprinted by Peter Haining in the 1986 anthology, Ray Bradbury Introduces Tales of Dungeons and Dragons. Haining also included the story in the 1988 anthology, The Mummy: Stories of the Living Corpse. Rohmer scholar Gene Christie selected the story for inclusion in the first volume of Black Dog Books’ Sax Rohmer Library, The Green Spider and Other Forgotten Tales of Mystery and Suspense, published in 2011.

The most interesting feature about this first foray into fiction is that it is not at all a living mummy story, but rather a straight heist caper. Rohmer later disingenuously claimed that a copycat theft was attempted in France and the thief was arrested with a copy of Pearson’s Weekly on his person, featuring the story which he claimed was so good he had to risk trying it in real life. Rohmer, of course, was a terribly unreliable interview subject. While it is possible the press were more gullible a century ago, it is more likely they viewed his tall tales as good copy.

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New Treasures: The House of Small Shadows by Adam Nevill

New Treasures: The House of Small Shadows by Adam Nevill

The House of Small Shadows-smallI have a real fondness for horror novels, but sadly I haven’t paid much attention to the horror market recently. Adam Nevill’s latest novel The House of Small Shadows just arrived and it looks like just the thing to entice me back in.

Catherine’s last job ended badly. Corporate bullying at a top antiques publication saw her fired and forced to leave London, but she was determined to get her life back. A new job and a few therapists later, things look much brighter. Especially when a challenging new project presents itself — to catalogue the late M. H. Mason’s wildly eccentric cache of antique dolls and puppets. Rarest of all, she’ll get to examine his elaborate displays of posed, costumed and preserved animals, depicting bloody scenes from World War II. Catherine can’t believe her luck when Mason’s elderly niece invites her to stay at Red House itself, where she maintains the collection until his niece exposes her to the dark message behind her uncle’s “Art.” Catherine tries to concentrate on the job, but Mason’s damaged visions begin to raise dark shadows from her own past. Shadows she’d hoped therapy had finally erased. Soon the barriers between reality, sanity and memory start to merge and some truths seem too terrible to be real… in The House of Small Shadows by Adam Nevill.

Nevill’s first three novels were Banquet for the Damned, Apartment 16, and The Ritual; he also contributed to the recent anthologies End of the Road and The Best British Fantasy 2013. We discussed him last on the occasion of his fourth novel Last Days, a Blair Witch style creep-fest in which a documentary film-maker investigates an apocalyptic cult, discovering some nasty secrets in the process.

The House of Small Shadows will be published by St. Martin’s Press on July 15, 2014. It is 384 pages, priced at $25.99 in hardcover and $12.99 for the digital edition.

Support The Collectors Book of Virgil Finlay Kickstarter

Support The Collectors Book of Virgil Finlay Kickstarter

Space Police Virgil Finlay-smallI don’t often report on Kickstarter projects. But in this case, I’m making an exception — both due to the quality of the book and the people involved.

Bob Garcia’s American Fantasy Press is publishing The Collectors Book of Virgil Finlay, the first new Virgil Finlay art book in twenty years, featuring art from the extensive collections of Robert Weinberg, Doug Ellis, Glynn Crain, and Robert K. Wiener. The publishers have launched a Kickstarter Campaign to help defray some of the considerable costs in preparing and publishing the book. Here’s Donato Giancola, cover artist for Black Gate 15, on the artist:

Finlay’s dizzying compositions and incredible draftsmanship recall the dense compositions of Renaissance artists Hieronymus Bosch and Albrecht Durer, while at the same time embracing the modern aesthetics of abstraction. His black and white images are ground breaking, unforgettable, and reflective of a genius at play in the world of art.

From 1936-1971, Virgil Finlay illustrated an astounding amount of pulp fiction, including 19 Weird Tales covers and fabulous interior work for Amazing, Famous Fantastic Mysteries, Fantastic Novels, Fantastic Universe, Galaxy, IF, and many others. See samples of his work in Bob’s last article for us here, and a few of his covers here, here, and here.

The Collectors Book of Virgil Finlay is scheduled for release at this year’s World Fantasy Convention. It will contain 35 full color paintings, the largest collection of his color work ever assembled in print, plus another 13 pages of additional color work, over 150 pages of black and white artwork, and commentary on the artist by two of the field’s foremost pulp art collectors: Robert Weinberg and Doug Ellis. It is an oversized 9″ x 12″ hardcover, 208 pages.

The Kickstarter campaign is scheduled to end on Virgil Finlay’s Centenary Birthday: July 23, 2014; after just 10 days, the project is already fully funded. Get more information or contribute at the Kickstarter page here.

Fantasy and Roleplaying Games

Fantasy and Roleplaying Games

Dungeons and Dragons Basic Set-smallMy loves for fantasy stories and RPGs (roleplaying games, not rocket-propelled grenades…) have been intertwined since I was a young child. I discovered them both at about the same time and have pursued both throughout my life.

I still remember the day I was in a hobby store with my family. I was eight years old and I saw this game in a blue box with a dragon on the front. It was called Dungeons and Dragons, which sounded pretty damned cool to me. I begged my father to buy it and he resisted, saying it was a game for college-age people, but I refused to relent. And so we went home with that box.

My father ran the game for my brother and I, and my memories of those initial adventures into goblin-infested dungeons still remain vivid and precious more than thirty years later. Soon, I was running D&D games for my friends, leading them into insidious dens of evil where they slew monsters and collected epic treasures.

At the same time, I was tearing through anything fantasy-related I could get my hands on. My father’s library didn’t have much fantasy, but his copy of Kothar and the Wizard-Slayer was the gateway to Robert E. Howard, Michael Moorcock, Fritz Leiber, and so many others. I was, admittedly, insatiable.

And it continues to this day. I still get together with a few friends every month or so to sit around the table and slay imaginary beasts. I’m quite fortunate that my wife is a gamer, too. (The family that slays orcs together, stays together.) We’re currently running a campaign in the Star Wars: Edge of the Empire system, and I’ve already pre-ordered the newest edition of Dungeons and Dragons in anticipation of the many hours of enjoyment it will bring.

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Reading the Entrails

Reading the Entrails

The Lord of the RingsBrowsing about the Internet recently, I stumbled on something that interested me. Several things, actually. Specifically, the results at the Internet Speculative Fiction Database of various Locus audience polls; more specifically, the results of the all-time polls in the fantasy field. I was struck by how some things stayed constant across the years, and how some other things have changed.

Now, it’s important to be wary of making overly-sweeping statements about the fantasy field based on these polls. These are things that can be compared with one another; I don’t know if they can be said to have weight beyond that. But, given that, what can one take away from them?

Let me be precise about what I’m looking at. The polls that interest me are the 1987 poll for best all-time fantasy novel, the 1987 poll for best all-time fantasy novelist, the 1998 poll for best fantasy novel before 1990, the 1998 poll for best all-time fantasy novelist, the 1999 poll for best all-time fantasy author, and the 2012 poll for best fantasy novel of the 20th century (John O’Neill wrote about that last poll for Black Gate). There are also all-time polls for science fiction, and some older polls that just asked the Locus readership for best all-time author or novel without specifying genre; I’m interested in fantasy, though, so that’s what I’m focusing on.

You can see some constants in the rankings of the books, but also movement. Some books and authors fell out of favour, some maintained their positions, and a few new titles emerged over time. So together the lists are potentially a glimpse of how attitudes to the genre developed over the course of twenty-five years among fans.

But even assuming that the poll respondents represent a group relatively knowledgeable about fantasy, do the polls say more about fantasy or more about the Locus readership?

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Future Treasures: The Mammoth Book of Warriors and Wizardry, edited by Sean Wallace

Future Treasures: The Mammoth Book of Warriors and Wizardry, edited by Sean Wallace

The Mammoth Book of Warriors and Wizardry-smallI hear reports from several quarters about an upcoming anthology of great interest to Black Gate readers: The Mammoth Book of Warriors and Wizardry, a generous collection of swords & sorcery edited by uber-editor Sean Wallace.

This is a reprint collection with contributions from Black Gate writers Matthew David Surridge (his popular S&S epic “The Word of Azrael” from Black Gate 14), James Enge (“The Singing Spear,” one of my favorite Morlock stories), Chris Willrich, Jay Lake, and Richard Parks, as well as K.J Parker, Tanith Lee, Scott Lynch, Bradley P. Beaulieu, Aliette de Bodard, Mary Robinette Kowal, N.K. Jemisin, Saladin Ahmed, and many others.

Here’s the book description:

This is a stellar collection of short fantasy fiction from authors who have made an impact over the last decade, along with some bestselling favourites. These stories of life-and-death struggles and magical force, used for good and evil, by Elizabeth Bear, Jay Lake, Tanith Lee, George R. R. Martin, Naomi Novik, K. J. Parker, Carrie Vaughn and many others provide thrills and entertainment aplenty.

This is the third Mammoth Book anthology edited by Sean, following The Mammoth Book of Steampunk (2012) and the upcoming Mammoth Book of Steampunk Adventures (Sept 18, 2014). The Mammoth Book line has produced some really great anthologies over the year — so many that I’ve almost lost count. But if you’re looking for suggestions, I might start with The Mammoth Book of Vintage Science Fiction: Short Novels of the 1950s, The Mammoth Book of Golden Age Science Fiction, and the Mammoth Book of Short Fantasy Novels.

The Mammoth Book of Warriors and Wizardry contains 25 stories, most written in this century. Despite the mention in the description above, I see no contribution from George R. R. Martin in the Table of Contents — but since most of George’s short fiction is in print and readily available in other outlets, that’s not a big deal.

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The Life and Times of a Midlist Author

The Life and Times of a Midlist Author

A Plunder of Souls-smallLate last summer, I was interviewed by Garrett Calcaterra for a Black Gate article on the writing life of midlist authors. That article, which also drew upon interviews conducted with Patrick Hester, Wendy Wagner, and M. Todd Gallowglas, can be found here and is still worth reading.

But I thought it might be interesting, a year later, to revisit the life of at least this midlister to see how things are going. A bit of background first: Under my own name, David B. Coe, I have been writing professionally for twenty years now, and I’ve been a published author for seventeen. “What’s the difference?” you ask. Well, I signed my first publishing contract and received my first (microscopic) advance in the summer of 1994. But that first book needed to be edited, revised, edited again, revised again, copyedited, and proofed. And it needed to be fitted into the already crowded publishing schedule of Tor Books. It finally was released in May 1997.

Which brings us to the first of many hard truths about the publishing industry: It moves at its own, sometimes glacial, pace. Yes, this is one reason why some writers grow so impatient with the business that they turn to self-publishing, which offers more immediate gratification for those who are eager to see their work in print. But for more reasons than I can go into today, that is not a path I have chosen to follow.

Writing now as D. B. Jackson, I am the author of the Thieftaker Chronicles, a historical urban fantasy series set in pre-Revolutionary Boston. The first two books, Thieftaker (Tor Books, 2012) and Thieves’ Quarry (Tor Books, 2013), have been received very well critically and did well enough commercially that Tor bought two more books from me. The first of these, the third in the series, is called A Plunder of Souls and it drops on July 8, 2014. (Please buy it. In fact, feel free to buy a few copies; they make great gifts and come in an attractive package complete with artwork by Chris McGrath. We now return to our regularly scheduled blog post . . .)

The fourth Thieftaker novel, Dead Man’s Reach, will be out next summer. And here we come to hard truth number two: For most full-time writers not named Martin, Gaiman, or Rothfus, one release per year is not enough to make a living. Most of the writers I know have a couple of projects going at once. I’m no exception.

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Changa’s Safari: Volume 2 by Milton Davis

Changa’s Safari: Volume 2 by Milton Davis

oie_122213ZGX0sjXjI read fantasy — and swords & sorcery in particular — because it’s fun. Like most middle-class Americans I lead a very safe life, which I’m very happy about, but from which I sometimes like to take a break. Occasionally I need to hear the whoosh of a sword just missing Conan’s head, to peer down into the dark alleys of Tai-tastigon from the rooftops of strange gods’ temples, to smell the fires of Granbretan’s vile sorceries. Sometimes I need to get out of my content, comfortable place and journey to places unknown and fantastic.

Milton Davis, sword & soul maven, delivers exactly that kind of trip in Changa’s Safari: Volume 2 (2012). The story of swashbuckling merchant Changa Diop traveling the 14th century Indian Ocean, it continues the adventures of Changa’s Safari: Volume 1 (2010), which was reviewed by Charles “Imaro” Saunders on Black Gate several years ago.

Once a prince of the Bakongo, Changa was sold into slavery when his father was killed by the sorceror Usenge. He was rescued from the slave-fighting pits of Mogadishu by a kindly merchant. His rescuer, Belay, taught him how to be a trader and eventually made him his heir.

Vol. 1 tells of the arrival of a great Chinese fleet off the East Africa coast and Changa’s journey alongside it back to China with his own fleet. There he confronts — boldly and with plenty of sword flourishing and magic — all manner of things you’d hope to meet in this kind of story: evil demigoddesses, pirates, conniving courtiers, and a Mongol horde. You know, the good stuff.

Volume 2 picks up a short time after Changa and his ships have left China for home. Home is Sofala, once a prosperous port in present-day Mozambique. It’s a long way from the Straits of Malacca (where the book opens with a tremendous multi-ship battle against Sangir pirates) to Sofala, which leaves a lot of room for adventure.

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New Treasures: Shield and Crocus by Michael R. Underwood

New Treasures: Shield and Crocus by Michael R. Underwood

Shield and Crocus-smallI used to tell folks submitting to Black Gate that the easiest way to grab my attention was with a unique setting. Writers — especially beginning writers — make greats efforts to impress with prose and plot, but very few seem to have the ability to imagine some place other than Middle Earth or a tavern in a D&D game.

It’s the same when I’m choosing a new novel. It’s the ones with the most imaginative settings that really win me over. And Michael R. Underwood’s Shield and Crocus — set in a city built on the bones of a fallen giant, ruled by five criminal tyrants — has by far the most intriguing setting I’ve come across this year.

The city of Audec-Hal sits among the bones of a Titan. For decades it has suffered under the dominance of five tyrants, all with their own agendas. Their infighting is nothing, though, compared to the mysterious “Spark-storms” that alternate between razing the land and bestowing the citizens with wild, unpredictable abilities. It was one of these storms that gave First Sentinel, leader of the revolutionaries known as the Shields of Audec-Hal, power to control the emotional connections between people — a power that cost him the love of his life.

Now, with nothing left to lose, First Sentinel and the Shields are the only resistance against the city’s overlords as they strive to free themselves from the clutches of evil. The only thing they have going for them is that the crime lords are fighting each other as well — that is, until the tyrants agree to a summit that will permanently divide the city and cement their rule of Audec-Hal.

It’s one thing to take a stand against oppression, but with the odds stacked against the Shields, it’s another thing to actually triumph.

In this stunning, original tale of magic and revolution, Michael R. Underwood creates a cityscape that rivals Ambergris and New Crobuzon in its depth and populates it with heroes and villains that will stay with you forever.

Michael R. Underwood is the author of Geekomancy and Celebromancy. I was much impressed with his reading at Wiscon 2012. He was also the North American Sales Manager for Angry Robot Books (in which capacity he’s sold me a book or two.)

Shield and Crocus was published by 47North on June 10, 2014. It is 416 pages, priced at $14.95 in trade paperback and just $4.99 for the digital edition.

Medea

Medea

MedeaLately in this space I seem to be writing a lot, one way or another, about worldbuilding. As it happens, I also read a book not long ago which both imagines a detailed science-fictional world and determinedly lifts the curtain on the group act of creation that generated the world. The book is Medea: Harlan’s World, and there are some interesting things to take away from it — not just ideas about worldbuilding, either.

Medea is in the lineage of shared-world books, though Ellison, who has expressed disdain for shared worlds, would likely dispute that; at any rate, it was originally conceived in 1975, but not published as a whole until 1985, so was imagined before Thieves’ World or Wild Cards or Liavek, before the articulation of the ‘shared world’ as a specific kind of endeavour. Perhaps ironically, Medea would spawn a kind of conceptual sequel, Murasaki, edited by Robert Silverberg, one of the participants in the Medea collaboration. Medea‘s an anthology of stories by different writers, all set on what is notionally the same science-fictional planet. Many of the individual stories were highly praised. Ellison’s “With Virgil Oddum at the East Pole” was selected for inclusion in The 1986 Annual World’s Best SF; Larry Niven’s “Flare Time” placed ninth in that year’s Locus poll for best novella; Frederik Pohl’s “Swanilda’s Song” placed fourth in the novelette category; Poul Anderson’s “Hunter’s Moon” won the Hugo Award for Best Novelette. Whether they work well together is in the eye of the beholder.

It doesn’t much read like the typical shared-world anthology. Ellison’s quite specific about that in his introduction, where he describes an editorial process that gladly welcomed individual takes on the basic concepts of the fictional world, even encouraging contradictions between stories: “Not only do I admit to the contradictions in these yarns, I champion them!” It probably does help give the book an idiosyncrasy unlike many shared worlds; the problem, I found, was that the individual stories were of varying quality (as one would expect of an anthology), none were really excellent, and they didn’t seem collectively to create a real unity out of the book. Then again, I also thought Medea as a whole was well worth reading for the extensive look at the creative process behind the making of the fictional world, and indeed for the look it gives us at a specifically science-fictional kind of creativity.

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