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Lord Dunsany, Philip José Farmer, and Appendix N: Advanced Readings in D&D

Lord Dunsany, Philip José Farmer, and Appendix N: Advanced Readings in D&D

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Over the Hills and Far Away-smallI’m still enjoying the Appendix N surveys by Tim Callahan and Mordicai Knode at Tor.com, as they read through every author Gary Gygax cited as an influence on Dungeons and Dragons, even though I’ve found lots to disagree with in their recent columns.

So I’m happy to continue with these re-caps here. Especially since I don’t have a lot emotionally invested in their next two subjects: Lord Dunsany and Philip José Farmer.

I have a lot of respect for Lord Dunsany, but that chiefly stems from the many fine writers who have cited him as an influence. I’ve read only a handful of his shorter works and, while I’ve enjoyed what I’ve read, he’s mostly an untapped natural resource for me.

It’s much the opposite with Philip José Farmer. I was a huge fan of his Riverworld books when I first read them decades ago. But they didn’t really hold up on re-reading 15 years later, for me.

So Farmer is a writer I largely lost interest in years ago, although I have to admit I haven’t really given fair attention to his many fantasy novels. I know his work is highly regarded, and in fact both Cynthia Ward and Christopher Paul Carey made excellent cases here for why I should pay a lot more attention to his Gods of Opar and Tales of the Wold Newton Universe series, for example.

So let’s say I have more of an open mind with both Lord Dunsany and Philip José Farmer, and I’m willing to be influenced.

With that out of the way, let’s see what Tim and Mordicai have to say.

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The Series Series: The Shadow’s Heir by K.J. Taylor

The Series Series: The Shadow’s Heir by K.J. Taylor

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The Shadow's Heir-smallThis book is not the first volume in a new series, no matter what its cover says. It’s marketed as the first volume in a new trilogy, The Risen Sun, that happens to be in the same setting as The Fallen Moon, but with every page I read, I felt the lack of resonances that the author clearly intended and expected for readers who had already read her first three books.

The Shadow’s Heir was good enough that I may someday backtrack to Taylor’s debut, The Dark Griffin. Of course, since this is really the fourth volume in the series, it has enough spoilers about the first three volumes that I’ll need to wait years for my memory of this book to fade. The review quotes about those earlier volumes promise “twisty plots,” and they won’t be twisty for me until I forget nearly everything I just read.

If the book were bad, I’d just shrug and move on. As it is, I’m annoyed on the author’s behalf at the marketing folks at Ace. (This is, of course, an injudicious thing to admit, because I would give my eyeteeth to sell my trunk manuscript to Ace. Not that they’d want my eyeteeth. Imagine the slushpile horror story!) I would love to understand the marketing decision better, because it seems to me that telling people The Shadow’s Heir is a good entry point to Taylor’s fictional world might sell copies in the short run, but would surely turn readers off in the long run.

This book holds the payoff for several plotlines I could have been deeply invested in, had I read them from the beginning. Instead, I was keenly aware at every payoff point of how hollow the big scenes felt to me in comparison to structurally similar scenes in other series.

How on earth am I going to talk in any detail about the virtues and peculiarities of The Shadow’s Heir while avoiding spoilers about three previous volumes I haven’t read? Well, here goes.

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When One Window Closes . . .

When One Window Closes . . .

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Princess BrideA friend of mine has stated – many times – that he won’t date anyone who doesn’t love The Princess Bride, or Rioja wine. It’s the former that’s important to me at the moment, even though I love a good Rioja myself. Actually, my friend thinks that Princess Bride is the best movie of all time, and I think he’s absolutely right. Except that he’s also absolutely wrong.

We’ve all had the experience of sharing some beloved book, or film, or piece of music with someone, and being disappointed by their tepid reaction. You know. They’re like, polite. What’s more, we’ve all disappointed others in the same way. Like it or not, when this occurs, we do feel differently about each other. And neither side is wrong, but neither side is right, either.

Welcome to my Window Theory of Emotional Response. Otherwise known as the Princess Bride Paradox, the Star Wars Syndrome, the Heinlein Hypothesis, or – dare I say it? – the Frodo Phenomenon. In a nutshell, here it is: for you to have a deep emotional response to something cultural, your exposure to it has to have come at the right time for you.

My theory builds from the phrase many of us have used in other contexts, “that window’s closed.” AKA “that ship has sailed.” Both phrases imply that there was a period of time when something was possible, that the window was “open,” and then, it wasn’t. The opportunity is lost. For a piece of culture to move you, to change the way you think about yourself and the world around you, you have to encounter it at precisely the right age, or the right level of emotional maturity or development or – call it what you will.

Or you haven’t, and that window’s closed for you.

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New Treasures: The Yard by Alex Grecian

New Treasures: The Yard by Alex Grecian

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The Yard Alex Grecian-smallI’m always disciplined when I visit a bookstore. I go in, get what I came for, and leave. I look neither left nor right. Get in, get out, that’s my motto.

You’re right. I’m totally lying. I’m lucky if I even remember why I came to the bookstore by the time I get to the cash register. My arms are usually full, I have a dazed expression, and I’m no longer sure exactly where I am. Thank God the folks behind the counter recognize me by now. It saves a lot of time and embarrassment.

I usually stick to the SF and fantasy sections, but every once in a while something irresistible will cross my path. Something like The Yard, the start of a new gas-lamp mystery series by Alex Glexian, author of the popular Image comic Proof. A first glance The Yard doesn’t seem to include any of the gonzo steampunk action or bizarre characters of Proof — or indeed, anything overtly supernatural — but I find it very appealing nonetheless.

1889, London. Jack the Ripper’s reign of terror is finally over, but a new one is just beginning.

Victorian London — a violent cesspool of squalid depravity. Only twelve detectives — The Murder Squad — are expected to solve the thousands of crimes committed here each month. Formed after the Metropolitan Police’s spectacular failure in capturing Jack the Ripper, the Murder Squad suffers the brunt of public contempt. But no one can anticipate the brutal murder of one of their own…

A Scotland Yard Inspector has been found stuffed in a black steamer trunk at Euston Square Station, his eyes and mouth sewn shut. When Walter Day, the squad’s new hire, is assigned to the case, he finds a strange ally in Dr. Bernard Kingsley, the Yard’s first forensic pathologist. Their grim conclusion: this was not just a random, bizarre murder but in all probability, the first of twelve. Because the squad itself it being targeted and the devious killer shows no signs of stopping before completing his grim duty. But Inspector Day has one more surprise, something even more shocking than the crimes: the killer’s motive.

This is the author’s first novel. Grecian has already penned one sequel in what’s now being called the Scotland Yard’s Murder Squad series: The Black Country, released in hardcover in May of this year. The Yard was published in April 2013 by Berkley. It is 422 pages, priced at $16 in trade paperback and $9.99 for the digital edition.

“This Ghostly Little Book”

“This Ghostly Little Book”

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A Christmas CarsolIt’s one of the most famous stories in the English-speaking world, and it is a fantasy. A Gothic fantasy of Christmas, and the meaning thereof: the story of the miser and the three spirits. It’s been retold any number of times, parodied, set in America, updated to the modern day, acted out with mice and ducks, with frogs and pigs. It’s easy to overlook how powerful the original work really is.

For myself, I cannot remember how old I was when I first encountered some version of A Christmas Carol. Very young, and possibly pre-literate. The story’s often presented, I think, as a children’s story; but as I read it now, it seems far from that. Indeed it seems like a story that can only be understood with age. When I was a child I didn’t believe in Scrooge’s conversion, and didn’t see how simply revisiting his past could start such a change in his personality. Now that I’ve lived long enough to have distant memories of my own, I understand it. And rereading the story now, I see that while it’s true Dickens was unashamed of being sentimental and broad, he was also in many ways very subtle in the way he described Scrooge. To me, now, Scrooge and the change in his character seem only one reflection of the book’s central theme and of its vision: a vision of the human soul, both alone and as part of society.

Charles Dickens wrote A Christmas Carol in 1843. He was thirty-one, and already famous. Made to work as a child in a blacking-warehouse while his father was imprisoned for debt, the adult Dickens had a fierce drive to succeed, and a horror of the developing industrial capitalism around him; he worked as a journalist and editor, then had a massive popular success with the serially-published The Pickwick Papers. Oliver Twist followed, then Nicholas Nickleby, The Old Curiosity Shop, Barnaby Rudge, and A Christmas Carol. On the one hand, that’s already an incredible body of work. On the other, Dickens was a very young man to so powerfully capture the elderly Scrooge. But capture Scrooge he did; if A Christmas Carol works — and given that it hasn’t been out of print in a hundred and seventy years, we can say it does — it’s because Dickens gets at something in memory, and in how people age.

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Harpy’s Flight by Megan Lindholm (aka Robin Hobb)

Harpy’s Flight by Megan Lindholm (aka Robin Hobb)

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oie_2355541zLiqR1TsBefore becoming the better known Robin Hobb, Mary Astrid Lindholm Ogden wrote under the pen name Megan Lindholm. Today, what little she writes under the Lindholm name tends to be contemporary fantasy. Initially, though, some of it came very close to heroic fantasy. Ogden’s first published story was a swords & sorcery tale under the Lindholm byline, in Jessica Amanda Salmonson’s important 1979 anthology Amazons!.

That first story, “Bones for Dulath,” introduced a pair of traveling adventurers: the stolid wagon driving Ki and her more lighthearted companion Vandien. In a review of Amazons! I wrote last year I said:

It’s not an especially exciting story but Ki’s voice and the easy camaraderie between the two feels real and comfortable. Ki and Vandien find themselves face to face with a strange, dangerous mountain creature and a town of people who’ve come to see it as a god. I’ve read a few of Lindholm’s novels under the Robin Hobb name and enjoyed them but they’re more mainline fantasy than this good slice of S&S.

In her first published novel, Harpy’s Flight (1983), Lindholm returned to Ki and Vandien to tell how they met and became companions. It’s not the work of heroic fantasy I was expecting based on “Bones for Dulath,” but instead something closer to the mainline fantasy of her Hobbs books. Still, it is good solid work, particularly for a first book. Lindholm/Hobb has a tremendous talent for creating truly strange, alien worlds and peopling them with multi-dimensional human characters, not simply hangers for a bundle of traits and quirks. That talent is beautifully displayed throughout Harpy’s Flight.

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New Treasures: Tales From Rugosa Coven by Sarah Avery

New Treasures: Tales From Rugosa Coven by Sarah Avery

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tales-from-rugosa-coven-Avery-smallUnless you’ve ever been a submissions reader, I don’t think you can truly appreciate what it was like to discover Sarah Avery in the slush pile.

The story in question was “The War of the Wheat Berry Year,” a slender and deceptively simple fantasy in which The Traitor of Imlen finds she must face her old instructor on the battlefield at last. After a long day reading amateur tales about unicorns, knights slaying dragons, and teenage girls with vampire boyfriends, it was a revelation — packed with a rich and fascinating back story, subtle characterizations and, like all the best fantasy, the tantalizing sense that you were being given the briefest window into a wider tale.

I bought “The War of the Wheat Berry Year” for Black Gate 15, where it won acclaim from Keith West at Adventures Fantastic and other sites. And believe me, I kept a weather eye out for future work from Sarah.

So I was delighted when my copy of Tales From Rugosa Coven arrived last week. Rugosa Coven shows off Sarah’s talents with a collection of three linked novellas of contemporary fantasy focusing on a coven of modern witches living on the Jersey Shore. If you’re eager to find the next big name in fantasy, do yourself a favor and order a copy today.

Catch a glimpse of a New Jersey even weirder than the one you think you know, as a covenful of very modern Wiccans wrestle challenges both supernatural and mundane — and, occasionally, each other.

The personal injury attorney who chose kitchen-witchery over his family’s five-generation lineage of old school ceremonial magic would like to miss his dead parents, only now that they’re dead they won’t leave him alone. The professional fortuneteller stands out at forty paces, with her profusion of silver amulets glittering over her Goth wardrobe, but nobody has guessed her secret sorrow, especially not the covenmates who see her as their wacky comic relief. And the resident skeptic, a reluctant Pagan if ever there was one, will have to eat her words if her coven sister’s new boyfriend really does turn out to be from Atlantis.

The Jersey Shore’s half-hidden community of Witches, Druids, and latter-day Vikings must circle together against all challenges. It’s a good thing they’re as resilient as the wild rugosa roses that hold together the dunes.

Tales From Rugosa Coven was published by Dark Quest on December 21, 2013. It is 341 pages, priced at $15.95 in trade paperback.

The Man Who Was Gilbert Keith Chesterton

The Man Who Was Gilbert Keith Chesterton

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G.K. ChestertonLast week, in a post about Neil Gaiman’s Sandman, I said that certain habits of Gaiman’s plotting reminded me of G.K. Chesterton. It seemed to me that I’d referred to Chesterton fairly often in my posts here, so I did a search of the Black Gate archive. I found that I had in fact mentioned Chesterton a number of times, but that neither I nor anyone else had yet written a post for Black Gate specifically about him or any of his works. I’ve therefore put together this piece to give an overview of the man and his writing. It’s insufficient; Chesterton’s difficult to describe, more so than most writers. But one has to begin somewhere. He’s an important early fantasist, admired by figures as diverse as Gaiman, Borges, Alberto Manguel, and Slavoj Žižek. There’s even a movement to canonise Chesterton, a late convert to Catholicism, as a saint. Many of his writings are online, so you can judge him for yourself; you can find a list of texts on this page, a part of this site dedicated to Chesterton.

It’s almost traditional to say that Chesterton’s writing was defined by paradoxes. It’s not entirely accurate, I think. It’s more precise to say that in both his fiction and non-fiction he often put forward propositions structured something like: “It is frequently said that x is the case; but it is not true. In fact the very opposite is true.” From which point Chesterton would then explain, clearly, simply, and with a common-sense air, just how the opposite of everyone’s assumption was the actual state of affairs. In feeble imitation, I might put it this way: it is not true that Chesterton was a writer who delighted in paradoxes. In fact the very opposite is true. He was a writer that delighted in showing that apparent paradoxes were nothing of the sort, and were easily explained by an appeal to reality. We must not forget that Chesterton studied as an artist; and artists, perhaps more than any other sort of person, are concerned with finding the proper perspective on things.

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New Treasures: Hidden Things by Doyce Testerman

New Treasures: Hidden Things by Doyce Testerman

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Hidden Things Doyce Testerman-smallThere are plenty of ways to select a new novel to read. Cover art, of course. Recommendation from friends. Plot description. Here, let’s try an experiment. I’ll tell you some things about Hidden Things by Doyce Testerman, and you tell me when you want to read it. Here’s the description:

Watch out for the hidden things… That’s the last thing Calliope Jenkins’s best friend says to her before ending a two a.m. phone call from Iowa, where he’s working a case she knows little about. Seven hours later, she gets a visit from the police. Josh has been found dead, and foul play is suspected. Calliope is stunned. Especially since Josh left a message on her phone an hour after his body was found.

Spurred by grief and suspicion, Calli heads to Iowa herself, accompanied by a stranger who claims to know something about what happened to Josh and who can — maybe — help her get him back. But the road home is not quite the straight shot she imagined…

Okay, I’m intrigued. And the cover is okay. Still, I don’t know about you, but I’m not sold yet. Let’s look at some of the blurbs. Here’s The Blue Blazes author Chuck Wendig:

Testerman tells a story of a secret world that is sad, sweet, funny, and more than a little twisted. This world of wizened wizard-men and demon clowns will lure you into the shadows, and once you meet the characters who live in those dark, strange places, you’ll never want to leave…

Hmm. Wizard-men and demon clowns? Definitely getting closer. But for me, it was this quote from Maureen Johnson that sealed the deal:

Hidden Things reveals the America I want to believe in — dragons on highways, trolls in the hills, motels that lead to new dimensions. I’ll never look at a rest stop the same way again.

Yup, that did it. Dragons, trolls, and motels to new dimensions? I ordered my copy last month. Hidden Things was published by Harper Voyager in August 2012. It is 327 pages, priced at $14.99 in trade paperback and $10.99 for the digital edition. See all of our recent New Treasures here.

Vintage Treasures: Nine Horrors and a Dream by Joseph Payne Brennan

Vintage Treasures: Nine Horrors and a Dream by Joseph Payne Brennan

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Nine Horrors and a Dream-smallBack in September, prodded on by some comments Douglas Draa made in my article on The People of the Black Circle, I tracked down a copy of Joseph Payne Brennan’s short story collection The Shapes of Midnight (which I wrote about in detail here).

I didn’t know much about Brennan (that’s one of the wonderful things about this hobby — always delightful new authors to discover!) I recently came across him again, this time in a collection of 52 vintage paperbacks I bought on eBay for fifteen bucks — a collection which also included The Unknown and Robert Bloch’s Nightmares. (Here’s a pic of the set, since I know I’m gonna get questions about it). The book this time was titled Nine Horrors and a Dream, a very slender paperback containing, not too surprisingly, 10 stories.

Once again I turned to the experts to find out more. Our buddy Douglas Draa talks in detail about the book on his blog, Uncle Doug’s Bunker of Horror. Here’s what he has to say, in part:

Nine Horrors and a Dream has been one of my most sought after books these last several years… the wonderful “Richard Powers” cover art has help to maintain the high interest in this specific collection. So I was very happy to get this book at a fair price…

What I enjoy so much about these stories is Mr. Brennan’s economy of word, sense of place and strong mood. Most of his stories [are] fairly short, but he stills manages to make them into fully fleshed out reading experiences. Nine Horrors and a Dream is a prime example… That calibre of writing [isn’t] something you stumble across every day.

More than enough of an endorsement for me. I find it curious that there’s some story duplication with The Shapes of Midnight, though. And while we’re asking questions, which story is the dream? I suppose that’s all part of the mystery. I plan to dig into in this weekend and find out.

Nine Horrors and a Dream was published in 1962 by Ballantine Books. It is 122 pages, originally priced at 35 cents in paperback. It was originally published in hardcover by Arkham House in 1958. It has been out of print for over five decades. I bought my copy for about 30 cents, as part of a collection.