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Vintage Treasures: The Best of James Blish

Vintage Treasures: The Best of James Blish

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The Best of James Blish-smallAnd so we come to the final Classics of Science Fiction volume, The Best of James Blish, published in August 1979.

Final as in the last one published, not the last one we’ll talk about here. We’re at roughly the halfway point in terms of coverage, as I’ve only written about 11 of the 21 volumes so far. I’m not covering them in chronological order (but that probably would have been a good idea, now that I think about it).

As we’ve discussed in the Comments section of previous posts, Lester Del Rey’s Classics of Science Fiction library is perhaps the finest mass market survey of early 20th Century short SF and fantasy. But looking at it purely from a historical viewpoint, it sure made some odd choices.

Where’s the Best of Robert A. Heinlein, for example? Or Isaac Asimov? Arthur C. Clarke? For that matter, Jack Vance? Keith Laumer? A.E. van Vogt or Gordon R. Dickson? Larry Niven, Harlan Ellison, Ray Bradbury, Robert Silverberg, Poul Anderson, Ursula K. Le Guin, Theodore Sturgeon, Frank Herbert, or Anne McCaffrey?

The answer is simple, of course. Del Rey was limited to publishing the stories he could get rights to — and the short fiction of many of the genre’s top writers, including Asimov, Heinlein, Bradbury, and Clarke, was tied up with other publishers. It’s a wonder he was able to acquire as many top-flight writers as he did.

And there were obviously commercial factors weighing on his selection as well. While some of his early authors — like John W. Campbell and Stanley Weinbaum — had stopped producing fiction decades ago, Del Rey caught on quickly to the idea that his popular Best of… line was a great way to introduce readers to his midlist authors. And so later entries included The Best of Raymond Z. Gallun and The Best of Hal Clement, authors with a much lower profile than Leiber, Henry Kuttner, or Edmond Hamilton, but who had the good fortune to have books in print from Del Rey in the late 70s.

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New Treasures: Three by Jay Posey

New Treasures: Three by Jay Posey

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Three Jay Posey-smallIn case anybody has surfed over accidentally from io9 or something, I want to make clear that we’re a fantasy website. Fantasy is J.R.R. Tolkien, Conan, Harry Potter, movies with wizards, pretty much any game with oddly-shaped dice, most anime, and those secret daydreams you have about Scarlett Johansson. That’s fantasy.

We don’t cover much mystery, current events, or science fiction. Except maybe for Star Trek, ’cause it’s Howard’s favorite show, and we’re big William Shatner fans (but who isn’t?)

I mention this because I bought a copy of Three today and thought I would turn it into my Saturday New Treasures column. But no sooner do I settle into my big green chair and crack it open, then I discover it’s actually science fiction. Should have paid more attention in Barnes & Noble. That’s what dreaming about Scarlett Johansson will do to you.

Well, what the heck. Still looks more like fantasy than SF to me. Three is the first book in a new trilogy (see? What’s more fantasy than that!) called Legends of the Duskwalker. Here’s the book description.

The world has collapsed, and there are no heroes any more. His name is Three, a travelling gun for hire in a dying world. He has no allegiances, no family, no ties.

Against his better judgment, he accepts the mantle of protector to a sick woman on the run, and her young son. Together they set out across the plains in search of a mythic oasis, attempting to survive the forces that pursue them, and the creatures of the dark. In these dark times, a hero may yet arise.

Angry Robot, in their efforts to be helpful, have the words “Not a sequel” buried in the copyright page. That was helpful, actually. They’ve also printed handy category labels on the back — apparently Three should be filed under Science Fiction, Apocalyptic Wasteland, A Journey Home, Three For All, and Fear the Weir. Fear the Weir? Let’s just say that book categorization sure has changed since I learned the Dewey Decimal system, and leave it at that.

Three was published by Angry Robot on July 30.It is 480 pages, priced at $7.99 for the paperback and $6.99 for the digital edition. The moody bloke-in-a-cloak cover is by Steven Meyer-Rassow.

The Devil in the Details: A Review of Lawyers in Hell

The Devil in the Details: A Review of Lawyers in Hell

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Lawyers in Hell-smallLawyers in Hell (Heroes in Hell, Volume 12)
Created by Janet Morris, edited by Janet and Chris Morris, and written “with the diabolical assistance of the damnedest writers in perdition.”
Perseid Press (456 pages, June 8, 2011, $19.95 in trade paperback)

This is volume twelve in the most clever and interesting shared-universe series I’ve ever had the pleasure to read. Lawyers in Hell actually precedes Rogues in Hell and Dreamers in Hell, both of which I previously reviewed here. And like those other volumes, this one is also outstanding.  So let me start off with a bit of info on what’s going on this time around in Hell, among the characters drawn from the pages of history, legend, folklore, and mythology.

Hell is a twisted, ironic echo of life on Earth. Here the mighty have fallen, though they retain some delusion of grandeur. Here the lowly have risen in rank, though they are no more than toys for Satan to play with. Everyone in Hell is HSM’s (His Satanic Majesty’s) pawn, his puppet.

Erra is the Babylonian god of mayhem and plague, and rumors of Erra and his 7 Sibitti enforcers running amok in Hell are spreading like hellfire. They have been sent by Heaven to audit Hell, to enforce punishment equally. They are there to make damned sure that every damned soul in Hell “receives injustice justly. Or something like that,” to quote author Nancy Asire. “Lawyers are shaking in their boots or salivating over their opportunities.”

As the title of this volume suggests, each story/chapter revolves around legal battles being fought, court cases being heard, and lawsuits being drawn up. Everyone in Hell wants out of Hell and the damned are going through whatever legal system there can be said to exist in Hell. Where’s Perry Mason when you need him? I don’t think he’s in Hell. Not yet, at any rate.

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Low Adventure: Clasp-knives and Fortunetelling in Carmen

Low Adventure: Clasp-knives and Fortunetelling in Carmen

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Prosper Mérimée Carmen-smallWhy does it have to be the days of “high adventure?”

Low adventure can be extraordinarily riveting, as I recently found when I revisited Prosper Mérimée’s Carmen, the novella that inspired the Bizet opera. I’d read it once before, after seeing the (definitive, to my taste) Rosi film of the opera in the early 80s. Thanks to that film, I was so enchanted with the light and color of Andalusia that on my first trip to Europe I spent the better part of it there, on the coasts, in the alleys of Gibraltar, and especially in the stony mountains of Spain’s Sierra Nevadas. Thanks to a stay at an Andalusian cortijo (estate-farm) I was able to see some of the more remote areas on horseback, dragging a dutiful, saddlesore (need I say “ex”?) girlfriend behind who would have much rather been sunning on the beaches of Marbella or examining the wonders of the Alhambra.

Spain is a country of regions. The differences you might notice between northern Italians and southern are trebled in the expanses of Spain, divided as it is by mountains and joined by indirect routes reaching back into the dust of antiquity. There’s something of Robert E. Howard’s Zamora in Andalusia. Rome, the Caliphate, Catholicism, and for the history-minded traveller with a good guidebook, traces of the Phoenicians, Carthaginians, and Napoleon can still be found. Each province has its flavor, industrious Bilbao, pretentiously bustling Madrid, historic Toledo, artistic Barcelona, leaving a distinct impression. The Andalusians are famous for just living life. Every meeting is an excuse for a party, every parting as one between old friends. Visiting Spain revised my personal definitions of “courtesy” and “hospitality.”

I see I’ve imitated Mérimée in framing these notes, elaborating the circumstances of my acquaintance with Carmen and Don Jose and the search into their origins. So enough about me.

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“And They All Lived Happily Ever After”

“And They All Lived Happily Ever After”

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The Snow Queen's Shadow-smallNot a lot of exposition in that type of ending, was there? Didn’t tell us much of what happened “after” – which actually turned out to be quite handy, when you consider the number of writers who have gone on to tell that “after” tale. Take Jim Hines and his Princess Novels, for example, where we learn the true, ever-after fates of Cinderella, Snow White, and Sleeping Beauty.

We no longer see much of that type of ending, perhaps because when that phrase was used more often than it is now, there was an understanding of what “after” meant, and what “happiness” was, that removed the need for any further details.

What I’m really talking about here, of course, is that old story structure chart we were taught in school, the action that rises to the climax, followed by the denouement. Where “climax” is defined by “the point at which you know how the story ends” and “denouement” is defined by “what happens after that point” – or, as we might call it, the final exposition.

We’ve all had the experience, when discussing a movie or a book with our friends, of finding that some of us want the “final” explanation, the wrap up after the climax, and some of us are satisfied that we know what happens “after,” without having it spelled out for us.

The fact is that often where you as the writer want to stop isn’t where readers want you to stop – or so my editor tells me. In my own case, with my first novel, The Mirror Prince, I had what I thought was the perfect spot to end the story. Both my agent and my editor told me that I had to tell a little bit more, that the readers would want to know what happened after.

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New Treasures: The Doomsday Vault by Steven Harper

New Treasures: The Doomsday Vault by Steven Harper

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The Doomsday Vault Steven Harper-smallThere’s no shortage of intriguing new SF and fantasy series out there and more arriving every month. So how is a busy reader supposed to choose?

Easy! Based on cover art, of course. Duh. Plus, it doesn’t hurt to apply what I like to call The O’Neill Rule — always wait until at least the fourth installment in a series arrives before you commit to the first one, so you’re less likely to get caught in a George R.R. Martin-like wait between volumes.

The Havoc Machine, the fourth novel in Steven Harper’s Victorian steampunk-zombie Clockwork Empire series, was published earlier this year. And that means I can finally crack open the first, The Doomsday Vault. Good thing too, because it has a killer cover and the wait was killing me.

The Honorable Alice B. Michaels is in a life or death struggle for survival — socially speaking, that is. At twenty-one, her age, her unladylike interest in automatons, and the unfortunate deaths of most of her family from the clockwork plague have sealed her fate as a less than desirable marriage prospect.

But a series of strange occurrences are about to lead Alice in a direction quite beyond the pale. High above the earth on the American airship USS Juniper, Gavin Ennock lives for the wind and the sky and his fiddle. After privateers attack the Juniper, he is stranded on the dank, dirty, and merciless streets of London. When Alice’s estranged aunt leaves her a peculiar inheritance, she encounters Gavin under most unusual — even shocking — circumstances.

Then Alice’s inheritance attracts the attention of the Third Ward, a clandestine organization that seizes the inventions of mad geniuses the plague leaves behind — all for the good of the Empire. But even the Third Ward has secrets. And when Alice and Gavin discover them, a choice must be made between the world and the Empire, no matter the risk to all they hold dear.

Steven Harper also writes SF and movie novelizations under the name Steven Piziks, and romantic suspense under the name Penny Drake. The Doomsday Vault was published by Roc Books in November 2011. It is 382 pages, priced at $7.99 for both the digital and paperback version. It was followed by The Impossible Cube (May 2012), The Dragon Men (November 2012), and The Havoc Machine (May 2013).

War – What is it Good For? Violence in Fantasy Literature

War – What is it Good For? Violence in Fantasy Literature

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Swords and Ice Magic-smallI grew up on pulp fantasy, enthralled by the adventures of Conan, John Carter, Elric of Melnibone, Fafhrd and the Gray Mouser, and others of that ilk.

They didn’t shirk from danger, whether it be breaking into a wizard’s lair to purloin a rare jewel, battling hordes of evil minions, or challenging the gods themselves. Violence — the bloody conflict between brawny people with big, pointy weapons — was their meat and mead.

And when it came time to unleash my inner voices and craft my own tales, I drew most heavily upon the works of those old masters. At first, I didn’t delve much into my own motivations for doing so. It was enough that I was writing stories that I enjoyed and that (eventually) others seemed to like as well.

But what was I doing? All this fictional bloodshed and the mountains of imaginary bodies piled up before the altar of reading entertainment — what was it good for? Is it wrong for me to perpetuate a style of literature where problems are so often solved with swords and arrows?

(Okay, I want to pause here and tell you that when I read back that last line, my initial reaction is, “Hell no! I’m doing a public service!” Back to the article.)

When I was planning Shadow’s Son, the first book in my Shadow Saga, the main character Caim was originally going to be a thief by profession. I even played with the idea of portraying him as a pacifist, a sort of anti-Conan. Yet, I eventually came to the conclusion that the story would be more satisfying to… well, to me, for starters… if I changed him to an assassin. Still roguish and anti-establishment, but with a much higher THAC0.

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Jack Williamson, Lin Carter and Appendix N: Advanced Readings in D&D

Jack Williamson, Lin Carter and Appendix N: Advanced Readings in D&D

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The Humanoids-smallMordicai Knode and Tim Callahan are making me look bad.

I know, what else is new. But seriously, these two have taken on the project of a lifetime — reading every author in Gary Gygax’s famous Appendix N (all 29) and reporting back in great detail every week at Tor.com.

I took on the project of a lazy Saturday afternoon: read their posts whenever I got around to it and report back here every two weeks or so. Sounded easy at the time. But Knode and Callahan still somehow managed to get way ahead of me. They’re relentless — since I last checked, they’ve covered Jack Williamson, Lin Carter, and John Bellairs, and meanwhile I’m still trying to figure out where the hell I left my copy of The Face in the Frost.

Okay, time to play a little catch-up. Let’s start with post 14 in the ongoing series, in which they tackle Jack Williamson’s classic SF novel, The Humanoids:

Mordicai: I’m just unclear on how it relates to Dungeons and Dragons. I mean, you could have a whole campaign about golems or Inevitables or Modrons and co-opt the plot from this book, but I think that is a stretch. Maybe the lesson you could learn from this book is that making hugely flawed characters is more interesting than making banal superhuman heroes who laugh in the face of danger and never give into the temptation to pry the ruby eyes out of the idol of Fraz-Urb’luu?

Tim: Yeah, I don’t see the Dungeons and Dragons link at all, and I am pretty darn sure Gary Gygax didn’t have any Modrons in mind when he generated his list of fave books. The Modrons are wonderful and all — who doesn’t like Rubik the Amazing Cube mashed up with Mr. Spock — but they aren’t central to early D&D. Or any D&D. Ever.

But, to be fair, Appendix N doesn’t specifically name The Humanoids as an influence, but mentions Jack Williamson in general. Probably his pulpier early stuff was what Gygax had had in mind. In retrospect, we should have read the Legion of Musketeers in Space with Falstaff and Friends book. But something called The Humanoids sounds like D&D from a distance. If you squint. And don’t read the back of the book.

Yeah, The Humanoids has nothing to do with D&D. Could have told you that. Guys, guys. You should have read our Jack Williamson feature last month. This is why we do this stuff.

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Sea-Change

Sea-Change

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moldvay-basic1Fantasy literature and Dungeons & Dragons have a long history together. In his foreword to the original edition of the game (dated November 1, 1973), Gary Gygax specifically references several authors’ works, such as “Burroughs’ Martian adventures where John Carter is groping through black pits,” “Howard’s Conan saga,” “the de Camp & Pratt fantasies,” and “Fritz Leiber’s Fafhrd and the Gray Mouser pitting their swords against evil sorceries.” There are also – or, rather, were – references to Tolkien as well, but these were excised after the Professor’s estate objected (the excisions were not very thorough; even in later printings, one can still find occasional references to ents and balrogs, among other things). My own beloved “Blue Book” edition of D&D (edited by J. Eric Holmes) includes references not only to Tolkien, Howard, and Leiber, but also to Gardner F. Fox, creator of Alan Morgan, Kothar, and Kyrik, as well as to H.P. Lovecraft’s Great Old One, Cthulhu.

By now, Appendix N of the Dungeon Masters Guide is well known, both on this site and elsewhere. What many people do not know is that Gygax produced a “rough draft” of that appendix in issue number 4 of Dragon magazine (December 1976). Entitled “Fantasy/Swords & Sorcery: Recommended Reading,” its content is roughly the same as that in Appendix N. It’s primarily noteworthy for including Algernon Blackwood, though Gygax makes no reference to any titles he recommends from this great British writer of ghost tales. Another interesting aspect, at least from my perspective, is that, unlike Appendix N, which is quite clearly presented as a list of the books Gygax himself found “of particular inspiration” (to borrow his own phrase once more), this early version is presented as one of “recommended reading,” as if he were an instructor drawing up a list for an Introduction to Fantasy Literature course.

Fascinatingly enough, the 1981 edition of Dungeons & Dragons, edited by Tom Moldvay, includes an extensive “Inspirational Source Material” section that was drawn up, not by a university professor, but by a children’s librarian at the Lake Geneva Public Library. This librarian, Barbara Davis, is given a “special thanks” citation in the rulebook’s credits for “compiling part of our bibliography.”

Though it’s quite possible, even likely, that many of the titles included in the 1981 list were inspirational to Moldvay or to other members of the editorial team at TSR Hobbies, its presentation is much different than that of Appendix N. Whereas Gygax simply lists his favorite authors in alphabetical order, the later list is divided into several categories in an almost scholarly fashion. The three largest sections are “Fiction: Young Adult Fantasy,” “Non-Fiction: Young Adult,” and “Fiction: Adult Fantasy.” There are also sections for “Short Story Collections” and “Non-Fiction,” as well as a list of “some additional authors of fantasy fiction.”

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Three Against the Witch World by Andre Norton

Three Against the Witch World by Andre Norton

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oie_2122256U6CJIW64Daybreak - 2250 A.D.-smallWhen I was growing up in the seventies, the most represented science-fiction author in the children’s section of my local library was Andre Norton. Her books took up more shelf space than either Robert Heinlein or Isaac Asimov. Maybe the children’s librarian was a fan.

And then there were the Andre Norton books on my father’s bookshelf. As cool as the cover of Daybreak – 2250A.D. looked, I never read it. For the next forty years, I managed to avoid anything by Norton.

Then two years ago, as I was getting my Swords & Sorcery blog up to speed, I pulled out my copies of Lin Carter’s Flashing Swords series. There in the second volume was “Toads of Grimmerdale” by Andre Norton.

Carter’s enthusiastic introduction was enough to make me give it a shot. Since I knew many of Norton’s novels were young adult, I wasn’t expecting a story about revenge. Woven from strands of darkness and shards of ice, it’s a haunting introduction to Witch World that I strongly recommend.

“Toads” was enough to make me root through the boxes of my dad’s old books, hunting for other Witch World stories. Since then, I’ve read the first three novels in the series — Witch World (1963), Web of the Witch World (1964), and Three Against the Witch World (1965) — as well as two collections of stories: Spell of the Witch World (1972) (reviewed by me at my site) and Lore of the Witch World (1980). It’s the third novel I will speak of here.

In Witch World (just reviewed here by Matthew David Surridge), Norton takes ex-U.S. soldier and blackmarketeer Simon Tregarth and tosses him through a dimensional gate. He must adjust to a world of super-science and magic, and quickly at that, for he must choose sides in a war. Simon is immediately caught up in the affairs of the witches of Estcarp and their ongoing struggle against the thuggish realm of Karsten. He joins a group of exiles and settlers from other dimensions and plunges into battle on and under the sea, in the air, and into far dimensions.

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