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New Treasures: Cold Copper by Devon Monk

New Treasures: Cold Copper by Devon Monk

Cold Copper-smallOne of the best things about editing the print version of Black Gate was discovering great new writers.

Everyone who reads discovers new writers, of course. But I’m talking about finding major new talents while they’re just getting started — still unpublished, or with just a handful of sales under their belts. Trust me, there’s nothing like finding a story that really dazzles you, after long hours slogging through the submissions slush pile. The joy of discovery doesn’t stop after you proudly showcase their work, either. No, you hold your breath, anxious to see what these incredibly talented writers will do next. Where their careers will take them and what wonders they’ll accomplish.

That’s what it was like to publish Devon Monk. I plucked her story, “Stichery,” out of the submission pile in 2000 for Black Gate 2. It was hardly her first sale — she’d sold around a dozen previous stories, to places like Amazing Stories and Talebones — although her name was unfamiliar to me. But the story really impressed me and I knew immediately this was an author who was going places. Her career took off from there; “Stichery” was reprinted in David Hartwell’s Year’s Best Fantasy 2 and many more stories followed. The first novel in her 9-volume Allie Beckstrom urban fantasy series, Magic to the Bone, appeared in 2008, and in 2011 she kicked off a brand new series set in a steam age America where men, monsters, machines, and magic battle for supremacy: Age of Steam. It opened with Dead Iron; Tin Swift followed a year later, and now at last we have the third volume, Cold Copper.

Bounty hunter and lycanthrope Cedar Hunt vowed to track down all seven pieces of the Holder — a strange device capable of deadly destruction. And, accompanied by witch Mae Lindson and the capricious Madder brothers, he sets out to do just that. But the crew is forced to take refuge in the frontier town of Des Moines, Iowa, when a glacial storm stops them in their tracks. The town, under mayor Killian Vosbrough, is ruled with an iron fist — and plagued by the steely Strange, creatures that pour through the streets like the unshuttered wind.

But Cedar soon learns that Vosbrough is mining cold copper for the cataclysmic generators he’s manufacturing deep beneath Des Moines, bringing the search for the Holder to a halt. Chipping through ice, snow, and bone-chilling bewitchment to expose a dangerous plot, Cedar must stop Vosbrough and his scheme to rule the land and sky….

Cold Copper was published by Roc Books on July 2. It is 400 pages, priced at $15 in trade paperback and $9.99 for the digital edition.

Vintage Treasures: The Best of Philip K. Dick

Vintage Treasures: The Best of Philip K. Dick

The Best of Philip K Dick-smallI didn’t know anything about Philip K. Dick when The Best of Philip K. Dick was released in 1977. That was the year Star Wars came out and I was more interested in trying to make a light saber out of my sister’s hair dryer.

I wasn’t alone (about Dick, not my obsession with my sister’s hair dryer). Philip K. Dick was a midlist paperback science fiction writer in the mid-70s, with few awards and only a handful of successful novels to his name, largely unknown except inside the genre. As Robert Silverberg observed in his famous comments on full-time SF writers, “Phil Dick was a full-timer, but lived at the poverty level.”

Dick was an unusual choice for Lester del Rey’s Classics of Science Fiction line for another reason. If you’ve been following the entries so far (see below for a complete list of the titles we’ve covered), you know that a typical volume consists of long out-of-print pulp stories by a writer who later achieved some measure of fame, usually for their novels.

The most recent story in last week’s entry, for example, The Best of John W. Campbell, was “Cloak of Aesir,” originally published in 1939. Similarly with The Best of Henry Kuttner (most recent entry from 1946), C.L. Moore (1946), Stanley Weinbaum (1936), and others.

By contract, the earliest story in The Best of Philip K. Dick, “Beyond Lie the Wub,” originally appeared in 1952. He’d barely been published for two decades by the time this book arrived, which didn’t fit the profile of Del Rey’s other choices at all. In fact, in many ways Dick was the most contemporary subject Del Rey chose for his select line of collections.

I can only conclude that Del Rey saw something special in Dick’s short stories. He wasn’t the only one, either — by the late 70s, the brilliant work being done by Dick at short length was becoming obvious to his fellow writers, even if wider recognition still eluded him. The blurbs on the inside cover reflect this. Here’s Norman Spinrad:

He has produced the most significant body of work of any science-fiction writer.

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The Revelations of Zang: Now In Print

The Revelations of Zang: Now In Print

The Revelations of Zang-small

THE REVELATIONS OF ZANG: Twelve Tales of the Continent is finally available in print format from Fantastic Books. 

The e-book version (from 01 Publishing) has been out for several months, but now readers have their choice of an electronic or good-ol’ paper-and-ink book.

Both versions are now on sale at Amazon.com.

For more info on the collection, see the previous Black Gate posts HERE and HERE.

Enter to Win One of Five Copies of King of Chaos by Dave Gross

Enter to Win One of Five Copies of King of Chaos by Dave Gross

Pathfinder Tales King of Chaos-smallLast week, we announced a contest to win one of five copies of Dave Gross’s new Pathfinder Tales novel, King of Chaos.

You still have a week to enter. All you have to do to be eligible to win is send an e-mail to john@blackgate.com with the title “King of Chaos” and a short 2-3 sentence review of your favorite Pathfinder product, novel or short story, before October 1, 2013.

Need a quick primer on Pathfinder? No problem! You can check out the latest right here at Black Gate — including the first chapters of both King of Chaos and Dave’s previous novel, Queen of Thorns.

Want to read a complete story instead? Try Bill Ward’s 4-part tale, “The Box,” or Howard Andrew Jones’s 4-part mini-epic, “The Walkers from the Crypt,” both available for free at Paizo.com as part of their expansive library of free Pathfinder Tales web fiction — which also includes stories from Elaine Cunningham, Richard Ford, Tim Pratt, Ari Marmell, Robin D. Laws, James L. Sutter, Monte Cook, Ed Greenwood, Erik Mona, Richard Lee Byers, and many others.

If you want to try a complete novel, may we suggest Howard’s Plague of Shadows, or Tim Pratt’s Liar’s Blade?

Interested in the Pathfinder game instead? Read all about the latest releases at the Pathfinder Booth at Gencon last month. We also recently covered Ultimate Campaign, Fey Revisited, and Chronicles of the Righteous.

Dave Gross is the author of Prince of Wolves, Master of Devils, and Queen of Thorns. You can read Dave’s introduction to King of Chaos here and his free stories, “Killing Time” and “The Lost Pathfinder“, at Paizo.com.

And when you’re done, don’t forget to send us an e-mail with your one-paragraph review before October 1, 2013. We’ll draw five winners from all eligible entries and those lucky folks will receive a free copy of King of Chaos.

All entries become the property of New Epoch Press. No purchase necessary. Must be 12 or older. Decisions of the judges (capricious as they may be) are final. Terms and conditions subject to change as our lawyers sober up and get back to us. Not valid where prohibited by law. Or anywhere postage for a hefty paperback is more than, like, 5 bucks. Good luck!

A Point of Transition: Andre Norton’s Witch World

A Point of Transition: Andre Norton’s Witch World

Witch WorldSomehow, when I was growing up, I missed Witch World. Some of the books in the series were always around, as I remember it, in my local libraries and bookstores, but I don’t think I ever read one — if only because I always try to read a series in order, and finding Witch World itself was not always easy. Somewhere along the line, though, I picked up a used copy, and set it aside to be read later. As it happens, there’s been a certain amount of talk about Andre Norton lately, here and elsewhere, and that prompted me to finally turn to the original Witch World novel, and see what I could make of it.

The book was first published in 1963 and ultimately gave rise to well over two dozen sequels, some of them collaborations and some written by other hands. That’s an incredible commercial success, particularly given that this was before the real establishment of fantasy as a well-defined commercial genre. Reading the book now, you can see in it much of what came later; but then also elements of what came before. So to me it feels like a kind of transitional or perhaps transformational work, a significant influence on the development of the genre as a genre.

The story begins with ex-colonel Simon Tregarth on the run from a criminal organisation. He escapes them through the Siege Perilous, a gateway which, Tregarth is promised, will lead him to a new world that will perfectly suit his abilities and desires. He ends up in the Witch World. Largely medieval in its social structure and technology — though there are elements of super-science present as well — it’s also home to magic, psychic powers controlled by the witches of the land of Estcarp, who’re seeking to maintain their realm against their aggressive neighbours. Most aggressive are the mysterious folk of Kolder, who have conquered the nearby island of Gorm with unknowable powers of their own. Tregarth signs on with Estcarp and the book follows him as he and the witches go to war with Kolder, throw their enemies back, and learn something about who it is they fight.

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Vintage Treasures: Hell’s Cartographers, edited by Brian W. Aldiss and Harry Harrison

Vintage Treasures: Hell’s Cartographers, edited by Brian W. Aldiss and Harry Harrison

Hell's Cartographers-smallI’ve been enjoying writing my ongoing series on the Ballantine Best of… books. It’s nice to be able to celebrate all those classic SF and fantasy writers, sure, but it’s also an excuse to talk about how I discovered each of them and what their books meant to me personally.

I don’t think I’m unique in this. SFF readers love to talk about the favorite authors of their youth. Look at the comment threads for any of my Ballantine articles — it’s just a bunch of us old fans yakking about the good old days (and yelling at those kids with their Kindles to get off our lawn).

In truth, this is a long-established tradition. Respected, even. Lots of SF authors did it. Asimov and Damon Knight did it, in Before the Golden Age and Science Fiction of the 30s. So did Brian Aldiss, in Billion Year Spree, and Sam Moskowitz, in Seekers of Tomorrow, Under the Moons of Mars, and just about every book he ever wrote. Perhaps most famously, Kingsley Amis did it in New Maps Of Hell, his celebrated survey of science fiction from 1960.

But probably my favorite example is Hell’s Cartographers, a marvelous collection of “personal histories” from six top science fiction writers: Alfred Bester, Damon Knight, Frederik Pohl, Robert Silverberg, Harry Harrison, and Brian Aldiss. This book is packed with countless anecdotes, fascinating references to SF magazines and ground-breaking stories, and tales of awkward adolescences. And for those of us interested in the history of the field, there is treasure on every page.

There are numerous quotes I could tease you with, but I’ll limit myself to this one, from Damon Knight’s entry, “Knight Piece,” which effectively communicates just how hapless these accomplished young men were around women.

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When is Writing Like a Magic Trick?

When is Writing Like a Magic Trick?

Penn & TellerSimple. When giving the explanation ruins things. When what you don’t tell is as important as what you do tell. Or, at times, when it’s who you tell, not what you tell. After all, magicians’ assistants generally know a great deal more about the trick than the audience does – though there might be things even the assistants don’t know, at least not at first.

Most exposition deals with items and details known to the characters, which then have to be conveyed to the readers. What about things the characters don’t know, but the readers must? When we talk about exposition, and giving explanations, along with the how and the when, we also have to consider the who.

Writers are like magicians in this sense – we’ve got to keep our secrets, at least until the right moment when all (ahem) will be revealed. But here’s what makes our lives trickier than those of stage magicians: our readers are both the audience and the assistants. They’re watching the trick unfold, even while they’re participating in the unfolding.

Probably the most obvious example of this is the use of dramatic irony. You know, when the audience knows something the other characters in the play don’t know, because we’ve witnessed action or events that took place when they were off stage. Plays and movies manage this by, well, moving the other characters off stage – or by soliloquies if it’s Shakespeare (think of the beginning of Richard III, where he tells us what he’s going to do, and the other characters don’t know).

[Aside: ever notice that it’s always the bad guy who tells you his plans? That’s because it’s the bad guys who have plans. Good guys are just minding their own business until the bad guy acts up. I’m sure there’s a language in which “good guy” means “has no particular plans.”]

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New Treasures: The Blue Blazes by Chuck Wendig

New Treasures: The Blue Blazes by Chuck Wendig

The Blue Blazes-smallAnd so we continue our celebration of the latest crop of fabulous new paperbacks from Angry Robot.

Angry Robot is rapidly becoming one of my favorite publishers. Sure, we highlight a lot of great independent publishers here — folks like Haffner Press, Night Shade, Prime Books, Paizo, Pyr, Orbit, Titan, Solaris, and many others — but most of them concentrate on hardcovers and trade paperbacks, where profit margins are much higher. The low-margin mass market paperback is a much riskier proposition these days, especially when you’re taking a risk on new writers without an established audience.

But we still love paperbacks here at Black Gate. We love the way they’re packaged, and even the way they smell. And we especially love publishers willing to take chances on new writers. And those paperback publishers willing to take chances on gonzo, edgy, hugely original ideas from daring new writers… we just want to take them home and snuggle them. And make them a warm batch of chocolate chip cookies.

The Blue Blazes is the third Chuck Wendig novel from Angry Robot. They’ve also published Blackbirds and Mockingbird, as well as the upcoming The Cormorant. But it was The Blue Blazes that really grabbed my attention last time I was at Barnes & Noble. Sure, the marketing text on the back was intriguing:

Meet Mookie Pearl. Criminal underworld? He runs in it. Supernatural underworld? He hunts in it. Nothing stops Mookie when he’s on the job. But when his daughter takes up arms and opposes him, something’s gotta give…

But it was the blurb from Empire State author Adam Christopher that really sealed the deal:

The Blue Blazes is exactly my kind of supernatural mob crime novel: dark and visceral, with an everyman hero to root for and Lovecraftian god-horror to keep you awake at night… this is the good stuff, right here.

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Wrath-Bearing Tree by James Enge

Wrath-Bearing Tree by James Enge

The first time I saw a James Enge novel on the shelf of my local bookstore, I broke into a little dance of jubilation. I’d been reading Enge’s short stories about Morlock the Maker in the pages of Black Gate — this was when BG had literal paper pages — and it was news to me that Enge had made the leap from short fiction to novels.

The blurbs on Enge’s books all say some variation on this theme: you will find no other character in fantasy literature, or maybe in literature generally, who is like Morlock the Maker. He’s a traumatized combat veteran who’s still one of his world’s great ass-kickers, yet he’s also an enthusiastically geeky mad scientist. He’s a cynic who will risk all he has to protect innocence where he finds it. He’s wickedly funny, in fewer words of dialogue than should really be possible. Read around in Morlock’s world a while, and you feel pretty soon like you know him, but you can never guess what he’ll do next. A Morlock novel! Could anything be better?

Over the next few years, Enge followed Blood of Ambrose with This Crooked Way and The Wolf Age, and it turned out the one thing better than a Morlock novel was a whole trilogy of Morlock novels.

I loved the cranky old Morlock, the character whose curmudgeonliness sometimes verged on becoming a superpower, so I am still getting used to Enge’s new Tournament of Shadows trilogy about Morlock’s origin story, which began with A Guile of Dragons and now continues with Wrath-Bearing Tree. As a young man, our hero is every bit as odd, unpredictable, noble, hilarious, tragic, clear-eyed, and difficult as his future self, but he hasn’t yet put the damage on and become the ugly old man we loved in the short stories that became This Crooked Way.

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Who Took the Flowers Out of my Prose?

Who Took the Flowers Out of my Prose?

Conan Red Nails-smallOver here in England, we have a shop called ‘Poundland,’ which is pretty much what it says on the tin: a shop where everything costs a single pound, and for a boy of about ten, it was a dream come true. All the flimsy toys, dodgy sweets and budget DVDs my little mind could conjure — there was a book section as well, but it mostly consisted of either absolute rubbish or books about Simon Cowell.

But one particular day, when I was about ten, I happened to spot a diamond hidden amongst the rubbish: an anthology of stories by Robert E Howard. I’d never heard of him at the time, but the book had Conan in the title.

I had heard of Conan. My brief experience with the two movies told me I liked big swords, big monsters, and Arnold Schwarzenegger as much as the next ten-year-old, so I decided to buy it. On the train ride home, I found myself introduced to a new, vivid, and lively world, one of blood and savagery, of death and shadow, of lurking devils and skulking gods. I was exposed to a land of witchcraft, sorcerers, devils and demons, nations torn apart by brooding crusaders kings and swashbuckling puritans. It was the best train ride of my life.

“That’s all well and good, Connor,” you might say, “but what’s this got to do with prose?” Show a little patience; I’m getting to that.

What enchanted me most throughout these adventures was the prose; it just had its own nature and flavor, its own distinguished way of presenting things. I’d never encountered anything like it before; it was poetic, haunting, powerful. It lent every blow a sort of impact, made every monster tangible. Even the heroes — too powerful, too fast, too smart to ever be real — it made them come alive.

And in fantasy, where a key aspect is immersion, this is an impressive achievement. I touched upon this not too long ago with my Fantasy Face-off article; noting that prose dictates the way we see the world on the page and, therefore, how vivid and real it is. Prose overshadows flaws when it’s successful and highlights them when it’s not.

But what I didn’t mention was how prose can amplify the tone of the book. Fritz Leiber’s prose is rather light, reflecting the comic, satirical feel of his books. Howard’s is fast, rip-roaring and powerful, much like the pacing of his books and the characters within them. Tolkien’s prose, though it can sometimes be lacking, feels reminiscent of a fairy tale.

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