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Dream a Dream: The Chronicles of Everness by John C. Wright

Dream a Dream: The Chronicles of Everness by John C. Wright

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everness1The Last Guardian of Everness
Tor (336 pages, Sept 2004, $25.95)
Mists of Everness
Tor (352 pages, Feb 2005, $25.95)
By John C. Wright

The Everness of the title is simply a house, a sprawling mansion built on the northern Maine coast.  Everness is a memory palace made real, a house whose features and layout are identical in both the waking and dream worlds, and one of the few gateways where dreams can cross over into manifest reality.  It is a conduit for all the normal dreams that come to humans in their sleep, but it is also a border to be defended.  The run-down seawall of the manifest world is a towering battlement in the Dreaming.

John C. Wright’s Chronicles of  Everness is an epic in two moderately sized volumes dealing with an assault upon our world (the waking world) and a horde of unspeakable evils from our nightmares.  Literally.  The world of the fantastic exists, but only in a vast dream-world composed of a vast population of gods, demons, monsters, fairies, selkies, angels, and supernatural princes.

It’s a difficult pair of books to encapsulate in any reasonable number of words, simply because of the sheer number of ideas, fantastic settings, plot threads, and scenarios Wright manages to stuff between his covers.  On the most basic level, they’re a tale of good versus evil, but that battle is fought in locations ranging from a suburban living room to the towers of an undersea Hell.  The books bite off a lot, and manage to chew through most of it with style.

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Is The Lord of the Rings Literature?

Is The Lord of the Rings Literature?

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alan_lee_the20lord20of20the20rings_coverPart 2 of a 2-part series

Part 1 of this article set the stage for the question, Is The Lord of the Rings literature? Part II examines six criteria commonly used to define works of high literary quality and applies them to The Lord of the Rings.

1. Popular appeal

The argument against: The Lord of the Rings might be popular, but that doesn’t make it literature.

The counterargument: There’s popular, and then there’s an omnipresent, mammoth, overshadowing level of popularity.

How popular is The Lord of the Rings? At last count, it has been translated into 57 languages and is the second best-selling novel ever written, with over 150 million copies sold. Its also a repeat winner of multiple international contests for favorite novel (note the broad term novel, not just fantasy novel). For example:

  • In 1997 it topped a Waterstone’s poll for Top 100 Books of the Century.
  • In 2003 a survey (The Big Read) was conducted in the United Kingdom to determine the nation’s best-loved novel of all time. More than three quarters of a million votes were received, and the winner was The Lord of the Rings.
  • A 1999 Amazon poll administered to its customers yielded the same result.

In short, readers of all stripes, from all around the world, adore this book more than just about any other.

All that said, I will fully admit that this is the least convincing argument, because mass appeal is not necessarily a good indicator of quality. See Justin Bieber. So let’s look at some other criteria.

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Goth Chick News: New Haunted Tunes and Something Cool to Read While You Listen to Them

Goth Chick News: New Haunted Tunes and Something Cool to Read While You Listen to Them

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image008Question: If grungy rock musicians from Seattle get all the Barbie-doll girls, then who gets the Goth Chicks?

Answer: Moody dudes in top hats and capes playing disturbing, dark dirges, that’s who.

Cue the organ music and pull back the black velvet curtains to reveal the boys of Midnight Syndicate and their newest title Carnival Arcane; just in time for your Ray-Bradbury-inspired, Something Wicked This Way Comes themed cocktail party.

You all have one of those, right? Or is it just me…?

The Bradbury reference is inevitable as a haunted, night circus is what immediately came to mind when I listened to this CD. And if clowns are your nightmare, I wouldn’t fall asleep with the track “Sea of Laughter” playing in the background.

The narrative of the disc surrounds the Lancaster-Rigby Carnival, a turn-of-the-century traveling circus with more than a few skeletons in its closet.

Inspired by historical research into carnivals of that time period, Carnival Arcane co-creator (and my musician-groupie crush) Ed Douglas describes the music this way:

We wanted to push the boundaries on this disc. For a band that’s made a career of making “soundtracks to imaginary” films, I think this one feels more like a movie than anything we’ve done to date.

And co-creator Gavin Goszka says:

It’s definitely the most complete and intricate soundscape we’ve ever produced. You can practically smell the popcorn and Fairy Floss (cotton candy). “There’s also a tremendous amount of variety. There are moments where I think the listener will find themselves caught up in this strange sense of wonder and macabre fascination, and others that will leave them shaking in their boots. We were able to expand our instrument roster on this disc in ways that we’d only touched on before.

Each one of the twenty-five tracks is a self-contained gem of a storyline that will strike a nerve with anyone who believes there’s something more disturbing at traveling carnivals than employees without good dental plans.

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Book Jewelry by Emily Mah Jewelry Designs

Book Jewelry by Emily Mah Jewelry Designs

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pendantEmily Mah Jewelry Designs is a company I formed when I decided that raising two small children; writing speculative fiction short stories, romance novels, and jewelry making articles; taking classes in new jewelry media; selling jewelry on Etsy; and figuring out how to stay within my husband’s student stipend budget in London weren’t keeping me busy enough. I was merely overstretched, not fully flirting with insanity, and as a Clarion West survivor and law school graduate, I found that abnormal. So I decided to make use of my law degree, Clarion West connections, and jewelry making skills.

I contacted my workshop-mate, Stephanie Burgis, author of The Un-ladylike Adventures of Kat Stephenson, a middle grade fantasy trilogy set in Regency England. The first book, Kat Incorrigible came out this year in the US (it was released last year in the UK as A Most Improper Magick). Though Steph and I are both Americans, we live as ex-patriates in the UK – me in London and she in Wales. She was immediately in support of the idea and has been the ideal business partner, which is to say, she’s maintained her enthusiasm and been endlessly forgiving as I hit dead ends, overrun self imposed deadlines, and bumble my way through this whole venture. I send her what free jewelry I can to show my gratitude.

Draft pendantAnd now, months later, our collaboration is taking shape. I’ve produced three designs, a pendant that I released at the same time that Kat, Incorrigible hit bookstores, a pair of earrings that debuted at the launch party for the second book, A Tangle of Magicks (this will be released as Renegade Magic in the US next year), and a charm bracelet that just went on the market about an hour before I sat down to write this post. One might ask, how big is the market for book tie-in jewelry like this? I have no idea. Ask me in a year or two. What I can talk about, though, is how we started this venture. …

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Edgar Rice Burroughs’s Venus, Part 4: Escape on Venus

Edgar Rice Burroughs’s Venus, Part 4: Escape on Venus

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escape-on-venus-1st-edition-coverI love Edgar Rice Burroughs. His novels have had an enormous influence on me as a writer and as a pulp fan. But, I must admit, sometimes he wrote … this kind of thing….

Oh, let’s just leap into this and get it over with.

Our Saga: The adventures of one Mr. Carson Napier, former stuntman and amateur rocketeer, who tries to get to Mars and ends up on Venus, a.k.a. Amtor, instead. There he discovers a lush jungle planet of bizarre creatures and humanoids who have uncovered the secret of longevity. The planet is caught in a battle between the country of Vepaja and the tyrannical Thorists. Carson finds time during his adventuring to fall for Duare, forbidden daughter of a Vepajan king. Carson’s story covers three novels, a volume of connected novellas, and an orphaned novella.

Previous Installments: Pirates of Venus (1932), Lost on Venus (1933), Carson of Venus (1938).

Today’s Installment: Escape on Venus (1942)

The Backstory

At the start of the 1940s, Edgar Rice Burroughs decided to try an experiment with three of his properties, all of which had sailed into creative doldrums: Mars/Barsoom, Pellucidar, and Venus/Amtor. The previous Barsoom novel, Synthetic Men of Mars (1939), is one of the few stains on that otherwise superlative series. The Pellucidar novels went into a decline with 1937’s Back to the Stone Age and hit bottom with Land of Terror, which Burroughs failed to sell to any magazine when he wrote it in 1938 and waited to publish it on his own in 1944. Carson of Venus has some positives, but the Venus novels are already much lower on the quality scale of Burroughs’s work. Something wasn’t going right, and the failure to sell Land of Terror must have worried ERB.

It wasn’t just that Burroughs’s writing was in a slump — although it was — that was causing problems, but also the economic realities that were starting to kill the pulp magazines. Comic books exploded at the end of the 1930s and competed for the same young male audience that read the pulps. The magazine companies started cutting back their titles and publishing schedules; this led to reducing the number of serials they ran. Serials work well for a weekly magazine; for a monthly, not so much. Readers wanted their stories complete in each issue, and the publishers couldn’t afford to argue.

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The Seven Greyhawk Classics of the Ancient World

The Seven Greyhawk Classics of the Ancient World

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against-the-giants1I’ve been pretty hard on Greyhawk novels. They’ve been the butt of more than a few jokes — both mine and others — from those of us who enjoy reviewing and talking about the fantasy genre.

I’m generally pretty forgiving, especially with novels of adventure fantasy. What can I tell you — I’m a fan.  But when books can’t be bothered to clamber over the very low bar of my expectations, I’m as capable of a harsh review as anyone.

The novels of Gary Gygax — and in particular his Greyhawk books — routinely limboed under that bar with room to spar, and I’ve said as much in print several times over the years.

Now, I’m second to none in my admiration of Gygax. I consider the man one of the great creative minds of the 20th Century, full stop.

I believe his work with D&D and Advanced D&D — especially the original hardback rules, and the incredibly inventive adventure modules that accompanied them, such as Descent into the Depths of the Earth and The Temple of Elemental Evil — was directly responsible for the mainstream acceptance of fantasy, as manifested in modern role playing obsessions like World of Warcraft and Warhammer.

But his novels?  Poo poo.

tomb-of-horrorsHowever, Gygax wasn’t the only one to pen Greyhawk novels.

Some of them — especially the so-called Greyhawk Classics published in honor of TSR’s 25th anniversary — are remembed quite fondly.

Written by Paul Kidd, Ru Emerson, Keith Francis Strohm, and Thomas M. Reid, and based on some of TSR’s most famous adventure modules, including Against the Giants, Tomb of Horrors, and Keep on the Borderlands, the seven Greyhawk Classic novels formed a nostalgic return to some of the most fondly-remembered adventure settings in gaming.

They were published in mass market paperback by TSR (later Wizards of the Coast) between July 1999 and February 2002, beginning with Against the Giants and ending with Tomb of Horrors.

Here’s the other thing you need to know about the Greyhawk Classic novels: you can’t have them.

They’re among the most collectible D&D novels ever published, and that’s saying something.

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The Thackery T. Lambshead Cabinet of Curiosities

The Thackery T. Lambshead Cabinet of Curiosities

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The Thackery T. Lambshead Cabinet of CuriositiesThackery T. Lambshead
Edited by Ann and Jeff VanderMeer
Harper Voyager (320 pp, $22.99, July 2011)

Dr. Thackery T. Lambshead (1900 – 2003) was a fictional collector of the arcane. His cabinet was no mere front room shelving unit of Cracker Barrel knick knacks and China plates. Think pickled punks, death rays and human skulls that scream uncontrollably during new moons. It is unclear whether Lambshead’s entire home was his cabinet, as visitors were not regularly allowed and tours were given only under duress, but it has been rumored that the whole of his estate in Wimpering-on-the-Brook, England was of museum exhibition quality. If you were speculating where the wonder-bits of the world went, the terrifying bygones, the transmundane thingamajigs – Thackery T. Lambshead had them.

Though he spent his hundred-and-three years surrounded by dangerous oddities, precarious art installments and occult objects, Dr. Lambshead didn’t shuffle off to the Greater Unknown through a latent Crowley curse, an infection from preserved plague rats or squashed under one of his many mechanical animals (rumored to be gods). He died of dishwater-dull heart failure. It’s not exactly that I rejoice in his demise…it’s just…well, now that he’s gone Ann and Jeff VanderMeer have finally been able to intensely study his collection and thereby release, The Thackery T. Lambshead Cabinet of Curiosities, an anthology of what they and other artistic scholars found.

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New Treasures: The Monster’s Corner

New Treasures: The Monster’s Corner

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monstersMonsters!

I have a weakness for monsters.  And who doesn’t, really? I have a theory that sword & sorcery readers all loved monster movies as a kid. We talk about a fondness for the literature of the rugged individual, but secretly we just want to read about monsters.

But enough about me.  The topic at hand is monsters.  And the book at hand, compliments of today’s mail and the publicity department at St. Martin’s Press, is The Monster’s Corner, an anthology of all-new stories edited by Christopher Golden.

All new monster stories, I hasten to point out. 19 tales of classic and original creepy-crawlies, all told from the point of view of the monster. Here’s the marketing blurb:

Demons and goblins, dark gods and aliens, creatures of myth and legend, lurkers in darkness and beasts in human clothing… these are the subjects of The Monster’s Corner, an anthology of never-before published stories assembled by Bram Stoker Award-winning author Christopher Golden.

With contributions by Lauren Groff, Chelsea Cain, Simon R. Green, Sharyn McCrumb, Kelley Armstrong, David Liss, Kevin J. Anderson, Jonathan Maberry, and many others, this is the ultimate anthology on the dark heart of a monster.

I like it. I also like the author line-up: a fine mix of names I admire — including David Moody, Tananarive Due, Michael Marshall Smith, Gary A. Bruanbeck, and the marvelous Tom Piccirilli — and a terrific sampling of up-and-coming novelists whose work I have not yet tried. A great way to survey the horror field while enjoying some fine monster fiction, I think.

Christopher Golden’s previous anthology for St. Martin’s Press was The New Dead, which I quite enjoyed (when my teenage sons finally let me have it back, anyway). The Monster’s Corner is 389 pages in trade paperback, with a cover price of $14.99. The official on-sale date is Sept. 27.

An Excerpt from Shadow’s Lure by Jon Sprunk

An Excerpt from Shadow’s Lure by Jon Sprunk

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s-lure

By Jon Sprunk
Pyr Books (391 pages, $16, June 2011)

Warning: Adult language

Caim pitched forward as a stray root snagged his toe. With both hands bound behind his back, he would have fallen if not for the men holding him upright.

They had been marching for some time now, first across snow-covered fields and then along a hunting trail through woods that turned out to be deeper and more extensive than he first assumed. The trees grew taller than Caim had ever seen before, some more than ten times his height. Masses of black briars with finger-long thorns made travel in a straight line impossible. In the distance rose the dark outlines of hills against the starry sky. If they were the southern tip of the Kilgorms, that would put him roughly southwest of Liovard.

His captors were fifteen cloaked men, including Keegan and his large comrade. Kit flitted among them, peering under their hoods and occasionally darting ahead. Every so often she returned to report her findings, which weren’t much. They were local men, which he had already guessed. None of them wore anything heavier than a thick woolen jacket, but each man held some type of implement in hand, however, whether it was a simple truncheon or a rusty thresher. The big man, Ramon, was their leader, although how Kit discovered that when the men hardly spoke was a mystery to Caim.

A light appeared through the trees ahead. Small and flickering at first, it grew brighter as they traveled, even as the path became more uneven, sometimes disappearing altogether for a few yards before it reappeared. Another few minutes brought the party to a wide clearing lit up by three bonfires. Sturdy boles as wide as a man’s height surrounded a patch of ground seventy paces across.

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Greer Gilman and Cloud & Ashes

Greer Gilman and Cloud & Ashes

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Cloud & AshesI recently finished reading Greer Gilman’s second novel, 2009’s Cloud & Ashes. I’ve never come across Gilman’s first book, Moonwise, but I’m now looking forward to tracking it down.

Cloud & Ashes is a complex, powerful work. It repays careful attention, attentiveness to patterns of imagery, and readiness to work out unknown words from context (this is less a book to read alongside an open dictionary than alongside an open internet connection, which can find obscure, archaic, and dialect words). It demands rereading, and I won’t claim to understand all of it. But I think I can say a few things with confidence — to start with, that it’s a stunning, compelling work of language, and that the apparent occasional difficulty of the text is not only necessary but part of the novel’s overall effect.

In a world much like our own, in a time and place that resembles Scotland or northern England around 1600 in its culture and language use, a generational story of mothers and daughters is played out which derives from and intersects with the seasonal myths of the land. Witches are a real and powerful presence. Companies of guisers travel about, presenting dramas of archetypal powers. And at crucial points of the year, as summer goes out or comes in, everyone takes part in rituals of death and rebirth; a woman must play the part of Ashes each winter, in order to bring in a new spring.

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