Browsed by
Category: Books

A Review of Jack the Giant Killer, by Charles de Lint

A Review of Jack the Giant Killer, by Charles de Lint

Comments 3 comments

jackJack the Giant Killer, by Charles de Lint
Ace (202 pages, hardcover, November 1987)

Charles de Lint’s Jack the Giant Killer is an urban fantasy novel, but it feels more accurate to call it an urban fairy tale. It’s set in Ottawa and makes frequent references to streets and landmarks; I have a feeling I’d get even more out of it if I were the least bit familiar with the city. Fortunately, geographic familiarity is not required to enjoy this story.

Jacky Rowan has just been through a moderately poor breakup. Her boyfriend stormed out after declaring her a predictable, boring shut-in. Partly because of his accusations, partly because of feeling empty and numb, she cuts off her waist-length hair, goes drinking, and then wanders down to a park, reflecting on her life and whether or not it means anything.

She has a distinct impression of someone watching her from the blacked-out windows of one house, but before she has time to reflect on that, she witnesses what appears to be a biker gang chasing down what looks like a small man.

…

Read More Read More

Worlds Within Worlds: The First Heroic Fantasy (Part III)

Worlds Within Worlds: The First Heroic Fantasy (Part III)

Comments 2 comments

William MorrisThis is the third in a series of posts looking at the question of who wrote the first otherworld fantasy: that is, the first fantasy to be set entirely in its own fictional world, with no connection to conventional reality at all. It’s an innovation traditionally ascribed to William Morris, but I think I’ve found an earlier writer who deserves that honor.

In the first post, I considered how to identify a fictional otherworld. I suggested four characteristics, of which a story’s fictional world needed to have at least three to be a true otherworld: its own logic (which might involve, say, the existence of magic), characters who we identified as residents of another world than our own, a coherent history, and a coherent fictional geography. In the second post, I considered ways in which older fantasies were linked to reality — by being set in the past, or in a place beyond contemporary knowledge, or being established as a dream, or as a story within a story, or as a myth. I concluded by discussing what I felt was significant about the idea of otherworld fantasy.

Before going on to present my suggestion for the writer of the first otherworld fantasy, though, I’d like to take a closer look at some past fantasies I thought came very close to presenting self-contained otherworlds. These are works which I don’t think are true otherworld fantasies, but which other people might choose to see as such.

…

Read More Read More

Of Policed Identities and Public Urination: A Review of The City & The City

Of Policed Identities and Public Urination: A Review of The City & The City

Comments 1 comment

city2The City and the City is a murder mystery. That is the first thing. Miéville makes it perfectly clear: the book explicitly follows the rhythms of this genre, the steps as strictly defined as the rules of a sonnet: the death, the jaded, world-weary but still tender-hearted investigator, the discovery that the victim was not quite what she seemed, the additional deaths, the dead ends and red herrings, the gathering momentum, the Explanation between murderer and detective, slotting all the puzzle pieces together in front of all the characters assembled, the wry denouement.

And the fact that an almost superciliously correct mystery can blend so perfectly with the surreality of a fantasy of superimposed cities is due to the fact that, as Miéville says in the Random House Reader’s Circle interview at the end of the book, the crime novel is “at its best, a kind of dream fiction masquerading as a logic puzzle. All the best noir – or at least I should say the stuff I like most – reads oneirically. Chandler and Kafka seem to me to have a lot more shared terrain then Chandler and a true-crime book.”

Spoilers below the cut. Don’t read them. It just tied for the 2010 Best Novel Hugo – just go read the book!

…

Read More Read More

Dragon*Con Report Part 2

Dragon*Con Report Part 2

Comments 12 comments

dragonconlogoI said a few words about Dragon*Con itself in Part 1 of my con report.  In this one, I’d like to share our experiences at the largest science fiction and fantasy convention in North America.

After a long  journey,  Black Gate publisher John O’Neill and I reached  Atlanta late Thursday afternoon. Reviews Editor Bill Ward acted as our elite scout, and was not only waiting with con badges, but had scoped out the route we’d need to follow to unload our boxes and boxes of Black Gate magazines and vintage science fiction paperbacks. While John and I have been corresponding with Bill Ward for several years, we’d never before met him in person, and it was a pleasure to be able to do so. Bill proved to be just as indispensable, organized, and articulate as he is online, and possessed a dry, quick wit as well.

Jason Waltz, owner of Rogue Blades Entertainment, shared a quarter of the booth with us, and although he and his friend John Whitman had driven down from Milwaukee and we had driven down from Illinois and Indiana, we somehow arrived within a few minutes of each other without coordination. I doubt it would have worked out as well if we’d actually planned it. Between the five of us we managed to get all the Black Gate gear and RBE gear unloaded within an hour. Unpacking it and putting it on display took a bit longer, and required additional time the following morning.

…

Read More Read More

English Gothic: Britain Goes to the Movies

English Gothic: Britain Goes to the Movies

Comments 0 Comment

english-gothic2Jonathan Rigby’s ENGLISH GOTHIC (2000) is an excellent survey of British horror and science fiction films. Misleadingly subtitled A CENTURY OF HORROR CINEMA; the book focuses instead on the 20 year period from THE QUATERMASS XPERIMENT (1955) through TO THE DEVIL, A DAUGHTER (1976) when British production companies like Hammer, Amicus, and Tigon consistently outperformed the Hollywood majors in producing the finest and most influential genre films.

Part of the book’s strength is not just Rigby’s detailed and chronological survey of nearly every genre film to come from the British Isles during these two decades, but the fact that he captures the social and economic factors that helped shape the pictures and, more importantly, the public’s reception to them.

The rise of the horror genre in film started with the German Expressionist classics of the silent era and the contemporary Lon Chaney and John Barrymore efforts in the States. The genre solidified with the phenomenal impact of Universal’s horror franchises of the 1930s and 1940s.

The interesting thing here is that the majority of these films remained unscreened or else limited to adult-only audiences in the UK where censorship was extremely puritanical in the first half of the last century.

…

Read More Read More

Sword & Sorcery is Alive and Well at Pyr

Sword & Sorcery is Alive and Well at Pyr

Comments 7 comments

shadows-sonWell, I’m back from Dragon*Con, and my head is still spinning. It would take me weeks to jot down even a partial record of all the events we attended and the great people we met (not to mention the jaw-dropping costumes I was constantly gawking at) — so I think I’ll leave that to Howard, who’s already posted Part I of a splendid con report.

Instead, I’m going to hit the highlights.  The best event we attended at the convention, bar none, was the Pyr Books, a New Voice in Publishing panel, hosted by publisher Lou Anders and attended by Pyr authors Clay & Susan Griffith, Erin Hoffman, Andrew Mayer, Ari Marmell, Mike Resnick, Jon Sprunk, Sam Sykes, and the amazingly cool James Enge.

Why was it so great? Lou highlighted the terrific titles Pyr will be publishing over the next six months in a fast-paced and entertaining slide show, and each of the authors chimed in at appropriate moments to tell us a little more about their books. It was a great way to get introduced to an entire line in under an hour.

And what a line. I haven’t been this intrigued by so many books from a single publisher in a long time.

…

Read More Read More

Worlds Within Worlds: The First Heroic Fantasy (Part II)

Worlds Within Worlds: The First Heroic Fantasy (Part II)

Comments 3 comments

William MorrisThis is the second post in a series trying to answer what looks like a simple question: who wrote the first fantasy set entirely in another world? As I found in my first post, to answer that question you first have to decide how to define a fantasy otherworld. I came up with a list of four characteristics: whether the world has a distinct logic to it, such as the use of magic; whether the people in the world are meant to be perceived as residents of this world; whether the world has its own history; and whether it has its own geography. It seems to me most otherworlds have all four characteristics, with a few interesting cases getting by with three. Any less than three, and you don’t have an otherworld.

Now, traditionally, William Morris has been considered to be the first writer to have set a story entirely in a fantastic otherworld; that is, to write a story in which the real world as we know it never appeared. His was the name suggested by Lin Carter and L. Sprague de Camp, it was accepted by John Clute and John Grant in their 1997 Encyclopedia of Fantasy, and it’s found a place in the repository of all human knowledge, Wikipedia. I, however, am disagreeing; I’ve found an a writer from a few decades before Morris who wrote something that seems to me to be an otherworld fantasy.

Before naming that writer, though, I’d like to tackle a related question. And that is: why did it take so long for somebody to come up with the idea?

Consider: Morris’ The Wood Beyond the World was published in 1894. Even if the first otherworld fantasy was in fact a few decades earlier, then people were still telling tales for thousands of years before coming up with the idea of an independent world (it would be interesting to see when the term ‘world’ began being used in criticism, as in ‘the world of Dickens’ or ‘Shakespeare’s green world’). Why the long delay?

…

Read More Read More

Dracula: Five Not-So-Easy Pieces

Dracula: Five Not-So-Easy Pieces

Comments 2 comments

In November and December 2009, my jaw was wired shut for eight weeks. During that time I read voraciously being able to accomplish little else. Among the many books I devoured were five Dracula-related titles.

dracula_the-un-dead1DRACULA THE UN-DEAD (2009/Dutton) by Dacre Stoker and Ian Holt achieves what it set out to do: bring income from Dracula back to the Stoker family and re-establish Dracula as the literary “property” of Stoker’s heirs by creating a new franchise from the public domain characters.

I wanted to love this book. I wanted to view it as the authorized sequel to DRACULA, the true heir to Bram Stoker’s literary classic. The trouble is one cannot make that claim when the sequel tries so hard to undo everything in the original.

Rather than pay homage to Bram Stoker’s work, the authors spend nearly 400 pages proving to us that everything Stoker wrote was wrong. Prince Dracula (Stoker was even wrong about his title, it seems he wasn’t a Count) was a “good” vampire working for God (a bizarre interpretation of the historical Vlad Dracula’s papal honor – later rescinded – of Defender of the Faith) and the real villain of DRACULA was the historical Countess Elizabeth Bathory who, it turns out, was a vampire and was also Jack the Ripper.

…

Read More Read More

In the Grip of “The Northern Thing:” My Top 10 Northern Inspired Stories

In the Grip of “The Northern Thing:” My Top 10 Northern Inspired Stories

Comments 13 comments

hrolf-krakis-sagaLet us die in the doing of deeds for his sake;
let fright itself run afraid from our shouts;
let weapons measure the warrior’s worth.
Though life is lost, one thing will outlive us:
memory sinks not beneath the mould.
Till the Weird of the World stands unforgotten,
high under heaven, the hero’s name.

–from Hrolf Kraki’s Saga, Poul Anderson

If I had to choose a favorite sub-genre of fantasy literature it would be those writings showing the clear influence of ancient Northern mythology. Fantasy critic Lin Carter once described a group of writers including the likes of J.R.R. Tolkien, Poul Anderson, and William Morris as being possessed by “The Northern Thing”; I too am firmly in that Icelandic grip of iron. There’s just something about tales of pagan heroes possessed of grim northern courage, set against a backdrop of bleak fjords and smoldering mountain peaks and gray lowering skies, that make me want to hop on the nearest dragon-headed longship and go a-viking.

Following in no particular order are my top 10 favorite northern stories. These are stories inspired by northern myth (the Prose and Poetic Eddas), legend (the Icelandic Sagas), or history (the Danish invasions of England), and sometimes all three at once.

1. The Broken Sword, Poul Anderson. Arguably the greatest fantasy novel without the name J.R.R. Tolkien on its cover, The Broken Sword combines Norse mythology, inexorable tragic fate, faerie races vs. encroaching humanity, and Christianity vs. Paganism in a bloodthirsty, unforgettable saga.

2. Hrolf Kraki’s Saga, Poul Anderson. Anderson makes his second appearance on this list, the only author to do so. Hrolf Kraki’s Saga is a terrific, too little known novel that moves with the speed of lightning (just 260 pages) and hits with the impact of Thor’s hammer. It’s also a retelling of the life and times of an actual Danish king of the same name, and is rendered even more powerful and mythic with its tragic Arthurian overtones.

burningland_lg3. The Saxon Stories, Bernard Cornwell. Uhtred of Bebbanburg is a Saxon youth captured and raised among the Danes, who then proceeds to spend the next several books in this yet-unfinished series fighting alternately for both sides in war-torn 9th century England. The Saxon Stories features Cornwell, a brilliant historical fiction writer, at his near-best (though I still prefer his Warlord Trilogy) with Viking raids, shield walls, axes, dark ages combat, hall-burnings, and general mayhem galore. Great stuff.

…

Read More Read More

After the Book Deal

After the Book Deal

Comments 1 comment

In May of 2010 I posted two short essays about something that had been a kind of holy grail for me: obtaining a book deal with a major publisher. That first essay is about the power of making connections; the second concerns itself more with the specifics of my own novel contract. In this third essay I thought I’d talk a little about what happened once the book contract was signed.1793-notebook1

The advice you usually hear is to not quit your day job, so you may be wondering why I did so, since, as I previously mentioned, I was not awarded a gold-plated limousine with my new book deal.  I have a spouse with a good income, and my advance was more than I would make in a year teaching as an adjunct professor at the local university, so my wife and I decided to have me try writing full time to see how it would all pan out. It is not as great a gamble as it might be for someone with a more permanent position, as I can always return to teach more adjunct classes.

In January I began to draft the promised second book. I continued to work away at it until I got the chance to submit a book proposal to a brand new novel line at Paizo. I had enjoyed my communications with Paizo’s Erik Mona and James Sutter during my years at Black Gate, and I’d thought highly of their game products, so I tossed my hat in the ring. The result was another book offer, which has kept me so busy for the summer that I pretty much disappeared from the Black Gate board. I have enjoyed working with the Paizo folks, but as that editorial process is just beginning and that for my first book is wrapping up, I thought I’d talk today about the steps of novel deal one.

…

Read More Read More