Browsed by
Category: Books

Feathers on the Waves

Feathers on the Waves

491px-the_lament_for_icarus. . . And the boy thought,
This is wonderful! and left his father,
Soared higher, higher, drawn to the vast heaven,
Nearer the sun, and the wax that held the wings
Melted in that fierce heat, and the bare arms
Beat up and down in air, and lacking oarage
Took hold of nothing. Father! he cried, and Father!
Until the blue sea hushed him, the dark water
Men call Icarian now. And Daedalus,
Father no more, called “Icarus, where are you!
Where are you, Icarus? Tell me where to find you!”
And saw the wings on the waves, and cursed his talents,
Buried the body in a tomb, and the land
Was named for Icarus.

—Ovid, Metamorphoses Book VIII

Where does the love of fantasy, and of storytelling, start? For every person it’s different, of course. For me it begins with feathers on the waves.

Those feathers, the remains of Icarus’s joyful but tragic flight toward the sun when he forgot his father’s warnings, are specific for me. But the broad world of the tales of the Greeks and Romans are a gateway for many people into fantasy. Whether it started with the Minotaur, the war at Troy, the labors of Heracles, Bellerophon on Pegasus against the Chimaera, or Perseus and Medusa, the Greek’s ancient religion and the poets whose writing let it survive have introduced countless readers to the fantastic and the greatness it can achieve.

I’ve often thought about the source of the power of the Greco-Roman legends, their heroes and the gods, and why they still have such enormous affect on us today, when no one worships them any more. They were even losing their grip on religious importance in the time of Ovid, one of the greatest tellers of their exploits. In the twenty-first century, the Iliad is no less an engrossing a story, the plays of Sophocles can still ensnare an audience, and even Hesiod can infuse a sense of wonder in a modern reader as he writes about the beginnings of all things.

Read More Read More

A review of The Woman Who Loved Reindeer, by Meredith Ann Pierce

A review of The Woman Who Loved Reindeer, by Meredith Ann Pierce

reindeer1The Woman Who Loved Reindeer, by Meredith Ann Pierce
Magic Carpet Books (256 pages, $5.95, May 2000)

To begin with, I should tell you that I adore Meredith Ann Pierce’s writing. It has a sense of fairy tale about it, a simple yet otherworldly quality. I will happily read anything she’s written and recommend it to others.

Nevertheless, I have to say that The Woman Who Loved Reindeer might push some peoples buttons for reasons that have nothing to do with the high-quality prose.

Caribou is an isolated girl of thirteen or so, living away from her people because of her true dreams and possible magic. Then her sister-in-law unceremoniously gives her a baby to care for. Although Caribou resents the request — the sister-in-law admits that the baby isn’t her husband’s — an obscure impulse makes her accept the child. And then her life starts to get both richer and stranger.

The child — Caribou names him Reindeer — is not entirely human. When he’s still a baby, a golden reindeer nearly takes him away. As he grows, Caribou dreams of him as a reindeer calf and notices that he casts a reindeer’s reflection in the water. Also, he doesn’t entirely comprehend human emotion. He’s a trangl, a shapeshifter who turns into a reindeer, a being that Caribou’s culture fears as essentially untrustworthy — a view that’s not entirely unfounded, since Reindeer seems to have a limited capacity for empathy.

Read More Read More

Saints and Shrieks: Jeff VanderMeer’s Ambergris Fiction

Saints and Shrieks: Jeff VanderMeer’s Ambergris Fiction

City of Saints and MadmenI don’t know what makes a novel great. Maybe every great book is great in its own way. I suspect, though, that a novel’s greatness resides most often either in its structure (not just its plot, but its balancing of themes and elements, its division into units like chapters, and its decision of what to describe and when) or its prose (its ability to make every word count, not only in depicting character and setting, not only in moving forward story, but in advancing the theme of the book, what it’s about, the idea that prompted the telling of the tale in the first place).

I suspect also that truly great novels fuse the two things, so that stylistic choices are an outgrowth of structure, while structural elements are visible in the voices the story uses. And all these things are always surprising the reader, even while making perfect sense.

Which brings me to Jeff VanderMeer, and his three novels of the fictional city of Ambergris: City of Saints and Madmen, Shriek: An Afterword, and Finch.

This is not a typical trilogy. The three books are very different from each other in both style and structure, although they do have some themes and characters in common. Chiefly, they have Ambergris in common.

Ambergris is a strange place, a baroque metropolis defined by wars between sprawling merchant houses, the orgiastic annual celebration of the Festival of the Freshwater Squid, and a mostly-subterranean nonhuman race called Grey Caps. The city changes over the course of the books — its technology shifts, its social structure is altered — but then the way we see the city changes as well.

Read More Read More

Best American Fantasy comes to an End

Best American Fantasy comes to an End

best-american-fantasy2aOver at Ecstatic Days, Jeff VanderMeer has announced that the annual anthology series he founded with Ann VanderMeer, Sean Wallace, and Matthew Cheney, Best American Fantasy, has wrapped up after three volumes.

The first, published in 2007 by Sean Wallace at Prime Books and edited by Jeff and Ann VanderMeer, was an eclectic and delightful mixture of fantasy assembled from Zoetrope: All-Story, Analog, McSweeney’s, Zahir, Strange Horizons, The New Yorker and others sources, featuring nearly two dozen writers I’d never heard of. The second offered a slightly more familiar cast, including Jeffrey Ford, Kelly Link, and Peter S. Beagle, but still cast a wide net to include fiction from Cincinnati Review, Tin House, Barrelhouse, Harpers, Mississippi Review, and many others.

With the third volume the series jumped to Victoria Blake’s Underland Press, and changed editor to Kevin Brockmeier (our review, by David Soyka, is here). It contained work from Stephen King, Lisa Goldstein, Peter S. Beagle, Jeffrey Ford, and others. Jeff reflects on the decision to end the series thusly:

The amicable move from Prime to Underland following the publication of BAF2 was meant to rejuvenate the series and to finally achieve stability for it. Unfortunately, this didn’t occur, for a variety of reasons. BAF did not having a wide margin for error. A cross-genre fantasy year’s best that focused not just on genre magazines but also on literary magazines, that required sympathy and generosity from both the mainstream and genre, as well as the right placement in the chains, was always going to be a difficult sell.

New series editor Larry Nolen has posted the short list of stories under consideration for the unpublished fourth volume here — including fiction from Richard Parks, Sean McMullen, and Catherynne M. Valente, and four stories from Clockwork Phoenix 2.

Whither the Bookstore?

Whither the Bookstore?

bn_logo2Following up on John’s post (and subsequent discussion) concerning the predicament of Barnes and Noble, which seems to be getting a taste of its own medicine as e-books and online book buying may relegate the superstore concept as nostalgic as the local independent book dealer, is this article from The New York Times. What’s interesting is the prediction that despite the growing acceptance of reading on handheld screens and website ordering, surviving independent stores may still flourish because of their personalized service to niche customers.

thin21Makes sense. Every time I go into an independent bookstore, I feel compelled to buy something even if I already have to many books I haven’t read yet, much less that I could get the book cheaper online (or even at Barnes and Noble). One reason I like to support these guys is that there’s something very attractive about “non-chain store” shopping, where owners have put their own individual stamp on the presentation and perusal of their wares.

True, they may not be as deep stocked as B&N (or at least used to be).  But, funny how the books they do carry in the fiction section are almost exactly the kinds of things I’m interested in.

To give B&N its due, though, I always thought it conveyed more a sense of a traditional bookshop than its much more troubled competitor, Borders. (Gone into one lately?  It’s like Waldenbooks on steroids, meaning appealing to the lowest common denominator is even more depressing when it’s bloated with stationary and puzzles).  And the people who worked there do seem to be knowledgeable and enthusiastic about books, unlike some of the clueless clerks you might find in a mall record store (do they still have those?).

As for what will happen to the physical book once we’re all reading on our Kindles or iPads or inner eyelid digital display inlays, check out this article by Rob Walker, also from theTimes.  I particularly like the idea of using an old discarded book to house your Kindle. And that someone could actually sell it for $25.

See, all those books bending your bookshelves do have some future value.  Get ’em while you can.

Robert E. Howard: Anatomy of a Creative Crisis

Robert E. Howard: Anatomy of a Creative Crisis

kull-a“Beyond the Sunrise” is the unofficial title afforded an unfinished Kull story that did not see print until over forty years after the author’s death. Its significance is due largely to the fact that it was the first of four widely differing attempts to continue the Kull series following the publication of both “The Shadow Kingdom” and “The Mirrors of Tuzun Thune” in Weird Tales in 1929.

Robert E. Howard starts the story off with a bored Kull sitting on his throne listening to a rather dull tale of the Valusian noblewoman, Lala-ah who has run off with her foreign lover leaving the nobleman she was promised to waiting at the altar. The barbarian king’s pride is piqued once he learns the foreigner insulted him behind his back. He then readily agrees to lead a posse to retrieve the noblewoman and restore his and his nation’s honor.

I was about as enthusiastic as Kull when I first started the story and thought the Atlantean was acting like a childish oaf for getting his nose out of joint just because a foreigner called him a sissy when he wasn’t around to defend himself.

Read More Read More

Goth Chick News: The Woman in Black

Goth Chick News: The Woman in Black

image0041Anyone who has been reading these entries with any regularity knows that the word “minimalist” will never be used in the same sentence with my name. I seem to be visually starved, needing to be perpetually surrounded by interesting if not strange things to look at. This can easily be proven by the fact I cohabitate with a voodoo doll collection and three German Shepherds.

Maybe that’s why I’ve always been drawn to Halloween.

I mean, you’ve probably heard people comment on over-the-top Christmas decorations, but I doubt you’ve heard anything but awe-struck admiration for someone who’s gone nutty with their front yard zombie display.

Or maybe my neighbors are just trying to be nice.

In any case, it’s rather odd for me to tell you that one of my all-time-favorite books, which then made it to the top of my theater list — and will eventually, I hope,  make it to my top ten movie list — is anything but visually cluttered. Speaking at least for the book and the play, The Woman in Black derives its horror from its simplicity, and that’s really what a classic fright is about, isn’t it? It’s why no blood-splattered, psychopath training film like Saw or Hostel will ever be as scary as the scare that gets in your head.

Back in 1983, author Susan Hill wrote the tale of a young lawyer summoned to settle the affairs of the deceased Alice Drablow, who had lived on a remote English estate cut off from the mainland during high tide (sounds awesome so far, right?) As he pieces together Alice’s tragic life, the lawyer begins to uncover a tragic family secret and its horrifying guardian, the Woman in Black. It’s a premise just simple enough to make your skin crawl.

Read More Read More

Anthopology 101 dives into classic SF Anthologies

Anthopology 101 dives into classic SF Anthologies

anthopology-101aSF author Bud Webster informs us that his book Anthopology 101: Reflections, Inspections and Dissections of SF Anthologies, is now available from The Merry Blacksmith Press. Bud tells us:

Anthologies are the core samples of science fiction.  Through their pages, we can not only follow the growth of the genre from its very beginnings, but we can also study the past’s visions of the future.

As author of the always-fascinating Past Masters column, which examines the forgotten work of some of the finest SF and fantasy writers of the 20th Century, Bud should know.

This is one of the most intriguing titles I’ve come across in a while, and I’m really looking forward to getting a copy in my hot little hands.

The book includes an introduction from Mike Ashley, and collects 25 of Bud’s “Anthopology 101” columns  that originally appeared in The New York Review of Science Fiction, Chronicle, SFWA Bulletin, and other fine publications.

For anyone else with an obsessive interest in these fascinating and beautiful relics of early science fiction and fantasy (I’m talking to you, Rich Horton), you’ll want to jump over to the Merry Blacksmith website, where they’re offering free shipping on Anthopology 101 until August 21.

Norman Spinrad on The Publishing Death Spiral, Part Two

Norman Spinrad on The Publishing Death Spiral, Part Two

druid_king2In Part Two of his blog series on the Publishing Death Spiral (read Part One here), science fiction author Norman Spinrad, author of Bug Jack Barron, Child of Fortune, and The Iron Dream, talks about “My Own Death Spiral,” and seeing the cover art for his novel The Druid King the first time:

Knopf’s star art director… had taken photos of some gnarly twigs and photoshopped them into the letters of the book title.  Murky brown against black background, no other illo. Suck City in terms of rack pop. My heart sank when I saw it… To give you an idea of how bad the cover really was, when the book finally came out, Dona and I looked for it in the new books rack.  It wasn’t there! We couldn’t find it.  Major panic! We finally did. It turned out we had looked past it three times without noticing it.  And I was the author.

You can read the complete post, along with lively comments from Jerry Pournelle, Paul Riddell, and Knopf Art Director Chip Kidd, here.

Thank Goodness! Why Gatekeepers Will Always Be With Us

Thank Goodness! Why Gatekeepers Will Always Be With Us

bglgSixteen of your US dollars. That’s what the latest (monster) issue of Black Gate has cost you in these days of fear and crumbling factories. It’s strange, isn’t it? You’ll spend all that money on a collection of fiction and game reviews when the internet is bursting with so much free content. If you go looking right now, you can find a million Sword & Sorcery stories out there that you wouldn’t even need to pirate: the authors, overcome in a delirium of generosity, are only too thrilled to supply them for free.

And it doesn’t stop with short-stories! There are more novels waiting for you online than any dozen people could read in a lifetime, along with plays, movie scripts, poetry…

Oh God. The poetry.

So, what’s stopping you? I’ll tell you what’s stopping me: I don’t want to be a slush reader. It is mind-rotting, eye-burning work that actually becomes worse the more of it you do. Like some sort of cumulative poison. And for every great story we read in the pages of Black Gate, there have been several hundred at least that would have had any sane person thinking more and more about drinking that bottle of bleach under the sink. Oh yes.

Read More Read More