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Prologomenon to Fantasy

Prologomenon to Fantasy

bullfinchOne of the things that I frequently blather about is that, when I was growing up in the 1970s, “fantasy,” as it’s understood today didn’t really exist, at least not as a mainstream, popular genre.

Don’t get me wrong: the ’70s were a decade of fantasy par excellence, especially literary fantasy, from reprintings of earlier works, such as the Lancer Books Conan series (begun in 1966) and the Ballantine Adult Fantasy series (begun in 1969), to the Tolkien imitators, like Terry Brooks’s The Sword of Shannara (1977) and Stephen R. Donaldson’s Lord Foul’s Bane (1977) – not to mention Tolkien’s own The Silmarillion (1977 once again!) – to modern classics like Fritz Leiber’s Our Lady of Darkness (guess what year?). The ’70s also saw fantasy rise to prominence in other media, like comic books, where Roy Thomas’s Savage Sword of Conan cultivated an entire generation of artists, and movies, where special effects artists continued to acquire the skills and technology to bring fantasy to life on the silver screen. And, of course, the decade also saw the appearance and flourishing of fantasy roleplaying games, beginning with Dungeons & Dragons in 1974.

Despite these strides, spearheaded by the faddish popularity of D&D and its imitators, I’d argue that fantasy didn’t really come into its own as a pop cultural phenomenon until much later. Consequently, when I first encountered Dungeons & Dragons very late in 1979, I had almost no direct experience of what we’d nowadays call fantasy. Indeed, I wouldn’t read a word of The Lord of the Rings or the tales of Conan until after I’d begun rolling polyhedral dice. For that matter, I don’t think I’d even heard of J.R.R. Tolkien or Robert E. Howard until I encountered both their names in the pages of the J. Eric Holmes-edited D&D rulebook that was my introduction to the game. The same goes for Lovecraft, come to think of it, and most of the other authors whom we typically regard as the “founders” of fantasy. In that respect, my youth is very different than that of 21st century fantasy aficionados, almost all of whom I’d bet didn’t make it to the age of 10 without at least being familiar with the characters and ideas these authors birthed.

However, this isn’t to say I had no experience with fantasy before I discovered Dungeons & Dragons, only that my introduction to it was of a different sort, one I expect I shared with many kids of my generation.

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New Treasures: The House of R’lyeh: Five Scenarios Based on Tales by H.P. Lovecraft

New Treasures: The House of R’lyeh: Five Scenarios Based on Tales by H.P. Lovecraft

The House of R'lyeh-smallI feel like I’m in the middle of H.P. Lovecraft week.

On Sunday I talked extensively about Lovecraft, a propos of his inclusion in the latest round of Advanced Readings in D&D. This morning I invoked his name while discussing Robert Bloch’s Nightmares collection. Now here we are again, with the latest collection on adventures for one of my favorite role-playing games, Call of Cthulhu, based on the work of H.P. Lovecraft.

I bought my first CoC adventure — the classic Shadows of Yog-Sothoth — over 30 years ago (yes, I’m aware that’s longer than most of you have been alive. Shut up), and the most recent, Cthulhu By Gaslight, last April. I haven’t played CoC in years (decades, probably), but the adventures are marvelously inventive and always a pleasure to read for a veteran game master like me. But The House of R’lyeh has extra appeal for Lovecraft fans of all kinds, not just CoC players, I think: it draws directly from five of the Master’s short stories. I’m looking forward to digging in and seeing how successful it is.

The House of R’lyeh contains five Call of Cthulhu scenarios that follow or expand upon events in five of H.P. Lovecraft’s stories: “Pickman’s Model,” “The Haunter of the Dark,” “The Hound,” “Arthur Jermyn,” and “The Nameless City.” Set in Boston, Providence, the British Isles, continental Europe, and the Middle East, none of the scenarios need be played at set dates or in a set order, but they could be run in the order presented to form a loose campaign using optional link between scenarios to draw investigators from one to the other.

Alternatively, the scenarios may be used to supplement classic Call of Cthulhu campaigns such as The Shadows of Yog-Sothoth which suggests that its component scenarios should be interspersed with others.

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Vintage Treasures: Nightmares by Robert Bloch

Vintage Treasures: Nightmares by Robert Bloch

Nightmares Robert Bloch-smallI’ve been on something of a Robert Bloch kick recently.

It started with the Vintage Treasures article on The Best of Robert Bloch I wrote back in July, the second in my series on Lester Del Rey’s Classics of Science Fiction. That lead me to his Lovecraftian novel Strange Eons, first published in 1979, which I wrote about in October.

Strange Eons was fun, but honestly I think I prefer Bloch’s short stories. And he certainly has a lot of them, gathered in dozens of collections starting with The Opener of the Way, published in 1945 by Arkham House when he was just 28 years old, and ending the year he died with his final collection The Early Fears (1994, Fedogan & Bremer) — which won the Bram Stoker Award for Superior Achievement in a Fiction Collection.

As usual, I tend to gravitate towards the paperbacks. Last week I bought a copy of Nightmares, a slender 1961 paperback from Belmont which contains 10 short stories originally published in Weird Tales, Fantastic, The Magazine of Fantasy and Science Fiction, and other fine publications.

Nightmare is a selection of tales from Pleasant Dreams — Nightmares (1960), an Arkham House hardcover which contained 16 short stories and novelettes (and cost, according to a note on the copyright page, an outrageous $4). The paperback is dedicated to August Derleth, Fritz Lieber (sic), and Star Trek writer Samuel A. Peeples, author of “”Where No Man Has Gone Before” (one of my favorite episodes, incidentally, although doubtless he’s listed here for his horror work).

And yes, Fritz’s Leiber’s name was misspelled. Clearly the paperback editions were not edited as tightly as they could have been, or Fritz Leiber wasn’t yet a big name. Probably both.

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Experience the Joy of the Pulps With The Incredible Pulps

Experience the Joy of the Pulps With The Incredible Pulps

The Incredible Pulps-smallWe’ve been chatting a lot about pulp fantasy recently — for example, in our recent explorations of Appendix N, Unknown magazine, escaping our genre’s pulp roots, forgotten pulp villains, Clark Ashton Smith’s Martian pulp fiction, and much more.

I occasionally get asked what I mean by “pulp.” It’s not the most intuitive term, I’ll grant you that, especially for younger readers. For them, if it means anything it usually conjures up images of Tarantino’s Pulp Fiction, and perhaps vague echoes of noir detective stories.

“Pulp fiction” means the fast-paced genre stories written for the popular magazines of the 1920s, ’30s and ’40s, and modern fiction written in conscious emulation of that style. The most popular of the pulp magazines, including Argosy, Adventure, All-Story Weekly, and Detective Story, had reliable circulations in the hundreds of thousands. They cost a quarter or less, and were printed on cheap (pulp) paper, frequently with ragged, untrimmed edges.

The pulps are still discussed and collected today for a number of reasons. Several of the most important writers of the 20th century — including Edgar Rice Burroughs, Sax Rohmer, H.P. Lovecraft, Ralph Milne Farley, Raymond Chandler, Agatha Christie, Louis L’Amour, and Harold Lamb — got their start in the pulps. They featured some of the most famous heroes of the early 20th Century, including Doc Savage, The Shadow, Conan, Buck Rogers, Tarzan, Zorro, and many others.

But the best fiction from the pulps has been reprinted many times and — unless you’re Howard Andrew Jones, Stephen Haffner, or John C. Hocking, on the trail of an obscure or neglected author — you rarely dig through pulps for the fiction any more. No, there’s really only one reason most of us still collect pulps. And that’s the fabulous covers and artwork.

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H.P. Lovecraft, A. Merritt, and Appendix N: Advanced Readings in D&D

H.P. Lovecraft, A. Merritt, and Appendix N: Advanced Readings in D&D

The Lurking Fear HP Lovecraft-smallWe’re drawing closer to the end of Gygax’s famous Appendix N, the list of influences and recommended reading he included at the back of the D&D Dungeon Masters Guide.

Over at Tor.com, Tim Callahan and Mordicai Knode continue their tireless trek through the entire list, sampling a little bit of each writer and generously sharing their impressions with us, while here at Black Gate we continue to appreciate and critique their columns. Since that’s a heck of a lot easier than actually trying to read along with such a massive project. Makes me tired just to think about it. Seriously, I need a bit of a lie down.

In the last few weeks they covered one of the most popular fantasy writers of the 20th Century — indeed, one of the most popular writers to pick up a pen, period — and a relatively obscure short story writer who was ignored for virtually his entire life, until a tiny press in Sauk City, Wisconsin, decided to make it their mission to return all of his works to print shortly after his death. Yes, we’re here today to discuss A. Merritt and H.P. Lovecraft, respectively.

Let’s start with Lovecraft. Mordicai kicks things off in fine fashion:

The guy basically invented contemporary horror — besides splatter and slasher, I suppose — and you can’t really talk about him without a sort of gleeful enthusiasm. Or at least, I can’t.

Uncaring alien godthings and cults of fishpeople get all the attention, but the stories that stick with me are the ones that get a little more surreal. Don’t get me wrong: At the Mountains of MadnessCall of CthulhuThe Dunwich HorrorThe Shadow Over Innsmouth… there are a reason that these stories are at the forefront, as the juxtaposition of modern man with truly unknowable forces is a ripe category…the ensuing cosmic creepfest and insanity in response to a nihilistic and uncaring universe might be seen as Lovecraft’s thesis.

That said, for me it is the odder tales, like The Dream-Quest of Unknown Kadath, that kick it up a notch. Hordes of cats, friendly conversations with cannibal ghouls, trips to the moon, evil ticklers, and terrifying plateaus that only exist in dreams? Yes please! I’m going to go on a limb and say that I see a little Randolph Carter in some of my favorite protagonists. Dale Cooper from Twin Peaks, I’m looking at you…

While I’m a devoted fan of Lovecraft’s longer and most famous works — I consider “The Shadow out of Time” to be one of the finest pieces of fantastic fiction ever written — there’s no question that his Dream-Quest tales are equally worthy of attention. A tip of the hat to Mordicai for not taking the easy route.

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Forgotten Heroes of Pulp Fiction: Jim Maitland

Forgotten Heroes of Pulp Fiction: Jim Maitland

JimMaitlandisland of terror hcWorld War I veteran, H. C. McNeile (better known by his nom de plume of “Sapper”) was a bestselling author of the last century whose works are quickly fading into obscurity.

His most famous creation, Bulldog Drummond is best remembered for the old-time movie and radio series rather than the nearly twenty novels where the character first appeared. “Sapper” also wrote numerous stories and books about a Holmes-like consulting detective, Ronald Standish as well as two books about Jim Maitland, the monocle-wearing two-fisted defender of honor who personified the ideals of the British Empire while traveling abroad.

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Vintage Treasures: The Unknown, edited by D.R. Bensen

Vintage Treasures: The Unknown, edited by D.R. Bensen

The Unknown edited by D R Bensen-smallIn all of our recent discussions of pulps, we have sorely neglected one of the greatest pulp fantasy magazines of all time: John W. Campbell’s magnificent Unknown. It wasn’t deliberate; we’ve just been focusing on Amazing Stories, Galaxy, and the pulp roots of Dungeons and Dragons of late.

So to do a little catch-up, I thought I’d talk about a splendid anthology I’ve been reading this weekend: The Unknown, a collection of ten short stories and one novelette from the pages of Unknown. If you’ll allow me, I’d like to quote from the Wikipedia entry on Unknown, since I think it does a fine job of summarizing the genesis and impact of Campbell’s great experiment in fantasy:

Unknown (also known as Unknown Worlds) was an American pulp fantasy fiction magazine, published from 1939 to 1943 by Street & Smith, and edited by John W. Campbell. Unknown was a companion to Street & Smith’s science fiction pulp, Astounding Science Fiction, which was also edited by Campbell at the time; many authors and illustrators contributed to both magazines. The leading fantasy magazine in the 1930s was Weird Tales, which focused on shock and horror. Campbell wanted to publish a fantasy magazine with more finesse and humor than Weird Tales, and put his plans into action when Eric Frank Russell sent him the manuscript of his novel Sinister Barrier, about aliens who own the human race… The magazine is generally regarded as the finest fantasy fiction magazine ever published, despite the fact that it was not commercially successful, and in the opinion of science fiction historian Mike Ashley it was responsible for the creation of the modern fantasy publishing genre.

The Unknown contains an excellent survey of Unknown magazine, with entertaining editorial comments and fiction contributions from Henry Kuttner, Nelson S. Bond, Theodore Sturgeon, L. Sprague de Camp, H. L. Gold, Manly Wade Wellman, Fredric Brown, and Anthony Boucher — plus a Fafhrd and the Gray Mouser tale from Fritz Leiber, and more.

It also reprints interior art from the magazine by the great Edd Cartier (see a sample here), who painted the covers for many Unknown issues. I wish more paperbacks from the era did this, as I found the artwork delightful.

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Rejecting the Golden Age: Gareth L. Powell on Escaping Science Fiction’s Pulp Roots

Rejecting the Golden Age: Gareth L. Powell on Escaping Science Fiction’s Pulp Roots

The Recollection Garath Powell-smallOver at SF Signal, author Gareth L. Powell has issued a call to stop recommending classic SF and fantasy, and start putting newer works in the hands of readers curious about our genres. His comments apparently arise from his experiences talking to a reading group who hadn’t read any SF written in the last 50 years.

The only way we’ll escape the legacy of our pulp roots is to promote the innovation, literary merit, and relevance of the best modern genre writing. Some fans will always cling to the ‘golden age’ works of the 1950s, 1960s and 1970s, and I can understand why. They provide a magic door back to the simple pleasures of a simpler world – a world before global warming, oil shortages, terrorism, and economic uncertainty; relics of a world where the future was easily understood, and (largely) American, middle class and white in outlook, origin and ethnicity.

Part of me understands and sympathizes with that need for security. I still draw comfort and enjoyment from those old books. Arthur C. Clarke, Larry Niven, Philip K. Dick… These writers are the elder gods in my personal pantheon; but they are neither the beginning nor the end… being a fan’s a bit like being in a marriage. You have to accept that the person you’re with will mature and change, and you have to embrace that, and change with them in order to keep things fresh…

So, the next time a non-SF reader asks you what they should read, resist the temptation to throw them a copy of Foundation or Slan, and point them instead at something published in the last five years… Give them something modern, and they’re more likely to find characters, ideas and attitudes with which they can relate.

Powell is the author of Silversands, The Recollection, Ack-Ack Macaque and its new sequel, Hive Monkey — which he freely notes employs “the furniture of 1930s pulp literature – Zeppelins, Spitfires, cigar-smoking monkey pilots, evil android armies.”

Read the complete article at SF Signal here.

New Treasures: Dark Melody of Madness by Cornell Woolrich

New Treasures: Dark Melody of Madness by Cornell Woolrich

Dark Melody of Madness-smallI wish a knew more about Cornell Woolrich.

From what I understand, this is a common state of affairs, even for some of his most devoted fans. Woolrich was something of a recluse, especially in the last few years of his life, and there are only a handful of people alive today who had any real dealings with him. Barry N. Malzberg, Woolrich’s agent for much of the 1960s, is one of the few, and he’s provided a fascinating reminisce in his introduction to Phantom Lady, one of the handsome new Woolrich editions from Centipede Press.

Woolrich is revered by mystery and noir fans — and rightly so. Some three dozen films have been made of his taut thrillers, including Rear Window, Night Has a Thousand Eyes, The Bride Wore Black, and many others. But on occasion, he also wrote supernatural fiction and Dark Melody of Madness, one of the new Centipede Press volumes, collects four of his novellas for the first time: “Graves For The Living,” “Jane Brown’s Body,” “Dark Melody of Madness,” and “I’m Dangerous Tonight,” all originally published between 1935 and 1938.

Holding on to a loved one can be difficult, but certainly not as weird and treacherous as in this quartet of Cornell Woolrich novellas set in the mid-1930s. It’s a time of great incongruities — physical anguish of the Great Depression, lighthearted dancing to the rhythms of swing; near-legendary bank robbers, daredevil long-distance airplane pilots; head bashing of union members, air-conditioned comfort for movie goers.

Woolrich takes this milieu, adds an overlay of the supernatural, and places his protagonists in grotesque, untenable situations involving their lives and souls. Here is the eerie world of voodoo, Frankenstein-style reincarnation, live burial, and macabre garments — a mixture of cold sweat-producing dilemmas, where the characters find it near-impossible to separate the real from the unreal.

Dark Melody of Madness was published by Centipede Press on August 6, 2013. The introduction is by Bill Pronzini, and the cover and color interiors are by Matt Mahurin. The trade paperback is 296 pages, priced at $18; there’s also a limited edition, out-of-print hardcover. The hardcover edition lists an additional novella, “Mannequin,” on the TOC. For mystery and noir fans, Centipede Press offers three additional volumes in the series: Deadline at Dawn, I Married a Dead Man, and Speak to Me of Death (see the complete set here.)

The Shadow of Fu Manchu Falls Upon Me

The Shadow of Fu Manchu Falls Upon Me

MaskMoviePortraitMovieMirrorMaskofFuManchuWithout Fu Manchu in my life, I would never have started down the path of penning these articles. One thing I was certain of was that there were no more surprises. I had found every official appearance of Sax Rohmer’s master villain and would, in due course, cover all of them in this blog eventually. So it seems appropriate that in this the year that marks the centennial of the first Fu Manchu novel, my 200th article covers a hitherto unknown official piece of Fu Manchu history.

A few weeks ago, I attended Classicon in Michigan and convention organizer, Ray Walsh handed me the January 1933 issue of Movie Mirror with Joan Bennet on the cover. The second feature was The Mask of Fu Manchu by Sax Rohmer. I suspected it was an excerpt from or serialization of the book I was unaware of and found it intriguing that it had eluded both Bob Briney and Larry Knapp, the two foremost Rohmer scholars who have done a phenomenal job of compiling bibliographical information on the author.What the issue actually contained was something far more valuable: an 11-page “fictionization” of the 1932 MGM film starring Boris Karloff and Myrna Loy, fully illustrated with stills from the movie, some of which were quite rare. The adaptation was credited to Constance Brighton, an author I have found no other information concerning which made me suspect the name was a pseudonym.

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