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September Short Story Roundup

September Short Story Roundup

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oie_265816EcRH9xZLAnother month, another roundup. While I’m still dubious of any sort of serious swords & sorcery revival, there is most definitely a renewed interest in the older roots of fantasy and science fiction going on. Howard Andrew Jones is editing a new magazine, Tales from the Magician’s Skull, that is inspired by Gary Gygax’s fabled Appendix N. The folks at Castalia House have built up a serious following based on their love of pulp and Appendix N. One of the most serious proponents of some sort of pulp restoration is P. Alexander, editor of Cirsova magazine.

The latest issue of Cirsova, #6, is 126 pages long and contains seven stories and an installment in an ongoing epic poem about John Carter of Mars. There’s more of a science fiction emphasis in this issue than suits my tastes at present, but that doesn’t detract from its general high quality.

The magazine kicks off with “The Last Job on Harz,” by Tyler Young. When a party of miners is wiped out in horrible fashion on the planet Harz, two government agents are sent out from Earth to investigate and protect the interests of the Company. The Company, properly known as Universal Resources, is one of those monolithic businesses found across science fiction. The agents quickly discover that some heretofore unknown entity, in fact a whole herd of entities, is at large on Harz.

Aside from the overly familiar basic plot of the story and its too-obvious conclusion, “The Last Job on Harz” skips out on most of the action. Maybe it’s just me, but in a story featuring creatures described as a cross between a praying mantis and a kangaroo and with “an armored, segmented body, long arms ending in curved claws, and a narrow insect-like head,” I want more of them. Too much of the tale is given over to not very exciting detective work, and the most interesting of that takes place off camera.

“Death on the Moon” by Spencer H. Hart, flips the setup of the previous tale. Bert Henderson is an agent from one of those sci-fi monopolies, in this case, Phillips Atomics. He’s sent to the Moon to investigate a murder and soon finds himself swept up in a plot involving gangsters, a scientist, and his (of course) lovely daughter. Set in a mythical post-WWII world where space travel and lunar colonies came to pass, it has a good hardboiled atmosphere, and plenty of whiz-bang chrome-plated-rocketship details.

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Operation Arcana, edited by John Joseph Adams

Operation Arcana, edited by John Joseph Adams

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Operation-Arcana John Joseph Adams-smallOperation Arcana
Edited by John Joseph Adams
Baen(320 pages, $15 trade/$7.99 paperback/$6.99 digital, March 3, 2015)
Cover by Dominic Harman

Operation Arcana is another collection by prolific editor John Joseph Adams, built of stories crafted around a theme that gives it a fairly unique flavor among recent speculative fiction anthologies. That theme is basically something like “soldiers and magic.”

On first blush, especially considering the cover image of modern soldiers using assault rifles against a rearing dragon, that might seem a bit of a cheesy juxtaposition. But it actually works quite well, and Adams has crafted an anthology of consistently compelling stories. There’s a wide spectrum of tales here, from alternate histories in which historical wars are fought with magical aid, to realistic slipstream in which modern soldiers encounter mythical creatures, to high fantasy focused on the gritty lives of campaigners.

More than just compelling stories though, there’s something about the juxtaposition of magic and warfare that seems to just really work. Why? I think the authors have stumbled onto something profound in their disparate tales, and I think it involves this fact: that magic is defined by rules. Even if the rules are strange or mysterious, stories involving magic are almost always faithful to the orderly structure of the magic that undergirds their imaginary universes. By contrast warfare — or at least battle — in the real world is inherently chaotic. At times the violence appears meaningless and the carnage random. So there’s something very appealing and attractive about stories that play with this sense of chaos on a backdrop of rule-structured magical systems.

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Peplum Populist: Howard Hawks Goes to the Land of the Pharaohs (1955)

Peplum Populist: Howard Hawks Goes to the Land of the Pharaohs (1955)

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land-pharaohs-1955-posterI didn’t think of putting Land of the Pharaohs under my “Peplum Populist” banner at first, even though peplum (sword-and-sandal) can be used as a broad description for any historical epic set in the ancient world. Ben-Hur is peplum. Quo Vadis is peplum. Spartacus is peplum. 300 is peplum. But for the purposes of this occasional feature, I was sticking to the specific historical definition, which is the Italian-made movies produced between 1958 and 1965. However, 1955’s Land of the Pharaohs is a genuine sword-and-sandal film, and there’s no rule except my own against expanding the umbrella of the genre to discuss a movie from one of the greatest of all Hollywood filmmakers — a movie that also happens to be his oddest foray outside of his usual style.

Howard Hawks is a name so colossal in the history of American movies that he feels like a stone monument of pharaonic Egypt, carved against a rock hill in the Valley of Kings. But Hawks only made one trip to ancient history and the historical epic with a film that has never achieved major recognition. Even with Hawks’s name on it and the continuing popularity of classic Hollywood ancient epics — especially with the technology of HD TVs making them look better at home than ever before — Land of the Pharaohs is little discussed. It’s never received anything more than standard-def DVD releases (one of which packaged it as a “Camp Classic,” which it definitely isn’t). The $3 million film was a box-office failure on its premiere, but this has never stopped a film from later gaining appreciation and a dedicated following. If it did, I wouldn’t be running a John Carpenter career retrospective series right now.

There has been some low-level buzz about Land of the Pharaohs. Martin Scorsese has called it his favorite movie as a child and a guilty pleasure as an adult. But this isn’t enough, so I’ll add a bit love (well, “like” would be a better word) for this unusual chapter in the career of a master filmmaker. It’s not essential Howard Hawks, but it’s Howard Hawks taking a whack at crafting a Cecil B. De Mille-style flick, and that’s worth something. Besides, I’m a sucker for this genre, and Land of the Pharaohs is a fascinating oddity among the ‘50s and ‘60s epics. Its strange, dispassionate approach makes it feels unlike anything else made at the time.

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In 500 Words or Less: Ninefox Gambit by Yoon Ha Lee

In 500 Words or Less: Ninefox Gambit by Yoon Ha Lee

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oie_21202441DOA3mhHFNinefox Gambit
Yoon Ha Lee
Solaris (384 pages, $9.99 paperback, June 2016)

I will freely admit that I don’t think I understood everything in Yoon Ha Lee’s Ninefox Gambit.

Give me a break – there’s a reason I teach History and Social Studies and not advanced calculus. I spent about the first third of the novel trying to figure out what exactly “calendrical heresy” and “formation instinct” meant, which are cornerstones of a world where technology, military strategy and social order seem to be largely based on mathematical formulae.

I’m reasonably certain that the high calendar that dominates most of Ninefox’s human society is a sort of belief system that allows certain “exotic” technologies to exist; basically, if everyone in civilization is on the same page, then the machinery functions properly, but if people start believing a bunch of different things, machinery breaks down. That in and of itself is a brilliant concept – presuming I got it right.

But then you also add in the undead soul of a possibly-insane general bonded to an infantry captain in order to fight a campaign, robotic sentient servitors that take the forms of snakes and other animals, and apparently using antonyms as weapons (which I think was a way of disrupting the concentration of someone manning a protective shield around a space station) and things get even more… alien.

However, as Ann Leckie has said, Ninefox is somehow “human and alien at the same time.” Even as I slowly figured out the larger world of this novel, I was hooked by its characters and the conflict around them. Kel Cheris is great as a fish-out-of-water protagonist, someone comfortable as an infantry soldier promoted to general, and aware that she’s a pawn in someone else’s plot. Shuos Jedao, her undead bonded ally, is sort of like the hallucination of Kilgrave whispering in Jessica Jones’s ear, if Kilgrave recognized he was a psychopath and didn’t have absolute power to manipulate people.

You know you probably can’t trust a guy who murdered thousands of innocent people, including his own staff, and was locked away for four centuries as a result, but when he’s the guy telling Cheris to get some sleep and actually look after herself, it’s hard not to root for him.

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Making it on the American Grub Street: Hired Pens, Professional Writers in America’s Golden Age of Print

Making it on the American Grub Street: Hired Pens, Professional Writers in America’s Golden Age of Print

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0821412043Last month I posted here about Researching the Habits of Highly Prolific Authors for a book I’m working on. Black Gate reader John Hocking kindly suggested in the comments section that I read Hired Pens: Professional Writers in America’s Golden Age of Print, by Ronald Weber. I took him up on his advice and I’m sure glad I did.

This book looks at the careers of writing and editing from the nation’s earliest days until the end of World War Two. Weber shows us a parade of successful writers and editors — many well-known to this day, many more now forgotten — who found success in the ever-changing market for American popular periodicals.

Until the middle of the 19th century, American writers were hampered by the lack of international copyright laws. Newspaper and magazine editors filched English publications for free and saw no reason to pay homegrown talent. As the population grew and both American and British writers managed to get their governments to set up legal barriers to such theft, the market for American writing blossomed.

These writers certainly didn’t waste their time moaning about their lack of inspiration and hoping the muse would visit them. As prolific and successful Western writer Zane Grey said in a letter to a friend:

This morning I had no desire to write, no call, no inspiration, no confidence, no joy. I had to force myself. But when I mastered the vacillation and dread, and had done a day’s work — what a change of feelings. I had a rush of sweet sensations.

This is a common thread throughout the book. In example after example, we are shown that writer’s block is a myth and that writers should not — indeed, must not — sit around all day twiddling their thumbs. These writers worked hard.

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The Hammer and the Blade by Paul S. Kemp

The Hammer and the Blade by Paul S. Kemp

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oie_19118350rehVg1zWith the hammer-wielding (sort of) priest Egil and the (not really) rogue Nix, Paul S. Kemp created his entry for the classic swords & sorcery duo contest. They made their debut in The Hammer and the Blade (2012).

We meet them media res as, in search of treasure, they prepare to penetrate the last defenses of an ancient tomb. Like characters in a classic buddy movie, they bicker and banter.

“You may have heard but you didn’t reply, so let me restate. Are you acquainted with a door I couldn’t open? I press the question only to illustrate your softheadedness, as demonstrated by a faulty memory. It’s important you understand your limits.”

Egil tossed the sliver to the ground, tore a strip of cloth from his shirt, and pressed it to his leg wound. “There was that time in the Well of Farrago–”

Nix shook his head emphatically. “That was not a door.”

Egil looked up, thick eyebrows raised. “It had hinges, a handle. It opened and closed. How can you say–”

“It was a hatch.”

“A hatch?”

“Of course it was a hatch, and only a fool priest of the Momentary God would confuse a door with a hatch. A hatch is a different thing from a door. A hatch is troublesome. You see? Does having an eye inked on your head make your other two blind, or otherwise detrimentally affect your cognition?”

“Well enough,” Egil said at last. “It was a hatch.”

“Now you’re mocking me? I hear mockery.”

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What to Read after The Handmaid’s Tale: Brave New Girl by Rachel Vincent

What to Read after The Handmaid’s Tale: Brave New Girl by Rachel Vincent

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Brave New Girl CoverWhat should you read after Margaret Atwood’s The Handmaid’s Tale? Rachel Vincent’s Brave New Girl.

First-person narration in the present tense plunges readers into the surreal world of Dahlia 16. Raised in a training facility with 4,999 identical sisters, Dahlia doesn’t realize she’s a clone. All she knows is that she should be like her identicals, happily and unquestioningly serving her home city without distinction.

At least, that’s what she’s supposed to do. Dahlia figures she must be defective since she takes pride in being at the top of her class, and arrogance isn’t permissible in a laborer. Worse, she’s started breaking the rules. Stuck in a broken elevator with Trigger 17, a handsome teenage soldier, she actually talks to him. And now she can’t stop thinking about him…

Clearly there’s something wrong with her. If the authorities discover her secret, they’ll liquidate the genome, slaying the entire cohort of 5,000 girls. Meanwhile, Trigger 17 makes himself even more difficult to forget by leaving her forbidden gifts. He must be flawed, himself, to behave so recklessly.

If you’re hearing echoes of Aldous Huxley in Vincent’s title, it’s for good reason. Brave New Girl is a high-concept YA dystopia. Although it features clones with bar codes tattooed on their wrists and renegade geneticists, file it under speculative rather than science fiction. (On GoodReads, the author herself describes the genre as “sci-fi lite.”) Most of the reading pleasure comes from figuring out how this world works right along with the protagonist, whose learning curve drives the story. A paragon of “show, don’t tell,” the narrative is filtered through Dahlia’s perspective. This generates moments of cognitive dissonance when the reader understands what’s going on better than Dahlia herself and vice versa. If you’re a hard-core sci fi reader who prefers fictional worlds to make sense right from the beginning, then this novel will likely frustrate you. Even after the volume has finished, many explanatory details remain missing, held in reserve for future books.

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The Complete Carpenter: Christine (1983)

The Complete Carpenter: Christine (1983)

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Christine-original-posterIt’s a Stephen King September, thanks to the monstrous success last week of It: highest grossing September opening ever, highest grossing horror movie opening ever, and only a Deadpool away from highest grossing R-rated opening ever. (Our own Sue Granquist’s take.) A perfect time to fast-track the next movie in my John Carpenter career retrospective, also a Stephen King adaptation.

And in some unfortunate tragic timing, Harry Dean Stanton died the day before I posted this. Stanton was one of the great character actors of the last sixty years, a continual presence in movies from the moment I first started watching them, and appeared memorably in two John Carpenter films, Escape from New York and today’s subject, Christine. Stanton lived a long, full life (he was 91) but will still be immensely missed. Few people could steal a scene like he could.

*Sniffle* Anyway, back to our regular program.

In the wake of the financial failure of The Thing, John Carpenter needed a studio project to keep busy, and took up producer Richard Kobritz’s offer to direct Christine, based on a Stephen King novel that was still in galleys. (The book was published in April and the movie premiered in December.) Carpenter originally intended to direct another King adaptation, Firestarter, which Universal offered to him. But after the box-office crash of The Thing, Universal cut the budget for Firestarter in half, and Carpenter opted out. When he ended up at Columbia with Christine, the screenwriter of the early drafts of Firestarter, Bill Phillips, went with him to handle the scripting chores.

The film was a mild success, grossing twice its $10 million budget. Like most of Carpenter’s movies from this period, Christine has maintained a steady profile ever since. Along with Carrie, The Shining, and The Dead Zone, it’s part of a group of early Stephen King movies from major directors.

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Mage: The Hero Denied #2

Mage: The Hero Denied #2

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Mage 2So, the basic setup for the new Mage series is shaping up to be similar to the previous two volumes. At least one big fight scene and LOTS of talking. Seriously, you sign up for Mage and you’re signing up for lots of dialogue. As far as the issue breakdown goes (LIGHT SPOILERS AHEAD), it’s 7 pages of Kevin and Magda arguing, tucking their kids into bed, and going up to the attic; 4 pages of evil insurance adjusters literally swallowing nightmare fuel; 4 pages of Kevin and Magda talking about a magic crock pot while Hugo stares out a window; 3 pages of Kevin taking his son out for lunch; and 5 pages of Kevin fighting a pair of flaming goat-men. I’m enjoying the series so far, but fair warning, that’s the sort of issue breakdowns you’re going to get, so if you prefer more action and less chatter in your comics, then you’re probably better off passing on Mage.

Was the above paragraph filled with spoilers? Sort of, a little bit. But none of it really felt like plot development so much as plot outlining. Issue two is still very much in the “setting up the story” stage, but as with the previous issues, the magic of this series is in all of the little details. The Gracklethorns reveal that they’re even less human than they initially appear and we start getting names, as well as distinctions between the five of them. Kevin cooks dinner, implying that the domestic duties are more evenly split between Kevin and Magda than I’d thought at the end of issue one. Magda’s hesitation to leave their home is based more on not wanting to disturb some magic spells she’s brewing than on a desire for pure domesticity. And the house is a rental, meaning they don’t have as much money as they initially appeared to have. Still no clues about Kirby, Joe, or the Mage. Hugo is reading an Animorphs book, which firmly dates this story at least fifteen years in the past.

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Dilvish, the Damned by Roger Zelazny

Dilvish, the Damned by Roger Zelazny

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“Have you given any thought to what you are going to do if — rather, when — you make it to the top?”

“Look for trouble,” Dilvish said. “Defend myself at all times. Strike instantly if I see the enemy.”

Black and Dilvish to each other in “Tower of Ice”

oie_1271358c5k3rMonDilvish, the Damned (1983), by Roger Zelazny, had been on my list of books and stories to avoid because of who recommended them. With this book, it was someone I played D&D with. In fact, he introduced me to the original D&D rules back in 1977 or ’78.

He was, and remains, the most voracious reader I’ve ever known, though he rarely reads outside of sci fi and fantasy. He would always tell me about whatever book he was reading — often read while he walked the mile and half to my house. When he’d describe a book to me, though, it was always about how cool and awesome the most powerful characters were. Big cowls and fancy wizardly skullcaps were symbols of greatness. The more absurdly godlike the protagonists were, the better.

A few years ago, he told me he was disappointed that the Twilight books didn’t end in an epic all out vampires vs. werewolves war. That Stephenie Meyer wouldn’t do that really didn’t make sense to him. It’s that sort of take on books that led me to take for granted that any book he suggested was going to annoy me as much as it excited him. I’ve overcome that block slowly. It took me nearly thirty years and a lot of positive recommendations to read Roger Zelazny’s Amber Chronicles. Even loving those — which I do — it took me another decade to pick up Dilvish, the Damned.

Dilvish is heir to both a Human house and an Elvish house, and a heroic warrior of great prowess. Two centuries ago, he came up against the powerful, evil sorcerer, Jelerak. The wizard, far stronger than Dilvish knew, turned the half-elf to stone and imprisoned his soul in Hell. It is only when Portaroy, a town once saved by Dilvish, comes under a new attack, he is freed to return to the mortal world with a metal horse named Black, and a desire to avenge himself on Jelerak.

Dilvish is part of the rebirth of swords & sorcery in the mid-60s alongside Elric and the Lancer Conan. Several of Zelazny’s stories were reprinted in S&S anthologies from the 1970s. Some of the stories are at least equal to those of Moorcock and Leiber, and way better than most by Lin Carter and John Jakes. Dilvish, the Damned is a 1983 fixup of all eleven Dilvish short stories. The first was originally published in Fantastic in 1965, and the last two first saw light of day in this collection.

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