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Pastiches ‘R’ Us: Conan and the Amazon

Pastiches ‘R’ Us: Conan and the Amazon

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081252493401lzzzzzzzConan and the Amazon
John Maddox Roberts (Tor, 1995)

You may have noticed that in my series of reviews of Conan pastiche novels, I have yet to review an entry from Roland Green.

That is correct. I have not. Noted. Moving on. . . .

Of the authors of the long-running Tor series of novels, which started with Robert Jordan’s Conan the Invincible in 1982 and concluded with Roland Green’s Conan and the Death Lord of Thanza in 1997, with Harry Turtledove’s Conan of Venarium as something of a “coda” in 2004, John Maddox Roberts is the most consistently entertaining. (I love the novels from John C. Hocking and Karl Edward Wagner, but as each man unfortunately wrote only a single book, the sample is much smaller.) Roberts was the first new author to take over when Robert Jordan retired from the series after seven books published over only three years. In the eight novels that Roberts wrote, he shows deft ability with storytelling and action scenes, and a thankful tendency not to overplay his hand and try to ape Robert E. Howard’s style. His first Conan novel, Conan the Valorous, is one of the best of the Tor series, and shows a superior handling of the barbarian’s homeland of Cimmeria than Turtledove would achieve in Conan of Venarium.

However, Roberts had his down moments, and alas he stumbled at the finish line.

Conan and the Amazon is the last of Roberts’s Conan novels. It’s also his poorest, although a plot description, the salacious promise of the title, and a great cover with a super-croc would indicate it has sword-and-sorcery joys aplenty inside.

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Mortals, meet Demon Lovers: A review of Goblin Fruit Magazine, Part II

Mortals, meet Demon Lovers: A review of Goblin Fruit Magazine, Part II

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goblin-fruit-autumn2Okay, this is the Age of the Internet, so you’ve probably had this experience.

Say you’ve met a couple of like-minded ladies at a few writing conventions (as described in Part I). Say these conventions were World Fantasy 2007 and WisCon 2008 respectively. Say you’ve set about exchanging a million emails with these ladies, the occasional phone call, friending them on LiveJournal and Facebook, and rediscovering, happily, the merits of snail mail. These ladies just happen to be the two editors of Goblin Fruit Magazine.

Fantastic! You send them your really long rhyme-y poems nobody else wants, and sometimes they even take them, and even when they don’t, they seem to like you anyway. Life is totally Utopian.

You all read fantasy, right? What happens after Utopia?

DOOM!

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A Look at The Night Life of the Gods (1931)

A Look at The Night Life of the Gods (1931)

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night-life

THE NIGHT LIFE OF THE GODS
by Thorne Smith
Published by Dodo Press, Copyright 1931
Reviewed by Mark Rigney

In searching for the earliest inspirations for sword and sorcery, one perfectly reasonable starting point would be Ancient Greece. The Grecian stories, after all, have survived in marked detail, and the adventures themselves are epic in scope, bloody to a fault, and literally crawling with terrifying beasties. Adapting those tales has been the work of many a writer, including (James) Thorne Smith, a massively successful fantasist now largely forgotten, who posed himself the question, “What if someone could turn the various Olympian statues in the Big Apple’s museums into flesh and blood?” Smith’s answer was The Night Life Of the Gods (1931), a cheerful Shaggy Dog of the New York variety, and a fine example of a book that no modern publishing house would touch with a thirty-nine-and-a-half-foot pole.

If Thorne Smith’s name is sounding suspiciously familiar, perhaps it should, as he is the earnest scribbler behind Topper (1926), the very same Topper in which Cary Grant later starred (as a ghost), and which eventually became a staple of early television, featuring Leo G. Carroll and sponsored by Jell-O. (Night Life Of the Gods also found its way to the silver screen; the 1935 production, starring Alan Mowbray, is said to be (deservedly) buried in a vault at UCLA.) As a book, Night Life, like virtually all of Smith’s fantastical, debauched novels, was wildly popular. That it has not remained so is perhaps a testament to the complete inability of post-modern Homo sapiens to imbibe anywhere close to the quantity of alcohol consumed by Smith’s louche, soused-to-the-gills characters.

Let me put it more bluntly: a truly astounding amount of liquor gets dispatched in the course of this book. Given that the action takes place smack in the midst of Prohibition, an era when American breweries were busily hawking malt syrup just to say alive, the book’s blood alcohol content becomes all the more astounding.

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Supernatural Spotlight – Season One Recap

Supernatural Spotlight – Season One Recap

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supernatural-season1If you haven’t been watching Supernatural, then I can completely sympathize. I actually didn’t start watching the show until halfway through season two, mainly because I didn’t care to watch a series that was nothing more than a mindless monster hunting show.

What I didn’t realize was that this was actually one of the deepest monster hunting shows ever on television. (Yes, that includes Buffy and Angel.)

I imagine that the people involved with the show didn’t necessarily always know how deep the show was going to become. The series was probably fairly easy to pitch:

Two brothers, who are demon hunters, travel on a roadtrip, dropping into a different horror movie plot each week.

I wouldn’t think that it would be hard to sell that premise, do you?

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A Review of Robert Low’s The White Raven

A Review of Robert Low’s The White Raven

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whiteravenThe White Raven
Robert Low
Harper Collins UK (357 pp, $24.95, 2009)
Reviewed by Bill Ward

Robert Low’s Oathsworn books are hands down my favorite historical series of recent years. Starting with 2007’s The Whale Road and continuing with last year’s The Wolf Sea and Low’s newest release, The White Raven, these books offer a Viking adventure worthy of the sagas — and satisfying to both lovers of gritty action-adventure and those who insist on well-drawn historical narrative.

The White Raven begins some five years after the close of The Wolf Sea, a book that saw the Oathsworn, a darkly fated and Odin-oathed band of hard-bitten Norsemen, pursuing a mad monk, an ancient runesword, and rumors of enslaved brethren from the mazy streets of Constantinople to the sun-blasted heights of Masada. Returned from Serkland, as the Norse term the domain of Islam, the Oathsworn have settled in lands granted them by Jarl Brand, a powerful leader who served as mercenary in the Byzantine army. Orm Rurrikson, so-called Bear-Slayer and jarl of the Oathsworn, is still only twenty-one years old at the start of the book. A leader renowned for his deep-thinking and fair rule, Orm nevertheless finds the mostly peaceful existence the Oathsworn have settled into a troubling one. Troubling especially because rumors of a mountain of silver, the tomb treasure of Attila the Hun, cling to the Oathsworn like a curse — and there is not a band of rovers or petty king in all the North that has not cast a covetous eye upon Orm and his intrepid band.

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Imaro: The Naama War

Imaro: The Naama War

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imaro_the_naama_warImaro: The Naama War
Charles R. Saunders (Sword & Soul Media, 2009)

Here we have the long-awaited fourth volume in the “Imaro” series of sword-and-sorcery novels set in a fictional fantasy Africa. Imaro: The Naama War brings to a conclusion the many character arcs and plotlines that have built through Imaro (1981; revised 2006), Imaro 2: The Quest for Cush (1984; revised 2008), and Imaro: The Trail of Bohu (1985; revised 2009). The third book (which was the first written specifically as a novel instead of a collection of novellas and short stories) moves the tale of the Ilyassai warrior Imaro into the territory of the grand epic, threatening to plunge all of the continent of Nyumbani into a battle between the gods and the kingdoms they support, with Imaro as the fulcrum point. The novel ends on a cliffhanger, with the war about to erupt.

Now at last we have that great battle of gods and men, which Saunders started writing back in 1983. And it’s Epic. Big Capital “E” Epic. Charles R. Saunders more than rewards readers’ twenty-five years of patience with the single best installment in the saga of Imaro. This is sword-and-sorcery beauty, filled with bloody rage, bizarre magic, pounding battles, horrific monsters, and intense emotion. It is one of the best fantasy novels I have read over the past five years—and I’m actually glad I came late to reading the Imaro stories, because it means I didn’t have to wait so long to read the last and the best.

Imaro: The Naama War is the sort of fantasy trip I love to take, and I’ll admit that I felt an enormous rush of emotion and nearly came to tears during the thirty page wrap-up, where Saunders refuses to let the reader go from the passion of the story and the characters’ dramatic journeys. The escalation from the beginning to the unexpected conclusion is pitch-perfect. It is almost a textbook for how to build suspense and keep readers reeling with surprises while also maintaining their belief in the story’s inner truth.

So, yeah, this is kind of a good book. (Buy it here!)

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

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

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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.

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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

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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!

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English Gothic: Britain Goes to the Movies

English Gothic: Britain Goes to the Movies

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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.

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Almuric – Howardian Sword & Planet

Almuric – Howardian Sword & Planet

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Planet Stories - Almuric

A few years back I became more enamored of Robert E. Howard’s writing than I already was (which is saying something), and made it a personal quest to read as much of his work as I could find. El Borak, Solomon Kane, Bran Mac Morn… I tried to locate copies of everything I could. (This was before the Del Rey editions came along, and made the quest easier).

Among the many treasures I gathered was a copy of Almuric, Howard’s first and only foray into the Sword & Planet sub-genre, and one of only a handful of book-length works he completed — although Robert E. Howard scholars now seem fairly certain that someone else completed the novel. Some believe that this posthumous collaborator may have been Howard’s agent Otis Adelbert Kline, himself a successful author of Burroughs pastiches such as Planet of Peril, but Howard scholar Morgan Holmes has argued convincingly that it might well have been pulp author Otto Binder. The late, lamented The Cimmerian posted a fine article by Al Harron describing the history or Almuric’s composition and scholarship about its origins.

Be that as it may, Almuric is a classic adventure tale in the Burroughs tradition, but written in Howard’s muscular prose. The narrator, Esau Cairn, is cut from the same familiar cloth as many of Howard’s protagonists. Thick with muscle, a bit of a social outcast, Esau is a true Howardian hero, and provides a relatable figure for the reader to experience the alien world of Almuric.

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