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Goth Chick News: A Decomposing Neverland — an interview with Douglas Clegg

Goth Chick News: A Decomposing Neverland — an interview with Douglas Clegg

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neverlandImagine the family vacation from hell.

I know you can do that because you’ve had one, and I know you’ve had one because everybody has. Usually the “from hell” part has to do with long-term forced exposure to family members in an environment you have no hope of escaping for the duration of your tortured imprisonment (known as the “vacation”).

For me it was a remote cabin in the Canadian woods; go north, turn left at anything that looks like fun, and drive for another four hours. The location alone was the perfect setting for a knife-wielding maniac to off a few sinful teenagers including at least one cheerleader; which is probably what got me to where I am today. But enough about me…

What if your personal family vacation from hell, contained a real Hell? I mean a dictionary-definition Hell complete with a soul-eating demon? It is under this premise that we follow author Douglas Clegg into the no-Tinker-Bell, Peter Pan-less nightmare called Neverland.

Beau Jackson is destined to spend another summer with his extended family in their run-down “summer home” on Gull Island. Isolated and remote, the island is privy to even more nasty little secrets than the ones the adults spill out each evening during their alcohol-induced arguing, and Beau’s cousin Sumter is up to no good at all in that broken down shed at the back of the property.

Sumter has always been a little off, maybe even a little evil. But what he’s got hiding in a box back there is about to rip the fabric between reality and Sumter’s sadistic imagination, taking Beau and the rest of the Jackson family along for the ride.

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The Spider vs. The Empire State

The Spider vs. The Empire State

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Layout 2The Spider Revival: Part III

The Spider vs. The Empire State
Norvell Page (Ace of Aces Books, 2009)

I have previously written about the revival in trade paperback of the adventures of The Spider, the bloodiest of all 1930s pulp heroes. My reviews of The Spider: Robot Titans of Gotham and The Spider: City of Doom, both published by Baen, contain plenty of background about the character and his main author, Norvell Page, so if you’re unfamiliar with the blood-soaked vigilante insanity of this region of the pulp universe, I’d advise that you start there.

This third collection of Spider adventures comes from a new publisher (Ace of Aces Books) and presents for the first time three connected novels that were originally published consecutively in The Spider Magazine. These three novels, which ran in the September, October, and November 1938 issues, form “The Black Police Trilogy,” one of the darkest episodes in the character’s history. Norvell Page and his editor Harry Steeger decided to put newspaper headlines and national fears into their pulp adventures: an allegory for Nazism, viewed as it might arise in the middle of contemporary New York State. It Does Happen Here might serve a good alternate title.

The first book of the trilogy, The City That Paid to Die, came out exactly a year before the Nazi invasion of Poland. The U.S. and the rest of the world were in an uneasy position with the seemingly unstoppable rise of fascism in Europe and the apparent weakness of the liberal democracies. A few small fascist sympathetic groups bubbled up in the U.S., but by 1938 the isolationist nation was becoming concerned about the ambitions of the regimes of Adolf Hitler and Benito Mussolini. It was an era ripe for terror and panic—and Norvell Page seized those feelings to create a pulp adventure uncomfortably close to 1938 concerns.

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Because One Frederick Faust Post Isn’t Enough: The Sacking of El Dorado

Because One Frederick Faust Post Isn’t Enough: The Sacking of El Dorado

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frederick-faust-in-brentwood“So it will be when we are dead that perhaps our lives will stand for something.”

“A typewriter is almost like a human being to me.”

“Have recently sent thirty-eight poems to our leading magazines and received thirty-eight poems back from our leading magazines.”

“All that can save fiction is enormous verve, a real sweep, plus richness of character, blood that can be seen shining through.”

“Why is my verse so difficult, so dead, so dull to other people?”

—Frederick Faust, from various letters

I was surprised but pleased to see the positive reaction that my post about Frederick Faust, a.k.a. Max Brand, received last week. It was enough for me to want to spend an extra week on the author, specifically to take a closer look at an individual volume of his work. Faust has rarely received this sort of attention, as John C. Hocking pointed out in the comments last week, and so I’ll spend another Tuesday of your time talking about a man who was not only the most prolific of the pulpsters, but one of the most skilled and literary.

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Short Fiction Review #26: Real Unreal: Best American Fantasy Vol. 3

Short Fiction Review #26: Real Unreal: Best American Fantasy Vol. 3

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best-unrealI don’t know whether the third edition of Best American Fantasy, which has found a new home with  Underland Press, represents the “best” fantasy, or why it matters whether it’s “American” (meaning, presumably, the United States).  Of course, it’s a cliché for any anthology to proclaim its contents represent a “best of,” and the editors who’ve been doing it for a number of years frequently rely on stories from the usual suspects of authors who mostly all publish in the same magazines.  While I haven’t read the previous editions of Best American Fantasy,  knowing that the series editor is Matthew Cheney and the co-founding editors were Jeff and Ann VanderMeer, I knew what to expect from guest editor Kevin Brockmeier (notwithstanding that Stephen King is the top author listed on the cover page; indeed, his funny riff on the “mysterious telephone call from the dead,” is more in keeping with “traditional” fantasy). This is a collection of _____(New Weird, slipstream,  literary, you fill-in-the-blank),  the “Real Unreal” about the fantastical state of human consciousness.  No elves or adolescents on a quest.

What I didn’t quite expect was the number of authors totally new to me as well as  the breadth of source materials, ranging from the tried-and-true  (Fantasy and Science Fiction) to the literary (Kenyon Review) to another anthology (Del Rey Book of Science Fiction and Fantasy) to a few I’ve never heard of (The Fairy Tale Review, Pindeldyboz).  And the only story I’d previously read was Jeffrey Ford’s “Daltharee,” about the creation of a bottled city and the arrogance and irresponsibility of scientific bureaucracies.

Ramona Ausubel sets the stage with the opening tale of “Safe Passage.” A group of grandmothers find themselves at sea, with no clue as to how they got onboard ship or why. Presumably, they’re dead. Okay, been there before. But the protagonist’s reaction to the banal behavior of her shipmates, and her ultimate decision to take action that results in a sort of enlightened view of her plight, makes the “unreal” here quite “real.”
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Who Fears the Devil?

Who Fears the Devil?

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who-fears-the-devil-coverWho Fears the Devil?
Manly Wade Wellman (Paizo Publishing, 2010)

Paizo Publication’s Planet Stories has brought forth another collection of the kind of grand and weird fantasy that the chain bookstores want to keep hidden from you. Who Fears the Devil?, the complete tales of Manly Wade Wellman’s “John the Balladeer” character, is one of the Planet Stories volumes I’ve most anticipated; there’s no other fantasy character quite like John, and no one else but Wellman could have created him. He’s a contemporary fantasy hero who uses folk songs instead of swords, and faces wonders from the mountain legendry of Appalachia. He’s part Weird Tales, a touch of Unknown, plus Pete Seeger and Johnny Cash.

Also called “Silver John” in promotional material because he strings his guitar with silver, but always simply referred to as “John” within the stories, Wellman’s hero is a variant on the bard of the Middle Ages who wanders the contemporary Appalachians. Or semi-contemporary; the setting is really a fantasy land based on Wellman’s love of Appalachian folklore and the spirit of its musical tradition. In the stories readers will occasionally encounter cars, trucks, air travel, and mention of John’s Korean War service, but most of the time they will find it easy to imagine that this is an Appalachia frozen in the nineteenth century, when stories and songs at the hearthside were thinly veiled truths about wizards, witch-folk, and strange beasts.

John’s songs help combat evil, as do the silver strings on his guitar. (One of the few problems I have with the stories is that the “silver against supernatural” concept turns up a few times too many.) John not only sings the ballads, he’s a collector, and in some of the stories (“The Little Black Train,” “Vandy, Vandy”) his search for old ballads brings him into the action. “Call me a truth seeker,” he tells one curious inquirer, “somebody who wonders himself about riddles and life.” When then asked if he’s a “conjure man,” he answers: “Not me…  I’ve met up with that sort in my time, helped put two-three of them out of mischief. Call that part of what I follow.”

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Starblazer and Mindjammer

Starblazer and Mindjammer

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spiritOne of the most promising new game systems I reviewed in Black Gate 14 was used for the pulp role-playing game Spirit of the Century from Evil Hat Productions. FATE is a streamlined set of rules based more on adjectives and descriptions than complicated and time consuming point allocations. Not only does the system make task resolution fast, it encourages players and game masters alike to storytell more than die roll.

I was unabashedly excited about Spirit of the Century and couldn’t help wondering how the mechanics designed for pulp 1930s role-play would work in another setting.

An English game company named Cubicle Seven must have been wondering the same thing, because they took up the system and retooled it for science fiction role-playing.

Starblazer Adventures is a beautiful, thick hardback of 629 pages, stuffed full of art taken from a popular British space opera comic from the 1970s and ’80s. Nearly every page is decorated with exciting action pics evocative of high octane adventure.

But more than 600 pages, I can see you asking, isn’t that… needlessly long? Is it crammed with charts that you must consult?

No. What it is crammed with is all the information that a game master could need to run a thrill-packed space campaign, and then some.

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A Look at Matthew Sturges’ Midwinter

A Look at Matthew Sturges’ Midwinter

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midwinter-cover-sturgesMidwinter
Matthew Sturges
Pyr  (345 pages, Trade Paperback, March 2009, $15.98)
Reviewed by Bill Ward

Midwinter is the debut novel from comics writer Matthew Sturges, and it has elves in it. In fact, it’s all about elves, taking place as it does in the land of faerie. But these elves, dear reader, are not your Daddy’s elves — or, more to the point, they are not the sort of derivative elves that tend to find their way into the fiction of writers who have trouble thinking outside their last D&D campaign. Midwinter’s Fae, in all their variety, are much more reminiscent of  the Sidhe of Celtic myth that is clearly Sturges’ jumping off point, perhaps with a bit of Tolkien and Moorcock thrown in for good measure. Those who can’t stand heavily derivative fantasy need not worry — in fact, it’s Sturges’ willingness to play with tropes and inject his tale with the unexpected that is the main attraction of his world.

For an example of one of those ‘sit up on the edge of your seat and take notice’ turns, we have an event that occurs early in the book. The premise of the quest is established quickly, and this ‘dirty dozen with elves,’ as Sturges has described the book, kicks off in much the expected direction. We are introduced to disgraced Guard Captain Mauritane, in prison, as well as his despised enemy — a Fae who conspired to bring him down in the first place. The quest is laid out (though not explained — the revelation of the true purpose of the quest isn’t provided until the end), and Mauritane’s team of fellow prisoners assembled. But just when you think the direction of things is all mapped out, Mauritane, seemingly as an aside, ends up traveling back in time (!) and participating in an episode the significance of which is only shown later. Throughout the novel Sturges shows a willingness to make a hard right without taking his foot of the gas — leaving some rubber on the road and, just  maybe, making a few white-knuckled passengers uncomfortable —  in a way that reminded me of the more daring and fluid fantasies of the past.

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2 Clash 2 Titans: Clash of the Titans (2010)

2 Clash 2 Titans: Clash of the Titans (2010)

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clash-of-the-titans-1Clash of the Titans (2010)
Directed by Louis Leterrier. Starring Sam Worthington, Mad Mikkelson, Gemma Arterton, Alexa Davalos, Ralph Fiennes, Liam Neeson, Pete Postelthwaite.

You may not believe this, based on other things I’ve written at this site, but I walked into my local movie theater showing the re-make of Clash of the Titans with an open mind. Or as open as possible for someone who can pinpoint the original 1981 film as the moment from his childhood when he awakened to fantasy adventure.

And I’m glad I kept my mind pried open. Because Clash of the Titans: 2010 is a perfectly adequate modern fantasy movie, and I was able to enjoy the good that it had to give.

This may not sound like a stirring recommendation, but when you consider the complete Olympian thrashing the film is getting from the majority of critics, for a Ray Harryhausen defender to say, “Hey, I kind of liked that,” is, ahem, a titanic deal. (I’m really, really sorry about that pun.)

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How to Train Your Dragon

How to Train Your Dragon

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how_to_train_your_dragon_posterHow to Train Your Dragon (2010)
Directed by Chris Sanders and Dean DeBloid. Featuring the voices of Jay Baruchel, Gerard Butler, Christopher Mintz-Plasse, Jonah Hill, America Ferrera, Craig Ferguson.

A new U.S. Godzilla film is on the way! One that will do it right! Rejoice!

Sorry, had to get that out of my system. Now, where was I . . . something else about giant monsters. . . .

I avoid most CGI animated films that don’t have the name “Pixar” in front of them; last year’s Monsters vs Aliens was just another reminder that nobody else seems to even try to reach Pixar’s level of story quality and characterization. “Those Who Are Not Pixar” are quite content just to wink at the adults with pop-culture jokes and coast on celebrity voices. However, when I saw the trailers for How to Train Your Dragon, I was intrigued. The movie appeared to be mostly ironic fantasy—not a genre that does much for me, aside from an occasional Terry Pratchett novel—but it also seemed to have some genuine heroic sword-and-sorcery going on in it. Vikings and dragons . . . I thought there were some juicy possibilities.

Okay, so I was wrong.

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The Weird of Cornell Woolrich: “Speak to Me of Death”

The Weird of Cornell Woolrich: “Speak to Me of Death”

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speak-to-me-of-deathMost pulp writers of the 1930s were itching to break into the hardcover book market. Since reprints of pulp stories in book form were rare at the time, these writers did not expect that their work for the newsstands would survive past an issue’s sell-date. They felt comfortable re-working and expanding on them to create novels. Raymond Chandler famously called his process of novelizing his already published work as “cannibalizing.” He welded together different short stories, often keeping large sections of text intact with only slight alterations. Other authors took ideas that they liked, or else felt they could do more justice to in the novel format, and enlarged them into books without text carry-over. Robert E. Howard used “The Scarlet Citadel” as a guide for The Hour of the Dragon. And Cornell Woolrich turned many of his short stories into novels. “Face Work” became The Black Angel. “Call Me Patrice” became I Married a Dead Man. “The Street of Jungle Death” became Black Alibi. And “Speak to Me of Death” became Woolrich’s most depressing novel (which is really saying something), Night Has a Thousand Eyes.

In most of these cases, Woolrich made major changes from the short version to the longer one. “Face Work” is a minor piece and only remains as an incident within The Black Angel. “Street of Jungle Death” is a pretty wretched piece of junk, and yet Woolrich took this silly “big cat on the loose in Hollywood!” and fashioned it into a grim classic — one of his best novels — set in the web-ways of a South American city.

But in the case of “Speak to Me of Death” and its growth into Night Has a Thousand Eyes, Woolrich changed little of the story. He instead deepened this examination of fate, psychic powers, and police work so it lasted over three hundred pages. The short story is a classic, and so is the novel — it’s merely a matter of the length of the author maintains the effect. If Night Has a Thousand Eyes is the superior work, “Speak to Me of Death” might be better for your nerves because it ends much sooner.

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