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Vintage Treasures: Down to a Sunless Sea by Lin Carter

Vintage Treasures: Down to a Sunless Sea by Lin Carter

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Lin Carter Down to a Sunless Sea-smallWe’re big fans of Lin Carter here at Black Gate. He was one of the most influential figures in 20th Century fantasy, chiefly as the editor of the Ballantine Adult Fantasy (BAF) line of paperback reprints, the six volumes of The Year’s Best Fantasy Stories, and the groundbreaking Flashing Swords! sword & sorcery anthologies. He was also one of the hardest working professionals in the genre. Carter edited a BAF volume every single month between May 1969 and April 1974 (65 total), and in the same time period produced over a dozen novels and numerous short stories.

Although his own fiction output was prodigious, Carter is remembered today chiefly as an editor rather than a writer. In his fond review of Carter’s 1984 novel Kellory the Warlock back in March, Fletcher Vredenburgh gave us a blunt assessment of his skill as a writer:

Poor Lin Carter: perhaps the greatest champion heroic fantasy ever had, an editor with few equals, one of the most knowledgeable fan boys in the world, but a poor writer. I think he would have liked his stories and novels to be remembered more fondly than they are. I believe Kellory the Warlock proves he had the potential to have been a better writer…

Most of his fiction, rarely more than pastiches of his favorite authors (Howard, Burroughs, Lovecraft, and Dent), never garnered enough attention to be republished… Carter was no master stylist and it can get a little irritating. Most of the time, he was trying to create fun, quick reads that were recreations of his favorite writers. In a way, he was writing fan fiction; it’s just that he got his published.

Personally, I’ve always been curious about Carter’s Mars novels, since they seem to be more fondly remembered today than much of his other fiction. I’ve always assumed they were Burroughs pastiches, but the Author’s Note to the final volume, Down to a Sunless Sea, makes it clear that they were actually inspired by the Queen of sword-and-planet fiction, the great Leigh Brackett herself.

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The Public Life of Sherlock Holmes: The First Great Holmes (Gillette)

The Public Life of Sherlock Holmes: The First Great Holmes (Gillette)

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I recently wrote about John Barrymore’s film, Sherlock Holmes, which was based on William Gillette’s massively popular play about the great detective.

In 1897 or 1898, Arthur Conan Doyle decided to “revive” Sherlock Holmes, who had gone over the ledge at the Reichenbach Falls in 1893. He wrote the first draft of a play starring the detective.

Gillette_Poster1Since he already had scored a hit with his non-Holmes play, A Tale of Waterloo, Doyle must have figured that the public would ring up the cash register in seeing their favorite detective again: this time on the stage.

Doyle lost interest in the project, but his agent sent the five-act play off to noted Broadway producer and agent Charles Frohman. Frohman, who died aboard the ill-fated Lusitania, felt that the play was not commercial enough as it was and told Doyle that popular American actor William Gillette should revise and then star in it.

The uninterested Doyle gave his permission and Gillette transformed Holmes into more of a melodrama star and less of a stodgy British detective.

Gillette read all of Doyle’s original stories, took four weeks off from his current tour for the popular Secret Service and rewrote the play. That November, a fire in San Francisco’s Baldwin Hotel destroyed all of the scenery and sets of Secret Service; and also the only script of Sherlock Holmes!

It’s Elementary – Gillette asked Doyle if he could marry Holmes for the play. Doyle’s reply via telegram has become famous: “You may marry him, murder him or do anything you like to him.”

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Vintage Treasures: The Outlaw of Torn by Edgar Rice Burroughs

Vintage Treasures: The Outlaw of Torn by Edgar Rice Burroughs

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Outlaw-of-Torn-Ace-smallTruth be told, I’ve never been much of a fan of Edgar Rice Burroughs. I think he’s a taste you acquire young or not at all, and I missed the window by not reading any ERB before I turned 25. Talk about a wasted youth.

Of course, it’s entirely possible I simply haven’t read the right book yet. If I were going to be shipwrecked on a desert island tomorrow, and I just happened to get tipped off in advance, I would probably grab a copy of The Outlaw of Torn to bring with me. I’ve wanted to read it ever since I laid eyes on it many years ago, and I’ve had it recommended to me many times by ERB fans since.

At seventeen he was the greatest swordsman in England. At eighteen his reputation as a fearless outlaw had spread throughout the land and there was a tremendous price upon his head. At nineteen he was the leader of a fierce band of more than a thousand men, from nobleman to serf, the only requirements being willingness and ability to fight and an oath to obey the Outlaw of Torn.

Who was this Norman of Torn, the fame of whose daring exploits was ringing throughout the land? Where did he come from? Was he of noble blood or was he of commoner origin?

Through savage combats the Outlaw fights his way in his love for the beautiful daughter of the most powerful baron in England to find the secret of his birth.

On the other hand, our resident ERB expert Ryan Harvey didn’t think too much of The Outlaw of Torn, calling it “stodgy and drearily artificial; it lacks the zest of the best of Burroughs’s work” in his feature review. And Ryan has rarely steered me wrong. I suspect he’d suggest a different book for my ill-fated voyage. (Of course, a true friend might also suggest a different travel agent…)

The Outlaw of Torn was originally serialized in New Story Magazine starting in January 1914, and published in hardcover by McClurg in 1927. The Ace paperback edition above was published in 1965; it is 255 pages, priced at $0.75. The cover is by the great Roy Krenkel, Jr. (Click for bigger version.)

Collecting Lovecraft, Part II

Collecting Lovecraft, Part II

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Lovecraft Ballantine Paperback collection-small

It’s almost too easy to get the complete works of H.P Lovecraft. Barnes and Noble, just for example, sells a handsome single-volume complete edition of his work (all 1112 pages!) for just $18. So why on earth would you ever want to spend your time and money collecting vintage paperbacks containing only a fraction of his complete works?

I made a half-hearted attempt to answer that question in the first article of this series, Collecting Lovecraft. Collecting is an emotional hobby, not a rational one, so trying to fathom the collecting urge purely on a rational basis is only going to get you so far. In truth, it usually boils down to something as simple as fondness for cover art, or nostalgia for the particular edition that first introduced you to an author.

Above you can see a colorful assortment of Lancer and Ballantine paperback editions of H.P. Lovecraft originally published between 1967 and 1973: The Colour Out of Space (1967), Tales of the Cthulhu Mythos, Volume 2, edited by August Derleth (1969), The Shuttered Room and Other Tales of Horror, by Lovecraft and Derleth (1973), The Survivor and Others by Lovecraft and Derleth (1971), and The Spawn of Cthulhu, edited by Lin Carter (1971). Truthfully, I’m not too fond of these covers, and they don’t hold any particular nostalgia for me — they were all out of print long before I discovered Lovecraft. So why was I so determined to buy them?

Back in August the New York Times published a fascinating article about Zero Freitas, the Brazilian millionaire collecting every vinyl record ever made. I don’t mean one copy of every record, I mean every single piece of vinyl with music on it in the world. He’s amassed millions so far. I distinctly remember the first time I read the piece, I nodded along and thought, “Yeah, I get it.”

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Vintage Treasures: Silverglass by J.F. Rivkin

Vintage Treasures: Silverglass by J.F. Rivkin

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Silverglass-smallThere’s no shortage of fantasy fiction with strong women heroines these days — in fact, if you’re standing in front of the urban fantasy section of your local bookstore, I wouldn’t be surprised if you assume that that’s all there is.

I do hear the occasional observation that this is entirely a modern development however, and obviously that’s not true. Yeah, adventure fantasy was largely dominated by male writers in the 20th Century (and male editors, and male art directors, but that’s a different topic.) But it wasn’t just trailblazers like C.L. Moore, Anne McCaffrey, and Joanna Russ creating popular female heroes. Even in midlist fantasy, there were popular sword-wielding women characters, many of whom are forgotten today.

Are they worth remembering? That’s a different question.

I’ve always wanted to find out. Recently I’ve been curious about the Silverglass books by J.F. Rivkin, four novels published between 1986 and 1991: Silverglass, Web of Wind, Witch of Rhostshyl, and Mistress of Ambiguities. The first one crossed my desk again last night, part of a small paperback collection I recently acquired, and I dipped into it long enough to be intrigued.

Probably the reason I’ve remembered these books so long is the colorful wraparound covers by Royo. For Silverglass, he surrounded our heroine with an interesting cast of characters in what looks like an underground tavern — a setting that immediately spoke to me of adventure in 1986. The main selling point is summarized in the Piers Anthony blurb at the top:

It’s fun to see a tall, handsome, hard-fighting, hard-drinking barbarian hero — who is female.

Here’s the book blurb, and high-res scans of the front and back covers.

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Vintage Bits: Icewind Dale: Enhanced Edition Available for Pre-Order

Vintage Bits: Icewind Dale: Enhanced Edition Available for Pre-Order

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I have a deep fondness for old school computer games — especially classic RPGs like Wizardry, Pool of Radiance, Wasteland, Starflight, and Baldur’s Gate. Those games helped get me through my teen years (and most of grad school, now that I think about it). So when Beamdog announced an Enhanced Edition of Baldur’s Gate in November 2012, I was thrilled.

Beamdog was founded by two ex-employees of Bioware, the company that created some of the finest computer RPGs ever made, including Baldur’s Gate, Neverwinter Nights, Star Wars: Knights of the Old Republic, and Mass Effect. Co-founder Trent Oster and lead programmer Cameron Tofer formed Beamdog in July 2010 with the vision of bringing old school RPGs to modern platforms, and spent two years lovingly crafting a complete re-write of Baldur’s Gate — originally released only for Windows 95/98 — for modern versions of Windows, iPad , OS X, and Android. Their version eventually included over 400 enhancements, like new high-res cinematics, UI improvements, enhanced multiplayer, bug fixes and higher level caps, and over six hours of bonus quests & new adventures. It was, in short, the ultimate edition of Baldur’s Gate.

As excited as I was to see the Baldur’s Gate: Enhanced Edition — and its sequel, Baldur’s Gate II: Enhanced Edition, released in 2013 — I was even more delighted to learn that Beamdog’s next project was Icewind Dale: Enhanced Edition. Icewind Dale was my favorite of the Dungeons & Dragons Infinity Engine line of games (which included Baldur’s Gate I and II, Planescape: Torment, and several others), and I have very fond memories of playing it with my children over a dozen years ago.

Now Beamdog has made Icewind Dale: Enhanced Edition available for pre-order on their website for just $19.99, in a package that also includes both of the expansion packs: Heart of Winter and Trials of the Luremaster. Check out the trailer for the enhanced edition above.

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The Color Out of Time: Michael Shea Takes a Dip Into Lovecraftian Horror

The Color Out of Time: Michael Shea Takes a Dip Into Lovecraftian Horror

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The Color out of TimeI’ll mention this first about Michael Shea’s 1984 novel The Color Out of Time: the protagonists consume copious amounts of Wild Turkey. They fortify their coffee with it; they carry hip flasks full of it. This is a fact the narrator always notes casually in passing. Never are the potentially debilitating effects of alcohol mentioned; it simply occurs to the reader that these people might well be past the point of tipsy into “whiskey-river-take-my-mind” territory through much of the central action of the adventure. Perhaps that’s how they maintain their sanity. And make no mistake: sanity is but one of the possessions at stake for our heroes, because they have waded head-deep into Lovecraft territory. If they do manage to survive with their sanity intact, though, they might want to consider rehab.

The second thing I’ll mention is that because some of my own fictional excursions overlap with Shea’s foray into Lovecraftian horror — we tread similar unhallowed ground, digging up the bones of past masters of weird horror and coating them with fresh slime, if you will — I find myself contemplating the book not just as a critic, but as a writer: appreciating moves he makes while noting missteps and potential pitfalls. Ultimately, Shea’s sequel to H.P. Lovecraft’s 1927 short story “The Colour Out of Space” is entertaining, but slightly off, a tad unsatisfying, and I’ll try to pinpoint why — to isolate the juncture at which it diverges from Lovecraft’s vision and to articulate how this impacts the effectiveness of the tale. (For a different take on the book, check out Douglas Draa’s review for Black Gate last year HERE.)

The premise is straightforward enough. Take the story that is generally regarded as Lovecraft’s first successful amalgam of science fiction and horror, a blend that became his unique trademark (“The Colour Out of Space” is one of Lovecraft’s most highly regarded and was always, according to Wikipedia, the author’s personal favorite. For the sake of full disclosure, it ranks high on my list of best horror stories and is one of my top two or three favorite works by Lovecraft). Start from the central event of that tale and then project its aftermath some sixty odd — very odd — years later.

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A Rogue’s Early Days: Yendi by Steven Brust

A Rogue’s Early Days: Yendi by Steven Brust

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oie_28150EMzOHUFYSteven Brust has written that Yendi (1984), second in his ongoing series about gangster Vlad Taltos, is his least favorite book. As it’s only the second of his novels I’ve read, I can’t tell you where it falls on a greater continuum of his work, but I can tell you it’s a pretty good book. Sure, the book is flawed, but the good bits far outweigh the bad. If this is the low point in the series, then I’m REALLY looking forward to the later volumes.

The first book in the series, Jhereg (read my review here), introduces Vlad Taltos, a human assassin in a magic-heavy world ruled by the Dragaerans (who are pretty much elves). In that book, Vlad finds himself forced into carrying out a complex assassination. Aided by his mini-dragon familiar, Loiosh, and several powerful and clever friends, he succeeds beyond his own expectations. It’s a blast and I’m grateful to Bill Ward for getting me to check it out.

Instead of taking the story forward, Brust goes back in time with Yendi. Here we learn how Vlad rose in the ranks of the mafia-like House Jhereg. By a combination of smarts, daring, and just enough violence, he secures a position in the gangland ecology of the Dragaeran Empire’s capital city, Adrilankha. By book’s end, he’s well on his way to becoming the successful racketeer we meet in the first book. Unfortunately for him, things happen between the beginning and end of Yendi that make for a lousy time for Vlad, but a fast-paced story for us.

The book begins with Vlad learning that another low-level boss, a Dragaeran named Laris, has opened a gaming parlor in his territory. When confronted, Laris is apologetic and presents a series of nearly believable excuses. After the meeting, Vlad informs his lieutenant, Kragar, that they have probably no more than two days to get ready for an all-out war. His intuition proves correct.

The war between Vlad and Laris is so violent that one of the five rulers of House Jhereg summons Vlad and tells him to handle his war with more subtlety, or else. Unfortunately, it’s too late to avoid the or else. Incensed by the steady string of fires and killings, the Dragaeran empress dispatches members of her Phoenix Guard to clamp down. There are curfews, restrictions on the size of gatherings, and all criminal operations are shut down.

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“Shardik, Shardik the Power Of God!”

“Shardik, Shardik the Power Of God!”

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Shardik-smallMidway through Richard Adams’s doorstop of a book, Shardik (1974), I decided I had stumbled into the world’s longest parable.

Biblical parables are typically quite brief, but Adams pulls toward the opposite shore, reasoning that in thoroughness lies salvation. And why shouldn’t he? That tactic worked like gangbusters in his astounding debut, Watership Down (1972).

Shardik could indeed function as a serviceable doorstop, but to dismiss it out of hand would be a disservice to literature in general, and to fantasy novels in particular. Shardik is a brave, uncompromising examination of how “mere” mortals encounter and deify the exceptional, thus giving rise to portents, omens, prophecies, and ultimately continent-conquering religions.

In the case of Shardik, the talismanic inciting event takes the form of a gigantic bear, a bear of monstrous, prehistoric proportions, and this bear first flees a forest fire and then crashes, half-burned and exhausted, into a far-flung outpost of human civilization, Ortelga. Unfortunately – or not, depending on one’s point of view – the Ortelgans entertain a fervid belief that God’s manifestation on Earth will come in the form of a massive bear.

While Watership Down stayed locked within the heads of its rabbit characters, Shardik spends only a few pages at the outset inside the eponymous bear’s mind, just long enough to convince any alert reader that while Shardik may be a divine instrument, he is very much a bear, no more, no less, and will behave accordingly. After that, the story turns to Kelderek-Plays-With-Children, a hunter of simple tastes who first stumbles upon the injured, recovering bear-god.

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Vintage Treasures: The Dance of Death by Algernon Blackwood

Vintage Treasures: The Dance of Death by Algernon Blackwood

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The Dance of Death Blackwood-smallAlgernon Blackwood is one of the acknowledged masters of the ghost story — and also one of its most prolific practitioners. He wrote a dozen novels and published some 34 short story collections, including John Silence (1908), Incredible Adventures (1914), Ancient Sorceries and Other Tales (1927); and Tales of the Uncanny and Supernatural (1949). He died in 1951.

In his review of Incredible Adventures, Ryan Harvey saluted Blackwood thusly:

Of all the practitioners of the classic “weird tale,” which flourished in the early twentieth century before morphing into the more easily discerned genres of fantasy and horror, none entrances me more than Algernon Blackwood. Looking at the stable of the foundational authors of horror — luminaries like Poe, James, le Fanu, Machen, Lovecraft — it is Blackwood who has the strongest effect on me. Of all his lofty company, he is the one who seems to achieve the most numinous “weird” of all…

In my view, Blackwood achieved his finest work in his earlier collections The Listener and Other Stories (1907), John Silence — Physician Extraordinary (1908), and The Lost Valley and Other Stories (1910), where he combined his weird adventures with aspects of horror and fear. These earlier classics are supernatural horror, but are also superb works of mood.

Much of Blackwood’s impressive catalog is now out of print, but not all of it. S. T. Joshi, who called his work “more consistently meritorious than any weird writer’s except Dunsany’s,” and said Incredible Adventures “may be the premier weird collection of this or any other century,” has edited two contemporary short story collections: The Complete John Silence Stories (1997), and Ancient Sorceries and Other Weird Stories (2002).

Of course, I’m most interested in the vintage paperback editions of Algernon Blackwood, and especially his 1963 Pan paperback The Dance of Death, which I recently acquired on eBay.

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