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Category: Vintage Treasures

John W. Campbell on Tolkien, Conan, and Sword & Sorcery

John W. Campbell on Tolkien, Conan, and Sword & Sorcery

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The August 1968 issue of Analog Science Fiction, with Sword & Sorcery creeping up on Science Fiction
The August 1968 issue of Analog Science Fiction, showing Sword & Sorcery creeping up on Science Fiction

Gordon van Gelder, the editor of The Magazine of Fantasy and Science Fiction, has posted a fascinating excerpt from The John W. Campbell Letters, Volume 1. The excerpt is from a September 7, 1967 letter to Analog author and Hugo Award winning writer Gordon R. Dickson, author of Dorsai! and Soldier, Ask Not, and it captures the frustrations of the top SF editor in the country as he senses his audience being lured away by the growing popularity of J.R.R. Tolkien.

The swords-and-sorcery and Tolkien have displaced science fiction almost completely. Why? Well, partly — but I think a small part — is the current leaning to escape-from-reality, LSD etc. to the undisciplined world of my opinion is as good as any other, and don’t tell me there’s a Universe’s Opinion I’ve got to accept, willy nilly.

But the larger item, I suspect, is *human beings want heroes.* Real heroes. Not common-men-who-proved-under-stress-they-could-struggle-through. The swords-and-sorcery yarns are all based on superhuman heroes — and it’s clearly obvious the readers love ’em.

Now in as much as it’s the readers who pay for the magazines, it damn well behooves us to give ’em what they want — and they obviously want super-heroes on the Conan order. They want for Frank Herbert’s Dune, with his super-hero. They used to go with all-out enthusiasm for Jack Williamson’s really-not-very-good “Legion” stories.

Now if the fans want — and they evidently do! — swords-and-sorcery type yarns, then we had damn well better give ’em the type of thing they want, or get out of the way for someone who will.

Campbell never published much fantasy in Analog, but he did champion adventure-oriented science fantasy in the late 60s, like Anne McCaffrey’s Dragonriders of Pern stories (the first of which, the Hugo Award-winning “Weyr Search,” appeared in Analog in October 1967). It would be interesting to take a closer look to see if there was any noticeable editorial shift in this period.

Read the complete excerpt in Gordon’s Facebook post.

I Invoke the Voidal! Oblivion Hand by Adrian Cole

I Invoke the Voidal! Oblivion Hand by Adrian Cole

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oie_24224952K95LzfUEStripped of all his memories for some great transgression against the Dark Gods, the mysterious one called the Voidal, or Fatecaster, endlessly traverses the dimensions of the omniverse. Always he brings vengeance via his Oblivion Hand, an additional punishment of the Dark Gods. And furthermore, any who aid or befriend him are made to suffer.

Oblivion Hand (Wildside Press 2001) is a fix-up of eight early stories by Adrian Cole about his dark wanderer, the Voidal. Cole’s amnesiac protagonist was introduced in a chapbook titled “The Coming of the Voidal” (in this book reworked and retitled “Well Met in Hell.”) Five more tales appeared in a variety of small magazines and anthologies between 1977 and 1980, including Fantasy Crossroads and the Gerald Page-edited Heroic Fantasy. Two more, “The Lair of the Spydron” and “Urge and Demiurge,” were scheduled to be in Phantasy Digest and Weird Adventures respectively, but both magazines shut down before the stories could be published. They appear for the first time in Oblivion Hand.

In a review I did of the first two stories, “Well Met in Hell” and “The Lair of the Spydron,” I was harsh and almost disdainful. Still, there was something about them that I remember liking. Reading Lin Carter’s Kellory the Warlock last week (and whoever thought a writer most people agree was generally mediocre could attract so many comments a quarter of a century after his death?), elements of it reminded me of Cole’s book. Both authors were intent on creating a setting that wasn’t just another watered down mimeograph of Middle-earth; they wanted something stranger. Carter succeeded, but Cole did immeasurably better.

Cole’s omniverse is an endless collection of interesting settings: universe-sized dimensions; monster-infested pocket worlds; a realm filled not with planets but islands that float in space. Countless arrays of gods rule over these various worlds. Terrible beings like the Spydron create and work their will on hidden places they carve out for themselves. Powerful sorcerers raise themselves up above the gods in other worlds.

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The Public Life of Sherlock Holmes: The Case of the Short-Lived Holmes

The Public Life of Sherlock Holmes: The Case of the Short-Lived Holmes

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HouseofCardsNetflix’s House of Cards redefined what can be achieved by a web series. Everything about it, from casting to story to visuals, screams “quality.” The fact that it was intended to run for only a single season yet has already been renewed for a third testifies to the success that the show has had. It’s tough to maintain viewership when there’s almost nobody to root for, but they’ve done it.

But I wonder how many people realize that it is a remake of a 1990 British miniseries (apparently lust for power transcends decades. And centuries…)? Ian Richardson plays the Kevin Spacey role. Francis Urquhart has a disarming smile that makes him seem more warm than Spacey’s Frank Underwood. Don’t be fooled!

HouseofCardsRichardsonThe original House of Cards has a few Holmes ties. Female lead Susannah Harker appeared opposite Charlton Heston in the TV version of Crucifer of Blood, a modified version of The Sign of the Four.

She was also the client in Jeremy Brett’s version of The Adventure of the Dying Detective. Also, Colin Jeavons was Brett’s Inspector Lestrade. But it is Richardson’s brief tenure as Sherlock Holmes that we will look at now.

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Vintage Treasures: Rogers’ Rangers by John Silbersack

Vintage Treasures: Rogers’ Rangers by John Silbersack

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Rogers' Rangers-smallIf you know the name John Silbersack, it’s likely for his many significant accomplishments as a publisher and literary agent.

Silbersack has founded no less than six different imprints, including ROC Books at Penguin, Warner Aspect, and Harper Prism. Over a decade ago, he walked away from publishing and decided to become an agent, partnering with Trident Media Group, where he now reps some of the biggest names in the industry, including Barb & J.C. Hendee, Guy Gavriel Kay, E. E. Knight, William F. Nolan, David Schow, Paul Park, and the Isaac Asimov and Frank Herbert estates.

But back in the early 80s, this publishing Renaissance man also tried his hand at writing and editing. With Victoria Schochet, he edited the first four volumes of The Berkley Showcase (1980 – 1982), an anthology of science fiction and fantasy that presented original work from Berkley authors. It lasted five volumes and published a fabulous range of fiction from Orson Scott Card, R A Lafferty, Pat Cadigan, John Kessel, Howard Waldrop, Connie Willis, Thomas M Disch, Marge Piercy, Eric Van Lustbader, and many others.

All very interesting. But what we want to talk about today is Silbersack’s sole novel: Rogers’ Rangers, a sequel to the original Buck Rogers novel, published by Ace Books in 1983, which I found in a collection of SF books from the 1980s I acquired two months ago.

Back in 1979, Glen A. Larson, the producer behind the original incarnation of Battlestar Galactica, launched a new SF TV show for Universal: Buck Rogers in the 25th Century, starring Gil Gerard and Erin Gray (and the voice of Mel Blanc as Twiki, Buck’s robot companion.) The series was a hit, and I vividly remember seeing the pilot episode in theaters, shortly before the TV version launched.

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Is the Original SF and Fantasy Paperback Anthology Series Dead?

Is the Original SF and Fantasy Paperback Anthology Series Dead?

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Orbit 9 Damon Knight-smallI miss the era of the original paperback anthologies. It seems to have faded away without anyone really noticing and I’m not sure why.

Well, I guess I do know why, but I’m grumpy about it. Short fiction isn’t really viable in mass market anymore. Ten years of trying — and failing — to publish a fantasy fiction magazine taught me that.

That wasn’t always the case. For decades, SF and fantasy readers supported several prestigious, high-paying paperback markets for short fiction and they attracted the best writers in the field. Damon Knight published 21 Orbit anthologies between 1966 and 1980; Robert Silverberg edited New Dimensions (12 volumes, 1971-81) and star editor Terry Carr helmed 17 volumes of the Universe series (1971-1987), for example.

I’d be hard pressed to tell you which of those three was the best source for original SF and fantasy, and I don’t really feel qualified to anyway, since I didn’t read them all. (Or even most of them — we are talking a combined 50 volumes, just for those three. I read pretty fast, but I’m not Rich Horton.)

In any event, those days are gone. And now that they are, I wonder — was it the sheer editorial talent of Messieurs Knight, Silverberg, and Carr that allowed their respective anthologies to continue for decades?

Or was there simply more of an appetite for short fiction forty years ago? Could an editor with the same talent and drive accomplish what they did today? Or is it futile, like trying to argue football with the Borg?

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The Novels of Michael Shea: The Incompleat Nifft

The Novels of Michael Shea: The Incompleat Nifft

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The Incompleat Nifft-smallUnder editor Eric Flint, Baen Books has led the way in producing inexpensive mass market reprints of some of the most essential classic SF and Fantasy of the 20th Century — including Robert E. Howard, Andre Norton, James H. Schmitz., Murray Leinster, and P. C. Hodgell’s God Stalker Chronicles, among many, many others (They’ve continued in this tradition with fabulous anthologies, including the recent In Space No One Can Hear You Scream and many others.)

In 1997, Baen Books turned to Michael Shea, publishing his second Nifft the Lean novel, The Mines of Behemoth. By 2000, they were preparing to trumpet the arrival of his third, but by that point the original World Fantasy Award-winning volume Nifft the Lean had been out of print for almost two decades.

So five months before the release of The A’rak, Baen bundled both of the first two novels into a single paperback, cleverly titled The Incompleat Nifft, signally the impending arrival of the what would be the final book in the series. At 576 pages it was a terrific bargain, collecting both Nifft the Lean and The Mines of Behemoth under a Gary Ruddell cover, and it has become perhaps the most collectible paperback in Shea’s catalog.

This Time, They Would Make a Killing

Join master thief Nifft the Lean with his companion-at-arms, mighty barbarian Barnar Hammer-Hand, as they trust to their wits and their luck. Once Nifft and Barnar were hired by the ghost of a dead woman to kidnap the man who betrayed her and drag him down to hell to join her. A simple task — or so they thought at first…

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Blogging Sax Rohmer’s The Island of Fu Manchu, Part Three

Blogging Sax Rohmer’s The Island of Fu Manchu, Part Three

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82island corgiSax Rohmer’s Fu Manchu and the Panama Canal was first serialized in Liberty Magazine from November 16, 1940 to February 1, 1941. It was published in book form as The Island of Fu Manchu by Doubleday in the US and Cassell in the UK in 1941. The book serves as a direct follow-up to Rohmer’s 1939 bestseller The Drums of Fu Manchu and is again narrated by Fleet Street journalist, Bart Kerrigan.

The second half of the book gets underway with Sir Denis Nayland Smith, Sir Lionel Barton, Bart Kerrigan, and the local Panamanian police chief holding a council of war to discuss the enigmatic Lou Cabot. A meeting is arranged by Kerrigan and Sir Denis with the dancer Flammario, who is Cabot’s former lover. Cabot is involved with the Si-Fan and has run afoul of Dr. Fu Manchu. Both the Devil Doctor and Flammario wish to see Cabot dead.

Flammario is meant to recall Zarmi from the third Fu Manchu novel, 1917’s The Hand of Fu Manchu, but she is more bitter than seductive. The exotic dancer leads Smith and Kerrigan to Cabot’s apartment. Unfortunately, the Si-Fan had the advantage and arrived before them. The place is in a shambles and they discover Cabot’s hideously mangled corpse. Kerrigan spies Ardatha’s ring on a shelf and knows that his lost love has fallen back into the Si-Fan’s clutches.

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Vintage Treasures: The Dunwich Horror and Others by H.P. Lovecraft

Vintage Treasures: The Dunwich Horror and Others by H.P. Lovecraft

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The Dunwich Horror Rowena-smallBack in December, in the comments section of my post on “H.P. Lovecraft, A. Merritt, and Appendix N: Advanced Readings in D&D,” Joe. H. noted:

My first encounter with Lovecraft was the… paperback of Colour Out of Space. I was probably too young and had no idea what I was in for — the title story scared the bejeebers out of me (and to this day still creeps me out)… it was actually the Jove edition; the one with the Rowena painting of a Great Old One from “Shadow Out of Time” on the cover. Needless to say, it was the cover that drew me.

(Hmmm … Rowena also pulled me to Clark Ashton Smith with her City of the Singing Flame cover.)

Naturally, I went searching for evidence of a Jove edition of The Colour Out of Space, and it didn’t take long to find. In the process I also discovered the companion volume, The Dunwich Horror. Both were published by Jove in 1978; see them side-by-side here.

This is why I love collecting paperbacks. I have the Arkham House three-volume set of Lovecraft’s collected fiction in hardcover, but I still find different editions delightful — particularly the compact and inexpensive paperbacks, and especially when they’re as eye-catching as these two. Rowena is a very gifted artist and her interpretations of a Great Old One (on The Colour Out of Space) and Wilbur Whateley (for The Dunwich Horror and Others) are wholly unique and vibrantly real.

Of course, the other reason I love collecting paperbacks is the joy of the hunt, and by late December I was on a hunt for both volumes.

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His Name is Vengeance: Kellory the Warlock by Lin Carter

His Name is Vengeance: Kellory the Warlock by Lin Carter

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BKTG22855Poor 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.

Carter remains despised among the Robert E. Howard scholars for his involvement in Sprague de Camp’s Conan projects. As recently as 2008, Morgan Holmes over at the Robert E. Howard United Press Association was giving him grief for his sins against good prose in general and REH in particular.

It’s easy to be rough on Lin Carter’s writing. For my very first review on Swords & Sorcery: A Blog, I really lit into Carter’s debut novel, Thongor and the Wizard of Lemuria. It’s derived entirely from Robert E. Howard and Edgar Rice Burroughs, which should mean good, pulpy fun, but instead it’s awful with no redeeming qualities. The plot isn’t built well enough to merit being called ramshackle, the characters are thin and bloodless because they’re cut out of cardboard, and the writing is lumpy and turgid. Even the cover stinks.

But his bad prose is overshadowed by the importance of his editing. His most prestigious work was the creation of the Ballantine Adult Fantasy Series (being reviewed one volume at a time here on Black Gate by Keith West). It resurrected many of the forebears of genre fantasy fiction (e.g. James Branch Cabell, H. Rider Hagard) and introduced several new authors to the public (Katherine Kurtz, Joy Chant).

The series also included several books, one being Imaginary Worlds, about the history and evolution of fantasy (though it’s been pointed out by no less a literary figure than Peter Beagle that Carter’s research was poor and his attributions incorrect). Nevertheless, these works represent one of the earliest efforts to provide a critical study of the genre.

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The Novels of Michael Shea: The A’rak

The Novels of Michael Shea: The A’rak

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The A'rak-smallMichael Shea’s classic Nifft the Lean was published in 1982 and won the World Fantasy Award, a rare honor for a  sword and sorcery collection. Nfift returned in a three-part novel serialized in Algis Budrys’ Tomorrow Speculative Fiction magazine (June – November, 1996), eventually collected by Baen Books in paperback as The Mines of Behemoth.

Nifft made one last appearance in the year 2000, in his third and final book: The A’rak.

Prosperous Hagia’s vaults brimmed with gold. Her warehouse bulged with the goods of the Southern Seas. She had the Spider-God to thank for her prosperity.

But beneath Hagia’s ancient bargain with the A’Rak lay the direst danger. That mercenary kingdom had mortgaged its soul in its pact with the giant arachnoid. When the note fell due, death of the most hideous kind awaited the multitudes of that affluent and bustling nation.

As Hagia’s debt falls due, two foreigners arrive in Big Quay, her capital: Lagademe and her team, foremost among the world’s Nuncios — deliverers of anything to anywhere — and Nifft the Lean, thief and rogue extraordinaire.

Nifft and Lagademe, strangers to one another at the outset, will soon be struggling side by side for their lives — and a nation’s survival — against the most hideous foe in the annals of Sword and Sorcery fiction.

The A’rak was published by Baen in October 2000. It is 320 pages, originally priced at $6.99 in paperback. The cover was by Gary Ruddell. It was never reprinted, and there is no digital edition, so copies are in some demand.

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