Vintage Treasures: Hell’s Cartographers, edited by Brian W. Aldiss and Harry Harrison

Vintage Treasures: Hell’s Cartographers, edited by Brian W. Aldiss and Harry Harrison

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Hell's Cartographers-smallI’ve been enjoying writing my ongoing series on the Ballantine Best of… books. It’s nice to be able to celebrate all those classic SF and fantasy writers, sure, but it’s also an excuse to talk about how I discovered each of them and what their books meant to me personally.

I don’t think I’m unique in this. SFF readers love to talk about the favorite authors of their youth. Look at the comment threads for any of my Ballantine articles — it’s just a bunch of us old fans yakking about the good old days (and yelling at those kids with their Kindles to get off our lawn).

In truth, this is a long-established tradition. Respected, even. Lots of SF authors did it. Asimov and Damon Knight did it, in Before the Golden Age and Science Fiction of the 30s. So did Brian Aldiss, in Billion Year Spree, and Sam Moskowitz, in Seekers of Tomorrow, Under the Moons of Mars, and just about every book he ever wrote. Perhaps most famously, Kingsley Amis did it in New Maps Of Hell, his celebrated survey of science fiction from 1960.

But probably my favorite example is Hell’s Cartographers, a marvelous collection of “personal histories” from six top science fiction writers: Alfred Bester, Damon Knight, Frederik Pohl, Robert Silverberg, Harry Harrison, and Brian Aldiss. This book is packed with countless anecdotes, fascinating references to SF magazines and ground-breaking stories, and tales of awkward adolescences. And for those of us interested in the history of the field, there is treasure on every page.

There are numerous quotes I could tease you with, but I’ll limit myself to this one, from Damon Knight’s entry, “Knight Piece,” which effectively communicates just how hapless these accomplished young men were around women.

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When is Writing Like a Magic Trick?

When is Writing Like a Magic Trick?

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Penn & TellerSimple. When giving the explanation ruins things. When what you don’t tell is as important as what you do tell. Or, at times, when it’s who you tell, not what you tell. After all, magicians’ assistants generally know a great deal more about the trick than the audience does – though there might be things even the assistants don’t know, at least not at first.

Most exposition deals with items and details known to the characters, which then have to be conveyed to the readers. What about things the characters don’t know, but the readers must? When we talk about exposition, and giving explanations, along with the how and the when, we also have to consider the who.

Writers are like magicians in this sense – we’ve got to keep our secrets, at least until the right moment when all (ahem) will be revealed. But here’s what makes our lives trickier than those of stage magicians: our readers are both the audience and the assistants. They’re watching the trick unfold, even while they’re participating in the unfolding.

Probably the most obvious example of this is the use of dramatic irony. You know, when the audience knows something the other characters in the play don’t know, because we’ve witnessed action or events that took place when they were off stage. Plays and movies manage this by, well, moving the other characters off stage – or by soliloquies if it’s Shakespeare (think of the beginning of Richard III, where he tells us what he’s going to do, and the other characters don’t know).

[Aside: ever notice that it’s always the bad guy who tells you his plans? That’s because it’s the bad guys who have plans. Good guys are just minding their own business until the bad guy acts up. I’m sure there’s a language in which “good guy” means “has no particular plans.”]

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Blogging Sax Rohmer’s The Drums of Fu Manchu, Part One

Blogging Sax Rohmer’s The Drums of Fu Manchu, Part One

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imagesCA33UWU0imagesCAUEKJGUSax Rohmer’s The Drums of Fu Manchu was first serialized in Collier’s from April 1 to June 3, 1939. It was published in book form later that year by Cassel in the UK and Doubleday in the US. The book marked a welcome return to the first person narrative voice in the tradition of Conan Doyle’s Sherlock Holmes mysteries and constituted a return to the series’ roots with a close re-creation of the very first Fu Manchu episode, “The Zayat Kiss” in the opening chapters of the new novel.

The narrator is Fleet Street journalist Bart Kerrigan, a Dr. Petrie substitute who is an old friend of Sir Denis Nayland Smith from his days as a colonial administrator. As in the first book, our narrator is disturbed one night by the unexpected arrival of Nayland Smith, seeking shelter from the Si-Fan agents on his tail. Smith has once again returned to London to save the life of a man marked for death by the Si-Fan.

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Goth Chick News: New Indy Horror — Skinwalker Ranch

Goth Chick News: New Indy Horror — Skinwalker Ranch

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image002I’m not saying the world is over the whole handheld camera, first person horror thing.

I mean, as long as Paranormal Activity 4 can take a $5M production budget and turn it into $54M in box office receipts, we will continue to be treated to a format that was once a novelty, but now needs to be really impressive to get serious audience attention.

Or attention at least.

Skinwalker Ranch may or may not fit the bill.

The premise is solid enough. Skinwalker Ranch, also known as Sherman Ranch, is a property located on approximately 480 acres southeast of Ballard, Utah, that is allegedly the site of paranormal and UFO-related activities. Its name is taken from the “skin-walker” of Native American legend.

And yes, it is a real place.

Claims about the ranch first appeared in the Salt Lake City, Utah Desret News back in 2006 and later in the alternative weekly Las Vegas Mercury as a series of articles by journalist George Knapp. Knapp and co-author Colm Kelleher subsequently authored a book, Hunt for the Skinwalker, in which they describe the ranch being acquired by the National Institute for Discovery Science (NIDSci) to study anecdotal sightings of UFOs, bigfoot-like creatures, crop circles, glowing orbs, and poltergeist activity reported by the former owners of Sherman Ranch.

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New Treasures: The Blue Blazes by Chuck Wendig

New Treasures: The Blue Blazes by Chuck Wendig

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The Blue Blazes-smallAnd so we continue our celebration of the latest crop of fabulous new paperbacks from Angry Robot.

Angry Robot is rapidly becoming one of my favorite publishers. Sure, we highlight a lot of great independent publishers here — folks like Haffner Press, Night Shade, Prime Books, Paizo, Pyr, Orbit, Titan, Solaris, and many others — but most of them concentrate on hardcovers and trade paperbacks, where profit margins are much higher. The low-margin mass market paperback is a much riskier proposition these days, especially when you’re taking a risk on new writers without an established audience.

But we still love paperbacks here at Black Gate. We love the way they’re packaged, and even the way they smell. And we especially love publishers willing to take chances on new writers. And those paperback publishers willing to take chances on gonzo, edgy, hugely original ideas from daring new writers… we just want to take them home and snuggle them. And make them a warm batch of chocolate chip cookies.

The Blue Blazes is the third Chuck Wendig novel from Angry Robot. They’ve also published Blackbirds and Mockingbird, as well as the upcoming The Cormorant. But it was The Blue Blazes that really grabbed my attention last time I was at Barnes & Noble. Sure, the marketing text on the back was intriguing:

Meet Mookie Pearl. Criminal underworld? He runs in it. Supernatural underworld? He hunts in it. Nothing stops Mookie when he’s on the job. But when his daughter takes up arms and opposes him, something’s gotta give…

But it was the blurb from Empire State author Adam Christopher that really sealed the deal:

The Blue Blazes is exactly my kind of supernatural mob crime novel: dark and visceral, with an everyman hero to root for and Lovecraftian god-horror to keep you awake at night… this is the good stuff, right here.

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Wrath-Bearing Tree by James Enge

Wrath-Bearing Tree by James Enge

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The first time I saw a James Enge novel on the shelf of my local bookstore, I broke into a little dance of jubilation. I’d been reading Enge’s short stories about Morlock the Maker in the pages of Black Gate — this was when BG had literal paper pages — and it was news to me that Enge had made the leap from short fiction to novels.

The blurbs on Enge’s books all say some variation on this theme: you will find no other character in fantasy literature, or maybe in literature generally, who is like Morlock the Maker. He’s a traumatized combat veteran who’s still one of his world’s great ass-kickers, yet he’s also an enthusiastically geeky mad scientist. He’s a cynic who will risk all he has to protect innocence where he finds it. He’s wickedly funny, in fewer words of dialogue than should really be possible. Read around in Morlock’s world a while, and you feel pretty soon like you know him, but you can never guess what he’ll do next. A Morlock novel! Could anything be better?

Over the next few years, Enge followed Blood of Ambrose with This Crooked Way and The Wolf Age, and it turned out the one thing better than a Morlock novel was a whole trilogy of Morlock novels.

I loved the cranky old Morlock, the character whose curmudgeonliness sometimes verged on becoming a superpower, so I am still getting used to Enge’s new Tournament of Shadows trilogy about Morlock’s origin story, which began with A Guile of Dragons and now continues with Wrath-Bearing Tree. As a young man, our hero is every bit as odd, unpredictable, noble, hilarious, tragic, clear-eyed, and difficult as his future self, but he hasn’t yet put the damage on and become the ugly old man we loved in the short stories that became This Crooked Way.

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Why I Write Fantasy

Why I Write Fantasy

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Shadow's Master Jon Sprunk-smallI’ve been doing book signings for the last few years, at bookstores and conventions. Most people you meet are very nice. Few actually buy one of your books, but they usually enjoy chatting with the author. Some are writers themselves, looking for a scrap of insight into the industry. But every so often I am asked a variant of this question:

“So why don’t you write books about real stuff?”

I’m sure these folks don’t mean to be rude. They don’t mean to insult my entire career and imply that the genre I’ve loved all my life, a genre which I personally believe has produced some of the most beautiful works of art in human history, is only suitable for children.

Of course, all fiction is “not real” in a sense, and fantasy is perhaps the genre which can seem the farthest from true life. As such, it is sometimes viewed from the outside as a literary ghetto: a kingdom of nerds, geeks, and perpetual adolescents who spend too much time at Renaissance Faires and roleplaying-game conventions. The stereotypes come fast and furious when talking about fantasy fandom.

It’s interesting how some people will accept a story about an alien from another planet who comes to Earth as an infant with superhuman powers and grows up to become humanity’s guardian. Yet, a story about a dragon (essentially a fire-breathing, sometimes-winged dinosaur) is a bridge too far for them. I feel bad for them.

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Who Took the Flowers Out of my Prose?

Who Took the Flowers Out of my Prose?

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Conan Red Nails-smallOver here in England, we have a shop called ‘Poundland,’ which is pretty much what it says on the tin: a shop where everything costs a single pound, and for a boy of about ten, it was a dream come true. All the flimsy toys, dodgy sweets and budget DVDs my little mind could conjure — there was a book section as well, but it mostly consisted of either absolute rubbish or books about Simon Cowell.

But one particular day, when I was about ten, I happened to spot a diamond hidden amongst the rubbish: an anthology of stories by Robert E Howard. I’d never heard of him at the time, but the book had Conan in the title.

I had heard of Conan. My brief experience with the two movies told me I liked big swords, big monsters, and Arnold Schwarzenegger as much as the next ten-year-old, so I decided to buy it. On the train ride home, I found myself introduced to a new, vivid, and lively world, one of blood and savagery, of death and shadow, of lurking devils and skulking gods. I was exposed to a land of witchcraft, sorcerers, devils and demons, nations torn apart by brooding crusaders kings and swashbuckling puritans. It was the best train ride of my life.

“That’s all well and good, Connor,” you might say, “but what’s this got to do with prose?” Show a little patience; I’m getting to that.

What enchanted me most throughout these adventures was the prose; it just had its own nature and flavor, its own distinguished way of presenting things. I’d never encountered anything like it before; it was poetic, haunting, powerful. It lent every blow a sort of impact, made every monster tangible. Even the heroes — too powerful, too fast, too smart to ever be real — it made them come alive.

And in fantasy, where a key aspect is immersion, this is an impressive achievement. I touched upon this not too long ago with my Fantasy Face-off article; noting that prose dictates the way we see the world on the page and, therefore, how vivid and real it is. Prose overshadows flaws when it’s successful and highlights them when it’s not.

But what I didn’t mention was how prose can amplify the tone of the book. Fritz Leiber’s prose is rather light, reflecting the comic, satirical feel of his books. Howard’s is fast, rip-roaring and powerful, much like the pacing of his books and the characters within them. Tolkien’s prose, though it can sometimes be lacking, feels reminiscent of a fairy tale.

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GenCon 2013 Post-Convention Recap – Part 3: The Pathfinder Booth

GenCon 2013 Post-Convention Recap – Part 3: The Pathfinder Booth

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One of the most fun booths at GenCon (a land of many fun booths) is the Paizo booth. They have their own table with nearly round-the-clock author signings and great promotional giveaways, plus they produce fantastic gaming products … this year, having topped previous years in all categories. Their goblin masks were ubiquitous throughout the convention hall, though I did miss the Goblin flash mob on Wednesday evening. But I did have an opportunity to spend time at the booth and talk with CCO Erik Mona about the new developments with their line of games.

Pathfinder Adventure Card Game

PathfinderRotRLDefinitely the biggest hit at the Paizo booth was the release of the first boxed set in the Pathfinder Adventure Card Game (Amazon, Paizo), a massive box containing nearly 500 cards. The demo area where they were running through the game was packed and I never actually made it into a demo slot, though I did watch a few of them.  When I arrived on Thursday morning, there was a line nearly halfway down the wall of the Exhibit Hall, consisting mostly of people who were buying this game.

This isn’t a simple card game, but instead a roleplaying campaign in a box. It can be played by 1 to 4 players – that’s right, it can be played solo – who create a character, and then build a deck of equipment, allies, and magic to help progress through the events of Paizo’s classic Rise of the Runelords adventure path.

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The Other Appendix N

The Other Appendix N

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runequest2coverThe death of Gary Gygax, co-creator of Dungeons & Dragons and one of the fathers of the roleplaying game, provided added impetus to the already-extant (in 2008) re-evaluation and appreciation of what have come to be popularly known as “old school” roleplaying games. An important part of that re-evaluation centers on the literary origins of RPGs, particularly the books that fired the imaginations of their designers. Gygax helpfully provided us with a list of the authors who were, in his words, “of particular inspiration” to him. This list is now known quite widely simply as “Appendix N,” since it first appeared as just that, a lettered appendix at the back of his Dungeon Masters Guide (1979).

Appendix N has been much discussed over the last half-decade, becoming a significant talking point for those interested in the origins of the hobby of roleplaying. For example, there is much debate regarding the extent to which D&D truly captures the spirit of the books Gygax presented as being “the most immediate influences.” So energetic has the discussion of Appendix N become that it has not only spilled over into the wider world of fantasy (including this very site), but it has led to a mini-revival in pulp fantasy, with authors such as Abraham Merritt, Fletcher Pratt, and Margaret St. Clair (to cite but three on Gygax’s list) receiving more attention in recent years than they probably have in decades. Within the roleplaying hobby itself, Appendix N is well on its way to becoming a “brand,” with at least one RPG, Goodman Games’s Dungeon Crawl Classics, heavily promoting its own adherence to Gygax’s canon as one of its major selling points.

The creators of other early roleplaying games were usually not as forthcoming in acknowledging their literary inspirations, though there are, of course, exceptions, such as Steve Perrin and Ray Turney’s RuneQuest. First published in 1978, RuneQuest is, in its own words, “a departure from most FRP (as they are abbreviated) games” in that it is “tied to a particular world, Glorantha.” The brainchild of Greg Stafford, Glorantha is a fantasy world evocative of ancient history and myth and one of the most enduring settings in the hobby. For that reason, Glorantha is also frequently described as being both complex and idiosyncratic to the point of being inaccessible to newcomers.

I do not share this judgment of Glorantha, but I understand why some might make this claim. Fortunately, its designers offered some insight into their own inspirations in a bibliography that they coincidentally also labeled “Appendix N,” a full year before Gygax would use the same designation. Like Gygax’s own list, it is not exhaustive, but only “contains those [books] we felt exemplary or exceptional.” RuneQuest‘s Appendix N one-ups Gygax, in my opinion, by being an annotated bibliography, which provides additional insight into not just what books and authors were inspirational, but why.

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