Adventure on Film: The Duellists

Adventure on Film: The Duellists

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duellists2One of the oddest, most esoteric regrets in my life is that I long ago gave away my collection of the now defunct American Film magazine. Most of these, purchased primarily from sidewalk vendors in Manhattan, I do not care to recover; but I would give a great deal to have again the October issue from 1986. It contains a dialogue with film producer David Puttnam, and one small paragraph in that interview taught me more about collaboration than any other single event I know.

More on that in a moment. In the meantime, let me introduce one of Hollywood’s really fine on-screen adventures, The Duellists.

Now, I admit up front that as with The Horseman On the Roof, a title I explored a few weeks back, The Duellists contains no overt fantasy element; but what it lacks in sorcery, it more than makes up for in swords. Right out of the gate, Lieutenant D’Hubert (Keith Carradine, one of my very favorite actors) is ordered by a busy general to round up fellow cavalry man Feraud (Harvey Keitel) and escort him to the brig; it seems that Feraud has been dueling, illegally, with the mayor’s nephew. Feraud takes offense first to D’Hubert’s assignment and then to D’Hubert himself; he challenges him on the spot to a duel, an event D’Hubert, a reasonable man, ultimately cannot prevent.

Thus the wheel of this most simple of plots grinds into implacable motion: D’Hubert cannot ever contrive to avoid Feraud, and neither, in repeated duels, each instigated by Feraud, can ever quite kill off the other. Over the course of the Napoleonic wars, these two clash again and again in a battle both particular and symbolic. D’Hubert’s enlightened rationalism must stave off Feraud’s chivalric single-mindedness, and both, to D’Hubert’s dismay, must contend with the expectations of the times: that their differences constitute a “point of honor” (indeed, such was the title of the story on its U.S. publication), and that to settle this point, one of them must die.

But wait, you cry! What about David Puttnam and all those moldering magazines?

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Red Sonja 5

Red Sonja 5

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Red Sonja 5 coverThis issue follows up from the last one, in which Red Sonja vowed to find the leader of the Lake People, who was imprisoned in the Singing Tower (just called “the tower” last issue). She is still accompanied by Mikal, the mysterious traveler from issues three and four, who, rather remarkably, has not yet tried to seduce her. The issue opens with the two of them hiding behind their horses and watching a procession of warriors in the middle of the night.

Now, if I wanted to trick someone into thinking a road is unoccupied, I wouldn’t leave a pair of saddled horses in plain sight. (“Hey, let’s hide behind the biggest clue we can find!”) Curiously, none of the riders seem to the notice the horses standing just to their right (no doubt experiencing the same lack of peripheral vision suffered by Imperial Storm Troopers and every single Doctor Who villain).

Of course, Sonja and Mikal are so pre-occupied with hiding in plain sight that they fail to notice the approach of the truands, who are basically forest-dwelling dwarves. Yes, this issue, Red Sonja fights a gang of unarmed dwarves. Unarmed dwarves dressed like pixies. Because, honestly, at this point the chain mail bikini isn’t politically incorrect enough.

Well, it should be no surprise that she easily defeats the little people, keeping one under foot for questioning. She asks him only one question: Where can she find the Singing Tower? His answer is that she should follow the dark riders. The dark riders she was following before the truands attacked. Meaning that the attack really served no narrative purpose other than to fill two pages. Ah well.

So Sonja and Mikal catch up with the riders, who seem to be moving just slow enough to make following them easy. Eventually, they lead our heroes into a valley, where they discover that (best Admiral Ackbar voice) it’s a trap. They are easily captured and Mikal is taken away. Sonja is taken to a bell tower, which is apparently the capital building of Bor Ti-Ki, the City of Bells. If you’re thinking the bell tower is the Singing Tower, Red Sonja makes the same mistake. But this is apparently a completely different tower.

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New Treasures: A Memory of Light, The Final Volume of The Wheel of Time

New Treasures: A Memory of Light, The Final Volume of The Wheel of Time

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A Memory of Light-smallWell, this has been a long time coming.

The first volume of The Wheel of Time, possibly the defining epic fantasy series of our generation, was published over two decades ago in 1990. The Eye of the World was an immediate success, and the dozen volumes that followed have sold over forty million copies — 25 million more than its only true competitor at the top of the charts, the five existing novels in George R.R. Martin’s A Song of Ice and Fire.

When Robert Jordan died in 2007, fans around the world mourned his loss and were justifiably concerned that the series would be left incomplete. But rising star Brandon Sanderson, working from notes and partial texts by Jordan, finished Jordan’s masterwork. Sanderson delivered The Gathering Storm (Book 12) in 2009, and Towers of Midnight (Book 13) in 2010, both of which became # 1 New York Times hardcover bestsellers, and today Tor Books released the 14th and final volume of The Wheel of Time: A Memory of Light, by Robert Jordan and Brandon Sanderson.

In the Field of Merrilor the rulers of the nations gather to join behind Rand al’Thor, or to stop him from his plan to break the seals on the Dark One’s prison – which may be a sign of his madness, or the last hope of humankind. Egwene, the Amyrlin Seat, leans toward the former.

In Andor, the Trollocs seize Caemlyn.

In the wolf dream, Perrin Aybara battles Slayer.

Approaching Ebou Dar, Mat Cauthon plans to visit his wife Tuon, now Fortuona, Empress of the Seanchan.

All humanity is in peril – and the outcome will be decided in Shayol Ghul itself. The Wheel is turning, and the Age is coming to its end. The Last Battle will determine the fate of the world…

A Memory of Light, like every volume in the series, was edited by Jordan’s widow, Tor editor Harriet McDougal, who owns The Wheel of Time copyright and controls the rights to the series. Brandon Sanderson recently revealed that she is working on a comprehensive Wheel of Time encyclopedia, to be published next year.

A Memory of Light was published by Tor Books on January 8, 2013. It is 911 pages in hardcover (which, incidentally, brings the total for all 14 hardcover volumes to a staggering 10,037 pages). It is $34.99; an audio version is also available. There is no digital version. The striking cover art is by Michael Whelan.

Locus Online on the Best SF & Fantasy Short Fiction of the 20th and 21st Centuries

Locus Online on the Best SF & Fantasy Short Fiction of the 20th and 21st Centuries

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The Nine Billion Names of GodTwo weeks ago, we reported that Locus Online, the web-based offshoot of the newspaper of the science fiction and fantasy field, had announced the results of their ambitious poll to determine the best science fiction and fantasy novels of the 20th and 21st centuries.

The complete poll had three additional categories: novella, novelette, and short story. Since all votes were write-ins, compiling the short fiction results took a while longer, but LO‘s diligent editor Mark R. Kelly finally published them Saturday, January 5th. Here are the Top 10 vote-getters in the short fiction categories:

20th Century Short Story

  1. Clarke, Arthur C.: “The Nine Billion Names of God” (1953)
  2. Le Guin, Ursula K.: “The Ones Who Walk Away from Omelas” (1973)
  3. Ellison, Harlan: “‘Repent, Harlequin!’ said the Ticktockman” (1965)
  4. Ellison, Harlan: “I Have No Mouth, and I Must Scream” (1967)
  5. Clarke, Arthur C.: “The Star” (1955)
  6. Bradbury, Ray: “A Sound of Thunder” (1952)
  7. Heinlein, Robert A.: “All You Zombies–” (1959)
  8. Gibson, William: “Johnny Mnemonic” (1981)
  9. Tiptree, James, Jr.: “The Screwfly Solution” (1977)
  10. Jackson, Shirley: “The Lottery” (1948)

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Art of the Genre: Should You Sell Sex?

Art of the Genre: Should You Sell Sex?

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If you have a cover by Brom, are you selling your words or his art?
If you have a cover by Brom, are you selling your words or his art?  Even worse, are you simply selling sex?

Sex… yeah, I said it. Is anyone listening? Probably, because like rubber-necking a car accident, when someone says the word, we all have to take notice, especially here in the U.S. Face it, at our roots, the base Caucasian population is of a repressed Puritanical or Fundamentalist mind, the South, fire and brimstone Baptist, and the fastest growing minority, Latino, inquisition-descended Catholic.

Still, we are Human, and as such, if sex isn’t on our minds, then there is a natural selection breakdown in the root of our Darwin-based evolution.

This creates a hard edge of self-loathing, Hail Marys, and scarlet letters that is terribly hard to overcome, especially for those in the art community. Not that the art community doesn’t produce sexual products, but that doesn’t mean they are accepted without judgment outside that community for it.

I had this problem in 2012, but before I get to that, I’ve got to take the way-back machine to my formative years.

I was raised by a single mother who decided that when my father cheated on her when I was less than a year old, she would dedicate her life to her son, and no other man. So, in that sense, I was raised in a completely sex-free environment. It wasn’t spoken of or seen, and I was educated as a Methodist until my late teens, seeing the church as a counter to the budding feeling of puberty.

However, like my favorite line by Dr. Ian Malcolm from Jurassic Park, ‘Nature finds a way’ and my sexual rebellion was profound, even if I journeyed into that particular bliss blindly. In my home, there was never ‘the talk,’ so when my twelve-year old friends and I entered an abandoned house on the far side of a community woods and found a collection of Penthouse magazines, to say my world was shaken to its foundation is a massive understatement.

At fifteen, I rebelled against the establishment, went to K-Mart and purchased a poster of The Fall Guy’s Heather Thomas, which I pinned to the wall at the foot of my bed and waited. Silence… It was the only reprimand that came from my action, the same stoic suffering that my entire family has practiced since it came to Indiana through the Cumberland Gap in 1840.

Visually, buying into the selling of sex was forefront in my mind, and I got to see first-hand the balance trying to be struck in my new gaming passion, Dungeons & Dragons, concerning the female form in fantasy. In the late 70s, selling sex was something that TSR was willing to take a shot at in black and white illustrations by Jeff Dee, Erol Otus, or Bill Willingham, but then the Bible belt constricted a notch in the 80s and they pulled back from this ideal. Still, beautiful women in questionable clothing crept into the covers of Elmore, Easley, Parkinson, and of course the ‘thigh-master’ himself Clyde Caldwell.

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Black Gate Online Fiction: “When the Glimmer Faire Came to the City of the Lonely Eye” by John R. Fultz

Black Gate Online Fiction: “When the Glimmer Faire Came to the City of the Lonely Eye” by John R. Fultz

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John R FultzThe great playwright Artifice the Quill, who freed the city of Narr from the grip of the dread Sorcerer Kings with but a single performance in “Return of the Quill” (Black Gate 13), returns in a tale of magic, mystery, and the power of performance:

The haunted city lay sleeping at the feet of the mountains, a gray collection of antique architecture encircled by a granite wall. A monolith rose from its central plaza, crowned by a crimson orb that refracted starlight, painting the streets with bloody shadow. Pale ghosts wandered along the avenues, silver phantasms gliding through vermilion, while the living stayed locked inside their shuttered houses.

Three brightly canopied wagons descended the ancient road to Mornitetra. Artifice sat on the driver’s bench of the lead wagon. As the confining walls of the mountain pass fell behind, he looked down upon the shunned city at last. He watched spectral shapes swim through the avenues.

What would the ghosts think of his play?

John’s first first story for Black Gate was “Oblivion is the Sweetest Wine” in Black Gate 12, a classic sword-and-sorcery tale of spider-haunted towers and a terrifying secret. His contributions to our pages also include “Return of the Quill” (in BG 13) and “The Vintages of Dream” (BG 15).

His epic fantasy novel Seven Princes is available from Orbit Books. Seven Kings, the second book of the Shaper Trilogy, will be released on Jan. 15, with the concluding volume, Seven Sorcerers, coming in Jan. 2014. Read an exclusive chapter from Seven Kings here.

You can see the complete catalog of Black Gate Online Fiction, including stories by Mark Rigney, C.S.E. Cooney, Donald S. Crankshaw, Aaron Bradford Starr, Sean McLachlan, Judith Berman, Howard Andrew Jones, Harry Connolly, and Jason E. Thummel, here.

“When the Glimmer Faire Came to the City of the Lonely Eye” is a complete 6,800-word novelette of heroic fantasy offered at no cost.

Read the complete story here.

Teresa Edgerton’s Goblin Moon

Teresa Edgerton’s Goblin Moon

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Goblin MoonI’ve mentioned before that I’ve an idea that there’s a lot to be learned from some of the overlooked fantasies of the 1980s. Teresa Edgerton’s Goblin Moon was published in 1991, and it’s less obscure than some — in fact, it’s just come out as an ebook (you can find a trailer here) — but it’s still a good example of what I have in mind. And a fine and delightful tale in its own right.

Goblin Moon is the only book I’ve read by Edgerton. From what I’ve found online, she began writing with a series of alchemical fantasies, the Celydonn trilogy: Child of Saturn and The Moon in Hiding in 1989, followed by The Work of the Sun in 1990. Goblin Moon came out in 1991, as did its sequel, The Gnome’s Engine; the two books together make up the “Masks & Daggers” duology. A second Celydonn trilogy followed (The Castle of the Silver Wheel in 1993, The Grail and the Ring in 1994, and The Moon and the Thorn in 1995), but after 2001’s The Queen’s Necklace, the vagaries of the publishing industry led Edgerton to assume a pseudonym. Under the name Madeline Howard, she’s published two books of a projected trilogy — The Hidden Stars and A Dark Sacrifice. Having acquired the electronic rights to her older books, she’s begun re-releasing them as ebooks and print-on-demand paperbacks. Goblin Moon’s now available at her website, with The Gnome’s Engine apparently planned to re-appear in a few months.

Moon’s an intricate and surprising book. The plot follows the fortunes of several characters: river scavengers who make a surprising find, an old used bookman who thinks he knows how to use said find, his granddaughter who is the best friend of an ailing upper-class cousin, and a mysterious nobleman with strange and possibly dreadful secrets. These plot strands run into each other unexpectedly, branch out in surprising directions, and finally more or less dovetail into a conclusion. There are elements in Goblin Moon of romance, mystery, and adventure out of Dumas or Orczy. But what really makes the book stand out is its setting, an elaborate secondary world. Most of the book takes place in and around Thornburg, a pseudo-German city in an eighteenth century filled with magic, fairies, dwarves, gnomes, trolls, and a moon whose orbit brings it visibly closer to the earth at its full. The outlines of Thornburg and the wider world are familiar, evocative of the exploits of Casanova or Cagliostro, but the details are specific, unique, and highly detailed: Edgerton’s imagined her world’s folkways and superstitions, its magic and iconography, its habits of thought and obsessions.

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Gerry Anderson, April 14, 1929 – December 26, 2012

Gerry Anderson, April 14, 1929 – December 26, 2012

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Space 1999I read on Tor.com that television writer, producer, and supermarionation pioneer Gerry Anderson died last week.

His name may not mean much to modern audiences, but Gerry Anderson was beloved among science fiction fans of the 1960s-1980s — and boy, did we love him. He had a long and fruitful career, especially with science fiction-themed children’s shows such as Fireball XL5 (1962), Stingray (’64–65), Captain Scarlet and the Mysterons (67-68), Joe 90 (68-69), and his biggest success, Thunderbirds (1965-1966).

Most of Anderson’s TV shows were co-produced with his wife, Sylvia Anderson. They were married from 1960 to 1981. Sylvia frequently directed the overdub sessions for the supermarionation programs, and even provided the voices of many characters, including Lady Penelope of the Thunderbirds.

Thunderbirds may have been his biggest success — and the defining kid’s show for an entire generation of science fiction fans — but there was nothing that could get my young heart rate up like the opening credits for Joe 90.

Gerry’s television career culminated in Space: 1999, the groundbreaking science-fiction television series that was the last Gerry and Sylvia Anderson co-production, and the most expensive series produced for British television up to that time. It ran for two seasons, from 1975 to 1977, and starred Martin Landau, the painfully wooden Barbara Bain, Barry Morse, and (in season two) Catherine Schell as Maya, the shape-changing alien hottie.

While it had an original premise and showcased enough intriguing plotlines to captivate its teenage fans, Space: 1999 is primarily remembered today for the superb results of effects artist Brian Johnson, whose detailed model work was hugely influential on Alien and other films that decade. His work was so impressive that George Lucas visited Johnson during production and offered him the role of effects supervisor for Star Wars. He later received an Academy Award for his work on The Empire Strikes Back.

Gerry Anderson continued to work well into the last decade; his New Captain Scarlet premiered in the UK in February 2005, and was said to be the most expensive children’s programme ever made in the UK. He died peacefully in his sleep on December 26, 2012 at the age of 83.

New Treasures: Piers Anthony’s Luck of the Draw

New Treasures: Piers Anthony’s Luck of the Draw

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Luck of the Draw-smallI admit that I was surprised to find a new Xanth novel among this week’s new arrivals — but I suppose I shouldn’t have been. This is the 36th in the series, following 2011’s Well-Tempered Clavicle, and Anthony shows no sign of slowing down; the next two, Esrever Doom and Board Stiff, have already been announced.

The Xanth series, for those of you completely unfamiliar with American fantasy, began with A Spell for Chameleon, published in paperback by Del Rey in 1977. I was in high school in 1977, and I remember the immediate impact it had. It was fast-paced and genuinely funny, and that made it virtually unique on book store shelves groaning under the weight of numerous Tolkien rip-offs

The first nine Xanth books were published in paperback by Del Rey; starting with Vale of the Vole in 1987, the series switched to Avon Books. Anthony switched publishers again in 1993 for Demons Don’t Dream, the sixteenth installment. It’s pretty unusual for a successful author to hop publishers like that; I found this cryptic explanation on Anthony’s Wikipedia page (with no citation):

On multiple occasions Anthony has moved from one publisher to another (taking a profitable hit series with him), when he says he felt the editors were unduly tampering with his work. He has sued publishers for accounting malfeasance and won judgments in his favor.

Yikes. That doesn’t sound good. Not sure what the true story is, but have no fear. Team Black Gate will investigate.

But not until we finish reading Luck of the Draw, of course. And maybe get a snack.

Luck of the Draw was published by Tor Books on December 24, 2012. It is 350 pages in hardcover, priced at $25.99 ($12.99 for the digital edition).

Vintage Treasures: Andre Norton’s Velvet Shadows

Vintage Treasures: Andre Norton’s Velvet Shadows

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Andre Norton Velvet Shadows-smallMy home is pretty cool. There are teetering piles of unread books everywhere, ready to topple like late August sunflowers. And if I only had time to review a few, it might be even cooler.

Fortunately, I’m not the only one who lives here. Occasionally, the other inhabitants find something that catches their eye, and when I see that happen I grab a notepad and try and coerce some comments out of them. It’s not the perfect family dynamic, but at least it’s something we do together.

I don’t get to choose what my family reads, obviously, so these reviews-by-proxy tend to be an odd lot (the last one was The House of Dead Maids, which I discovered my daughter enjoying a while back). Last weekend, I noticed my wife had casually picked up a copy of Andre Norton’s Velvet Shadows. I debated for a second before grabbing my notepad. Andre Norton, vintage paperback, gothic romance… Well, close enough to Black Gate territory for our purposes.

What follows is a raw transcript of our conversation, which she agreed to have published here only after I promised not to use her real name on the Internet. Not everyone has a taste for fame, I guess.

John O’Neill: Well, how was it?

Unidentified Reviewer #1: It was terrible.

JO: Okay that’s a little more, uh… concise than our usual reviews. What else you can tell us?

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