Black Gate – Page 1114 – Adventures in Fantasy Literature

Smaller is Better

Saturday, October 13, 2012 Soyka Comments 1 comment

Arriving in the mail the other day was not one, but two small parcels from TTA Press, mini versions of Black Static and Interzone, now both in a more compact, dare I say it, iPad-ish, format, with spine and laminated color cover. Sort of like a book (or, if you prefer, the aforementioned iPad).

Kinda cool. The rationale seems to be a way to pack more content at what I assume is a more inexpensive way to print it (which may also be why both issues will now come out at the same time, six times yearly, instead of alternate months.) Even if it isn’t completely a cost issue, the new versions are quite handsome and, even better, more handy.

A definite updagrade. Kudos to Andy Cox and crew for trying to preserve the magazine in print format.

Hey, maybe it’s like vinyl records in a digital age: it may be a minority format, but there are people who still want to buy it (I’m one of those in both camps).

The September–October issue of Interzone has new stories by Ken Liu, Debbie Urbanski, Lavie Tidhar, Priya Sharma, CW Johnson, and Karl Bunker. Black Static has stories from James Cooper, Ray Cluley, Daniel Mills, Susan Kim, Carole Johnstone, and David Kotok.

Click either cover to see a full-size version.

You can subscribe to one or both here.

New Treasures: Three Parts Dead by Max Gladstone

Friday, October 12, 2012 John ONeill Comments 8 comments

The fall is a big time for fantasy releases. We see a lot of press releases and advance proofs in the build-up to the holiday season, and everyone here has their favorites. I’m usually a fan of serial fiction — Fritz Leiber’s Fafhrd and the Gray Mouser tales, Jame Enge’s Morlock the Maker, Howard Andrew Jones’s Dabir and Asim novels — and I’m always on the lookout for the next breakout fantasy series.

But this year the book that most grabbed my attention was a first novel by Max Gladstone. I first saw the cover hanging on the wall at a Tor party at Wiscon in May, and I’ve been anxiously awaiting it ever since. Set in a decaying city on the verge of destruction, Three Parts Dead offers a high-stakes tale of dead gods, necromancers, and dark dealings in a richly-imagined urban landscape.

A god has died, and it’s up to Tara, first-year associate in the international necromantic firm of Kelethres, Albrecht, and Ao, to bring Him back to life before His city falls apart.

Her client is Kos, recently deceased fire god of the city of Alt Coulumb. Without Him, the metropolis’s steam generators will shut down, its trains will cease running, and its four million citizens will riot.

Tara’s job: resurrect Kos before chaos sets in. Her only help: Abelard, a chain-smoking priest of the dead god, who’s having an understandable crisis of faith.

When Tara and Abelard discover that Kos was murdered, they have to make a case in Alt Coulumb’s courts — and their quest for the truth endangers their partnership, their lives, and Alt Coulumb’s slim hope of survival.

Set in a phenomenally built world in which justice is a collective force bestowed on a few, craftsmen fly on lightning bolts, and gargoyles can rule cities, Three Parts Dead introduces readers to an ethical landscape in which the line between right and wrong blurs.

Three Parts Dead was published by Tor Books on October 2. It is 333 pages, and sells for $24.99 in hardcover and $11.99 for the digital version.

Evangelizing for Pulp Fiction

Friday, October 12, 2012 William Patrick Maynard Comments 0 Comment

David Lee White is an accomplished contemporary playwright in the Tri-State area who is also a man with a fervent mission. Through his publishing imprint, Beltham House, he has brought a number of obscure works back into print after many decades. L. T. Meade and Robert Eustace’s The Sorceress of the Strand (1902) and The Brotherhood of the Seven Kings (1899), a pair of obscure yet influential mysteries involving Madame Blavatsky-like female criminal masterminds, are two prime examples. However, it is with Pierre Souvestre and Marcel Allain’s Fantomas crime series that White has truly made his greatest impact. It is unlikely that any American has done more for bringing Fantomas back in the public eye in the United States than Mr. White.

Beltham House has been responsible for reprinting six long out-of-print titles in the series for the first time in decades, only to have numerous copycat public domain publishers quickly throw together their own knockoff editions. Since Beltham House is published through Lulu Press and not all of their titles are readily available on Amazon.com, it is likely that most of the specialized audience for the series is not even aware that Beltham House is the one-man operation that rediscovered these lost classics of the thriller genre. White also adapted a long-lost 1920 Fantomas serial as a novelization for Black Coat Press a few years back entitled, Fantomas in America. The book was the first new Fantomas novel in nearly fifty years and its historical significance was even greater for preserving a story that was otherwise lost to the ravages of time as no extant print of the serial has yet been recovered.

So it was that I approached Beltham House’s contribution to Fantomas’s centennial last year with a degree of skepticism. I already owned the nine original books that were back in print and White’s novelization of the serial, so why would I shell out the extra money for The Collected Fantomas, an omnibus edition collecting the first seven books in the series? If I already owned the books, the omnibus could not possibly be of interest to me, right? Wrong.

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Goth Chick News: Harry Potter Gets Horny

Thursday, October 11, 2012 Sue Granquist Comments 1 comment

It was bound to happen eventually.

This week as I perused the backlog of seasonal goodies that find their way to my in-box every October, I opened one that made me feel a whole bunch of things at once; some of them very “adult.” It was about little Daniel Radcliffe’s latest movie project which just happens to be in the horror vein.

You all remember Daniel, right? He played the adorable, tussle-haired boy wizard in the Harry Potter franchise, though admittedly he did grow up somewhat by the last couple of films. Still, in the round glasses and brandishing a wand and all, it was difficult to see him as completely grown up.

From there, he daringly went nude on the stage in London and New York, playing the mentally-disturbed, decidedly grown-up role of Alan Strang in Equus. But there again, the character is only 17 years old and sick in the head enough to mutilate six horses.

Clearly not sexy.

Then most recently we saw Daniel in the very creepy, Victorian fright fest The Woman in Black. Yes, he played a bereaved lawyer with a child of his own; but trussed up in that white collar under about four layers of worsted British wool he somehow still evoked a character in a fantasy setting, albeit a spine-chilling one.

And now we come to the announcement of his latest venture.

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Teaching and Fantasy Literature: Hazards of Teaching Cool Stuff You Love in a Classroom

Thursday, October 11, 2012 Sarah Avery Comments 3 comments

“Why do we have to read so much?” said the students who thought Intro to Myth would be an easy A. “And all this writing! You turned it into work!”

“Why are you asking us to think critically about mythology, of all things?” said the students who regarded stories only as entertainment. “I want to read this stuff the same way I read watered-down versions of it when I was ten.”

“Why are you making us read The Silmarillion?” said the less reflective of the Tolkien fans. “I’ve read The Lord of the Rings twenty times, and I thought I could get college credit for stuff I already did in high school.”

Alas, one side effect of attending college is that one may be asked to do college level work. Most of my students were good sports about it. I assured the students who weren’t that they were welcome to keep their copies of the syllabi and read the same books for kicks on their own, and they could get out of the bother of keeping pace, writing papers, or thinking about what they read. All they had to do was go to the registrar’s office and withdraw from my class. Nobody was making them stay.

Nearly all of them stayed.

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Adventures in Stealth Publishing: The Return of the Sorcerer

Wednesday, October 10, 2012 John ONeill Comments 22 comments

Some time, I dunno, about four years ago, I saw the cover for The Return of the Sorcerer: The Best of Clark Ashton Smith online, and I knew I had to have it.

Maybe it was the cool cover. Maybe it was the Gene Wolfe cover blurb. I can’t say. But I wanted it. Real bad.

Of course, it wasn’t published yet. So I had to wait. I added it to my Amazon cart, where it sat. For months. The publication date changed a few times, and then Amazon slapped it with one of those “Currently Unavailable” warnings that are code for “We have no clue when it’s going to ship, dude.”

So I reluctantly took it out of my cart. But I still kept an eye out in bookstores. For years. It was a long, lonely vigil, like Penelope waiting for Odysseus. Exactly like that, now that I think about it.

There were false reports from time to time. Private sellers listed it on Amazon, but when I queried them they admitted it was “available for pre-order.” Bastards. Our own Brian Murphy, usually rock-solid reliable, even wrote a detailed review in July of 2010, the poor deluded fool. It’s sad what deadline pressure can do, I know. When I have to, I make up books to review too, I’m not throwing stones.

Then today I saw it listed for sale by the Book of the Month club. Yes, the Book of the Month club. That’s just weird. They don’t sell books that don’t exist, usually.

So I dug a little further. I discovered, to my astonishment, that Amazon.com had it listed. So did Barnes & Noble. Apparently it came out in 2010.

Excuse me? 2010?? How the hell did it get past me? I had, like, a dragnet the size of Rhode Island out for this book. I’m usually pretty plugged in to the publishing industry. Really. I’m connected, man. It hurts that this book managed to get past me. For two years.

I blame the publisher, because they’re small and I can pick on them. Prime Books, you owe me an apology. And maybe a cinnamon danish.

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Black Gate Online Fiction: “The Whoremaster of Pald” by Harry Connolly

Wednesday, October 10, 2012 John ONeill Comments 12 comments

One of the most popular pieces of short fiction we’ve published in Black Gate magazine was Harry Connolly’s first fiction sale, “The Whoremaster of Pald,” which originally appeared in Black Gate 2.

Since that early sale, Harry has become a celebrated fantasy novelist, with titles including the Twenty Palaces novels Child of Fire and Game of Games. Featuring a brilliant and resourceful merchant in a corrupt and violent port city, “The Whoremaster of Pald” has all the hallmarks of his later fiction, and is filled with mystery, surprising twists, and great characters. Here are the opening paragraphs:

My prison cell stank like a bird cage. It was terribly dark, and I listened for the sound of rats. I despise rats. I lay down on the wooden plank that would serve as my bed for the night. My bruised back throbbed, but at least I could still breathe. It’s always nice to breathe after a beating.

In the morning a sweet little sparrow of a girl would testify against me. The charge was murder, and she had seen me do it. It had started only the evening before, when I decided that something had to be done about the new Warden.

RPGNet called the story “remarkably rich and textured,” and Locus magazine said:

[“The Whoremaster of Pald”] was one of my favorites. Harry James Connolly’s unlikely hero is a fat master of a whorehouse who cringes before bullies; not your usual fantasy hero at all. His story is told with smooth, vivid prose that is strongly reminiscent of Jack Vance, Connolly’s Zed gradually engages reader sympathy as he veers between bullying protection racketeers, a new worker who decides she can’t really stick to prostitution, a conniving rival, and the mayor’s lout of a nephew… an unputdownable tale. Connolly works the twists and turns so cleverly it’s impossible to guess what will happen. It’s hard to believe this is Connolly’s first published story.

Several years ago, we published the story in its entirety on the Black Gate website; we’re proud to offer it again here as part of the new line up of Black Gate weekly Online Fiction.

Read the complete story here, and the complete catalog of Black Gate Online Fiction, including the adventure fantasy novelette “The Duelist” by Jason E. Thummel and Sean McLachlan’s novella of dark fantasy, “The Quintessence of Absence,” here.

Art by Chris Pepper.

Mystery 101: Books To Die For is a Complete Course in Mystery Fiction

Tuesday, October 9, 2012 John ONeill Comments 8 comments

I don’t read much mystery fiction, and if I’m honest with myself it’s because I feel a little lost in the mystery section of the bookstore. I don’t know the authors or the major titles, and there are just so many choices it’s overwhelming. Safer to take my money and retreat back to the science fiction aisle, and buy that Asimov reprint.

But if I were a little more adventurous, or had a knowledgeable friend to hold my hand, I bet I’d find a lot of great reading in those shelves. There’s always a ton of old ladies buying mystery paperbacks, anyway. And if there’s a more discerning paperback reader than the American old lady, I haven’t met her.

It’s very possible that knowledgeable friend arrived in the mail this week, in the form of Books to Die For: The World’s Greatest Mystery Writers on the World’s Greatest Mystery Novels, a fabulous book that looks like it could open the door to a lifetime of mystery reading.

With so many mystery novels to choose among, and so many new titles appearing each year, where should a reader start? What are the classics of the genre? Which are the hidden gems?

In the most ambitious anthology of its kind yet attempted, the world’s leading mystery writers have come together to champion the greatest mystery novels ever written. In a series of personal essays that often reveal as much about the authors and their own work as they do about the books that they love, 119 authors from 20 countries have created a guide that will be indispensable for generations of readers and writers. From Agatha Christie to Lee Child, from Edgar Allan Poe to P. D. James, from Sherlock Holmes to Hannibal Lecter and Philip Marlowe to Lord Peter Wimsey, Books to Die For brings together the cream of the mystery world for a feast of reading pleasure, a treasure trove for those new to the genre and for those who believe that there is nothing new left to discover.

Even if you’re not in the mood for a mystery novel marathon, Books To Die For is perfectly suited for browsing, with brief personal essays from the world’s most illustrious mystery writers, chatting about the finest mystery novels ever written. The book is arranged chronologically, starting in 1841 with Edgar Allan Poe’s The Dupin Tales; the second entry is Charles Dickens’ Bleak House (covered by Sara Paretsky). The last one is The Perk, by Mark Gimenez, published in 2008.

In between are 118 enthusiastic mini book reviews, most averaging two to four pages, by writers including Rita May Brown, Linda Barnes, Carol O’Connell, Chuck Hogan, Joseph Finder, Charlaine Harris, Joe R. Lansdale, Laura Lippman, Max Allan Collins, Phil Rickman, Bill Pronzini, Jeffery Deaver, F. Paul Wilson, John Connolly, Joseph Wambaugh, Elmore Leonard, Eoin Colfer, Anne Perry, and many, many others.

Books To Die For is edited by John Connolly and Declan Burke; it was published by Atria on October 2. It is 560 pages in hardcover, and priced at $29.99. The digital edition is $14.99.

Joyce Carol Oates’ Gothic Quintet, Part II: A Bloodsmoor Romance

Tuesday, October 9, 2012 Matthew David Surridge Comments 6 comments

A Bloodsmoor Romance Last week I began looking at Joyce Carol Oates’ Gothic Quintet, in advance of the publication of the fifth book in the sequence next March. I thought 1980’s Bellefleur was a tremendous work, eloquent testimony to the imaginative power of the Gothic and to the sophistication the form can sustain. This week I’m looking at 1982’s A Bloodsmoor Romance, to which I had a more qualified response.

To some extent this may well be a function of my being not the right reader for this book. While Bellefleur consciously played with the genre conventions of the Gothic proper, Bloodsmoor uses and parodies the conventions of 19th-century romance — romance as we know it, the story of young women looking for love and marriage. And romance as such is not a form that has any intrinsic appeal to me, or whose appeal I understand. I don’t say it’s bad. I’m saying I have no idea what makes romances good or bad as romances.

Unsurprisingly, then, the book plays off of texts with which I’m not familiar. I’ve seen similarities noted to Little Women, for example, which I’ve never read. Bloodsmoor is also intensely ironic, satiric in a way that Bellefleur wasn’t (as I read these books, anyway). So this is a genre that never appealed to me, and with whose key stories I have no experience, and it’s being sent up in a fairly unsubtle manner. Maybe it’s surprising that I didn’t have a worse reaction than I actually did.

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In Defense of Red Sonja: The Chain Mail Bikini

Tuesday, October 9, 2012 MichaelPenkas Comments 3 comments

After only two appearances in Conan the Barbarian (issues 23 and 24), Red Sonja was already on her way to becoming a fan favorite. A strong, intelligent woman with the courage of Conan, if not his strict moral code (or upper body strength). Her dress sense (a chain mail tunic and red shorts) provided ease of movement and showed just enough skin to be sexy without being exploitive.

So where did the chain mail bikini come from?

Before the Internet, fan art was published mostly in fanzines or pin-up pages in comics. Artist Esteban Maroto was the first to draw Red Sonja in her now-famous bikini and, having nowhere else to publish it, mailed it to Conan writer/editor Roy Thomas. The visual was so striking that, when she next made an appearance, artist John Buscema drew her in the same outfit. Furthermore, Maroto was hired to draw the back-up story in that same issue. And to make it a hat-trick, a third artist (none other than Boris Vallejo) painted the cover art with the metallic swimwear.

The issue where all this took place would have been iconic anyway. Savage Sword of Conan 1 premiered in August 1974. The popularity of Conan the Barbarian had made the publication of a second Conan book just good business sense. To give you an idea of just how popular the character was, Marvel wouldn’t get around to publishing two Spider-Man titles until 1976.

Of course, Savage Sword would promise to be far from more-of-the-same. Its format as an over-sized black-and-white publication classified it as a magazine rather than a comic book. “So what?” you may ask. In 1974, comics were still heavily regulated by the Comics Code Authority. There was only so much violence (and sex) that could be shown in Conan the Barbarian. But as a ‘magazine’, Savage Sword of Conan could show as much violence (and, eventually, nudity) as Marvel dared. And as the series went on, they dared a lot.

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