Black Gate – Page 1122 – Adventures in Fantasy Literature

Black Gate Online Fiction: “The Quintessence of Absence” by Sean McLachlan

Sunday, October 7, 2012 John ONeill Comments 9 comments

A young wizard in the grip of addiction discovers his drug of choice is at the center of a sorcerous conspiracy in Sean McLachlan’s urban fantasy novella, “The Quintessence of Absence.”

“Herr Eisenbach has a problem,” Francesco said.

“Then fix it yourself. You got me fired, remember?”

“You got yourself fired, smoking that noxious paste… I’ll get straight to the matter at hand. Herr Eisenbach recently discovered Birgit is smoking nepenthe.”

“But she’s just a kid,” Lothar said. He remembered Eisenbach’s daughter, a bright-eyed child who was the joy of the household.

“She’s sixteen now, and arranged to be married to the Margrave of Nordhausen. When Herr Eisenbach found out she was smoking, he locked her in her room. Unfortunately she escaped and hasn’t been seen in a couple of weeks. We’ve been looking all over for her, but we were hoping someone with your… connections… might have better luck.”

“How much is in it for me?”

“A hundred franks, more if you can return her, ah, intact. She’s due to be married, after all.”

“If she’s living on the street, don’t count on it.”

Sean McLachlan is the author of the collection The Night the Nazis Came to Dinner, and Other Dark Tales; A Fine Likeness, a horror novel set in Civil War Missouri; and numerous history books on the Middle Ages, the Civil War, and the Wild West. Author photo courtesy of Leo Stolpe.

You can read the complete catalog of Black Gate Online Fiction, including last week’s adventure fantasy novelette “The Duelist” by Jason E. Thummel, here.

“The Quintessence of Absence” is a complete 25,000-word novella of dark fantasy offered at no cost.

Read the complete story here.

The Nightmare Men: “Master By Name, Master By Number”

Saturday, October 6, 2012 Josh Reynolds Comments 7 comments

‘He was impossible to miss. Tall in his dark suit, with his leonine head and imposing looks, he would have seemed prominent in any crowd…’ Such is the description of Titus Crow, delivered by his amanuensis and friend, Henri-Laurent De Marigny in the opening pages of the 1977 story, “The Viking’s Stone”. Created in 1971 by author Brian Lumley, the character was crafted in the tradition of other occult investigators, such as John Silence or Carnacki; Crow was an avowed agent of good, his struggles all the more impressive for occurring as they did in the harsh, nihilistic universe created by HP Lovecraft.

“Titus Crow?” said Arnold. “Yes, well, we’ve all had reason to fear him in our time…”

-Geoffrey Arnold, “The Black Recalled” (1983)

thecompleatcrow Titus Crow first appeared in Lumley’s 1971 story, “The Caller of the Black”. Crow’s credentials as a psychic sleuth and occult investigator are impressively vetted in the story, as he defeats both mortal and immortal enemies through the cunning application of the standard Lovecraftian eldritch lore, a shower faucet and a window pole. From the outset, it is clear that Crow inhabits the same deadly universe as Inspector Legrasse or John Kirowan, where elder entities prey on a mostly unaware human population; but unlike the former, Crow is well-armed against such entities and, unlike the latter, he’s quite happy to test himself against their machinations out of simple heroism.

Schooled in a wealth of occult lore and possessed of an innate desire to confront evil, Crow is seemingly destined from birth to pit himself against the abominable. Indeed the 1987 story, “Inception” concerns the weird circumstances of Crow’s birth and baptism and the battle between Good and Evil which revolves around the latter. Too, the occult numerology behind the date and hour of that special birth comes into play more than once, as those numbers show Crow to be a Master Magus, a fact which puts a spanner into more than one opponent’s scheme.

In “The Lord of the Worms” (1983), Crow’s early career working for the British War Department in World War Two is mentioned, during which he worked to foil Hitler’s occult machinations. His destruction of the eponymous entity is his first step on the road which leads to his first ‘official’ case as an occult investigator in “The Caller of the Black”, wherein he confronts the villainous sorcerer Gedney and the nightmarish entity known only as ‘The Black’.

…

Read More Read More

Rediscovering the Joy of the Boxed Adventure: Warhammer Fantasy Roleplay

Saturday, October 6, 2012 John ONeill Comments 7 comments

If you’ve been gaming as long as I have, you’ll remember when the great adventures of the day — Gygax’s Tomb of Horrors, say, or Descent Into The Depths of the Earth — came packaged as slender stapled sheets wrapped in a two-tone cover. Color arrived years later, and adventure modules got thicker and more elaborate. In the mid-80s TSR dazzled gamers with the first boxed adventure sets, including the World of Greyhawk, The Ruins of Undermountain, and the fabulous Menzoberranzan, home of the Drow.

These weren’t just game modules — they were entire campaigns, weeks or even months of epic subterranean exploits crammed into a cardboard carton. There was nothing like opening up Dragon Mountain or Dark Sun for the first time, and seeing reams of folded maps and dense booklets promising near-limitless adventure.

Alas, it was not to last. TSR published its last boxed adventure in the late 90s. By the time Third Edition D&D arrived they had vanished, replaced with bland adventure books. Boxed sets were too expensive to produce, pundits said. And modern gamers want to be able to flip through books before they buy, see what they’re getting. The rest of the gaming industry followed D&D‘s lead, and the beloved boxed set appeared to have disappeared for good.

But nobody seems to have told Fantasy Flight, publisher of Warhammer Fantasy Roleplay. Since 2009, they have been producing a top-flight line of boxed adventures for the Warhammer RPG, including The Edge of Night, The Gathering Storm, and the latest, The Witch’s Song:

Something unnatural is stirring in the small fishing village of Fauligmere. Legends of a swamp witch are whispered among the superstitious townsfolk. And if it weren’t for the haunting voice coming from the mists of the Cursed Marshes, you might laugh at such tales. But in Fauligmere, nothing is as it seems.

The Witch’s Song is a standalone adventure for Warhammer Fantasy Roleplay, introducing new rules and options for hedge wizards and witch characters. This boxed adventure features a full-colour book detailing this mysterious adventure in a suspicious town, as well as all the sheets, cards, and tokens a GM needs to bring the story to life. Players must investigate the mysteries that plague Fauligmere, gain the favour of the people, and learn the truth behind the town’s legacy. Can you resist the lure of the witch’s song?

Typical for Fantasy Flight, the production values and art are top-notch. Best of all, they don’t skimp on that most essential aspect of the boxed adventure: the goodies. The Witch’s Song, for example, is packed with dozens of play aids, including action cards, location cards, creature cards, player handouts, party sheets, and more — most illustrated in full color.

Is it too much to believe this is the start of a new trend? In May of last year, Wizards of the Coast released The Shadowfell, the first D&D boxed adventure in more than a decade. Since then, they’ve followed up with Madness at Gardmore Abbey. It’s still too early to declare a true return of the boxed adventure, but I’m keeping a weather eye out.

New Treasures: The Demoness of Waking Dreams by Stephanie Chong

Friday, October 5, 2012 John ONeill Comments 6 comments

One of the critiques I get about my New Treasures column is that I don’t cover much Paranormal Romance.

That’s probably true. A lot of it arrives here at the rooftop headquarters, but I can’t get Howard or Mike Penkas to read it. As for me, I like to focus on the week’s most exciting titles for New Treasures, and I just don’t know that much about what’s really exciting in Paranormal Romance.

Yeah, that sounds like an excuse to me too. There’s a lot of good work being done in the sub-genre — it’s been the most popular form of fantasy for at least the last three years — and we’re not doing a service to anyone by neglecting it. I should just jump in with both feet and educate myself.

So where do I start? I have a tried and true system for selecting books: I go with the best covers. And this week that meant my hands wandered towards Stephanie Chong’s second novel, The Demoness of Waking Dreams.

Ex-cop Brandon Clarkson is an angel with an edge. His tough exterior is the perfect camouflage for his job — hunting down the most dangerous criminals on earth. A self-reliant and demanding lone wolf, Brandon is the perfect angel to track and capture demoness Luciana Rossetti.

Beneath the surface of Luciana’s cool, green-eyed beauty lurks the heart of a malevolent killer. In the winding streets of Venice, she lures Brandon into her dark world of pleasure.

They are perfectly matched. Angel and demon. Man and woman. But only one can win the battle of wills, of strength and of desire.

My first thought was to pass this off to my teenage daughter Tabitha to get her take on it. But flipping though it, I discovered some pretty steamy scenes that would probably get me in trouble. For the sake of propriety, this is a mission I should undertake myself. Yeah. That would be best.

Chong’s first novel, Where Demons Fear to Tread, is part of the same series (The Company of Angels), but seems to deal with different characters. This volume seems to be suitably standalone.

The Demoness of Waking Dreams was published by Harlequin MIRA on August 28, 2012. It is 359 pages for $7.99 in paperback ($6.99 for the digital edition).

Blogging Sax Rohmer’s The Mask of Fu Manchu – Part Four

Friday, October 5, 2012 William Patrick Maynard Comments 0 Comment

Sax Rohmer’s The Mask of Fu Manchu was originally serialized in Collier’s from May 7 to July 23, 1932. It was published in book form later that year by Doubleday in the US and the following year by Cassell in the UK. It became the most successful book in the series thanks to MGM’s cult classic film version starring Boris Karloff and Myrna Loy that made it into theaters later that same year.

The fourth and final part of the book opens with the voyage from Cairo to London. The Marconi operator brings Shan Greville a telegram from Sir Denis Nayland Smith of British Intelligence, warning him that agents of Dr. Fu Manchu will attempt to capture the relics of El Mokanna that Sir Lionel Barton unearthed during his recent expedition in Persia. The irascible parliamentary minister who argued with Sir Lionel before boarding the ship turns out to be the agent of the Si-Fan who breaks into the purser’s safe overnight and absconds with the box he believes contains the priceless relics. He is rescued at sea by a plane which takes him and the contents of the box (concealed inside an inflatable rubber ball) aboard and disappears into the night.

…

Read More Read More

Goth Chick News: Disposing of Real Vampires: A Historical Tutorial

Thursday, October 4, 2012 Sue Granquist Comments 2 comments

Specific issues of preparedness inevitably crop up at certain times of the year.

Beginning in June, people in the coastal areas of the US begin thinking about laying in a supply of necessities in the event of a hurricane. Sometime in December, people in the Midwest do the same to get ready for the possibility of being snowed in. And near the beginning of October, it is once again time to begin considering defensive tactics against vampires and zombies; though we all know that unlike weather conditions, they are a constant and ever-present threat.

On the zombie front, the US government has us covered. The Center for Disease Control’s Office of Public Health Preparedness and Response devotes an entire area of their website to “zombie preparedness.” There you will find tips on how to plan for a zombie apocalypse, as well as tools for teaching zombie preparedness in the classroom. However, a careful search of the CDC site turned up only minor bits of useless vampire defense advice – generally in the context of how to cope with an infestation of bats.

Perhaps this is due to the fact that humans are already well (nay instinctively) versed on how to deal with vampires; you know, stake through the heart and all.

Turns out, you’re dead on.

In June of this year comes the news that the collective intelligence which drives us humans to go looking for the first pointy object we can lay our mitts on when faced with vampire troubles may not be learned from penny dreadfuls after all. Archaeologists in Bulgaria have unearthed two 700-year-old “vampire” skeletons, stabbed in the chest with an iron rod which was in the tomb next to the bodies.

…

Read More Read More

Why I Stopped Reading Granta

Thursday, October 4, 2012 John ONeill Comments 6 comments

I used to subscribe to Granta when I was in grad school. It’s a literary magazine published in the UK, originally produced by students at Cambridge University (where it offered early work by Ted Hughes, A. A. Milne, Sylvia Plath, and many others). It was relaunched as a wider journal of “New Writing” in 1979; since then it’s published work by Mario Vargas Llosa, Richard Ford, Saul Bellow, Salman Rushdie, Ian McEwan, Gabriel García Márquez, and lots more.

But while Granta showcased some terrific writing — when it wasn’t focused on an odd mix of memoir and photojournalism — too often the fiction left me cold. On their website the editorial team writes convincingly of their “belief in the power and urgency of the story, both in fiction and non-fiction, and the story’s supreme ability to describe, illuminate and make real.” But what I frequently read in Granta weren’t so much stories as brief literary fireworks: dazzling to watch, but ultimately empty. For someone looking for love in the crowded literary scene, Granta seemed a bit too smitten with beauty and a bit too scornful of personality.

So I let my subscription lapse. But I did pick up the odd issue now and then. Not because of all that beauty or anything. Just, you know, for the articles.

Granta’s changed management a few times since we hung out together in grad school. The owner of The New York Review of Books took a controlling stake in 1994; in 2005 it changed hands again. I’ve lost track of how many editors it’s had over the same period. But it still does themed issues, and not very predictable themes, either. Granta #69 was The Assassin issue, and #74, Summer 2001, was Confessions of a Middle-Aged Ecstasy Eater (“Perhaps no truth is more momentous, as none more difficult to face, than the blackest, most abject one about oneself. My son supplies me with drugs, with Ecstasy.”)

In tune with that unpredictability, the theme of last year’s Autumn issue was Horror. This was intriguing enough for me to buy a copy, just to see what happened when Granta wandered into my neighborhood. The issue has an impressive table of contents, featuring original fiction by Don DeLillo, Sarah Hall, Rajesh Parameswaran, and Stephen King, and others. Of course there’s also the usual mix of non-fiction, from Will Self, Paul Auster, and Santiago Roncagliolo, among others.

And as a perfect metaphor for this awkward meeting of literature and genre, Mark Doty’s memoir-slash-essay “Insatiable” opens with the odd assertion, from a 2003 Walt Whitman bio, that “Bram Stoker based the character of Dracula on Walt Whitman.”

…

Read More Read More

Beth Dawkins Reviews Ironskin

Thursday, October 4, 2012 Bill Ward Comments 2 comments

ironskincover Ironskin
Tina Connolly
TOR (304pp, $24.99, Hardcover, October 2012)
Reviewed by Beth Dawkins

Ironskin is a fairy tale reimagining of Jane Eyre and the debut novel for author Tina Connolly. I have never read Jane Eyre, and wouldn’t have known the two were related, but there was an author note at the end.

Our Jane comes to the mysterious Mr. Rochart’s home to work as a governess to his child, Dorie. Dorie, like Jane, has been affected by the fey war. Unlike Jane, Dorie does not wear the scars on her face. Instead her power came from birth. Her mother was taken over by a fey before she was born, leaving Dorie with a fey curse. The girl can make things fly, and uses her power instead of her hands. Jane is tasked with teaching Dorie to use her hands, and act like any other child. As Jane works with Dorie to these ends, she discovers more about the fey curses than she bargained for.

Jane’s life has been hard. Her brother lost his life in the fey war. A bomb destroyed him, and the fey shrapnel from the blast caught Jane in the face, destroying one side of it. The shrapnel from the bomb has a type of fey substance in it that causes those maimed in the war to be cursed. These curses make those injured feel unpleasant things such as sadness, hunger, and, in Jane’s case, rage. The curse also affects those that come in contact with the scarred person. Jane wears an iron mask that shrouds half of her face to keep her wounds from infecting anyone else. People like Jane are called ‘ironskin.’ While this has caused self-loathing and depression in Jane, it quickly becomes repetitive.

…

Read More Read More

Hawkmoon Gets Some Respect With Tor Reprints

Wednesday, October 3, 2012 John ONeill Comments 21 comments

It’s good to see Michael Moorcock back in print in attractive accessible editions again. Thirty years ago the man ruled the paperback shelves with numerous titles in print, including half a dozen Elric novels, the Chronicles of Corum, the Jerry Cornelius books… and of course, Hawkmoon.

Moorcock is still in print, of course — but chiefly in expensive omnibus editions these days. You can’t ride your bike down to the corner store, spot a slender Moorcock paperback on the rack with a glorious Michael Whelan cover, shell out 95 cents, and cram that baby into your back pocket like you used to. (And if you can, listen to an old man and take that Hershey’s bar out of your pocket first. Trust me, you’ll thank me later.)

Anyway, my point is, those fat hardcover editions are great for cranky old collectors like me. But they don’t do much to introduce the man whom Michael Chabon called “The greatest writer of post-Tolkien British fantasy” to a new generation. Michael Moorcock deserves to be celebrated with permanent editions of his work, sure. But he should also be available in cheap paperbacks that teenagers can fold in half while they’re reading, mesmerized, on the back of the bus.

The era of the cheap paperback is over. But Tor did the next best thing two years ago, releasing all four Hawkmoon novels — The Jewel in the Skull, The Mad God’s Amulet, The Sword of the Dawn, and The Runestaff — in slender trade paperbacks with gorgeous new covers by Vance Kovacs. Now that all four have been remaindered (selling at Amazon for between $5.60 and $6.00 each, while supplies last), I took the opportunity to buy a complete set.

Collectively known as The History of the Runestaff, the novels follow the adventures of Dorian Hawkmoon — an aspect of Moorcock’s Eternal Champion — on a post-holocaust Earth as he travels a world of antique cities, scientific sorcery, and crystalline machines and is inexorably pulled into a war against the ruthless armies of Granbretan. Here’s the description for the first novel, The Jewel in the Skull:

Dorian Hawkmoon, the last Duke of Koln, swore to destroy the Dark Empire of Granbretan. But after his defeat and capture at the hands of the vast forces of the Empire. Hawkmoon becomes a puppet co-opted by his arch nemesis to infiltrate the last stronghold of rebellion against Granbretan, the small but powerful city of Kamarang. He’s been implanted with a black jewel, through whose power the Dark Empire can control his every decision. But in the city of Kamarang, Hawkmoon discovers the power inside him to overcome any control, and his vengeance against the Dark Empire is filled with an unrelenting fury.

The Hawkmoon novels were originally written between 1967 and 1969; the Tor reprints were published between January and December of 2010. Roughly 200 – 220 pages each, their original cover price was $14 – $15; they are currently much less. Move quickly if you want copies; they are selling fast.

Amanda Palmer’s Kickstarter Scandal (and New Album)

Wednesday, October 3, 2012 John ONeill Comments 10 comments

Musician Amanda Palmer has been a favorite of fantasy fans since her days with the Dresden Dolls. Her first solo album, Who Killed Amanda Palmer? (a loose homage to “Who Killed Laura Palmer?”, the famous line from cult TV show Twin Peaks), generated a companion photo book with text by Neil Gaiman and pictures by SF photographer Kyle Cassidy. I first heard about it from Kyle when he came to Chicago to add to his “Where I Write” project, photographing SF and fantasy writers in their writing caves (and taking a pic of me in my big green chair.)

Palmer’s 2011 wedding to Gaiman cemented her status as genre royalty. But true fame had to wait until May of this year, and it arrived in the form of a legendary Kickstarter campaign. Seeking $100,000 to fund her new album and tour, Palmer raised closer to $1.2 million, winning the title Queen of Kickstarter from MTV and numerous news outlets in the process.

Palmer’s new album, Theatre of Evil, arrived a few weeks ago. But its success has been overshadowed by a growing controversy surrounding hiring opening acts for her tour. Here’s what The New Yorker said yesterday, under the headline “AMANDA PALMER’S ACCIDENTAL EXPERIMENT WITH REAL COMMUNISM”:

Amanda Palmer, the singer who raised a spectacular sum on Kickstarter to fund her new album and then neglected to pay the musicians who toured with her, is the Internet’s villain of the month… Album in hand, Palmer prepared to tour. She advertised for local horn and string players to help out at each stop along the way: “join us for a couple tunes,” as the post on her Web site had it. Even better, “basically, you get to BE the opening ACT!”

Just one thing, local musicians. There would be none of this million-plus dollars available for you. Supposedly, Palmer had spent it all on producing her album… She promised instead to “feed you beer, hug/high-five you up and down (pick your poison), give you merch, and thank you mightily.” This is a compensation package which, honestly, might be worse than nothing. Depends on the beer.

Cue furor, via the usual music, snark, and music-and-snark Web sites. Palmer has since renounced her hornsploitation scheme and will pay the band, but the outrage remains.

The story has been picked up by The New York Times (“Rockers Playing for Beer: Fair Play?”), Digital Trends (“Kickstarter queen Amanda Palmer, meet your Internet backlash”), Gawker, (“Amanda Palmer’s Million-Dollar Music Project and Kickstarter’s Accountability Problem,” accompanied by a graphic showing Palmer grabbing bags of money), and other news outlets. She’s been called out on Twitter multiple times by musicians unions, and American Federation of Musicians President Raymond M. Hair Jr. told the New York Times, “If there’s a need for the musician to be on the stage, then there ought to be compensation for it.” As The New Yorker noted, Palmer has since relented and agreed to pay the opening acts, but so far the furor shows no sign of dying down.