The Lord of the Rings: A Personal Reading, Part Two

The Lord of the Rings: A Personal Reading, Part Two

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The Two TowersThis is the second of three posts prompted by a recent re-reading of The Lord of the Rings. As I said in the first post, I went back to the book with the general idea of approaching it as one would a medieval saga, rather than a contemporary novel, and seeing what struck me as a result. I wrote in that post about what it seemed to suggest to me about Tolkien’s sense of character, and next week I intend to write about his use of irony — or, if you prefer, an anti-irony that shows how good can emerge out of apparent evil.

But this week I want to consider the aspect of the work which is perhaps the least saga-like thing in it, and something which has been criticised even by readers who have generally liked the book. And that is Tolkien’s depiction of landscape, and his approach to the natural world. Specifically, his tendency to describe his settings in detail.

I should say firstly that I am not one of the readers who dislikes the detail of the book. I generally prefer long books; I think the tendency to brevity is natural for stage and film dramas, but I’m not convinced it’s either natural or desirable in prose narratives like the novel or the romance. That is, the short story obviously has to be brief, and you can get certain effects from stories of certain lengths. But when you’re talking about a novel-length work, I think there are many approaches one can take; and I think that sometimes the best books are made out of digressions and an author exploring obsessions at the risk of apparent narrative shapelessness.

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Black Gate 15 PDF Version Now Available

Black Gate 15 PDF Version Now Available

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bg-15-cover2The PDF version of Black Gate 15 is available for immediate purchase from our online store.

BG 15 is $8.95 in PDF for a single copy, and is also available as part of a two-issue subscription ($16.50) or four-issue subscription ($29.95). For print subscribers the cost is even lower: just $4.95 for a single PDF, and $8.50 for a two-issue sub.

All those with an existing PDF subscription have now been sent a unique download link. If you have a PDF sub and have not yet received one, contact us at sales@blackgate.com.

BG 15 is another massive issue: 387 pages of fiction, reviews, and articles. It contains 22 stories, totaling nearly 152,000 words of adventure fantasy. An intrepid prince conducts a daring raid to intimidate a sinister monarch in “An Uprising of One,” by Jamie McEwan. Three brothers undertake a dangerous voyage to find a new god for their village in Rosamund Hodge’s “Apotheosis.” And two skilled soldiers find that a simple delivery for a necromancer is never simple in “A Pound of Dead Flesh,” by Fraser Ronald.

Plus the sequel to “The Beautiful Corridor” (BG 13) by Jonathan L. Howard, a lengthy excerpt from the blockbuster Dabir & Asim novel The Desert of Souls by Howard Andrew Jones, and new fiction from Harry Connolly, John C. Hocking, John Fultz, Vaughn Heppner, Darrell Schweitzer, Michael Livingston, Frederic S. Durbin, Chris Willrich, Maria V. Snyder, and many others!

In our non-fiction features Mike Resnick looks back at the best in black & white fantasy cinema, Bud Webster turns his attention to the brilliant Tom Reamy in his Who? column on 20th Century fantasy authors, Scott Taylor challenges ten famous fantasy artists to share their vision of a single character in Art Evolution, and Rich Horton looks at the finest fantasy anthologies of the last 25 years. Plus over 30 pages of book, game, and DVD reviews, edited by Bill Ward, Howard Andrew Jones, and Andrew Zimmerman Jones — and a brand new Knights of the Dinner Table strip.

The complete Table of Contents for the issue is here.

Thomas M. MacKay Reviews The Shadow Queen

Thomas M. MacKay Reviews The Shadow Queen

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shadowqueenThe Shadow Queen
Anne Bishop
Roc (368 pp, $7.99, March 2010 mmp (originally March 2009))
Reviewed by Thomas M. MacKay

Anne Bishop burst onto the fantasy scene in 2001, releasing 12 fantasy novels in the last 8 years. An accomplished epic story teller, her work features magic in strange and edgy forms, where power, sexuality and love become hauntingly bound with darker impulses. The critically acclaimed Black Jewels trilogy introduced a world of a power-stratified society where those with the most power seem to be the least stable, living on the knife-edge of control and constantly at risk of being overtaken by storms of rage and desire – and other more sanguinary passions.

The Shadow Queen marks the seventh novel in this series, and explores the issues faced by one of the lesser lands attempting to recover after the war of power and dominion between the Blood was conclusively ended by the magic of the Witch of Ebon, Askavi.

Theran Grayhaven is the last of his line, a Blood family that had ruled the land of Dena Nehele for generations until it was taken over by the corrupt Blood when Theran was just a small child. Raised in a rebel mountain camp, Theran only knows war, and finds himself at a loss when peace suddenly arrives. His war-torn country is on the edge of collapse, its people in chaos, the magic-less landen still chafing at the rule of the powerful Blood, and few of the Blood remaining in Dena Nehele to aid in the rebuilding. Theran knows he needs a Queen of the Blood, someone who follows the old ways, who believes in the responsibility of stewardship. He needs a Queen with the strength to deal with the struggle of rebuilding, the grace to evoke loyalty in a conflicted people, and the power to claim authority over the Blood. He only knows one place to ask for help in finding such a Queen, at the Keep at Black Mountain, where the most powerful and unpredictable Blood hold court.

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A Strange Horizon Worth Viewing

A Strange Horizon Worth Viewing

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sh_headI’ve sometimes bought a book without knowing anything about it because it had a cool cover. Similarly, I’ve been drawn to read a story because of a cool title.

Case in point is  “Young Love on the Run from the Federal Alien Administration New Mexico Division (1984)” by Grant Stone over at the May 9 edition of the weekly Strange Horizons webzine. The protagonist has fallen in love with an alien newly escaped from a government holding facility in Rosewell (where else?) during the aforesaid Orwellian year. The pair are on the run from grey-suited, mirrorshaded  agents who want the alien back because the captured extraterrestrials are essential to some sort of Cold War research project; at the very least, the government doesn’t want the Soviets to get ahold of them. To try to get back home, the alien is trying to jerry rig a communications device from television and cassette recorder parts, the nod to ET phoning home no doubt intentional. As you might expect, the scenario is that just because you’re paranoid doesn’t mean people aren’t out to get you, even if they are trying to protect you. What you might not expect is that a kind heart sometimes comes from the sources you might think the most alien.

Sometimes you can’t judge a book by its cover, or a story by its title. In this case, you can.  A “strange horizon” worth viewing.

Blogging Marvel’s The Tomb of Dracula, Part One

Blogging Marvel’s The Tomb of Dracula, Part One

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1-11tomb_of_dracula_2Marvel’s The Tomb of Dracula is beyond question the finest horror comic series ever produced – a fact made all the more amazing when one considers that since the original series ended, none of the many revivals (even those with the original’s classic creative team) have succeeded in bottling lightning a second time. Much of the success of the book is down to the surprisingly literate scripts by Marv Wolfman and the stunning artwork by Gene Colan and inking by Tom Palmer. However, Wolfman did not come aboard until Issue 7 so this first installment in an ongoing series looking at this influential comic will focus on the first six issues of a title undergoing the pangs of development.

Roy Thomas deserves the credit for bringing this series to life. It was Thomas who convinced Stan Lee that the loosening standards of the Comics Code Authority and renewed interest in the occult could make an ongoing horror comic featuring Bram Stoker’s infamous vampire count the runaway success of 1972. The Comics Code Authority came into being in the 1950s as a reaction against crime and horror comics as a result of the rather disturbed fantasies of Dr. Frederic Wertham. His 1954 study, Seduction of the Innocent imagined underage sex between Batman and Robin and convinced countless parents that juvenile delinquency was as much to blame on comic books as it was Rock ‘n’ Roll. The fact that Wertham’s book revealed more about himself than the actual content of comic books was lost on parents, whether over-protective or neglectful, who were quick to latch onto an excuse for why the post-war nuclear family was struggling. The result was the neutering of comic books for nearly twenty years and a ban on crime and horror as entertainment suitable for children.

Prior to The Tomb of Dracula, most comics companies would have turned the character into a misunderstood superhero. Marvel already had one of those with Morbius, the Living Vampire, but The Tomb of Dracula was determined to prove as revolutionary to Marvel as Roy Thomas and Barry Windsor-Smith’s adaptation of Robert E. Howard’s Conan the Barbarian. Both titles were far more adult and, at the outset anyway, far removed from Marvel’s established continuity. They were gambles that paid off in an era when Marvel deserved to call itself The House of Ideas.

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The Top 100 Fantasy Books of all time … or not

The Top 100 Fantasy Books of all time … or not

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lost-worldsConfession: I’m a top 10/top 100/top whatever list addict. If I find an article on a subject about which I’m even remotely interested, and written in the form of a numbered list, I’ll generally stop to read it. That chance increases when said list is arranged in ascending or descending order of quality.

I fully admit that many top 10/ top 100/top whatever lists are contrived hit count fodder (slugging something a “top 10” anything is guaranteed to increase the number of visits to your web site–you’re welcome Black Gate editors!), but occasionally these lists serve a worthy function. For example, if I’ve just finished The Rise and Fall of the Third Reich or Flags of Our Fathers and am looking for another good World War II title, I’ll Google “top 10 world war 2 histories.” This practice typically generates a good suggestion or two–and another “top 10” article to read.

Top 10/top 100 lists are also flashpoints for debate, often stirring up vigorous agreement or righteous anger and indignity. I generated an angry response with my Top 10 Fantasy Fiction Battles of All-Time, in which former Cimmerian blogger Al Harron took me to task for excluding Robert E. Howard, and also for including some borderline “fantasy” choices. Hey Al, let’s still be friends, okay?

Which leads me to the point of this post. Have you ever typed “top 100 fantasy novels,” or “top 10 fantasy books,” into your search bar? If not, I’ll save you the work. You get this site, the “Top 100 Fantasy Books”.

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Goth Chick News: Thirteen Questions for Victoria Cosner Love and Lorelei Shannon, Authors of Mad Madame Lalaurie

Goth Chick News: Thirteen Questions for Victoria Cosner Love and Lorelei Shannon, Authors of Mad Madame Lalaurie

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i-10484847-550I’ve been sitting here all day trying to figure out what a goth chick’s equivalent of “wishing on a star” is. Somehow “wishing on my voodoo doll” doesn’t sound right, “wishing on my crystal skull” makes me sound like some sort of twisted, California bunny-hugger, and wishing on my ankh makes me seem like a hopeless Hot Topics poser.

In any case, trust me when I say that wishes come true, whatever media you do it on.

A couple of weeks back I told you that my favorite New Orleans ghost story had finally been made the subject of a book, which I’d been wishing for so hard that during one Rum-drink soaked evening on Bourbon Street, I (think) I vowed to do it myself.

But earlier this year, along come authors and life-long partners-in-crime Victoria Cosner Love and Lorelei Shannon to finally give Madame Delphine LaLaurie and her sadistic house of horror the real literary treatment. I was already excited to finally get to the bottom of this oft-told-but-rarely-documented tale, but making the acquaintance of these two ladies was simply icing on the Death by Chocolate cake.

It is therefore my sincere pleasure to introduce you to two fellow Goth Chicks and the entirely entertaining historians behind the book Mad Madame LaLaurie…

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My Tim Prattathon at Podcastle and Other Cool Things

My Tim Prattathon at Podcastle and Other Cool Things

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bgpodcastleI had a quiet day at work, but blimey! I got a lot done!

While I hauled boxes, processed books, priced, et cetera — so long as customers weren’t in the bookstore — I listened to four stories right off of Podcastle’s website, starting with two by Tim Pratt.

The first one was called “Cup and Table”, which was (and here I quote the man who recommended it to me), “so kick-ass and so much fun and kind of unbelievable how much is crammed into that story.” It was very time-bendy (timey-wimey, as the denizens of Doctor Who might say), its edginess and moroseness always tinged with the tongue-in-cheek. And the end? Surprised a huge grin outta me. I very much recommend it.

bghartThe second, “Hart and Boot”, was less structurally complex but even more to my taste. It was like something my buddy Patty might write after we watched a few too many episodes of Deadwood and we were in a gun-slinging, hip-swinging mood. Its protagonist, Pearl Hart, made me want to put on a pair of cowboy boots and shoot my way across the west. (‘Specially if naked men sort of slurped up from the mud every time I thought on ’em hard enough. Yummy.)

What I liked best was that even with Pearl’s foul mouth, her conniving mind, her selfishness and brazenness and remorseless use of people (especially, perhaps, of the one human she actually loved), she still had moments of rough tenderness that just… got me. Boot was great too, but there’s only so much you can do with a character that tired all the time.

HECK YEAH TIM PRATT!

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The Gods Never Urinate

The Gods Never Urinate

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zeus-heraIt’s true: the gods never have to go pee.

Unless they want to, that is. But they’re never inconvenienced by it. As far as I know, never in the history of human mythology has a divine being hurried someone else along during a meeting, or interrupted some vital piece of work, to relieve themselves. Even nature deities, whom you’d image to be most in tune with this sort of bodily necessity among the living, and, presumably, have some sway over its function (or lack thereof… yow!), don’t seem to bother with it themselves.

Eating? Sure, okay.

Sex? Yes, please.

Excretion? Nothing beyond normal breathing, thank you.

And that is the true magic of deities, and why fantasy is destined, on the longest scales, to have greater longevity than science fiction. Because fantasy never gets brought down to the level of the mundane. It never misses a mark that reality has hit square. Science fiction, for all its glories, inevitably diverges from reality, and rarely for the better. We expect science fiction to be somewhat oracular, in that the technologies and situations presented remain plausible.

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A Review of Warhammer: Knight Errant

A Review of Warhammer: Knight Errant

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knight-errant-warhammer-reynoldsKnight Errant
Anthony Reynolds
BL Publishing (411 pages, $7.99, 2008)
Reviewed by Bill Ward

Every race or culture in Warhammer has fairly clear antecedents — Dark Elves are reminiscent of Moorcock’s Melnibonéans, Orcs and Goblins have their ultimate roots in Tolkien, and human societies like the Norsca and Kislivites have obvious historical counterparts. But it’s almost odd that the Bretonnians, a society modeled on Medieval France, have received as little attention as they have because, when most people think of secondary world fantasy, it is Medieval Europe that immediately springs to mind as the foundation for such worlds. Not so in Warhammer, which overwhelmingly focuses on the territory of the Empire, a society modeled on the Renaissance principalities of Germany.

But with Knight Errant, Anthony Reynolds sets out to give the Bretonnians their due, with what is obviously the first book of a planned series chronicling the adventures of a young knight named Calard. Calard is the first son and heir of the Lord Garamont, castellan of Bastonne, one of the primary dukedoms of the realm of Bretonnia. Bretonnia is patterned on Medieval France, with similar names, chivalric code, heraldry, emphasis on mounted combat, and feudal structure. But this is also the world of Medieval romances such as the Song of Roland and Le Morte D’Artur, complete with a Lady in the Lake, magic weapons, and knights who have sworn to quest for the Holy Grail.

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