Blogging The Insidious Dr. Fu-Manchu by Sax Rohmer, Part Ten – “The Spores of Death”

Blogging The Insidious Dr. Fu-Manchu by Sax Rohmer, Part Ten – “The Spores of Death”

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mystryfu1“The Spores of Death” was the penultimate installment of Sax Rohmer’s serial, Fu-Manchu.

First published in The Story-Teller in June 1913, it later comprised Chapters 24-26 of the novel, The Mystery of Dr. Fu-Manchu (re-titled The Insidious Dr. Fu-Manchu for U. S. publication).

The story starts off appropriately with our narrator, Dr. Petrie, acknowledging the storyline is drawing to a close and apologizing (very nearly breaking the literary equivalent of the Fourth Wall in so doing) for his haste in not better detailing characters and incidents as he was forced to maintain the breakneck pace of the events as they transpired.

Dr. Petrie then spends some much welcome time discussing the mysterious origins of Dr. Fu-Manchu. Petrie suggests the name (ridiculous to modern, informed readers) is an assumed one and disassociates him with the Young China movement (the Republicans who came to power after the fall of the Manchu Dynasty) as he had speculated early on.

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The Return of the Sorcerer: Falling under Clark Ashton Smith’s potent spell for the first time

The Return of the Sorcerer: Falling under Clark Ashton Smith’s potent spell for the first time

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the-return-of-the-sorcerer-casConfession: I am a fan of pulp fantasy who has, until recently, read very little Clark Ashton Smith. Yes, the man who comprises one of the equilateral sides of the immortal Weird Tales triangle has largely eluded me, save for a few scattered tales and poems I’ve encountered in sundry anthologies and websites.

This past week that all I changed when I cracked the cover of The Return of the Sorcerer: The Best of Clark Ashton Smith (2009, Prime Books). As I read the introduction by legendary fantasy author Gene Wolfe I knew I was in for something special: Not only was Wolfe singing Clarke’s praises (“No one imitates Smith: There could be only one writer of Clark Ashton Smith stories, and we have had him”), but he ended with this declaration:

“Earlier I wrote that Smith had come—and gone. That he had been ours only briefly, and now was ours no longer. That is so for me and for many others. If you have yet to read him, it is not so for you. For you solely he is about to live again, whispering of the road between the atoms and the path into far stars.”

The stories that followed did just that. Smith came alive for me, and I find myself a changed man. I have trekked on distant planets, seen alien beings beyond my conception, and peered wide-eyed over the shoulders of reckless sorcerers reading from musty tomes of lore that should not be opened. I have witnessed wonders and horrors beyond the knowledge of mankind. It was a wonderful experience. Though they comprise only a small part of his body of work, the stories of The Return of the Sorcerer reveal Smith as a man of staggering imagination, considerable poetic skill, and surprising literary depth.

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ON WRITING FANTASY: The Quest for Originality

ON WRITING FANTASY: The Quest for Originality

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silmarillion“Utter originality is, of course, out of the question.”
 –Ezra Pound

“It is better to fail in originality than to succeed in imitation.”
 –Herman Melville

“Originality is nothing but judicious imitation.”
 –Voltaire

How does one go about writing a great piece of fantasy? Everybody seems to have his or her own answer. A lot of that depends on what you (personally) consider to BE “great fantasy.” In my view, the fantasist must be, first and foremost, original. That’s easier said than done.

We all know that fantasy tropes, plots, and devices are recycled endlessly, and that’s as it should be, since fantasy fiction is simply the modern equivalent of the myth cycles of early humanity. The heroes, conflicts, and adventures touch on the timeless themes that run through all literature, from BEOWULF to THE ODYSSEY to LORD OF THE RINGS to our modern fantasy epics. It’s been said before that “There are no new stories, just new ways to tell them.” And that’s the job of the modern fantasy writer: to tell a mythic story in an entirely new way. 

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Goth Chick News: Do You Like Fish? Well He Likes You Too…

Goth Chick News: Do You Like Fish? Well He Likes You Too…

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jaws“You’re gonna need a bigger boat.”

Back in March I wrote about quotable movie lines and at least in my circles, Chief Brody’s ironic statement to Captain Sam Quint ranks near the top. If you’re under the age of twenty-five you truly may not recognize it, but if you’ve made it through life this far without having seen most of Jaws, then I’m afraid I’m going to have to ask you to step away from your computer screen and go out for some fresh air.

And once you’ve done that, immediately put Jaws in the number one spot in your Netflix queue.

Thirty-five years ago, on fourth-of-July weekend, movies and the movie-going public were changed forever by a hot-shot young director and his mechanical shark.

That’s right kids, no CGI, no green-screen magic, not even a little forced-perspective puppetry. The shark was a life-sized monster, tooling around in the ocean instead of a water tank, and the actors really got wet.

Back in 1975 no one had really heard of Steven Spielberg. Besides a string of television episodes, he had only one movie under his belt: Sugarland Express, which he both wrote and directed.

However, that movie did well enough for him to be taken seriously when he asked to direct the movie adaptation of Peter Benchley’s number one best seller, Jaws.

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An epic re-read: Steven Erikson’s The Malazan Book of the Fallen

An epic re-read: Steven Erikson’s The Malazan Book of the Fallen

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gardens-of-the-moonOver at Tor.com, bloggers Bill Capossere and Amanda Rutter have commenced an epic re-read of all ten volumes of The Malazan Book of the Fallen, starting with the first novel, Gardens of the Moon.

What’s a “re-read?”  Modeled after Leigh Butler’s monumental Wheel of Time re-read, also at Tor.com, the authors will read and examine the series, one volume at a time. After each book is completed, authors Steven Erikson and Ian C. Esslemont promise to swing by the blog to share their reactions to the posts and discussions from fans and bloggers.

Naturally, this is all leading up to publication of the final installment in the bestselling series, The Crippled God, coming from Tor Books on February 15, 2011.

How time flies.  When my friend Neil Walsh and I were just getting started in Internet publishing at SF Site over a decade ago, one of the first books Neil drew attention to — with a rave feature review in 1999 — was the UK edition of Gardens of the Moon.

That review (and a few others like it) got a lot of press in the early days of online marketing, and we were cited in a New York Times article as a component in the negotiations leading to Erikson’s 6-figure deal to complete the series. Erikson even called Neil to thank him, gentleman that he is.

Here’s Amanda’s commentary on the Prologue:

I’d been warned. Anyone who has read the Malazan books — and even the author himself — states that these books are a challenge. You have to pay attention. No skimming merrily over blocks of descriptive passage. No glossing over the dialogue between characters. Concentration is the name of the game here, people!
        So I paid attention through the mere six pages of the prologue, and I’m a little stunned as to what was packed into so short a space.

You can jump on here.

The Real “Twilight”: John W. Campbell’s

The Real “Twilight”: John W. Campbell’s

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best-of-john-w-campbellI’ve discovered that once you start writing about 1930s magazine science fiction — a field small enough for thorough analysis, but bursting with enough wonders to fill the galaxy — it becomes difficult to stop. Pondering the marvels of Stanley G. Weinbaum’s 1935 classic “Parasite Planet” urged me to sift through my pile of Del Rey “Best of…” paperbacks, which are crammed with the stories that helped me reach a kind of SF maturation when I was a young reader.

The first of the Del Rey anthologies I purchased, long enough ago that it was new and sitting on the shelf of a chain bookstore, was The Best of John W. Campbell. The reason I bought this title was simple: it contained “Who Goes There?”, the basis for two movies I loved, The Thing from Another World (1951) and The Thing (1982). I already knew Campbell’s reputation as an editor, but hadn’t experienced his earlier career as two different authors, John W. Campbell and Don A. Stuart.

If Stanley G. Weinbaum was “a Campbell author before Campbell,” so too was Campbell — or at least, Don A. Stuart was. The proof is in “Twilight,” a story under the Stuart name that appeared in the November 1934 issue of Astounding Stories during the tenure of editor F. Orlin Tremaine. I may have bought The Best of John W. Campbell for “Who Goes There?,” but it was “Twilight” that entranced me and became one of my favorite short stories of any genre.

(And yes, as the heading of this post indicates, to me the title “Twilight” always means this story. It had too potent an effect on me to ever allow anything else, no matter how much popular culture it devours, to steal the word “twilight” for other use.)

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Grey Maiden: The Story of a Sword Through the Ages

Grey Maiden: The Story of a Sword Through the Ages

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grey-maiden4I have a habit of buying books — a compulsion, really. Older books, mostly, from book fairs and small used bookstores. Things that look unusual, and which, in the absence of an immediate reason on my part to read them immediately, often sit on my shelves for some time before I get around to them.

So I don’t remember now exactly when and where I picked up a collection of Arthur D. Howden Smith’s Grey Maiden stories, only that it was some time ago. I wish I knew now, because I’d like to go back for more, if there are any.

Arthur D. Howden Smith (1887-1945) was an early pulp writer; the collection Grey Maiden (Centaur Press, 1974) has four out of seven — or nine, depending on what reference you look at — of his stories about the Grey Maiden, the first sword ever forged from iron.

Each tale follows a different wielder, each in a different time and place, as the blade’s won and lost among battles and wars and the rise and fall of empires. All were originally published in the pulp magazine Adventure.

The four tales in the collection I have (there was at least one other collection, with more of them) include a story of betrayal and revenge among the soldiers of Alexander the Great, an account of a group of Phoenicians retreating across Italy, a story of the ebbing of Roman power in Britain, and an imagining of the first collision between the Byzantine Empire and the followers of Islam.

The stories are bleak, violent, and possessed of a dark energy that makes them utterly compelling. The history perhaps couldn’t always stand up to intense scrutiny, but is used in such a way as to make the most exciting and brutal tale possible.

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SF writers as (or around) criminals: Homer Eon Flint

SF writers as (or around) criminals: Homer Eon Flint

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blind-spot1Last night at dinner we were discussing (as one does) Homer Eon Flint.

Since my guests were working on ideas for the 2011 Potlatch convention, we can be forgiven this. Flint was a local author, having grown up in San Jose, and there was talk of doing a panel on him.

I had not known that Flint was working in a shoe repair shop in SJ, or that he was killed in a car crash (perhaps after stealing it from a local gangster, perhaps instead murdered by that local gangster).

It’s covered on his Wikipedia page, and in the article by his granddaughter Vella Munn, “Homer Eon Flint: A Legacy,” available on the Strange Horizons site.

Munn’s piece talks with great respect of the work of one Mike Ashley in ferreting out facts without disturbing the family’s peace. Munn mentions that there were other writers in the area, with whom Flint (actually, Flindt) used to hang out when he lived here in the teens and early 20’s.

Forry Ackerman talks about Austin Hall meeting Flint in his shoe shop, in his introduction to The Blind Spot, the 1921 novel the two wrote together.

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Letters to Black Gate: iPads and Submission Windows

Letters to Black Gate: iPads and Submission Windows

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cover_issue2Matthew Maestri writes:

I’m a new writer looking for open markets, especially in the fantasy/science fiction genre. I’m very impressed and intrigued by Black Gate, which I stumbled upon a couple months ago. I will be the first to admit that I tend to hover near the longer side of fiction, and it was very appealing to me that your magazine is one of the few remaining that actually prefers to publish longer stories. I have some brewing and I was just wondering when you might be accepting submissions again? Thanks for your time.

Glad to hear you’re interested in Black Gate, Matthew. Unfortunately, we’re still digging through the pile of submissions we received during the brief period we opened last year. 

We were deluged with submissions, far more than we expected, and just as we were making progress, I was waylaid by an 8-month project that demanded all my time (my company was bought by Microsoft).

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It Droppeth as a Heavy Metal Unto The Place Beneath: Exploring Fantasy in Metal

It Droppeth as a Heavy Metal Unto The Place Beneath: Exploring Fantasy in Metal

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Part One: The Adventure Begins

metal1aThere’s this thing I do when I know a given task will be difficult. I announce my intentions. Loudly, casually, on Facebook, in blogs, emails, telephone conversations.

I talk about my task (usually self-appointed and with no particular due-date) blithely, in capital letters, as if the execution thereof were going to be the easiest thing in the world, done up all djinn-like, in the twinkling of an eye.

Then comes an indeterminate period of time wherein I do nuthin’ at all.

So a while ago – I won’t say how long – I mentioned somewhere that I wanted to write a blogicle about Metal and Fantasy.

I said it once. I repeated it often. I went about soliciting interviews on the subject. I coaxed tutorials in remedial Metal out of long-suffering friends. I spent endless midnight hours with a notebook in my lap and a double bass beat booming from my speakers.

“Why,” you ask, “did you do this to yourself?”

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