Books Best Appreciated In Their Natural Habitat

Books Best Appreciated In Their Natural Habitat

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bookstoreRecently I received a bit of a surprise when I went to a local library that has long been one of my ambush zones for the acquisition of unsuspecting books. All those lovely 25 cent mass market paperbacks with the stickers on the spine, all those nicely broken-in trades, all those hardbacks with the covers mylared over and glued down, were gone. Vanished. Whisked away on an electron breeze to inhabit the alternate world of the internet.

That’s a world I’ve hunted in a lot; in fact, the internet may indeed be my own Happy Hunting Grounds, the place where all those impossible to find treasures I’d only ever heard about as a kid grew like ripe fruit within easy reach. Not only was it simple and cheap, but it’s a world where anything is possible.

Of course, it’s also online cheapskates like me that are killing book stores.

I’ve blogged about my library shock in full over at my site, and talked about how important library sales were to me as a kid. How owning books, having a collection, taught a different sort of relationship and fostered a deeper respect for the world of books, fiction, and education than did borrowing them. I truly do think having these books available for purchase furthered the library’s mission of instilling a respect for the written word in the populace — especially in us kids who could buy a handful of SF novels with our lunch money after school — but, I suppose, it may have also reinforced other less desirable traits in me.

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White Wolf, Black Gate: Moorcock’s The Stealer of Souls

White Wolf, Black Gate: Moorcock’s The Stealer of Souls

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Joe Mallozzi’s online book club is reading Moorcock’s The Stealer of Souls this month (there’s already been some discussion here; Moorcock himself will appear as guest today, Wed. 6/10/09). So I thought I’d say a few words about the book… but which book is it, anyway?

That’s not a rhetorical question. Geeky details beyond the jump, cobbled together from various copyright pages, the wise words of Mr. Wikipedia, and other stuff I read somewhere once or heard someone say.

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Rome (2005)

Rome (2005)

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I just watched about 25 hours of what I consider the best Sword and Sorcery I’ve seen in about the same number of years.

I’m speaking about HBO’s Rome, of course, the very expensive historical fiction epic that ran for two seasons 2005-2007. I’m sure many of you have seen it, but it was new to me (we don’t have cable). Apart from a few quibbles about some of the portrayals, specifically Cato the Younger and Octavian in the second season, I found it a fascinating peek into another age.

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Seventh Sanctum and Randomness

Seventh Sanctum and Randomness

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Normally, I get verbose on my posts here at Black Gate. But I’ve had a busy week, the crunch comes down on the last day, and I don’t have time for a long amble through my usual obscura. So today I’ll dash through with a link to one of my favorite “writing experiment” sites.

Seventh Sanctum is a website of randomness. It contains an array of “generators” that can create instant character names, evil organizations, magic weapons, and super-powers. The bulk of the site consists of anime- and RPG-slanted generators, most of which were coded as a “lark,” in the words of the site’s creator. “Roll up a bunch of results. Use them. Make a ton of money. Or use them in a fanfic or an RPG.”

However, I’ve gotten a lot of writing practice ideas from the category of generators under the heading “Writing.” A general heading that covers a number of great randomizers that can hatch up story settings, themes, and “what-if” scenarios. For example, today on Writing Challenges (my favorite of the generators), I pulled out this confluences of different elements for a strange tale: “The story ends during a war. During the story, an organization begins recruiting. The story must have a lost soul in it. The story must involve some oil at the end.” That was enough to keep me scribbling in my composition notebook for at least an hour; and even if I develop a story that doesn’t contain any of those elements, battering the ideas about always develops something of interest I can use later. One of my favorite short stories I wrote in the last year emerged from using Seventh Sanctum’s What-if-Inator. The finished work had almost nothing to do with the original “what-if” from the site, but I probably wouldn’t have started the journey without the push.

Any writer could get a few decent exercises from Seventh Sanctum—maybe even a the start of something more serious—and you can always waste some time with the Humorous Fantasy Classes generator. (I like the “Stripper-Lancer” and “Valkyrie Salesman.” Both might work in a Risus campaign.)

Text & Countertext

Text & Countertext

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One of the best books I’ve read about writing (and, full disclosure, I don’t read many) is Samuel Delany’s About Writing: Seven Essays, Four Letters & Five Interviews (Wesleyan). When I say “best,” I don’t mean I was nodding my head the whole way through going, “Right! Exactly!” Although in many places I was. Overall, I was in constant dialogue, sometimes offering additional examples or counterexamples, sometimes arguing vociferously, sometimes muttering, “WTF are you talking about?” Almost every page was good for a long train of thought.

The subject of one chapter is illustrated by its title, “After No Time at All the String on Which He Had Been Pulling and Pulling Came Apart into Two Separate Pieces So Quickly He Hardly Realized It Had Snapped….” Writing, Delany argues, has at least two technical levels. The sentences of a story describe a progression of events and occurrences, and this is what he calls the “text.” These sentences, though, are simultaneously “gesturing, miming, and generally carrying on about a supportive countertext that gives the story we’re reading all its resonance, highlighting, and intensity.” …

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Leaks and Peeks

Leaks and Peeks

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So a lot of people are on the edge of their seats because Apple is introducing a new iPhone model next week, and some people have fuzzy pictures supposedly leaked from China that purportedly show that the new model will have a matte black case. I can hardly contain my excitement. I’m cynical enough to think that Apple itself might be leaking the sneak peeks as a way to generate buzz about what sounds to me as just some feature improvements so people will want to stand in line for two weeks at the wireless store until the new model is available and they can belong to the technical elite for a couple of days or so.

All of which reminds me of a recent short story by Bruce Sterling, “Black Swan” in the March-April 2009 (Issue 221) of Interzone. The protagonist is an Italian blogger-journalist (sounds a little like Sterling himself in some respects) who gets insider tips on new technologies from a mysterious source who is so secretive he can’t be Googled. There’s a lot of techno-speak and the plot hinges on the notion that the 1980s (when, perhaps not coincidentally, Sterling and his fellow cyberpunks first started making names for themselves) was a critical historical point from which multiple realities branched. The story also features Nicholas Sarkozy (yes, the president of France) and his actress-singer wife (yes, that wife).

Fun stuff and much more interesting than the gloss on the iPhone.

Darkon

Darkon

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darkon_tstAs a follow-up to last week’s post on Escapism, I give you Darkon (2006), a low-budget documentary  by Andrew Neel and Luke Meyer that raises some of the same questions I did in my post as it looks at one particular group of LARPers (Live-Action Role-Players) involved in a game that has become its own little reality. Following the lives of a few key players in the drama, the documentary (which I watched free on Hulu after John Ottinger pointed it out, though it is also available from snag films) chronicles their in-game and out-of-game struggles, and how these facets of their lives intertwine.

If your initial reaction to adults pelting each other with foam swords is to roll your eyes, that’s probably even more reason to watch this documentary, which is a sympathetic and nuanced look at the lives of these players. Firstly, the film is presented as a real struggle for ‘in-game power’ between its two central characters, leaders of rival ‘countries.’ These competing factions of Darkon chart their progress in wars that allow them to expand across a map, and one faction, the nakedly imperialistic Mordom, has had more success at this than the rest. Feeling threatened, other countries lead by Laconia, band together to fight them.

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Magic: To Eff or Not to Eff?

Magic: To Eff or Not to Eff?

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Should magic in fantasy fiction have a freakish perplexing quality that stands outside of reason or should it be a kind of alternate science, a para-physics (or para-chemistry or whatever) for a universe with physical norms that differ from ours?

This has been on my mind lately, for various reasons. And (like most people) when I think of the poetics of fantasy, I think of 18th C. skeptical philosophers.

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The Story Is All: Ten Fiction Editors Talk Shop

The Story Is All: Ten Fiction Editors Talk Shop

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cw_33Issue 33 of Clarkesworld Magazine features a round-table interview with “Ten of the top speculative fiction magazine editors,” including Black Gate‘s John O’Neill.

Clarkesworld Magazine, edited by Neil Clarke, Sean Wallace, and Cheryl Morgan, is a 2009 Hugo Award moninee for Best Semiprozine.

It was founded in 2006 and has published fiction by Robert Reed, Jeffrey Ford, Theodora Goss, Stephen Dedman, Rebecca Ore, Jeff VanderMeer, Jay Lake, Mary Robinette Kowal, Catherynne M. Valente, and many others.

The interview also includes Realms of Fantasy‘s Shawna McCarthy, Sheila Williams from Asimov’s Science Fiction, Ann VanderMeer of Weird Tales, Patrick Nielsen Hayden of Tor Books, Cat Rambo from Fantasy Magazine, Mike Resnick from Jim Baen’s Universe, Stanley Schmidt from Analog Science Fiction and Fact, Jason Sizemore of Apex Magazine, and Gordon Van Gelder of The Magazine of Fantasy and Science Fiction.

The interview was ably conducted and assembled by Jeremy L. C. Jones, who states:

Ultimately, fiction editors are the people who mine the slush pile for new voices and who push established writers to grow beyond their previous stories. They read story after story, and more pile up each day. They screen, sort, revise, and reject. They seek the new, the fresh, the familiar, the entertaining, and the weird. They discover and they miss out.

“There is no magic formula,” said Gordon Van Gelder of The Magazine of Fantasy and Science Fiction. And this holds true for writing stories, submitting stories, and editing stories.

Among other things, Jeremy asked his subjects What are some reasons why you’d reject a good story? and What does “fit” mean for your magazine?

This whole interview is a treasure trove of info for writers, whether you write science fiction, fantasy, or anything else.    — Filling Spaces

You can find the complete interview here.

The People That Time Forgot: The Movie

The People That Time Forgot: The Movie

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The People That Time Forgot (1977)
Directed by Kevin Connor. Starring Patrick Wayne, Doug McClure, Sarah Douglas, Dana Gillespie, Thorley Walters, Shane Rimmer, David Prowse, Milton Reid.

Amicus Productions waited two years to release a sequel to their hit The Land That Time Forgot, stopping along the way to do another Edgar Rice Burroughs adaptation, At the Earth’s Core. The People That Time Forgot marks the last gasp for its brand of low-budget fantasy/adventure film, since another film that came out that same summer of ‘77, set in a galaxy far, far away, caused a shift in genre-movie expectations when it turned into the highest-grossing film in history.

But The People That Time Forgot still brings handmade thrills and an old-fashioned attitude that adheres to Edgar Rice Burroughs’s style—if not to the letter of his writing. Unlike The Land That Time Forgot, which stays close to the first third of ERB’s novel in its script from Michael Moorcock and James Cawthorn, the script for the sequel from Patrick Tilley charts its own direction rapidly and leaves the original plot of the middle novella of the collective novel behind. Since the third novella, “Out of Time’s Abyss,” was apparently never slated for film adaptation, Amicus had to create a sense of completion with The People That Time Forgot that required dumping much of Burroughs’s material.

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