Black Gate

After the Golden Age
Carrie Vaughn
Tor Books (A Tom Doherty Associates Book; 304 pp, $24.99 USD, $29.99 CDN; hardcover April 2011, paperback January 2012)
Reviewed by Matthew David Surridge

Celia West is an accountant in her mid-twenties. She seems normal enough, but appearances are deceiving. Celia lives in Commerce City, home to a number of super-powered heroes and their archenemies. She’s not one of them, though, being in fact the non-powered daughter of two of Commerce City’s greatest champions, Captain Olympus and Spark, leaders of the group called the Olympiad. Now the Olympiad’s worst enemy, the Destructor, has been arrested, and Celia’s skills as an accountant can help to find the fiscal evidence to put him behind bars — only, once, years ago, Celia joined the Destructor as an ally. Can she overcome that act of youthful rebellion to build her own life, and see that justice is done?

That’s the question driving the plot of Carrie Vaughn’s novel After the Golden Age. Super-heroes arguably started in prose, with the exploits of Zorro, the Spider, the Shadow, and Doc Savage, to name some of the best known, but the full-blown super-hero — with exceptional powers, a distinctive costume, and an alter-ego — was really a development of comics. A costumed hero is inherently visual, and many of the best super-hero powers lend themselves to illustration. Can prose present a super-hero story as well as comics can? It’s notable that a lot of the better prose super-hero tales have been shorter works: the best of the Wild Cards shared-world books, for example (a series for which Vaughn writes), or the 2008 anthology Who Can Save Us Now?, or Daryl Gregory’s excellent story from the same year “The Illustrated Biography of Lord Grimm.” Perhaps the strangeness of powers and costumes works better at that length.

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“There is but one way for a man, and that is to remember that none may avoid his fate. This is to a man as the due ballast to the ship, which maketh the vessel indeed loom somewhat deeper, but keepeth it from tossing too lightly upon the uncertain waters.”

–E.R. Eddison, Styrbiorn the Strong

As a youth, E.R. Eddison (1882-1945) so loved William Morris’ translations of the Old Norse sagas that he taught himself Old Icelandic, desiring the pure injection of North Sea ice water into his veins that the stories in their original tongue delivered. He carried that love of the Sagas with him as a writer of fantasy fiction. Their echoes can be felt in Eddison’s best known work, The Worm Ouroboros (1922), but four years after the Worm Eddison set to work on the real thing, trying his hand at his own saga Styrbiorn the Strong (1926).

Styrbiorn the Strong tells the story of Styrbiorn Olaffson, teenage heir to the throne of Sweden. Denied his birthright and exiled from Sweden, Styrbiorn spends three years a-viking, during which his power and influence waxes mightily. Three years later he returns to claim his share of the kingdom. Except for a few minor characters everyone in the story is an historical figure. The main facts of the tale are also historical, including the concluding bloody Battle of Fýrisvellir, but the details and characterizations are of Eddison’s own making.

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