Black Gate – Page 660 – Adventures in Fantasy Literature

Enter: The Midnight Guardian

Friday, August 19, 2016 William Patrick Maynard Comments 3 comments

John C. Bruening makes a smashing debut as a novelist with a hardboiled pulp yarn that is so good, it immediately makes you set the author to one side with a handful of other standouts currently working in the New Pulp field.

The Midnight Guardian: Hour of Darkness frequently put me in mind of Sam Raimi’s underrated 1990 film, Darkman in that it is likewise evocative of The Shadow and Doc Savage and is set in a world familiar to readers of Dashiell Hammett and those who love old Warner Bros. gangster pictures of the 1930s (and Universal horrors and serials of the same decade). While much of The Midnight Guardian is the work of an author well-versed in the vocabulary and mythology of the pop culture of the last century, it is also the creative construct of a first-rate storyteller who has denied himself and his audience for far too long.

Pulp means a lot of things to different people. For purists, it is exclusively the fiction (adventure, crime, thriller, western, romance, war, humor) published in pulp magazines (not slicks) in the 1920s through the 1950s. For others, pulp fiction is any fast-paced, action-packed story with stock characters and situations set in a world decidedly less sophisticated, but much more visceral than our own.

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A Scare You Straight Post-Apocalyptic Nightmare: B.C. Bell’s Bipolar Express

Thursday, August 18, 2016 Joe Bonadonna Comments 2 comments

I’m a big fan of B. Chris Bell’s film-noirish, pulp fiction stories, and his wonderful novel, Tales of the Bagman Volume 1, The Bagman Vs The World’s Fair, and Tales of the Bagman, Volume 3, all published by Airship27 Productions (and previously reviewed by me here at Black Gate.) So I jumped at the first chance I had to read his excellent, and very hard to pigeon-hole, Bipolar Express. Now, when I say it’s hard to pigeon-hole, I mean it. You can’t slap a label on this one, folks. But I will say this — it’s an important novel: serious, with that element of scary realism, gallows humor and touch of madness that will keep you laughing while the story shakes you up.

This is a novel of truths and wisdom that casts an observant eye on a certain segment of society many of us don’t like to think about: alcoholics, drug addicts, rehab centers and asylums. Bipolar Express has much in common with The Man with the Golden Arm, The Lost Weekend, and Trainspotting, with a macabre touch of Philip K. Dick to add a whole other level to the novel. It’s a “scare you straight,” post-apocalyptic story with a science fiction element that I won’t spoil for you: is what’s happening to the characters reality? Or is it all a shared hallucination? This would make one hell of a freaking movie! It’s also quite a wild ride. I’m not even sure how to tell you about it. So first I’m going to tell what Chris says about it, and then I’m just going wing it from there.

A misdiagnosed mentally ill man spends thirty days in a mental institution. Four years later he finds himself rescued from his own destructive impulses by his fellow patients, who inform him that the magnetic poles have begun to shift, just as they have every 250,000 years. Regardless of the truth, now he’s trying to survive the worst winter in Chicago history along with his mentally ill friends, a man with no fingers, and a cannibal dog. And, if the cold, starvation and illness don’t kill him, there’s a gang roving the city that will. Along the way he’ll discover magnetism affects the behavior of birds, elephants, ants, even humans. And then there are those ‘radioactive’ rays in the sky… this is a novel about failure, redemption, and the end of a world.

Okay, now it’s my turn. And whether or not you think I’m writing in any sort of logical order is your problem.

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Off to Worldcon

Thursday, August 18, 2016 John ONeill Comments 1 comment

By the time the Black Gate supercomputer posts this article, I’ll be on a plane to Kansas City, heading to MidAmeriCon II, the 74th World Science Fiction Convention.

I haven’t been to WorldCon since 2012, when it was held right here in Chicago. That time Black Gate had a big booth in the dealer’s room — staffed by a crack team of BG writers, including Howard Andrew Jones, James Enge, Rich Horton, Donald Crankshaw, Jason Waltz, and Peadar Ó Guilín — selling what would turn out to be our last issue. (Howard has a detailed report with plenty of pics, here.) With the end of the print issue, there’s no point to a booth, so this time it’s just me flying solo. I was too lazy and preoccupied to fill out the programming form, so I’m not even on any panels. If you spot a white-bearded guy shuffling through the dealer’s room asking about copies of Perry Rhodan, it’s probably me.

But if you’re a Black Gate reader attending the con, I’d love to hear from you. Drop a comment below, and I hope to run into you in person. I will post periodic reports from the convention over the next few days, including some selfies with fans. See you there!

Dark Lords Through History: Waller Newell’s Tyrants

Thursday, August 18, 2016 M Harold Page Comments 2 comments

Remember the Sword of Damocles?

Damocles flatters King Dionysus; “Lord! How fortunate and god-favored you are to be so powerful!”

The king — really a tyrant — says, “Sure. Let’s change places for a day.”

So, Damocles has a right old time feasting and carousing, right up until the moment Dionysus points out the sharp sword hung over his head, suspended by just one fraying thread…

Eek!

The take home is, WHY ON EARTH WOULD YOU WANT TO BE A TYRANT, YOU IDIOT? EVERYBODY WILL TRY TO KILL YOU.

And that’s one of the questions that Professor Waller R. Newell sets out to answer in his Tyrants: A History of Power, Injustice, and Terror (the which I talked his publisher into sending me as a nice follow up to Holland’s book on the Caesars.).

By “tyrant”, he means a ruler with personal power unconstrained by law or custom.

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Fantasia 2016, Day 4: Questioning Genre (Beware the Slenderman, In a Valley of Violence, and The Unseen)

Wednesday, August 17, 2016 Matthew David Surridge Comments 0 Comment

Sunday, July 17, began early for me. I went down to the Hall Theatre to watch Parasyte: Part 2 (I’ve written about it here, along with Part 1), then took care of some personal errands before returning to the Hall to watch a documentary called Beware the Slenderman, about a case of attempted murder and its apparent inspiration in internet stories about a shadowy monster. After that I planned to watch In a Valley of Violence, a Western starring Ethan Hawke, John Travolta, and Karen Gillan. Then I’d go across the street to see the world premiere of a Canadian film called The Unseen, which promised a new take on the idea of the invisible man.

Beware the Slenderman, directed by Irene Taylor Brodsky, is an examination of a crime that took place in small town in Wisconsin on May 31, 2014. Two twelve-year-old girls took a mutual friend out to a nearby forest and stabbed her fourteen times before leaving her to die. The girls believed they were acting in the service of a terrifying creature called the Slender Man. Brodsky’s film examines the causes of the crime, presenting the background of the stories of the Slender Man before analysing the family life and mental health of the two girls, and then following the girls for a time through the justice system.

Doubts about the film immediately arise. There are elements of mystery in its structure — why did these children do this thing? — that really does it no favours. The film ends up focussing on the girls’ mental states, so the mystery aspect ultimately feels superficial at best and exploitative at worst. It’s hard as well not to notice that there’s no involvement from the victim or her family. One might wonder if the film also exploits fears about the neurodivergent. The narrative it settles on, the explanation of what led to the killing, involves undiagnosed mental conditions on the part of the two girls. This is a plausible analysis, to say the least, but what’s the film doing by presenting it? What is the point of telling this story?

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New Treasures: The Greatship by Robert Reed

Wednesday, August 17, 2016 John ONeill Comments 2 comments

I’ve been hearing about Robert Reed’s Greatship stories for a very long time. The tales of a vast spaceship relic that is larger than worlds, and which contains thousands of alien species, the Greatship stories appeared first in F&SF and Asimov’s Science Fiction in the mid-90s, and were frequently reprinted in Best of the Year anthologies.

By the last decade Reed was producing ambitious novellas in his Greatship universe, and they were appearing primarily in anthologies — especially the novella-friendly anthologies from the Science Fiction Book Club — such as “Camouflage” (in Down These Dark Spaceways, May 2005), “Rococo” (Forbidden Planets, May 2006), “The Man with the Golden Balloon” (Galactic Empires, February 2008), and “Alone” (Godlike Machines, September 2010). There was also at least one standalone chapbook, Mere, from Golden Gryphon Press, and three novels: Marrow (2000), The Well of Stars (2005), and A Memory of Sky (2014).

Three years ago, Argo-Navis press produced the first collection, The Greatship, which gathered a dozen short stories and novellas written over the past 20 years (including Mere and all four novellas mentioned above), along with additional connecting material and an introduction. At $31.99 in trade paperback it’s a bit pricey, but it’s well worth it to have so much great material in one place.

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Underwater Archaeology at the Ashmolean Museum

Wednesday, August 17, 2016 Sean McLachlan Comments 0 Comment

3. Amphora with coral. Lent by Soprintendenza del Mare -® Ashmolean Museum, University of Oxford

Roman amphora with coral, from the Levanzo shipwreck AD 275‒300

Sicily has been the center of Mediterranean history for centuries. Positioned at the halfway point between the western and eastern halves of the sea, and between Europe and Africa, it has been a nexus of trade and warfare ever since humanity started sailing. Now a major exhibition at Oxford’s Ashmolean Museum looks at the discoveries by underwater archaeologists around Sicily’s shores.

Storms, War & Shipwrecks Treasures from the Sicilian Seas brings together more than 200 objects for a variety of civilizations to highlight Sicily’s importance in ancient shipping.

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Clarkesworld 119 Now Available

Wednesday, August 17, 2016 John ONeill Comments 0 Comment

I’ve been enjoying Charles Payseur’s short fiction reviews at his website, Quick Sip Reviews. Here’s what he says about the August issue of Clarkesworld:

It’s a month of surprises at Clarkesworld this August, as there is an extra original story plus a story in translation from German instead of the usual Chinese translation. So there’s definitely a lot to see with four short stories and two longer novelettes. The good news is that it’s all weird. Seriously, these are stories that push at the boundaries of the imagination. That conjure up strange worlds and uncertain realities and the vastness and power of both space and violence. Stories that set aliens next to 50’s greasers and mix time travel, tragedy, and immigration. And through it all there’s a sense of yearning that pervades. For a brighter future, a peaceful cooperation, and the comfort of another presence. To the reviews!

To the reviews, indeed. After a lead-in like that, it’s hard to resist. Read his complete review here.

I’m not completely used to longer fiction at Clarkesworld yet — and there are some longer pieces in this issue, including Dale Bailey’s “Teenagers from Outer Space” (11,690 words), and Karla Schmidt’s “Alone, on the Wind” (13,449 words, translated from the German). There’s also original fiction from Kali Wallace, Emily Devenport, Sean Bensinger, and Ryan Row, and reprints by Tobias S. Buckell and Madeline Ashby.

Here’s the complete list of stories featured this issue.

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Fantasia 2016, Day 3: Alien Spirits (Parasyte: Part 1 and Part 2, La Rage du Démon, For the Love of Spock, and Terraformars)

Tuesday, August 16, 2016 Matthew David Surridge Comments 0 Comment

Saturday, July 16, began early for me. I headed downtown to the Hall Theatre for an 11:05 showing of Parasyte: Part 1 (Kiseiju), the first instalment of a Japanese science-fiction–horror duology. After that I planned to head to the festival screening room; I hoped to see La Rage du Démon (Fury of the Demon), a French horror mockumentary that mixes film pioneer Georges Méliès, occultism, and legends of mass hysteria into the story of a cursed silent movie. Then I’d head back to the Hall for a showing of For the Love of Spock, a documentary about Leonard Nimoy and his most famous role, hosted by the director, Nimoy’s son Adam. I’d wrap up the night with Terraformars, a science-fiction film directed by Takashi Miike about humans battling genetically-modified cockroaches on the surface of Mars. Miike would be present to host a question-and-answer session and receive Fantasia’s Lifetime Achievement Award.

It would be a full day of films, and it began, as I said, with Parasyte. I would see the second film — in English Parasyte: Part 2, in romanised Japanese Kiseiju Kanketsu-hen — on Sunday morning, so I’ll write here about the two films together. Both were directed by Takashi Yamazaki from scripts Yamazaki wrote with Ryota Kosawa based on the manga by Hitoshi Iwaaki (an English translation of the manga came out from Tokyopop and is now in print from Kodansha Comics USA; an anime version, Parasyte -the maxim-, ran in Japan in 2014 and 2015). The films do a reasonable job of standing alone, but the last shots of Part 1 explicitly set up Part 2, while there’s so much story in Part 1 that I’d have to think Part 2 would suffer from not having seen it. I suspect Part 2 would end up understandable, but the characters perhaps even more than the plot would feel flattened. The first film runs an hour and three-quarters and the second two hours, so they both individually have the length of full stories. But there’s no doubt to me that they benefit from being viewed fairly close together.

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Future Treasures: Spellbreaker, the Concluding Volume of The Spellwright Trilogy by Blake Charlton

Tuesday, August 16, 2016 John ONeill Comments 0 Comment

It’s not often that a fantasy author achieves a breakout work with his first novel — or even his first series — but that’s exactly what Blake Charlton has done with The Spellwright Trilogy, which began with his debut novel Spellwright. Robin Hobb calls the series “A letter-perfect story,” and Publishers Weekly proclaimed it “A winner” in a star review.

After a nearly 5-year gap, the third and final novel in the trilogy, Spellbreaker, arrives in hardcover next week. All three books were published by Tor; here’s the complete publishing details.

Spellwright (352 pages, $25.99, March 2, 2010) — cover by Todd Lockwod
Spellbound (416 pages, $25.99, September 13, 2011) — cover by Todd Lockwood
Spellbreaker (476 pages, $25.969, August 23, 2016) — cover by James Paick

Here’s a look at the back covers of all three volumes.

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