Clarkesworld 112 Now Available

Clarkesworld 112 Now Available

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Clarkesworld 112-smallNeil Clarke uses his editorial this issue to announce the 2015 Reader’s Poll and Contest. Vote for your favorite Clarkesworld story and cover art, and you could win one of three copies of Clarkesworld: Year Eight (publishing this month). Voting is open now through February 23rd, and the results will be announced in the March issue. Cast your votes here!

Issue #112 of Clarkesworld has four new stories by Robert Reed, E. Catherine Tobler, Rich Larson, and Bao Shu, and two reprints by Robert Silverberg and Megan Lindholm.

Short stories featured this issue are:

“The Algorithms of Value” by Robert Reed
“The Abduction of Europa” by E. Catherine Tobler
“Extraction Request” by Rich Larson
“Everybody Loves Charles” by Bao Shu
“The True Vintage of Erzuine Thale” by Robert Silverberg (from Songs of the Dying Earth: Stories in Honor of Jack Vance, 2009.)
“Old Paint” by Megan Lindholm (from Asimov’s Science Fiction, July 2012)

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Future Treasures: Medusa’s Web by Tim Powers

Future Treasures: Medusa’s Web by Tim Powers

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Medusas Web-smallA new book by Tim Powers is a major event. Powers made a huge splash with his early novels, especially The Drawing of the Dark (1979), which Fletcher Vredenburgh reviewed for us here, The Anubis Gates (1983), Dinner at Deviant’s Palace (1985), and On Stranger Tides (1987). His last novel was Hide Me Among the Graves (2012), a sequel of sorts to The Stress of Her Regard (1989). Medusa’s Web is a phantasmagoric tale of a man who must uncover occult secrets in 1920s Hollywood to save his family.

In the wake of their Aunt Amity’s suicide, Scott and Madeline Madden are summoned to Caveat, the eerie, decaying mansion in the Hollywood hills in which they were raised. But their decadent and reclusive cousins, the malicious wheelchair-bound Claimayne and his sister, Ariel, do not welcome Scott and Madeline’s return to the childhood home they once shared. While Scott desperately wants to go back to their shabby South-of-Sunset lives, he cannot pry his sister away from this haunted “House of Usher in the Hollywood Hills” that is a conduit for the supernatural.

Decorated by bits salvaged from old hotels and movie sets, Caveat hides a dark family secret that stretches back to the golden days of Rudolph Valentino and the silent film stars. A collection of hypnotic eight-limbed abstract images inked on paper allows the Maddens to briefly fragment and flatten time — to transport themselves into the past and future in visions that are both puzzling and terrifying. Though their cousins know little about these ancient “spiders” which provoke unpredictable temporal dislocations, Ariel and Claimayne have been using for years — an addiction that has brought Claimayne to the brink of selfish destruction.

As Madeline falls more completely under Caveat’s spell, Scott discovers that to protect her, he must use the perilous spiders himself. But will he unravel the mystery of the Madden family’s past and finally free them… or be pulled deeper into their deadly web?

Medusa’s Web will be published by William Morrow on January 19, 2016. It is 368 pages, priced at $26.99 in hardcover and $12.99 for the digital edition.

December Short Story Roundup

December Short Story Roundup

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oie_1234817JcS2DZHcIt’s time for the last roundup of stories from 2015. The year went out in fine fashion. For the second time in only a few months Beneath Ceaseless Skies published a batch of good heroic fantasy. And while we’re in that interim between new issues of of both Heroic Fantasy Quarterly and Grimdark Magazine, genre stalwart Swords and Sorcery Magazine made its regular monthly appearance bearing a pair of new tales.

Before I get into the reviews, I thought I’d say a little about why I’ve made it a major part of my writing to review and publicize S&S short stories. While there have been good S&S novels (REH’s The Hour of the Dragon), okay ones (KEW’s Darkness Weaves), and bad ones (Lin Carter’s Thongor and the Wizard of Lemuria), the beating heart of the genre has always been short stories. From that opening blast of thunder in REH’s “The Shadow Kingdom” — and through the decades in the works of authors as diverse as C.L. Moore, Fritz Leiber, Michael Moorcock, and Charles Saunders — it’s been in short stories that the genre’s been best displayed.

The hallmarks of swords & sorcery are adventure, dark fantasy, horror, and a narrow focus on only a few characters, bound together in a narrative that reads like a shot of mainlined adrenaline. In the very best stories — KEW’s “Reflections for the Winter of My Soul,” for example — they’re all present. Not that there can’t be structural complexity, finely detailed characters, or exquisitely tooled prose, but it must be exciting. Detours into side-plots, passages meticulously describing feasts, too many secondary and tertiary characters all put brakes on the action. Limited to fifteen or thirty pages, the focus is on the protagonist and his or her immediate situation.

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In the Wake Of Sister Blue: Chapter Eight

In the Wake Of Sister Blue: Chapter Eight

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In The Wake of Sister Blue Mark Rigney-medium

Linked below, you’ll find the eighth installment of a brand-new serialized novel, In the Wake Of Sister Blue. The battle for Vagen commences, but this ain’t your usual invasion, since just about nobody in this book knows how to fight. The desperation and derring-do come thick and fast regardless, with Chapter Nine to follow in two weeks.

A number of you will already be familiar with my Tales Of Gemen (“The Trade,” “The Find,” and “The Keystone“), and if you enjoyed those titles (or perhaps my unexpectedly popular D&D-related post, “Youth In a Box,”) I think you’ll also find much to like in this latest venture. Oh, and if you’re only now discovering this portal, may I suggest you begin at the beginning? The Spur awaits…

Read the first installment of In the Wake Of Sister Blue here.

Read the eighth and latest installment of In the Wake Of Sister Blue here.

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The Goblin King is Gone. The Starman Has Returned to the Sky. R.I.P. David Bowie

The Goblin King is Gone. The Starman Has Returned to the Sky. R.I.P. David Bowie

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labyrinthI’m not going to talk about his musical or cultural influence (which was prodigious), or his film career (he was possibly the best actor among those recognized first and foremost as singers). If you want to explore all that (as well you should), the papers and blogs will be inundated with it for days to come.

My own brief contribution to the media buzz is only this: I’m going to take a moment to offer another little reason why his passing warrants note here on Black Gate. And no, it’s not just because he was Jareth the Goblin King in Jim Henson’s wonderful fantasy film Labyrinth (1986) — although that alone might be reason enough. Nor that in other roles both in film (The Man Who Fell to Earth [1976]) and on stage (e.g. Ziggy Stardust and the Spiders from Mars) he often portrayed himself as an extraterrestrial, a man visiting our planet from the stars.

It’s in the music itself. The influence of fantasy and speculative fiction can be heard throughout his oeuvre, and some of his songs are themselves tiny gems of speculative fiction. I’ll quickly cite two examples.

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When the Ghost is Unseen: Finding Fantasy in Mainstream Fiction

When the Ghost is Unseen: Finding Fantasy in Mainstream Fiction

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The Seance John Harwood-small The Vanishing Wendy Webb-small The Somnambulist Jonathan Barnes-small

When I browse the SF and Fantasy section at my local Barnes & Noble every Saturday, I usually return home with a handful of intriguing finds. There’s certainly no shortage of books to choose from, and more showing up every week.

One thing I miss in my book hunts, however, is the thrill of the unknown. When I settle into my big green chair with a new horror novel, I know there’s a monster hiding somewhere. That’s the one drawback of always shopping in the genre section: you know the ghost will pop out by chapter five.

That’s why I like to spice up my reading by browsing in the gothic mystery section (my wife Alice’s favorite section). Is there a spook, or isn’t there? Often you don’t know until the end of the book (and sometimes not even then), and that adds a delicious element of mystery. Here’s a quick rundown of three delightful gothic mysteries I recently added to my collection.

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Vintage Treasures: Assignment Nor’ Dyren by Sydney J. Van Scyoc

Vintage Treasures: Assignment Nor’ Dyren by Sydney J. Van Scyoc

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Assignment Nor Dyren-small Assignment Nor Dyren-back-small

Sydney J. Van Scyoc is an American science fiction writer. She was born in 1939, and published her first story, “Shatter the Wall,” in Galaxy magazine in 1962. She was very active for the next three decades, publishing eleven novels and around 30 stories between 1962 and 1991, including Saltflower (1971), Starmother (1976), Cloudcry (1977), Sunwaifs (1981), and the Daughters of the Sunstone trilogy. Most of her novels were published as paperback originals from Berkley or Avon. In 1992, she reportedly retired to make and sell jewelry, but in 2004 & 2005 she sold two new short stories to Gordon Van Gelder at F&SF.

Assignment Nor’ Dyren, her second novel, is one of her most well known. Compared by some to The Left Hand of Darkness, it’s the tale of two human agents to the planet Nor’ Dyren who discover the inhabitants have a social order that divides them into three specialized castes. But the world seems to be crumbling — broken machines are not being repaired, there’is no innovation, and society has been in decline for over two centuries. Tasked with saving the planet, the human agents find themselves up against strange and sinister opposition.

We last covered Sydney J. Van Scyoc with her 1989 fantasy novel Feather Stroke. Assignment Nor’ Dyren was published in October 1973 by Avon Books. It is 222 pages, priced at 75 cents. Believe it or not, the gorgeously baroque cover is uncredited, and no one seems to know for sure who painted it. It looks a lot like the work of Paul Lehr, but it’s hardly likely there’s an unidentified Lehr out there. Click the images above for bigger versions.

The Public Life of Sherlock Holmes: The R-Rated Nero Wolfe

The Public Life of Sherlock Holmes: The R-Rated Nero Wolfe

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Haig_TulipSure, I’m all about Sherlock Holmes and Solar Pons, which you are certainly aware of if you read The Public Life of Sherlock Holmes every Monday here at Black Gate (blatant self-plug). But of all the mystery (and swords and sorcery, for that matter) series that I read and love, Rex Stout’s Nero Wolfe tales hold the top spot for me.

You can a get a primer on Wolfe from this post I wrote in the summer of 2014. And of course, you can buy a book and check him out first hand. I mentioned here that there are definitely Wolfean characteristics in Glen Cook’s Garret, PI series. Mystery grand master Lawrence Block (Matthew Scudder, Keller, Bernie Rhodenbarr series’ and more) tinkered with an R-rated version of Wolfe in two novels and two short stories featuring Leo Haig (Wolfe) and Chip Harrison (Archie Goodwin).

The stories don’t just emulate Wolfe and Goodwin. They specifically talk about them! As Harrison tells us in Make Out With Murder:

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Feverish Dreams of Years Past: The 1980 Comics Annual

Feverish Dreams of Years Past: The 1980 Comics Annual

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The 1980 Comics Annual(I’ve decided to again delay my ongoing series of essays about C.S. Lewis, for a number of reasons. As it happens, though, there’s another piece I’ve been meaning to write for a while. So here it is.)

When I was very young I used to have a copy of an early example of a North American comics trade paperback: Potlatch Publication’s The 1980 Comics Annual. It’s an anthology of work from then-new Canadian comics creators. I remember being fascinated by the weird mix of stories in it, humour and science fiction and horror and fantasy and action. I lost that copy (as children do lose things), and for years afterward the stories lived in my mind as feverish dreams, images of panels I could not contextualise. At some point I found a copy in a back-issue bin and was able to read the thing again. Thanks to the internet, I’ve learned a bit about the background of the book and some of its contributors. But it’s still strange to me, a mixed bag of rough talent and accomplished stories. I’m going to describe the book and what I’ve found out about it, and I’d love to find out more from anyone else who can chip in.

Potlatch Publications was and is a small Canadian company under the editorship of Robert F. Nielsen. From 1975 to 1985 Potlatch put out a yearly series of books, the Canadian Children’s Annuals, based on English Boy’s Own and Girl’s Own books. I remember some of the CCA volumes; the cover of the 1980 volume in particular is burned into my mind. The Annuals mixed short articles, fiction, and comics. And in 1980, an editor named Ian Carr put together an annual for Potlatch entirely filled with comics, 128 pages, 64 of which were in colour. Some of the contributors came from the CCA books, and some (I think) from elsewhere.

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Things Your Writing Teacher Never Told You: Escaping the Darkness, or What to Do When Your Imaginary World Gives You Real Nightmares

Things Your Writing Teacher Never Told You: Escaping the Darkness, or What to Do When Your Imaginary World Gives You Real Nightmares

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Teddy Bear Knight-small

Virtually anyone who writes dark fantasy, horror, thrillers, or any other type of fiction with violent or disturbing subjects, sooner or later gets asked the question, “How do you write that kind of stuff?” While it may be couched as a question, it usually sounds like and is intended to be a moral judgement along the lines of, “That’s awful stuff, and only awful, dangerous, twisted people write that stuff (or so I believe), and I don’t think you’re awful, so please don’t write it anymore – you’re making me uncomfortable.”

However, that same question can be asked as a no-judgement, sincere query, one writer to another. That’s what happened when my Advanced Fantasy Writing class was doing a Q & A via Skype with Laura Anne Gilman, a Nebula nominated author, prolific novelist, and former NYC editor a few weeks ago. One of my students asked a really good question: “If you’re writing something really dark, and have to go to a really disturbing emotional place to do it; how do you get out of that headspace when you’re done?”

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