Bruce Dickinson at the House of Blues, Boston MA Sept. 11, 2025

If all Bruce Dickinson had was his solo career he’d still be remembered in the annals of heavy metal. Bruce’s best solo efforts—Accident of Birth, Tyranny of Souls, and The Chemical Wedding—comprise a power trio any metal band would be proud to have in their catalogue. 

And oh yeah, he did that Iron Maiden thing too.

I got to see Bruce solo for the first time last night at the House of Blues in Boston. My buddy Scott and I battled through brutal Boston traffic to get in but it was worth it. We met up with another friend for dinner and a couple beers before meandering in.

Bruce means a lot to me for a number of reasons and he did not disappoint. Even at age 67 he was still bringing the fire, and his air raid siren voice.

Here’s the setlist. Yes, I got see him perform the “Star Bangled Banner” (which Bruce is performing at the Pittsburgh Steelers game this weekend) and “Flash of the Blade,” a deep cut off Powerslave. Unexpected and fun. I deliberately stayed away from any reviews so as not to be spoiled, and was pleasantly surprised by it all:

1. Accident of Birth

2. Abduction

3. Laughing in the Hiding Bush

4. Shadow of the Gods

5. Chemical Wedding

6. Star Spangled Banner

7. Flash of the Blade

8. Resurrection Men

9. Rain on the Graves

10. Frankenstein

11. The Alchemist

12. Book of Thel

13. Road to Hell

Encore:

14. Tears of the Dragon

15. Gods of War

16. The Tower

I’m semi-embarrassed to admit I’ve barely listened to Bruce’s new album The Mandrake Project, released last year. But I greatly enjoyed “Rain on the Graves” and “Resurrection Men” and will work to rectify that.

Bruce is a very creative, musical dude. Last night he at turns played drums and an instrument called a theremin, which is played without touch, detecting hand movement only. Weird, and fun.

Here is a little bit of probably my favorite Bruce solo song (though “Jerusalem” and “Return of the King” are in the running), “Tears of the Dragon,” off Balls to Picasso, recorded on my cell phone. It's tinny as all cell phone recordings are but you can still get a sense of his power and presence:

I owe Bruce’s solo stuff a proper essay. When I look at the lyrics of “Chemical Wedding” and “The Alchemist” he’s telling us a story about the nature of human existence, and the possibility of transformation.

And so we lay

We lay in the same grave

Our chemical wedding day

Also I'm 99% certain I saw Jeff Talanian, creator of the Hyperborea RPG. Jeff if you're reading this let me know if you were there.

Conan and the Living Plague

I'm reading John C. Hocking's Conan and the Living Plague for Cimmerian September. 

Nothing else to add at the moment except that it's quite enjoyable after three chapters, with fell wizards and foul plagues and Conan in a fine demonstration of jaw-dropping strength.

I will write a full review later this month. 

This is the second of two short novels packaged together as Conan: City of the Dead, released in a single volume by Titan Books in 2024.

Reading is in trouble … what are we going to do about it?

Reading is in trouble. How deeply? There’s evidence it may be in a death spiral.

A new study published in the journal iScience found that daily reading for pleasure plummeted 40% over the past 20 years. The data was taken from a study of more than 236,000 Americans, no small sample size. Study co-author Jill Sonke called it “a sustained, steady decline” and “deeply concerning.”

Another study found if you read or listened to only one book in 2023, you read more than 46% of Americans. 

Another 20 years like this and we might have to turn out the lights. Books will be viewed like Laserdiscs or a Betamax tape, a curious and dead relic.

I’m disappointed … but not surprised. Anecdotally the data checks out; half the people I know or hang out with don’t read. A few that do read a lot. This steep decline may not be apparent if you spend all your time in insular groups. I belong to a couple sword-and-sorcery Discord groups and another S&S watering hole on Reddit where people love talking about reading and their favorite books and showing book porn.

But these places aren’t normal. If you’re reading this you’re probably like me, not “normal” either. I’m what’s known as a whale, I’ve got 1200 books or so in my library and that’s not counting digital titles and comics and the like. But we don’t need whales, a whale might buy a shit-ton but a whale is only going to buy one copy of a work (maybe super deluxe collector’s editions too, but you see my point). 

For reading to grow we need lots of people buying books and enjoying reading for pleasure. It needs to become ubiquitous and normal. People used to do this. They used to buy mass-market paperbacks off wire spinner racks. They read magazines with circulations in the hundreds of thousands or millions that supported the authors who wrote for them. 

Today they’re watching television and watching YouTube and scrolling social media. 

I do these things too but I carve out time for reading. It’s a habit like exercise that must be cultivated. Phone scrolling is unfortunately 10x easier. YT videos have 400x the views of blog posts (this is me griping).

Reading is never going to go away entirely, but it may never again hold a prominent place among pleasure activities. 

What are the consequences of this relatively recent shift?

A loss of knowledge, paradoxically at a time when we’re drowning in information. All the information you seek is readily available by asking ChatGPT … but you’re never going to remember it. Reading generic machine output about the importance of community and bravery and faith is not going to transform you like reading Watership Down.

Information does not equal understanding. We might absorb data but we make sense of it by telling stories.

I learn through sustained attention and absorbing multiple perspectives. Reading and then writing about what I’ve read. Lose that ability and we risk losing our future to others.

We are drowning in information while starving for wisdom. The world henceforth will be run by synthesizers, people able to put together the right information at the right time, think critically about it, and make important choices wisely.

— E. O. Wilson

But beyond utility and understanding the loss of reading also means a loss of a unique form of entertainment. As I’ve noted before books offer a different experience and reward than movies or other visual media. I hate to think of a future where no one walks the labyrinthine halls of Xuchotl with Conan, sword in hand.

What do we do about it?

If you have children, read to them, study authors say. “Reading with children is one of the most promising avenues,” said Daisy Fancourt, Ph.D., a professor of psychology and epidemiology at University College London and co-director of the EpiAtrts Lab. “It supports not only language and literacy, but empathy, social bonding, emotional development and school readiness.”

Get creative with marketing books. Here’s an example of a $1M kickstarter for a book that put its backers in its stories. 

Recommend books. Support authors that continue to write, outlets that promote writing and reading. Promote old books too.

Write. If you can master its craft and discipline you’ve mastered a skill fewer and fewer possess. Good writing requires you to read. No way around that. Hey at least your stuff might get ingested by an AI and live on that way.

And above all don’t give up. We are the hopelessly outnumbered defenders on the walls of Minas Tirith, fighting against the dark and praying for the dawn. Perhaps we will hear the unexpected sound of horns.

TL;DR, Keep reading and sharing what you love. Support other writers. Keep writing. Fight on.

Hell on Earth, Iron Maiden

Senjutsu has been out four years (Sept. 2021), long enough that I feel confident in selecting a favorite song.

That song is "Hell on Earth."

"Darkest Hour" and "The Writing on the Wall" are fantastic, but "Hell on Earth" is truly special.

When you get to be an old fart you get disgusted by the eternal hell we keep delivering unto ourselves. Steve Harris’ lyrics reflect this sad reality.

We’re unfortunately never going to have a heaven on this earth—I don’t think it’s possible, even though I think we could be doing far better as a species. We know how to live ethical lives; we have the wisdom of the ancients at our hands.

Yet we don’t bother to acknowledge it, let alone strive to learn it or live by it. 

You dance on the graves who bled for us

Do you really think they'll come for us?

Knowledge and virtue, taken by lust

Live on the edge of those that you trust

You think that you have all the answers for all

In your arrogant way only one way to fall

Burning a lamp that is fire in your hands

Taking you further from these lands

We still have children waging wars for old men’s ambitions, vanity.

Despite its bleak outlook it’s a beautiful song. The composition is fantastic; at more than 11 minutes it takes you on a journey. It features some of Bruce’s most inspired singing of the album (“Lost in anger, life in danger”). And it offers hope that one day we’ll see our loved ones again, after death. We sense there is something better beyond, from our past, deep in our memories… far away from this hell on earth.

I wish I could go back

I'll never be the same again

Bled for all upon this hell on Earth

And when I leave this world

I hope to see you all again

On the other side of hell on Earth

Upon the eyes of good

I'm following the light again

In between the dark of hell on Earth

On the other side, I'll see again in heaven

So far away from this hell on Earth

Celtic Adventures wrapup and on into Cimmerian September

Worth your 10 cents...

I just closed the cover on DMR Books’ latest release, Celtic Adventures, and had to say a few words about the final entry collected therein: “Grana, Queen of Battle,” by John Barnett.

Because it’s damned good. 

Were it anthologized amid a dozen modern S&S/historical adventures it would not be out of place—except it would likely be the best story in the collection. And it was written in 1913 for The Cavalier. That’s pre-World War I for those keeping score at home, and yet it is in no way dated. In fact, it is burning with life in these pages.

“Grana, Queen of Battle” is a novella comprised of six chapters and 94 pages. Each chapter is a standalone story with minor reference to the preceding chapter, the same type of thing Howard Andrew Jones was doing with the first book in his Hanuvar series. Clearly this is the stuff from which sword-and-sorcery would be made. Short, episodic stories building on one another, action-packed, relatively small stakes (save to Grana herself of course).

Grana O'Malley is a badass S&S style heroine. Per the introduction she was a real person, a formidable Irish pirate whom the English dubbed Grace O’Malley. She comes alive in these pages thanks to Barnett’s skill. REH dedicated “Sword Woman,” his story of Dark Agnes, to the man. No wonder; you can feel the influence.

In the barest space imaginable—the first three pages—we meet a dying Irish chieftain, Dubhdara. Sonless, his lands and castle must pass to his daughter Grana. We meet Grana’s sidekick, a rawboned and lean fool in motley named Bryan Tiege, deadly with a sword. And we meet Grana, “a woman whom Fate restricted to a petty stage, but who might have ruled a kingdom. A woman who mastered men, whom men followed because she was stronger, bolder, and more daring than themselves.” And we get the setup for the conflict of the first chapter, a brewing coup by Red Donell, who with his lord on his deathbed schemes to take the castle for himself--even as Dubhdara breathes his last, and Grana offers her dying father a few comforting final words.

All of this is done with incredibly deft strokes of detail and emotion in just three pages. The economy is worth studying for anyone writing this stuff.

It’s positively wonderful and reminds me why I read S&S and classic historical adventure.

***

It’s Cimmerian September, the equivalent of the high holy days for sword-and-sorcery and all things REH.

I don’t typically participate but the enthusiasm I’m seeing feels around the interwebs is contagious. I might have to get in on it, either with something by Howard or a Conan pastiche. Or both. 

What are you planning to read?

Celtic Adventures: Of Conan, a chasm, and “People of the Dark”

This cover makes me want to drink Guinness and fight.

When I read I don’t go looking for symbols … but sometimes they just hit me in the face. Or in the case of Robert E. Howard’s “People of the Dark,” plunge me into their depths.

DMR’s Celtic Adventures has been a good read so far. I’m a poem and a few stories in, having finished the poem “The Druids” by Kenneth Morris, “The Devil’s Dagger” by Farnham Bishop and Arthur Gilchrist Brodeur, and Fiona MacLeod’s “The Harping of Cravetheen” … plus a long overdue re-read of Howard’s story.

Howard wrote “People of the Dark” in 1931 and it was published in the June 1932 Strange Tales. It’s been reprinted a few times since, including in DMR Books’ new anthology, which collects six old-school short stories and two poems (all published between 1895-1948) about swashbuckling tales of adventure and magic set in old Ireland.

So far all of have been good but it’s hard to top REH. Here’s the major beats of the story: A modern man, John O’Brien, enters Dagon’s Cave (portentous name) where he plans to kill Richard Brent. Brent has won the heart of O’Brien’s love, Eleanor; O’Brien, jilted, learns Brent is en route to the cave and pursues with a revolver in his pocket and vengeance in his heart. But this is no ordinary cave; it was once known as the Cavern of the Children of the Night, reportedly once home to the (now extinct?) ancient race of Little People that lived in the underworld of Ireland and Britain, preceding the Celts.

The story takes a major twist when O’Brien falls down a flight of ancient stairs, strikes his head heavily on the stone floor, and awakes to find himself… Conan. Not Conan of Cimmeria, but Conan of Eireann, the Irish Reaver. Deuce Richardson, who contributes a colorful introduction to the anthology, places the tale at roughly 100 BC—millennia after The Hyborian Age. Conan of Eireann however is not very far removed in mien from Howard’s greatest creation—muscular, black-haired mane, wields a sword, swears by Crom. Even more strange, O’Brien remembers being Conan, so has apparently awakened some ancestral memory.

Nearly 2000 years before Conan of Eireann entered this very cave in pursuit of his lost love, Tamera, who has fallen in love with the blonde Gael warrior Vertorix. Vertorix and Conan bury their quarrel as they find themselves confronted by a blood-mad horde of the Little People.  A great combat ensues, and Conan is separated from Vertorix/Tamera. And here’s where it gets heavy.

Conan is pursuing something he cannot grasp, in darkness. So far beneath the earth he passes underneath a river, water dipping overhead. Then back up the stairs and out, into daylight. And finds himself standing on a precipice, staring down into an impassible chasm.

On the other side, Vertorix and Tamera, confronted by horror.

The contrast is striking. The chasm is positioned in the story immediately after Conan emerges from labyrinthine, shadowed tunnels. Below is Howard’s subconscious thinking; above in the light an insurmountable barrier, a clear vision of his own life. He describes it as both a cleft and a gorge; a narrow valley of sheer rock walls, at the bottom of which is a rapid river, the source of the great carving.

A chasm is a primordial image, literally and figuratively. Deep time because water has carved it out, over millennia. But a chasm can also represent spiritual and moral divides, an insurmountable gap in relationship or experience. This chasm is both a gulf between modernity and the past, time that we cannot bridge, and the relationships we cannot consummate. “Howard” on one side, unrequited love on the other. 

Read that as you will; characters aren’t always the author, and of course Howard wrote “People of the Dark” three years before he’d meet Novalyne Price Ellis (and lose her to Truett Vinson). But of his own admission he was a man born out of his time.

This thought exercise and striking (to me at least) literary symbol prompted me to dig a little deeper. At reh.world I found a link to an essay by Ståle Gismervik noting that Howard composed two drafts of “People of the Dark.” In the revision Howard added a depth and richness not in the first draft, which was a barer bones, straightforward, and incomplete adventure. 

Perhaps he sensed something more profound lay in its stark outlines.

“People of the Dark” was adapted by Roy Thomas and Alex Nino in Savage Sword of Conan #6 (April 1975) … which I happen to have. Images follow. Pretty awesome … but the story has been “freely adapted” (aka., heavily modified) from Howard’s original. Instead of Conan the Irish reaver, the narrator John O’Brien wakes to find himself transformed into the real deal, Conan of Cimmeria. The change is drastic but I suppose reasonable given that this is Savage Sword of Conan, although the mag did do faithful non-Conan adaptations. The ending (which I won’t spoil here) is also quite different than the prose story, with a different outcome for our narrator.

Maybe Howard himself would have anticipated Thomas had he written the character prior to 1932. At the time of “People” Conan was a nascent figure, almost ready to evolve from Kull and Conan of Eireann, and whatever other combination of prize fighters, gunmen, bootleggers, oil field bullies, gamblers and honest workmen with which he had come in contact. Conan of Cimmeria eventually stalked fully formed into the Dec. 1932 Weird Tales, in “The Phoenix on the Sword.” But his ghost is here in “People.” Conan the Irish Reiver separated from his full becoming by a chasm, ready to be bridged.

TL;DR, read Celtic Adventures for wild Irish adventure and more.

The chasm...

Revisiting H.P. Lovecraft's "The Silver Key"

I don’t expend a lot of digital ink on H.P. Lovecraft, but everything I do is related in one way or other to the old gent from Providence (b. August 20, 1890). So I figured in recognition of his birthday I’d return to the story that inspired the name of my blog—and a lot more.

I began to give serious thought of starting a blog some eighteen years ago. I had plenty of grist for the mill: I was reading a shit-ton of fantasy, playing RPGs, and listening to heavy metal, and wanted to share my thoughts on it all. Blogging was a thing; I did some research, settled on blogspot as my platform of choice, and was eager to begin. 

But I paused: I was lacking a name, and didn’t want to rush the decision. I wanted something that aligned with what I planned to write about—all things fantastic, with an S&S and horror and heavy metal bent. But I also wanted something which revealed something personal about me, and my beliefs.

And so was born “The Silver Key,” after the Lovecraft story set in his Dreamlands cycle. A somewhat obscure entry,  but one of which I’m inordinately fond. The quote I’ve borne on the masthead remains as true today as the day he wrote it:

"Wonder had gone away, and he had forgotten that all life is only a set of pictures in the brain, among which there is no difference betwixt those born of real things and those born of inward dreamings, and no cause to value the one above the other." 

The quote describes the plight of Randolph Carter, who once wandered his illimitable imagination until age 30, when some combination of obligation and science and the cowed insistence of the masses begin to harden him, fossilizing his ability to dream. The story is loaded with great quotes about Carter’s plight, here’s one I like, because I recognize myself in Carter’s reaction:

“He did not dissent when they told him that the animal pain of a stuck pig or dyspeptic plowman in real life is a greater thing than the peerless beauty of Narath with its hundred carven gates and domes of chalcedony, which he dimly remembered from his dreams; and under their guidance he cultivated a painstaking sense of pity and tragedy.

Once in a while, though, he could not help seeing how shallow, fickle, and meaningless all human aspirations are, and how emptily our real impulses contrast with those pompous ideals we profess to hold. Then he would have recourse to the polite laughter they had taught him to use against the extravagance and artificiality of dreams; for he saw that the daily life of our world is every inch as extravagant and artificial, and far less worthy of respect because of its poverty in beauty and its silly reluctance to admit its own lack of reason and purpose.”

I too recoil at the “logic bros” who think life can be reduced to the movement of atoms or chemical reactions in the brain … yet never think to question why they place such high value on their own opinion and proving everyone else wrong. Isn’t it all meaningless, logic bros? And what of our curious need to dream?

Feeling the hollowness at the center of life, Carter seeks out the occult and strange books of lore (here the story tips into the Lovecraftian). Finding these empty too he briefly contemplates suicide, but presses on. And eventually begins to dream again, though not as deeply as he did during his youth. During one of these dreams, his long-dead grandfather tells him of a strange and mysteriously engraved silver key in his attic. Carter finds the key and takes it on a trip to his boyhood home in the backwoods of northeastern Massachusetts, enters a mysterious cave, and is never seen again. 

His story remains for us to ponder, back here on earth.

My focus here has changed over the years, in conjunction with changes in my own life. It’s broadened. I’ve gotten more personal, biographical, sentimental with the passing of years and some momentous, life-changing events. 

But I’m recommitting to the work of exploring the fantastic, guided by the principle that there is no cause to value real things over that which we imagine.

Yes, there is firm ground under out feet. We need to perform work, however ordinary and prosaic it may be. We still need to farm and build, code and heal, teach and serve. The material world is a real, impersonal thing, and likes to remind us of this. Full retreat is not an option, at least for me.

But we also need to dream. We need fantasy. I need it like the very air or water. "The Silver Key" reminds us of that.

Others on my wavelength seem to respond to this story with similar enthusiasm. James at Grognardia recently wrote about The Silver Key as part of his Pulp Fantasy Library series, stating “When I was younger, I didn't hold this particular story in very high esteem. However, as I trudge toward old age, I judge it much more favorably. I suspect that those attuned to the imaginative currents that run between early fantasy fiction and tabletop roleplaying games will likewise find that “The Silver Key” offers a potent metaphor.”

A couple other interesting notes.

Weird Tales editor Farnsworth Wright initially rejected the story in 1927 but later asked to see it again and it eventually ran in the January 1929 issue. Wright later stated it was “violently disliked” by readers. Why, I wonder? Probably because it has no action, no external conflict. Not a lot happens … and yet everything happens. Might it be readers hated it because it revealed some void in their own lives? People hate having mirrors turned upon them.

I live in Northeastern Massachusetts, and have encountered odd spaces in the woods. Who knows, perhaps I too shall disappear into dream as Carter once did, and meet him, and if I do:

I shall ask him when I see him, for I expect to meet him shortly in a certain dream-city we both used to haunt. It is rumored in Ulthar, beyond the River Skai, that a new king reigns on the opal throne of Ilek-Vad, that fabulous town of turrets atop the hollow cliffs of glass overlooking the twilight sea wherein the bearded and finny Gnorri build their singular labyrinths, and I believe I know how to interpret this rumor. Certainly, I look forward impatiently to the sight of that great silver key, for in its cryptical arabesques there may stand symbolized all the aims and mysteries of a blindly impersonal cosmos.

Read "The Silver Key" on Gutenberg.