Master storytelling at work in Lansdale's Mucho Mojo

Today I’m here to sing the praises of one Joe R. Lansdale. I consider him to be one of the finest storytellers of this, and perhaps any, generation. He may not have tremendous literary depth and I'm not implying he's the greatest writer ever, but he tells entertaining, page-turning stories as well as any writer I’ve encountered. The guy is a born raconteur (I love that word).

If you’re an aspiring writer and want to study the craft of writing—pacing, plot, characterization, ratcheting up the tension, breaking it with levity—Lansdale is a master of the art and is well worth studying and learning from. If you enjoy reading entertaining stories well-told, Lansdale is your man.

Lansdale has carved out a nice career as a full-time writer. He’s written episodes for Batman: The Animated Series, stories for comic books (including Jonah Hex, Conan, and The Fantastic Four), and the novella Bubba Ho-Tep, which was adapted for the screen starring The Man, Bruce Campbell. Early in his career Lansdale was pigeonholed as a “splatterpunk” horror author, which is absolutely unfair. He apparently did write some gruesome novels early in his career, and violence punctuates everything I’ve read of his, but while graphic and real it’s not overdone. He’s a man of wide interests and moods (gigantic melancholies and a gigantic mirth, to steal a line from Robert E. Howard) and can’t be boxed off in any one genre. Here’s a link to an interview in which he states that his preferred genre is “the Lansdale genre.” That’s probably the best description of his unique style.

But despite a lengthy career and a laundry list of publishing credits, I get the feeling Lansdale isn’t that well-known. Most of the people I talk to (those that are regular readers, anyway) have never heard of the guy. An Amazon.com editorial review I came across says that Lansdale is something of a “cult writer.” If so, consider myself a junior acolyte of the Lansdale sect. I read my first Lansdale book a good 10 years ago and have only read a handful of his novels since (Savage Season, Freezer Burn, The Drive-In: A Double Feature Omnibus, and The Bottoms), plus some of his short stories. But except for The Drive-In, I’ve found them all to be very, very good.

Mucho Mojo is probably my favorite Lansdale story. It’s the second of his Hap and Leonard novels, which feature two recurring characters in rural East Texas. Hap and Leonard are two of the unlikeliest friends you’ll encounter—Hap is a white, perennially destitute, borderline honkey-tonk democrat, while Leonard is a black, gay, no-nonsense republican. Both are wisecracking, hard-fighting, no-nonsense dudes who get mixed up in a lot of tough business, including breaking up drug rings and solving murder mysteries. They always manage to extricate themselves using a mixture of martial arts, wits, and dogged determination.

There’s so much to recommend about Lansdale, but I’d be remiss if I didn’t mention how darned funny the guy is. Humor is very, very difficult to pull off in the written form, but I smiled on nearly every page of Mucho Mojo. A couple times I laughed out loud.

Here’s a sample passage from chapter two of Mucho Mojo in which Hap and Leonard are attending the funeral of Leonard’s uncle Chester while wearing a pair of bad suits just bought from J.C. Penney:

Time we got to the Baptist church where the funeral was being held, we had sweated up good in our new suits, and the hot wind blowing on me made my hair look as if it had been combed with a bush hog. My overall appearance was of someone who been in a fight and lost.

I got out of the car and Leonard came around and said, “You still got the fucking tag hanging on you.”

I lifted an arm and there was the tag, dangling from the suit sleeve. I felt like Minnie Pearl. Leonard got out his pocket knife and cut it off and we went inside the church.

We paraded by the open coffin, and of course, Uncle Chester hadn’t missed his chance to be guest of honor. He was one ugly sonofabitch, and I figured alive he hadn’t looked much better. He wasn’t very tall, but he was wide, and being dead a few days before they found him hadn’t helped his looks any. The mortician had only succeeded in making him look a bit like a swollen Cabbage Patch Doll.

The basic plot of Mucho Mojo is as follows: After Chester passes away Leonard inherits his home and a bunch of money. He also receives a handful of mysterious items in a safe-deposit box. Among other items, it contains a key to a lock box containing the remains of a child, which is hidden beneath the floorboards of the house. The mystery begins. While Lansdale reveals the killer well before the end of the novel, and telegraphs the bad guys just a bit, I wasn’t bothered. It’s the journey that makes Mucho Mojo worth reading, including the writing, the characters, the setting, and the humor. Along the way Lansdale has a lot to say about racism, bigotry, crime, and poverty.

As I mentioned above, there’s a lot to recommend in Mucho Mojo, but perhaps most of all the characterization and dialogue. Hap and Leonard are well-drawn, and while I don’t know much about Texas or its residents they certainly feel like living, breathing residents of the Lone Star state. They’re pals, and convincingly so. When I closed Mucho Mojo I felt like I was saying goodbye to a pair of old friends with whom I’d just shared great conversation over a few beers. Their dialogue reminds me of that which you’d encounter watching a Quentin Tarantino film (Pulp Fiction, Reservoir Dogs, etc.) but a bit more grounded and rough around the edges.

I’m looking forward to finally reading the rest of the Leonard and Hap novels, of which the latest, Vanilla Ride, was just published earlier this year.

Cimmerian sighting: High hopes and black fears for Del Toro's The Hobbit

Casting for The Hobbit has apparently begun, the news of which means that I’m back to split feelings of incredible exhilaration, and a terrible, impending doom. The Hobbit was my introduction to fantasy literature and made me a lifetime reader, both of the fantasy genre and of literature in general. It’s an important, central work for me and for many others.

While of course we’ll always have the book, regardless of what we get in the final film product, my fervent hope is that producer Peter Jackson and director Guillermo Del Toro get the movie right. It’s too important to screw up.

To read the rest of this post, visit The Cimmerian Web site.

Tolkien: Man and Myth, a review

One cannot afford to ignore Tolkien’s philosophical and theological beliefs, central as they are to his whole conception of Middle Earth and the struggles within it, but on the other hand one can enjoy Tolkien’s epic without sharing the beliefs which gave it birth.

—Joseph Pearce, Tolkien: Man and Myth, A Literary Life

I love critical studies on J.R.R. Tolkien for many reasons. First and foremost I find them intensely interesting: They help illuminate the great depths of Tolkien’s works and enrich my subsequent readings of the source material, as all good works of criticism do. Secondarily, they serve as a bulwark against the absurd claims of the handful of critics who continue to label Tolkien’s works as childish, non-literary, or otherwise unworthy of study (perhaps petty of me, but there you have it).

Joseph Pearce’s critical study Tolkien: Man and Myth, A Literary Life (1998, Ignatius Press) may as well be titled Tolkien: Man and Myth, A Religious Life, as the author places most of his emphasis on and offers his greatest insights into the deep, abiding Catholicism of the author of The Lord of the Rings. It's an engaging, readable, and lively introduction to Tolkien, providing a nice summation of his life, letters, and existing critical works about the author, while managing to break some new ground in a fairly saturated field.

Having previously read Tom Shippey’s two exhaustive and highly recommended studies of Tolkien (The Road to Middle Earth and Author of the Century), along with a handful of other critical works, some of Pearce's book was familiar and seemed to retread old ground. For example, Tolkien: Man and Myth provides biographical details on Tolkien’s life that are readily available and more fleshed out in Humphrey Carpenter’s biography. It provides a summation and commentary on the mixed and often harsh critical reaction to The Lord of the Rings, both when it was first published in the mid-1950’s and again when it was voted as the book of the century in the late 1990’s. Again, Shippey covers the same material in Author of the Century (though to be fair, Pearce beat Shippey to the punch, as the latter was published three years after Pearce’s book).

Where Pearce’s book distinguishes itself from Shippey is providing additional illumination on two facets of Tolkien’s character: His deep and abiding religious faith, and his love for his family. Both aspects inform and inspire Tolkien’s works, yet are often deemphasized.

Most of the critical works I’ve read have identified the following as the primary inspirations for Middle Earth: Tolkien’s love of languages and Anglo-Saxon literature, his wartime years, and his desire to make a foundational myth to replace England’s early heritage, which was largely lost during the Norman conquest. Tolkien: Man and Myth reminds us that Tolkien’s simple love of stories, first expressed in his detailed “Father Christmas” letters to his sons John, Michael, and Christopher, and his daughter Priscilla, started him down the path to The Hobbit and his later tales. Writes Pearce:

When Tolkien scrawled ‘in a hole in the ground there lived hobbit’, the opening sentence of The Hobbit in around 1930, he was writing for the amusement of his children as well as for the amusement of himself. Indeed, it is fair to assume that if Tolkien had remained a bachelor and had not been blessed with children he would never have written either The Hobbit or The Lord of the Rings. Perhaps he would have written The Silmarillion, but in all probability it would never have been published.

In addition to the influence of his family, Tolkien’s friendships also spurred him to write. Chapters 4 and 5 of Pearce’s book (“True Myth: Tolkien and the Conversion of C.S. Lewis” and “A Ring of Fellowship: Tolkien, Lewis and the Inklings”) explore Tolkien’s fecund friendship with C.S. Lewis, which provided Tolkien with an invaluable sounding board. Lewis was a constant friendly ear, listening to Tolkien read The Lord of the Rings aloud, chapter by chapter. When Tolkien faltered, Lewis urged him on.

Lewis was an agnostic when he first met Tolkien. But by convincing him of the “true myth” of the Gospels, Tolkien played a critical role in his conversion to Christianity. Tolkien explained that myths are not falsehoods, but are a means of conveying otherwise inexpressible truths. For example, although Middle Earth is fictional, it reveals truths about the human condition and our relation to God, and thus is a form of "truth."

Chapters 6 and 7 (“The Creation of Middle Earth”, “Orthodoxy in Middle Earth”) are the highlights of Tolkien: Man and Myth. Here Pearce contends that Middle Earth, though a fantastic world and bereft of any overt references to religion or god(s), fits neatly into the Christian conception of creation and the Christian universe. Though acknowledging Tolkien’s disdain for allegory, Pearce notes that the Christian doctrine of the Fall is given allegorical treatment in The Silmarillion (e.g., Melkor is Middle Earth’s equivalent of Lucifer, Manwe is the archangel Michael, etc.). The Silmarillion is “the myth behind the man, moulding [Tolkien’s] creative vision.” Writes Pearce:

Tolkien’s longing for this lost Eden and his mystical glimpses of it, inspired and motivated by his sense of ‘exile’ from the fullness of truth, was the source of his creativity. At the core of The Silmarillion, indeed at the core of all his work, was a hunger for the truth that transcends mere facts: the infinite and eternal Reality which was beyond the finite and temporal perceptions of humanity.

Pearce expands upon this theistic reading of The Lord of the Rings in “Orthodoxy in Middle Earth,” in which he compares Frodo’s carrying of the One Ring to Christ’s burden of the Cross, and Sam’s unassuming heroism to Christian exaltation of the humble. Likewise, the examples of Sam, Boromir, and Gandalf embody the Christian value of self-sacrifice.

Death in Middle Earth also mirrors its Christian conception, notes Pearce. While elves are immortal, their deathlessness is as much as a curse as a boon. Death is a gift given to men by Iluvatar, the creator. But because it is shrouded in mystery (“a grey rain-curtain”) and corrupted by Melkor, man fears it as he fears the unknown. “To both writers [Lewis and Tolkien] this world was but a land of shadows, a veil of tears as well as a vale of tears, which shielded mortal men from the fullness of the light of God,” Pearce writes.

There is more to recommend in Tolkien: Man and Myth, including a touching look at Tolkien’s final years (“Approaching Mount Doom”), but again this is material I’ve seen covered elsewhere. It is the examination of Tolkien’s spirituality which makes Tolkien: Man and Myth a commendable work, and highly recommended.

Cimmerian sighting: "Fantasy” a worthy entry in Anderson’s canon

While others seek the passageway to elven realms in vain, Poul Anderson throws wide the gate to let his readers enter into wonder … Anderson is a “literalist of the imagination.” He makes what is magical real and what is real magical. Of such power is poetry born.

—“An Invitation to Elfland,” Sandra Misesel, from Poul Anderson’s Fantasy

Poul Anderson gets a lot of love around these parts, and with good reason. While I can’t speak to his metric ton of science fiction, he’s written a lot of great fantasy novels, including Three Hearts and Three Lions, and the Nordic-flavored War of the Gods, The Broken Sword, and Hrolf Kraki’s Saga. All of these are worth finding and reading.

But Anderson also wrote some excellent short stories. I have a couple of his collections and will vouch for the excellence of Fantasy (1981, Pinnacle Books, Inc).

Belying its vanilla title (Fantasy? Was Pinnacle Books considering Men with Swords as an alternative?), Fantasy is actually a wide-ranging, eclectic group of short stories that includes “soft” sci-fi (debatably fantasy) stories, a handful of essays, including a satirical non-fiction look at the sword-and-sandal brand of fantastic fiction (“On Thud and Blunder”), and a few excellent traditional fantasy tales.

To read the rest of this post, visit The Cimmerian Web site.

Cimmerian sighting: The Living Dead zombie anthology a feast for the brain

When I ordered the new John Joseph Adams zombie anthology The Living Dead, I was hoping for stories of zombie carnage on a large scale, a-la Max Brooks’ terrific World War Z and George Romero’s classic “living dead” films. As I read one story after the next, however, it soon became evident that all-out zombie war was (mostly) not the focus of this book.

Some disappointment naturally ensued. When the book arrived with its cover shot of a horde of shambling undead, zombie wars and tales of gun-porn survival were what I thought I was getting. I liken the experience to purchasing a book entitled “heroic fantasy” with a barbarian on the cover, and opening it to find that, instead of warriors and wizards, it’s mostly about everyday, modern people involved in acts of bravery, sans battle-axes.

In short, sometimes all you want is a little zombie mayhem. I was hoping that The Living Dead would afford me the opportunity to just turn my brain off and enjoy.

But once I got past my initial disappointment, The Living Dead turned out to be a very good collection of horror stories. On a scientific scale of 1-5 stars, I’d give it a solid 3 ½, a very good score for an anthology, given that any collection of short stories is going to contain a few duds. And upon further reflection, The Living Dead does have its fair share of carnage and zombie apocalypse, albeit not as much as I was hoping for.

To read the rest of this post, visit The Cimmerian Web site.

Cimmerian sighting: Knocking some stuffing out of Moorcock's "Epic Pooh"

According to Michael Moorcock, J.R.R. Tolkien’s The Lord of the Rings has endured solely because it’s comfort food. So proclaimeth the author of the Elric stories in his seminal essay “Epic Pooh".

Well, I’m here to knock a little stuffing out of his puffed-up essay.

“Epic Pooh” criticizes The Lord of the Rings on the weakness of its prose style. It also attacks Tolkien’s underlying themes and ideas. It accuses him of failing to challenge the reader and offering artificial happy endings instead. According to Moorcock Tolkien is guilty of glorifying warfare, of failing to question authority, and for ignoring the problem of death. He makes other spirited attacks of the work (and the author) as well.[*]

The first argument is highly subjective, a matter of taste for which I have little argument. Moorcock is entitled to dislike Tolkien’s prose, and if he finds it too coddling, removed, or just plain sub-par, that’s fine. I happen to enjoy it very much, but different strokes for different folks and all that.

But once you get past its criticisms of style, “Epic Pooh” fails rather epically as a critique of Tolkien’s themes. Let me explain.

Moorcock takes Tolkien to task for many perceived crimes in “Epic Pooh,” but perhaps most of all for using The Lord of the Rings to tell “comforting lies” and coddle the reader. Says Moorcock:

There is no happy ending to the Romance of Robin Hood, however, whereas Tolkien, going against the grain of his subject matter, forces one on us – as a matter of policy.

I’ve heard this argument made elsewhere and always found it to be a gross misreading of Tolkien’s work. Presumably because The Lord of the Rings ends with the defeat of Sauron, and the restoration of order, it is therefore a simplistic, neat, bow-tied conclusion in which our heroes return home happy and whole, safe and sound.

On the contrary, I would argue that the victory over Sauron is only a temporary reprieve against the encroaching dark. This is the great sadness of The Lord of the Rings—there is home and hearth for some of the victors, but not all of them, and perhaps not even for most. When Frodo departs for the West it’s on a full ship: Gandalf, and Elrond, and Galadriel, and the main of Middle-Earth’s elves are sailing away, too. Magic has left the world. The great evil of the Third Age is defeated, but its void will be filled with other, more banal but equally sinister incarnations of evil. In the wake of the likes of the elves and of Gandalf (and even Saruman and the Balrog and the orcs) comes the vagaries of men, and with them their propensity for both great good and unspeakable evil.

Wounded soldiers return with traumas seen and unseen, and this is evident in Frodo, who bears wounds that are deep indeed. Some essential part of him has been left on a foreign field, and his wounds are too grave to allow him to enjoy the peace he has so dearly bought:

I tried to save the Shire, and it has been saved, but not for me. It must often be so, Sam, when things are in danger: some one has to give them up, lose them, so that others may keep them.
In summary, The Lord of the Rings has a complex, bittersweet, melancholy ending. Happy it is not.

Moorcock also derides Tolkien for contributing to the glorification of war and the death of young soldiers:

It was best-selling novelists, like Warwick Deeping (Sorrell and Son), who, after the First World War, adapted the sentimental myths (particularly the myth of Sacrifice) which had made war bearable (and helped ensure that we should be able to bear further wars), providing us with the wretched ethic of passive “decency” and self-sacrifice, by means of which we British were able to console ourselves in our moral apathy (even Buchan paused in his anti-Semitic diatribes to provide a few of these). Moderation was the rule and it is moderation which ruins Tolkien’s fantasy and causes it to fail as a genuine romance, let alone an epic.

This statement is also inaccurate. Nowhere does Tolkien claim that war is a good thing. Rather, the implication in The Lord of the Rings and elsewhere in Tolkien’s writings is that it is, at times, necessary. Lest we forget, Tolkien served in the trenches in the Somme, one of the bloodiest battles of the First World War. He saw unspeakable carnage and death. But he also witnessed heroism of the highest order.

As I stated elsewhere in a review of John Garth’s Tolkien and The Great War, unlike many of the famous WWI combat veterans whose experience resulted in poems and stories of disillusionment and disenchantment (Wilfred Owen’s “Anthem for Doomed Youth,” Ernest Hemingway’s A Farewell to Arms), Tolkien refused to believe that the sacrifice of brave young men was a waste. Says Garth: “In contrast, Tolkien’s protagonists are heroes not because of their successes, which are often limited, but because of their courage and tenacity in trying. By implication, worth cannot be measured by results alone, but is intrinsic.” This is Frodo’s lot: Thrust into a larger war beyond his control, his selfless heroism in carrying the ring to Mount Doom is but a tiny, insignificant role in the great sweep of combat at Minas Tirith and elsewhere. But it mirrors the great acts of unrecorded bravery on the battlefields of World War I.

The sacrifice of Frodo and Sam is not sentimentalizing, it is Tolkien expressing an honest respect and admiration for the soldiers who suffered through horrific, unbearable circumstances. Tolkien said that the character of Sam was inspired by the British rank-and-file soldiers who served and fought and often gave their lives without fanfare in the blood-filled trenches of World War I, expecting nothing and possessing only the hope of home at the end of it all. Said Tolkien, “My ‘Sam Gamgee’ is indeed a reflexion of the English soldier, of the privates and batmen I knew in the 1914 war, and recognized as so far superior to myself.”

Moorcock states that the hobbits represent a “petit bourgeoisie, the honest artisans and peasants, as the bulwark against Chaos. These people are always sentimentalized in such fiction because traditionally, they are always the last to complain about any deficiencies in the social status quo.”

I would counter with: What is so sentimental and consolatory about Sam’s endurance and will to go on, hoping only to return to home and hearth? I suspect that Moorcock has a problem with the social organization of the Shire to which the hobbits return, not necessarily their bravery in defending it.

Here’s another misguided Moorcock-ianism from “Epic Pooh”:

I don’t think these books are ‘fascist’, but they certainly don’t exactly argue with the 18th century enlightened Toryism with which the English comfort themselves so frequently in these upsetting times. They don’t ask any questions of white men in grey clothing who somehow have a handle on what’s best for us.

This statement makes you wonder whether Moorcock missed the scene from LOTR in which Sam looks upon the slain Southron and questions the very nature of war, including its participants and causes, laying it bare in all its futility. From The Two Towers:

It was Sam’s first battle of Men against Men, and he did not like it much. He was glad that he could not see the dead face. He wondered what the man’s name was and where he came from; and if he was really evil at heart, or what lies or threats had led him on the long march from his home; and if he would not really rather have stayed there in peace.

Tolkien believed that war is terrible and of last resort, and slain foes are, in the end, just men–and therefore to be pitied. War is necessary when “destroyers” like Sauron or Hitler would impose their will on the free peoples of the world, but it is a duty to be carried out, not glorified. In his famous forward to The Lord of the Rings, Tolkien wrote:

One has indeed personally to come under the shadow of war to feel fully its oppression; but as the years go by it seems now often forgotten that to be caught in youth by 1914 was no less hideous an experience than to be involved in 1939 and the following years. By 1918 all but one of my close friends were dead.

Here’s another telling quote (from Faramir, again from The Two Towers) that tells you all you need to know about Tolkien’s views on war:

War must be, while we defend our lives against a destroyer who would devour all; but I do not love the bright sword for its sharpness, nor the arrow for its swiftness, nor the warrior for his glory. I love only that which they defend.
Moorcock also attacks The Lord of the Rings for fostering an attitude of selfish self-protection and insularity:

The little hills and woods of that Surrey of the mind, the Shire, are “safe”, but the wild landscapes everywhere beyond the Shire are “dangerous”. Experience of life itself is dangerous. The Lord of the Rings is a pernicious confirmation of the values of a declining nation with a morally bankrupt class whose cowardly self-protection is primarily responsible for the problems England answered with the ruthless logic of Thatcherism. Humanity was derided and marginalised. Sentimentality became the acceptable subsitute. So few people seem to be able to tell the difference.

While the woods beyond the Shire are certainly wild and dangerous, Moorcock’s statement is far too simplistic. Experience of life (i.e., that encountered beyond the borders of the Shire) can be dangerous, and often is, but as Tolkien demonstrates, it’s more dangerous to engage in isolationism, to stick one’s head in the sand and do nothing. War is coming to the Shire, and the hobbits must venture beyond its borders to save it. Self-protection and complacency is not a viable option. I note that Sam, Merry, and Pippin return as stronger hobbits, enriched from their experience. Is this experience dangerous? Yes. Is it necessary, and in the end, a good thing? Yes.

Yet the above statements are not Moorcock’s most egregious misreading of The Lord of the Rings. I reserve that for the following:

The great epics dignified death, but they did not ignore it, and it is one of the reasons why they are superior to the artificial romances of which Lord of the Rings is merely one of the most recent.

This statement completely falls apart when viewed against the entirety of Tolkien’s works, which confront the problem of death head-on. Take The Children of Hurin, for example, which is an expansion of a story Moorcock would have read in The Silmarillion.[*]Here Morgoth is a dark demi-god, and a symbol of all that is twisted in mankind’s soul, all that of which we despair in the dark of night, rolled into a being of unspeakable malice. When he lays his curse upon Hurin and Turin, they are truly doomed. Morgoth evokes the ultimate fear of all mankind: that death is the end, and that nothing—literal, uppercase Nothing—awaits us in the grave. Says Hurin:

“Beyond the Circles of the World you shall not pursue those who refuse you."

“Beyond the Circles of the World I will not pursue them,” said Morgoth. “For beyond the Circles of the World there is Nothing. But within them they shall not escape me, until they enter into Nothing.”

The Children of Hurin begins and ends with death. The Silmarillion contains far more darkness than light, and carnage (and much defeat for the forces of good) on the scale of some of the worst battlefields of World War I. Even The Hobbit, begun as a children’s tale (though morphed in the writing to something quite different), touches on mortality: Following his epic journey and the costly Battle of Five Armies, Bilbo emerges a very different character, far less insulated and more appreciative of the fragile peace of the Shire, with “eyes that fire and sword have seen, and horror in the halls of stone.”

And as for The Lord of the Rings, its entirety can be viewed a metaphor for death. Where do you think the gray ship bore Frodo? He was dying, man.

In short, Tolkien’s works actively grapple with the terrible reality and uncertainty of our mortality. Demonstrably, they do not ignore it.

In fairness, I do agree with some of “Epic Pooh’s” points. Moorcock laments the ignorance of the reading public when it comes to writers like Fritz Leiber, who are often overlooked in favor of lesser fantasy authors that have achieved more popularity simply because they’re an easy, safe read (agreed). I also think that second-rate Tolkien clones—many of which I enjoyed as a youth—have muddied the waters of fantasy literature and contributed to dragging the genre down in the eyes of critics. However, I don’t think they should be actively avoided as Moorcock suggests, just recognized as derivative.

It’s undeniable that Tolkien was nostalgic. He hated seeing the English countryside disappear, to be replaced by factories and fabricated housing. The polluting mill that appears in “The Scouring of the Shire” was based off of an incident that occurred during Tolkien’s lifetime.

In “Epic Pooh,” Moorcock chides Tolkien for not being able to take pleasure from the realities of urban industrial life. But can you blame Tolkien for feeling embittered at the dwindling of the rural countryside? I cannot.

In conclusion, I’ve returned to The Lord of the Rings time and time again over my lifetime. I enjoy slipping into Middle Earth and meeting up with characters that now feel like old friends. I do take comfort in these aspects of the work.

But each time I do, additional unique and challenging facets of this one of a kind work are revealed. It gets better as I grow older, which tells of its surprising depth and multitude of meanings. The Lord of the Rings is not a comforting lie, but a living, breathing book that changes with each re-reading. The more one reads of Tolkien’s legendarium in The Silmarillion, The Children of Hurin, and The History of Middle Earth, the more suffused in darkness and uncertainty works like The Lord of the Rings (and even The Hobbit) become.

So Mr. Moorcock, pardon me while I return to the table for another helping of this one of a kind “comfort” food, prepared by the finest chef ever produced by the culinary arts school of fantasy fiction. You can take “Epic Pooh” and stuff it.

——

[*]
*A third strand of Moorcock’s dislike for Tolkien also emerges in “Epic Pooh,” that being his antipathy for Tolkien’s Toryism and conservatism. Moorcock takes Tolkien and C.S. Lewis to task for their politics and, to a lesser degree, their religion. It’s noteworthy that Moorcock in a post-publication author’s note lavishes praise on Phillip Pullman, a lesser literary light than Tolkien by any measurable standard, but a writer whose politics fall into lockstep with his own. But while I suspect that political disagreement is the true genesis of “Epic Pooh,” I’d prefer to leave this debate out of The Cimmerian.

[*]
* I was prepared to cut Moorcock some slack on the basis that he may not have read The Silmarillion before writing “Epic Pooh.” Puzzlingly, Moorcock has read it, and actually cites it in the essay. Therefore, I feel perfectly justified in using it and The Children of Hurin in Tolkien’s defense.


–Artwork by Ted Nasmith

The Burning Land set to reignite the Saxon Stories

The cover blurbs on Bernard Cornwell’s books read “Perhaps the greatest writer of historical adventure novels today,” and frankly, you’ll get no arguments from me. I've come to love Cornwell, who is in every sense a Man's writer. There's no romance in his books and no literary pretension, so if you're looking for those elements, try something else. On the other hand, if you like bloody battles, cowardice and heroism, grim suffering and cruel murder, oath-making and breaking, hard drinking and mirth, and, most importantly, darned good storytelling, Cornwell's your man. His greatest strength is probably his ability to spin a compelling, fun tale, and he does it with a keen eye for historic accuracy.

Cornwell's ongoing series The Saxon Stories features vikings, shield walls, axes, dark ages combat, hall-burnings, and general mayhem. If this stuff sounds appealing (and if you're a reader of The Cimmerian or this blog, how could it not?), you owe it to yourself to pick up the first book in the series, The Last Kingdom, and get started.

The Saxon Stories is an ongoing historical fiction series about the reign of Alfred the Great and the clash of Danes and Saxons in 9th century Britain. The stories are told through the viewpoint of Uhtred of Bebbanburg, a warrior who was born a Saxon and fights for their cause, but was raised among the Danes, and so has an iron-plated boot in each camp. Uhtred is a fun character, as he's torn between hereditary love for his ancestral homeland and a passion for the Danes. Although they're murderous raiders, the Danes drink deep of life, scorn Christian "virtues" of humility and pity, and worship the pagan gods of Thor and Odin. These qualities appeal strongly to Uhtred, who grew to love the Danes during his capture and upbringing under Earl Ragnar.

I read the first four books in the Saxon Stories with gusto (these include The Last Kingdom (2004), The Pale Horseman (2005), The Lords of the North (2006), and Sword Song, published in 2007), and eagerly anticipated the next book in the series, so much so that Cornwell's decision to interrupt Uhtred's saga with Agincourt was a bit of a let-down, even though I wound up enjoying the heck out of it.

But I was very pleased to find out that the fifth book, The Burning Land, has been released in the UK and will be available in the United States in January 2010, according to Bernard Cornwell's official Web site.

Looks like 2010 will be off to a fine, blood-soaked start.

(Cross posted from The Cimmerian ).