Wednesday, June 16, 2010

Top 10 fantasy fiction battles: The Battle of Thermopylae

3. Gates of Fire, Steven Pressfield
Battle of Thermopylae

"Answer this, Alexandros. When our countrymen triumph in battle, what is it that defeats the foe?”

The boy responded in the terse Spartan style, “Our steel and our skill.”

“These, yes,” Dienekes corrected him gently, “but something more. It is that.” His gesture led up the slope to the image of Phobos.

Fear.

Their own fear defeats our enemies.

“Now answer. What is the source of fear?”

When Alexandros’ reply faltered, Dienekes reached with his hand and touched his own chest and shoulder.

“Fear arises from this: the flesh. This,” he declared, “is the factory of fear.”

The above dialogue from Steven Pressfield’s incomparable Gates of Fire (in addition to reminding me a bit of the famous “what is best in life?” exchange from Conan the Barbarian) is one of those grab-you-by the throat moments in which you realize that there existed such a thing as a warrior culture. The ancient city-state of Sparta offers prima facie evidence of such a society. Its entire purpose was to produce unstoppable, peerless, fearless fighting men. As a result the Spartans boasted the best warriors of their own, and perhaps any, age.

The Spartans’ legendary prowess was put to the ultimate test when a two-million man Persian army under King Xerxes poured into Greece in 480 BC to enslave the western world. The ensuing events are now the stuff of legend: 300 Spartans were dispatched to slow the advance of the Persian forces at the Hot Gates, a narrow strip of land between the cliffs and sea. All were killed, but the Persian army was delayed for seven crucial days, which bought the rest of Greece enough time to mobilize, unify, and ultimately defeat the Persians at Salamis and Plataea. The west was saved.

How did the Spartans hold out so long at Thermopylae and eventually beat the Persians? The answer lay in a combination of superb training and an unbeatable martial mindset. The armies of Xerxes sewed fear in their opponents with their overwhelming numbers. Their hordes of archers, for instance, were said to fire enough arrows to blot out the sun. But Xerxes did not understand the nature of the opponent he faced in the Spartans, who were not only exquisitely trained and skilled with shield, spear, and sword, but quite simply knew no fear in battle. Theirs was not the mindless, slavering fearlessness of a barbarian horde bolstered with liquid courage, but the unbreakable fearlessness of superbly disciplined soldiery. The fear of death was stamped from the Spartans during a pitiless 13-year period of training that turned boys into iron-hard warriors who regarded dying on the battlefield as a gift. I would have wet my pants and defecated if I had to stand in a shield wall and fight belly-to-belly with an opponent who wanted to kill me; the Spartans relished the opportunity.

Gates of Fire offers its reader battle without compromise. Post-traumatic stress disorder wasn’t in the Spartans’ vocabulary. That’s actually not fair: The Spartans mourned and honored their dead. After battles they wept and shook, or fell on their knees and thanked the Gods they survived. They were in the end only men, after all. But this never occurred during battles, which the Spartans conducted with ruthless efficiency and impeccable discipline. In the midst of the unspeakable carnage of the shield wall they entered into a displaced state of mind which allowed them to avoid a condition called katalepsis, or “possession, meaning that derangement of the senses that comes when terror or anger usurps dominion of the mind.” Gates of Fire introduces its readers to a host of these Spartan descriptors—Arosis (harrowing, or a hardening the will), Phobos (fear), Aphobia (fearlessness), Andreia (true courage). Pressfield also acquaints his readers with the Spartans’ fearsome eight-foot war spears and their most prized possession, 20-pound shields of bronze and wood that served as both protection and offense, a battering ram whose rim could crush an opponent’s skull.

Pressfield simply writes awe-inspiringly well about the Spartans’ training and discipline and how it manifests itself during battles. From an early skirmish against the Syrakusans:


Now from the Lakedaemonian ranks rose the paean, the hymn to Castor ascending from four thousand throats. On the climactic beat of the second stanza,

Heaven-shining brother
Skyborne hero


the spears of the first three ranks snapped from the vertical into the attack.

Words cannot convey the impact of awe and terror produced upon the foe, any foe, by this seemingly uncomplex maneuver, called in Lakedaemon “spiking it” or “palming the pine,” so simple to perform on the parade ground and so formidable under conditions of life and death. To behold it executed with such precision and fearlessness, no man surging forward out of control nor hanging back in dread, none edging right into the shadow of his rankmate’s shield, but all holding solid and unbreakable, tight as the scales on a serpent’s flank, the heart stopped in awe, the hair stood straight up upon the neck and shivers coursed powerfully the length of the spine.


This scene (and many others like it) are to me what make Gates of Fire such a great book. Yes, the battles are awesome and Thermopylae is enough to earn a place in my Top 10 Fantasy Fiction Battles. But it’s the lead-up to the battle that’s the crowning achievement of the book.

Once the Battle of Thermopylae begins the action and the carnage are unrelenting. Thermopylae is like some great marathon without a finish line; the warriors fight on, day after day, beyond endurance, until they are ground down and destroyed. Each day the Spartans take the field thinned in number, horribly wounded, dog-tired, but committed to the purpose. They were going to die and they knew it. Their wives and children and peers expected no less and would not have accepted surrender or retreat.

The Spartans were not only better trained and more motivated but had topography on their side at Thermopylae. They built a wall of rough stone, the height of two men, from which they mounted their defense. The narrow defile of the Hot Gates allowed a maximum of 1,000 Persians to close with the defenders, of which there were 4,000 (the 300 were reinforced with other Greek soldiers). This created a pinch point of death, a meatgrinder into which the Persians marched. Xerxes’ watched over the battlefield from a throne perched on the cliffs; he expected his men to finish off the Greeks on the first morning and be treated to a warm noontime lunch.

The Persians, needless to say, didn’t know what was about to hit them. Their army was built for mobility and fighting on the open plains; they bore wicker shields, bows, javelins, and scimitars and were lightly armored. Fighting in close quarters against the Spartans and the massed heavy infantry of the Greeks resulted in their massacre. The Spartans’ phalanx hit the Persians like an armored rugby scrum and smashed and trampled them down, then speared them underfoot. They shoved them over cliffs en masse, tumbling them 200 feet to shatter on the rocks or drown in the churning sea below.

After the first day of fighting the Hot Gates looked like a scene out of hell. Writes Pressfield: “The ‘dance floor,’ now in full shadow, looked like a field ploughed by the oxen of hell. Not an inch remained unchurned and unriven. The rock-hard earth, sodden now with blood and piss and the unholy fluids which had spilled from the entrails of the slain and the butchered, lay churned in places to the depth of a man’s calf.”

On the sixth night the Spartans made one last desperate attempt to turn the tide, sending a handful of Peers on a forced march through the night to assassinate Xerxes in his tent. The attempt comes up just short. The next day most of the remaining Greek allies withdrew, leaving barely 100 of the original 300 Spartan Peers to guard their withdrawal. A few hundred Greeks remained behind as well. All die to the last man, save one, Xeones, who will go on to narrate the tale.

Before the final battle each of the leading Spartan Peers offers up some final words to their comrades in arms. Here’s a bit of King Leonidas’ speech, issued from this great king of 60 years, one tricep torn through in the fighting, shield lashed to his useless arm, recounting what men a hundred generations yet unborn will remember of this great last stand:


“They will come, scholars perhaps, or travelers beyond the sea, prompted by curiosity regarding the past or appetite for knowledge of the ancients. They will peer out across our plain and probe among the stone and rubble of our nation. What will they learn of us? Their shovels will unearth neither brilliant palaces nor temples; their picks will prise forth no everlasting architecture or art. What will remain of the Spartans? Not monuments of marble or bronze, but this, what we do here today.”



I wrote in a previous review that when you read Gates of Fire you feel as though you’re in the shieldwall, amid sweating, straining men awaiting the clash of spear and sword. I felt exhausted, terrified, and exhilarated while reading it. That’s the highest praise I can bestow on a battle-novel, of which, like the Spartans themselves, Pressfield's book is peerless.

Sunday, June 13, 2010

Top 10 fantasy fiction battles: At last, the final, bloody three


After a lengthy and rather inexcusable hiatus, I’m finally bringing my Top 10 Fantasy Fiction Battles series to its savage, bloody conclusion. Spears shall be shaken, shields splintered, and Odin’s corpse hall shall overflow with fallen warriors, their souls borne away from corpse-strewn battlefields on the winged steeds of valkyries. Or something like that.

As a reminder this series focuses on the best mass battles of fantastic fiction, not small skirmishes or one-on-one duels. Note too that the term fantasy is a bit of a misnomer since a few these battles are historical fiction, but I chose to include them because they are either so ancient or so shrouded in legend that out of necessity they were heavily re-imagined by their respective authors. Plus, they kicked too much ass to leave them off the list--some of the best battle scenes I've read were penned by authors of historical fiction.

Look for the next installment a bit later this week. Here are links to the first seven parts:

4. The Battle of Unnumbered Tears, from The Silmarillion

5. The Demons Before Carce, from The Worm Ouroboros

6. Battle of Five Armies, from The Hobbit

7. A Hero Strives With Gods, from The Iliad

8. Battle of Cynuit, from The Last Kingdom

9. Battle of the Blackwater, from A Clash of Kings

10. Battle at Leidhra, from Hrolf Kraki’s Saga

Wednesday, June 9, 2010

The eternal appeal of the life and works of Robert E. Howard

Although The Cimmerian’s days are numbered, the legacy and works of Robert E. Howard will live on and on. The TC print journal and its accompanying blog did their part to deserve his legacy, and I was proud to be a part of it, but we were literally laboring in the shadow of a giant who will continue be read for as long as the word exists.

With my days as a TC blogger winding down I thought I’d get back to the reasons why I (and perhaps if I may be so bold, extend that to the plural we) love the life and works of REH—and why he continues to enthrall us.

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

Saturday, June 5, 2010

Post-TC, the Road goes ever on, but to what end?

Sorry for the recent wall of silence around here, but I just returned from an incredibly busy, terribly stressful, but ultimately very successful business conference in Chicago. My blogging during the last week was non-existent and my weekly post over at The Cimmerian consisted of a re-print of an old Silver Key piece, a review of Mark Finn's fine Robert E. Howard biography Blood & Thunder. Weak, but under the circumstances it was the best I could manage.

But as Sam Gamgee famously said, "well, I'm back." A loaded, bittersweet phrase if there ever was one. Like Sam I've returned home, but changed from the experience, and finding that everything around me seems to have been altered irrevocably as well.

The big change of course is the impending demise of The Cimmerian, aka TC, which shuts its doors permanently as a blog on June 11. I was asked by the late, great Steve Tompkins to join the pirate crew as a weekly contributor to the TC in Feb. 2009. Very humbly, I accepted his erudite offer. Here's part of his first e-mail to me, which I continue to cherish for vain reasons and as a reminder of Steve's unique sense of humor:

Now that the doleful secret is out about the grand finale of THE CIMMERIAN as a print journal, I'm eager to get started on sustaining the blog as a clearinghouse for posts about Howard, Tolkien, Karl Edward Wagner, Poul Anderson, David Gemmell, Charles R. Saunders, horror (whether Stephen King, Thomas Ligotti, or big screen releases), fantasy movies, Westerns, and anything else within a hard day's ride of our particular Border Kingdom.

I hope you'll be able to join in. I uneasily recall some interviews Keith Richards and Pete Townsend gave way back when before they embarked on solo recordings wherein they said they would never want to be placed in the position of having to choose whether the Stones or Who got their "A" songwriting material or they kept it for themselves. Here's hoping you don't feel like you're ever robbing THE SILVER KEY, of which Leo and I are major fans, to pay THE CIMMERIAN.

For the next year and four months I did join in, writing posts every week on everything from horror to heavy metal to REH to Tolkien, including a lengthy series of which I'm rather proud, Blogging The Silmarillion. I told the current crew of guys over at TC that writing for that publication was an honor and a privelege, which sounds rather phony and cliche' but is quite genuine. Writing for TC forced me to be regular (though looking back I think I produced a few bowel movements) and pushed me to excel. Stepping into a shieldwall of talented writers elevated my own game. I hope you enjoyed my many posts there. I'm sad to see that fine blog come to a end.

Now that the halcyon days of TC are drawing to a Camlann-like end, it's time to figure out what I want to do next. Fellow TC blogger Al Harron posed a similar question over at his wild, wooly, and compulsively readable bit of cyberspace, The Blog that Time Forgot, and I now find myself confronted with a similar set of questions.

Should I become my own Mayor of Michel Delving and focus my attention here on making The Silver Key a better and more regularly updated place, should I move on to other established heroic fantasy websites, or should I strike out on the Road on some grand new adventure? My problem is that my interests range too broadly and far afield: One week I'm obsessed with Conan, the next week I'm poring through books on The Third Reich, the next I'm delving back into old tomes of Tolkien criticism. The wide-ranging reach of The Silver Key reflects my eclectic tendencies. All the advice I've read on successful blogging says that you should keep your focus narrow, but although it may cost me readers I can't ever see myself writing about any single author or genre. There's too much cool shit in the world to put blinders on.

I'll be giving these questions some thought in the coming days, but for now I'm just glad to be home with my own Rosie and my two wonderful daughters.

Thursday, May 27, 2010

Fantasy subgenres: Helpful or needlessly divisive?

Sword and sorcery? Epic fantasy? Sword and planet? Sword and sandal? Does anyone really care about these delineations? Do they serve any purpose?

A couple of the blogs I frequent, Charles Gramlich’s Razored Zen and James Raggi’s Lamentations of the Flame Princess, have in recent days argued both sides of the debate. LOFP sneered that no one really cares about the issue and that all such divisions are meaningless; RZ’s opinion is clearly apparent in the fact that he’s written the first two parts of a detailed three-part series on heroic fantasy and its subdivisions.

So who is right? Here’s my take, for whatever that’s worth.

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

Thursday, May 20, 2010

Remembering Ronnie James Dio, grandfather of heavy metal

This is your life
This is your time
What if the flame won’t last forever
This is your here
This is your now
Let it be magical

Who cares what came before
We’re only starlight

Once upon the time
All the world was blind
Like we are

This is your life
This is your time
Look at your world
This is your life

–"This is Your Life,” Ronnie James Dio

In my opinion the late Ronnie James Dio was none other than the grandfather of heavy metal. Many if not most metal fans would probably cry blasphemy and choose to bestow that honor upon Ozzy Osbourne; not me. I like Ozzy, but Tony Iommi and Geezer Butler were the true creative forces behind the classic Black Sabbath albums (In fact, I’d be more willing to listen to a case for Iommi, whom Judas Priest frontman/Metal God Rob Halford credits as having invented the heavy metal riff).

Metal’s grandfather? It could be Ozzy. It could be Iommi. It may even be Halford. Judas Priest has been around nearly as long as Black Sabbath and arguably have enjoyed a more successful and consistent career. But I will make the case for Dio.

Dio’s death this past Sunday from stomach cancer was a huge loss for metal. It might be the genre’s biggest loss ever. The death of Randy Rhoads and AC/DC’s Bon Scott were tragic, but at 25 the former’s career was only beginning, and the latter was a singer in a band I consider rock, not metal. Your mileage may vary, of course, but off-hand, I can’t think of anything even close to the loss of Dio.

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

Tuesday, May 18, 2010

The Eyes of the Dragon--a review

After writing his magnum opus IT, Stephen King briefly stepped away from the genre that defined his career. The result was The Eyes of the Dragon (1987), a fantasy novel. King said that he wrote The Eyes of the Dragon for his daughter Naomi (for whom the book is dedicated, along with King’s friend Ben Straub) who reportedly never liked her father’s terrifying tales.

While that may be true, I also think that King may have thought he had said all that he had to say about horror and was looking to explore other genres. He may also have simply exhausted himself with the tome-like IT and needed to try his hand at something short and simple. Compared with most King novels, The Eyes of the Dragon is a chapbook (it’s nine compact discs in the Penguin Audio version, 380 pages in paperback including illustrations).

In brief, The Eyes of the Dragon is a story about the inheritance of the kingship of the fictional realm of Delain. Roland, the old king, fathers two sons late in life, Peter and Thomas. Peter, the eldest, is slated to inherit the throne. Peter possesses all the qualities you would want in a monarch—he’s smart, just, honest, and brave. Thomas on the other hand is a near clone of his father—an average thinker, prone to vacillations, reluctant to make important decisions. Roland’s adviser is Flagg, a shadowy wizard who has served the kings of Delain for centuries, perhaps longer. Flagg is actually a demonic figure who wants to see Delain in ruins and the world thrown into a dark age of bloody anarchy. He devises a plot to poison Roland, framing the murder so that the blame falls on Peter. When the dust settles, Thomas, only 12 years old, unfit to rule and terrified with his new responsibility, is put on the throne. Flagg knows that Thomas will be a puppet in his hands and the instrument through which he can finally see his centuries-long evil plans come to fruition. Peter is sentenced to life in a prison in the tower of the Needle, a small cell high above the city.

King has professed a love for the writings of J.R.R. Tolkien (The Stand is a semi-homage to The Lord of the Rings, and The Dark Tower series draws its inspiration from that book as well). The Eyes of the Dragon shares a lot in common with The Hobbit. Roland’s ancient heirloom is the arrow Foe-Hammer, one of the names given to Gandalf’s sword Glamdring. It’s also an allusion to the black arrow Bard uses to bring down the dragon Smaug. King tells the tale using an omniscient narrator who speaks with a pleasant, conversational voice, and seems to be relaying the tale years later and from some other time and place. This authorial voice is another hallmark of The Hobbit, written initially for Tolkien’s children and meant to be read aloud.

In general I liked The Eyes of the Dragon very much. As with all of King’s stories it’s wonderfully told with a compelling narrative. It feels like a fairy tale with an edge, in which the events will likely work out for the good in the end but with blood spilled and hearts broken along the way.

Peter is a great character and is easy to root for. Despite his unjust sentence and the fact that he knows he will likely never leave the Needle alive, he refuses to succumb to despair. Peter is a born leader with a carriage of command. Guards who initially spit in his soup or try to bully him, believing that as a convicted murderer he will be humbled and easy prey, are cowed by his regal bearing. His captors begin to question whether he indeed murdered his father. Peter has truth on his side and maintains his innocence with a quiet certitude that inspires awe. After his first week in the Needle he makes up his mind to live, and to not relinquish his kingship. Though he’s been convicted and stripped of his regalia and title he is in all respects still the uncrowned King of Delain.

If you’re a fan of King’s world and works you’ll recognize the name of Flagg, who is also the main villain of The Stand and The Dark Tower. While menacing in The Eyes of the Dragon, I found Flagg not as terrifying as he is portrayed in The Stand. Perhaps it’s because he’s less mysterious here and more of a prototypical evil dark wizard. He only reaches the truly insane level of depravity and malice I came to associate with Flagg of The Stand at the very end of the novel.

The Eyes of the Dragon is a moral tale and uses the fantasy trope of pitting opposing sides of good and evil against each other (Peter is almost stainlessly pure, while Flagg is an unredeemable monster who wants to see Delain thrown into a 1,000-year reign of anarchy and blood-soaked chaos). In between are characters with shades of gray, and just like The Lord of the Rings the outcome is decided by a few average folk who have to make difficult choices that run at odds with their own best interests.

But The Eyes of the Dragon is not without a few flaws. In my opinion King is far more comfortable and convincing when he’s writing about our world and in particular his Maine birthplace. Fictional small towns like Derry and Castle Rock feel real because King knows their environs and peoples. In contrast, the kingdom of Delain is unremarkable and without character (it’s a typical monarchy with kings and a servant class, whose technology is roughly high medieval). Any truly fantastic elements are at a minimum: Flagg is the only person who has access to magic and his spells are more alchemy than spellcraft. The only monster we see is a single smallish dragon in a flashback sequence whose head is mounted on the wall of Roland’s sitting room (from this trophy we get the title of the novel).

There are some holes in the plot, too. For someone who is incredibly ancient, powerful, and brilliantly evil, how does Flagg let Peter live for more than five years, letting him patiently spin his escape plot from the top of the Needle? Flagg recognizes Peter almost from birth as a formidable threat: Why wouldn’t he poison him, or pay the guards to murder him, or simply do it himself? When Flagg finally does catch on to Peter’s escape plan and comes racing up the stairs of the Needle swinging his monstrous double-bladed axe like a medieval version of Jack Torrance, I wondered why he had chosen to wait so long.

The second plot hole is Peter’s method of escape. I won’t spoil it here, but it seemed unrealistic that one of the omnipresent guards (who frequently pop their heads into the window on Peter’s cell door) wouldn’t have caught him in the act at some point during his five-plus years of imprisonment.

Still, a few problems aside, The Eyes of the Dragon is, like most of King’s material, a great read and highly recommended. Bronson Pinchot does a wonderful job as narrator and in particular delivers a wonderfully-voiced Flagg, delivering his lines with a whispering malice.

This review also appears on SFFaudio.com.