Flame and Crimson Kindle edition released, and reviews!

Some important and encouraging news to share today regarding Flame and Crimson.

First, the book is now available on Kindle for the low price of $7.99. If that's your preferred medium (full disclosure, I'm a paper guy and have yet to take the plunge into e-readers) head on over to Amazon and grab an (e) copy.

Second, there's been a few reviews posted and I'm happy (and humbled) by this small sample reaction to date.

Here's an outstanding piece on Spiral Tower, the blog of Jason Ray Carney. Jason is co-editor of The Dark Man, an academic journal dedicated to Robert E. Howard and the broader field of pulp literature, and is a professor at Christopher Newport University. He teaches some classes I wish I had the opportunity to take back in my undergrad days.

Here's another very comprehensive review over at Karavansara by Davide Mana.

These two pieces are honest, with praise but also some critique and disagreement. I like them because they show a deep engagement with the book, from two authors who took the time to read it and write thoughtful responses. I agree with most of their critiques. I had to do some amount of editorializing and interpretation in Flame and Crimson, and I fully anticipated some disagreements, large or small, with my approach, the definitions I laid out, and the conclusions I reached.

As I've stated I'm hoping the book gets more conversation started around my favorite subgenre, and these reviews have already accomplished a bit of that. But I'm glad they also enjoyed reading it and recognize Flame and Crimson as something S&S sorely needed.

Finally, if you'd prefer something shorter that cuts straight to the chase, Paul McNamee offers that here.

News and updates: Jack London, Flame and Crimson reviews

A few items of note to share.

Buck and John Thornton, ready for adventure

Today I have a post running on DMR Blog, "Jack London, the Frontier, and Sword-and-Sorcery." Check it out here if you're interested. This past weekend I finished up a fat anthology of London's stories, 500+ pages of pure adventure in the Yukon and beyond. It was a needed palate cleanser after years of near mainlined sword-and-sorcery. I had almost forgotten how good London was, and many of these stories were new to me, and I wound up burning through it in no time. The particular edition I read is pictured here, a collection by Platt and Munk first published in 1960. I was given a 1980 printing of this book as a Christmas present that year, when I was just a young lad, I believe from my father. I'm glad I held onto it all these years.

In other news, a few reviews of Flame and Crimson are starting to trickle in, and so far I've been very encouraged. These include three reviews on Amazon, two four star and one five star, and two reviews on Goodreads, both five stars. A few folks have reached out to me via Facebook messenger or email with very positive comments and support. I had one relatively critical review from a member of The International Robert E. Howard Fan Association, who wanted something more fannish, with more checklists, and thought it too much of an overview. I will say he raised some valid points. Flame and Crimson is not an encyclopedic resource, and it lacks a comprehensive bibliography. I believe the genre needs such a book, something like Grady Hendrix' Paperbacks from Hell perhaps. And I'm kicking myself for not including a list of recommended reading or a top 20 list of S&S stories in the appendix. Ah well.

Overall I'm very encouraged with the positive responses. If you at all enjoyed Flame and Crimson, the best thing you can do is leave me a brief review on Amazon or Goodreads or elsewhere. I appreciate all who have done so!

I've come around--Blaze Bayley is pretty awesome

I'll admit it, I more or less bailed on Iron Maiden in the mid-late 1990s. Metal in general appeared to be tipping into obscurity. Grunge ruled the airwaves. Rob Halford had left Judas Priest, Black Sabbath appeared done, and Metallica put out Load (and Reload). Yuck. Denim and leather had given way to flannel and hackeysacks. It was grim times, man, especially for a young man just off to college who suddenly discovered his passion for metal largely out of place on a hip campus of adherents to Pearl Jam.

So when Bruce Dickinson left Maiden, I checked out on the band. Not the previous incarnation with Bruce--I never stopped flying the metal flag, even when it was decidedly uncool to do so (a slightly ridiculous display of integrity that I still cling to). But I could not get on board the Blaze Bandwagon. I remember listening to a couple songs and being baffled by the guy's voice--powerful and rugged, but not operatic like Bruce's, lacking the same dynamism and range. I didn't buy The X Factor or Virtual XI when they came out. I probably had the chance see Maiden in some small venues, but couldn't be bothered to look.

In hindsight, that was a foolish decision. While of course Bayley is no Dickinson, and in humble fashion readily admits as much (in any interview you read with the guy he basically says he was keeping the seat warm until Bruce's inevitable return), they put out some pretty darned good songs in that era. Sign of the Cross. The Clansman. Lord of the Flies. Futureal. So good in fact that they put the former two in the setlist when I saw them last August. They were among the better songs Dickinson and co. played that night, IMO.

And of course, Blaze gets credit for singing the sublime Judgement of Heaven. Perhaps my favorite of this "dark age" of Iron Maiden.

Recently I found an acoustic version of the song during my Youtube crawlings, and felt compelled to share here. Blaze sings with such earnestness and genuine passion, you can't help but get behind the guy. And the lyrics in this one... wow. They resonate with me, deeply.

The Evolution of Modern Fantasy

For anyone interested, I submitted a detailed review of Jamie Williamson's fine book The Evolution of Modern Fantasy over at DMR Blog. You can read it here: https://dmrbooks.com/test-blog/2020/1/28/a-review-of-the-evolution-of-modern-fantasy-from-antiquarianism-to-the-ballantine-adult-fantasy-series

In summary, if you can overcome the obstacles of price and academic language, it's absolutely worth the read. I have not read a book that does a better job of getting us from romantic poetry, lyrical ballads, and Gothic novels, up to the publishing juggernaut popularly known today as "fantasy." And it cements Lin Carter's Ballantine Adult Fantasy Series (1969-74, series proper) as a major catalyst.

If you've read it, or have any thoughts on my review or questions about the book, please leave them here (or there).

Some more Tom Barber art

Sent to me via email and reposted here with his permission.

This first could/should be on the cover of a Dungeons and Dragons supplement. The latter is called "Holding off Distractions" and is beyond bad-ass, very sword-and-sorcery. Love the use of shadow in both. Amazing work here.

A salute to Christopher Tolkien and Robert E. Howard

An important date and some notable news to acknowledge this week.

Christopher Tolkien, youngest son of J.R.R. Tolkien and his literary heir, passed away on January 16 at age 95.

Today, Jan. 22, is the birth of Robert E. Howard (1906-1936), the man who of course delivered unto us sword-and-sorcery, and the likes of Conan and Kull and Solomon Kane.

As should come as no surprise I’m a fan of both.

In Flame and Crimson I draw some sharp distinctions between sword-and-sorcery and high fantasy. Genres are defined as much by what they are as what they exclude, and sword-and-sorcery vs. high fantasy proved a useful comparison for helping me to establish a working definition for the former. But I’ll also admit that these distinctions are at times artificial and strained, and fall apart at the edges. Far more important than the bucket in which you place it is the quality of a given work. I’m obviously a big sword-and-sorcery fan, but I also admit that a lot of it is not very good. I’m not a fan of most multi-volume fat fantasy, but The Lord of the Rings is in my opinion the greatest work of fantasy ever written, and in my younger days I read the heck out of endless Dragonlance series, even (shudder) Dennis McKiernan’s The Iron Tower Trilogy.

I have to believe that if Howard ever had the chance to read The Lord of the Rings or The Silmarillion he’d be blown away. We do have an account from L. Sprague de Camp that Tolkien “rather enjoyed” the Conan stories (although some have speculated that Tolkien was merely being polite). But Tolkien also appeared to have a limited exposure to REH, having only read perhaps “Shadows in the Moonlight” in the L. Sprague de Camp-edited Swords & Sorcery. I believe if Tolkien were ever exposed to some of Howard’s verse, for example lines like these:

Into the west, unknown of man,
Ships have sailed since the world began.
Read, if you dare, what Skelos wrote,
With dead hands fumbling his silken coat;
And follow the ships through the wind-blown wrack–
Follow the ships that come not back.

He would have found a kindred spirit.

Christopher Tolkien has received his share of criticism over the years for being overly protective and litigious of his father’s works, and Middle-Earth in general. Having seen the latest Hobbit films, I can’t say I blame him. But Christopher was not just a preserver of the flame, he edited and published multiple volumes of his father’s writings on the history of Middle-Earth, stories from its elder Ages that otherwise would have been consigned to gathering dust in old notebooks. He did so with extraordinary patience and care, when he could have exploited his father’s legacy and sold the IP for millions. Here are a few examples over on Sacnoth’s Scriptorium.

Christopher struggled with how to present his father’s numerous notes and various and occasionally conflicting versions of Middle-Earth’s history, and after believing he may have missed the mark in his single narrative approach to The Silmarillion with Guy Gavriel Kay, decided to go all in on his 12 volume History of Middle-Earth. From volume 1, The Book of Lost Tales:

There are explorations to be conducted in this world with perfect right quite irrespective of literary critical considerations; and it is proper to attempt to comprehend its structure in its largest extent, from the myth of its Creation. Every person, every feature of the imagined world that seemed significant to its author is then worthy of attention in its own right, Manwe or Feanor no less than Gandalf or Galadriel, the Silmarils no less than the Rings.

Christopher’s work organizing and publishing these myths and histories was appreciated by millions. Layer on his service in the Royal Air Force during World War 2, and I have nothing but respect for the man.

So, respect to these deceased gentlemen. Though Howard, Tolkien, and now Tolkien’s son and editor have passed into the West, their works have achieved immortality.

Tom Barber's book is worth a look

If Flame and Crimson sells more than five copies, it will be in no small part due to its awesome Tom Barber cover art.

Tom of course is a minor legend in sword-and-sorcery circles, perhaps best known for his illustrations of Zebra paperbacks in the 1970s, including a Robert E. Howard title (Black Vulmea’s Vengeance), several Talbot Mundy reprints, and a trio of stunning covers for a Weird Tales paperback revival edited by the late great Lin Carter. Barber was a prolific fantasy and science fiction painter in the 70s and very early 80s, with credits on a wide range of paperback titles and magazines like Galileo and Amazing Science Fiction.

What you might not know is that Barber has also written a book of his own. Described as semi-autobiographical, What the F*** Was That All About? The Story of a Warrior's Journey Home is about a soldier returning home from a distant desert war with some heavy duty scars under the surface.

What the F*** was That All About? is available on Amazon (in print or as a Kindle book) at Amazon.com/dp/1970155019/ or from the publisher at A15publishing.com/all-titles.

Tom recently had to beat a retreat from the small art studio that stands apart from his house, due to the cold New Hampshire weather (oil paints and freezing temperatures don't mix well, it seems). So if you're looking for a compelling read about a guy made it through to the other side of trauma and addiction, and would like to support a talented artist who did great work at the heyday of sword-and-sorcery (and is still doing good work), consider picking up a copy. It's also got some nice black-and-white interior art, by Tom, natch.

Tom has painted much more than just sword-and-sorcery and science fiction. The painting above is one of his best, and resides on permanent display at the Vet Center in White River Junction, Vermont. In my opinion it captures the spirit of what this book is all about: Soldiers extending a helping hand to their buddies who have fallen on hard times. 

What follows is an essay at the end of What the F*** Was That All About? I'm including it here with Tom's permission.