The Dark Man: Journal of Robert E. Howard studies, vol. 12.1

I took a (small, calculated, $8) risk on the latest volume of The Dark Man: Journal of Robert E. Howard and Pulp Studies, purchasing it based on the table of contents and the fact that editors Jason Ray Carney and Nicole Emmelhainz-Carney are talented and invested in this venture.

I was not disappointed.

Some may not be happy with the direction taken by this semi-venerable journal, which has published 27 issues since its debut in 1990. Jason and Nicole have decided to branch out to the broader field of pulp studies, rather than a laser focus on Robert E. Howard. I think it was a great move. We need a journal that fosters discussion on other Howard-inspired or Howard-adjacent writers, such as Karl Edward Wagner. And we get that with the latest edition.

Vol. 12.1 includes seven pieces, ranging from editorial to interview, to scholarship to book review, and runs 113 pages.

First the news: I was thrilled to hear that Gary Hoppenstand, editor of the short-lived but highly regarded fanzine/semi-pro zine Midnight Sun, is under contract with McFarland to write a book analyzing Karl Edward Wagner’s Kane studies. McFarland is an independent publisher of academic nonfiction with a bent towards pop culture. I’ve got a couple of their books on my shelf, including J.R.R. Tolkien, Robert E. Howard, and the Birth of Modern Fantasy (which I reviewed for Skelos #1) and Michael Moorcock: Fiction, Fantasy, and the World’s Pain, by Mark Scroggins. The latter was an invaluable help to me in the writing of Flame and Crimson. I am very much looking forward to this new book on Kane, for which the scholarship is lacking. The preface will be written by the great David Drake.

This news was revealed in an interview conducted with Hoppenstand by Luke Dodd, one of the co-hosts of the Cromcast podcast. Dodd for the same issue contributed a publication history of Midnight Sun, about as thorough a treatment of that long defunct ‘zine that we can hope to get. Dodd used available resources form the likes of the ISFDB with additional information from Hoppenstand to fill in some of the blanks. Hoppenstand launched Midnight Sun as a teenager to help place some of Wagner’s Kane stories. Hoppenstand had written to KEW enthusiastically after reading Death Angel’s Shadow, starting a correspondence that led to Hoppenstand placing the likes of “Lynortis Reprise,” “In the Lair of Yslsl,” and “The Dark Muse,” among other stories, poems, and artwork. Wagner had experienced difficulty placing some of his Kane stories and Hoppenstand and Midnight Sun filled the void, later branching out and publishing other genre authors including David Drake and H.H. Hollis. Midnight Sun published its fifth and final issue in 1979, a victim of Hoppenstand's lack of funding.

Given the scarcity of material published on Karl Edward Wagner I was particularly happy to read Dodd’s pieces, but there are some other entries in TDM vol. 12.1 worth talking about.

I approached “REH N-grams: A Study of Cultural Trends Related to Robert E. Howard” by Williard M. Oliver with some trepidation; even for an REH and S&S nerd this one seemed rather esoteric and data-geeky. I have read the related “Statistics in the Hyborian Age: An Introduction to Stylometry” in Conan Meets the Academy and that one, while having some points of merit, left me a bit cold, mainly because it dwells too long on explaining what stylometry is and too little on its application to REH; Oliver’s piece however was on point. The author used a tool called the Google Books N-gram Viewer to analyze the recurrence of terms related to Howard and his creations and popular phrases. While the Viewer only includes books published up through the year 2000, the tool helped Oliver demonstrate a Howard presence in the 1930s, a slight but minor rise in the 1940s and 50s, then a significant increase from the late 60s through the 1980s. Which tracks rather nicely with the Arkham/Gnome, Lancer/Ace, publications, and the oft-told stories of how these latter books brought many readers into the fold. In short, it adds statistical rigor to conjecture.

Quinn Forskitt’s “Building a Universe: An Analysis of the Works, Lives, and Influences of the Lovecraft Circle” is an invited essay, a boiled down version of Forskitt’s master’s thesis. While this information is likely well-known to the die-hards, it’s great to see new scholars and scholarship in the field. Very readable and engaging work. I found “Adapting Lovecraft to Video Games: What is Lost, What is Gained,” to be less interesting, only because I’m not a video gamer, but I have to say this is highly original, and probably a must-read for players of Hidetaka Miyazaki’s Bloodborne. The author also has a strong grasp of what makes Lovecraft’s stories unique, and hard to adapt in a visual medium.

Rusty Burke has a review of the new REH biography by Todd Vick, Renegades and Rogues. While Burke invites the work, defends the need for further REH biography, and so welcomes it on his shelf, he does declare it only half successful in its stated purpose: It answers the question of who Robert E. Howard was, but not why he was important, Burke concludes. In full disclosure I have not read Renegades and Rogues.

All in all, I enjoyed the heck out of this issue of TDM. And I’m greatly looking forward to Hoppenstand’s book.

Technopoly, Neil Postman

Finished Neil Postman’s Technopoly the other day, and loved it, and was enlightened by it, challenged by it. It was very interesting to read a book published in 1992, pre commercial internet, with the premise that technology had (even by then) been so mindlessly and carelessly adopted wholesale, and given such primacy, that it quickly wiped away our norms and culture and destroyed its sanctity and symbols. It's hard to argue with this when we spend all our time with our heads down in our phones these days (self included). One wonders what Postman would have had to say about Tik-Tok.

There is great stuff in here about the insidiousness of "invisible technology," for example standardized testing and our harmful desire to assign IQ scores when intelligence cannot be measured with a single score. Basing our decisions on polling data when this data can change dramatically based on the subtle wording of a question and a given poll taker’s mood, and thus forfeiting our sovereignty or outsourcing it to the crowd. How ruthless efficiency and skill building has risen to prominence over liberal arts education in the drive to create skilled workers who can add to the GDP, warping the true purpose of education. The inevitable advance, today led by neuroscience, to reduce humans to 0s and 1s.

Postman asks some deeply penetrating questions on how we can fight back against Technopoly, which include establishing an academic curriculum rooted in history, across all subjects, that offers a narrative of the ascent of man and why decisions were made and from where our current beliefs/practices/scientific advances/theories have derived. In short, an education that makes us think, not conform, and embrace humanity and the human ideal, not machines. Education is not a means to an end; rather being educated, broadly and richly, is the end goal.

These issues and solutions may sound a bit like cranky conservatism or “old man shouting at cloud” but I happen to agree with many of them. There is something in these narratives that speaks to me, I think anyone who can take a step back and observe will realize that progress is not always for the good, but for the good and bad, simultaneous. More to the point, technology changes the landscape, forever, and while we make gains we inevitably lose something in the translation, including our individual sovereignty. J.R.R Tolkien was acutely aware of this, as was Robert E. Howard (see his letters to H.P. Lovecraft).

I am aware of my own hypocrisy, writing these words on a blog on the internet, with immediate distribution. I am a beneficiary of technology. But I also shake my head at our mindless adoption of the latest shiny that comes along. 

In summary I like this damned blog just fine, I don't need a Twitter following.

Sepultura, The Hunt

I was a huge Sepultura fan back in the day, when Max Cavalera was fronting the band. They put out 3-4 stone cold classic albums in that period, with my favorite probably going to Chaos A.D. I was lucky enough to catch them in concert a couple times.

Here is "The Hunt" from that album. The lyrics are a straight up apology for vigilantism, which some days and for some types of offenders I can get behind:

We went into town on the Tuesday night
Searching all the places that you hang about
We're looking for you

 

In the back street cellar, in the drinking clubs
In the discotheques and the gaming pubs
We're looking for you

 

You will pay the price for my own sweet brother
And what he has become
And a hundred other boys and girls
And all that you have done

 

The problem with reviews

I get asked for book reviews, with some amount of frequency.

I don’t blame anyone for asking me, or asking others, to review their book. Now that I’m an author I empathize with that sentiment, quite deeply. All authors want and need readers, and reviewers. More than money, or at least on equal footing, writers crave readers who enjoy their work. They seek validation that their work is good, and connects with a reader on some emotional level. And most want others to write about their book.

But please know that when I get your email, it makes me wince, and hurt a little inside, as reviews present many problems to the reviewer. Here are a few:

They’re a huge time commitment. Reviewing a book requires you to read the book (you better read it; “reviewing” a book because you know the author is unethical), and read it closer than you might if you were reading for pure enjoyment. Then comes the writing. To write a review of any substance requires some degree of planning, and thought, and care. You can certainly go the route of a four-five sentence capsule of what you liked about a book, and there is a place for those, particularly on Amazon. But I think careful reviewing is an art form. An honest review should do more than breezily sketch the plot and end with “I highly recommend this book to anyone who enjoys Robert E. Howard.” A good, earnest review should teach you something new about the book, or the genre, and place the author in a community of like authors. There should be some indication of the style and manner in which the story is told. In short, a good review is itself an art form, and takes time to craft properly.

Related to the above, reading something new must always close other doors, possibly to something better. Years ago I wrote a post for Black Gate on the problem of the glut of fantasy in the market. An intractable problem facing new writers is the weight of history, and the hundreds of thousands of authors that have gone before them. In my middle age is it apparent that I will NEVER be able to read all the books I want to. Right now I’m barely managing a book a week, which puts me at 52 books a year. At age 48, I might have another 40 years of life in me, if I’m lucky… that’s a little over 2,000 books, at best. A sobering thought. My time is finite and I want to spend it well. Should I read a new book by an unknown author, or should I read the Poul Anderson and Fritz Leiber and Michael Moorcock titles I haven’t gotten to yet? Or re-read a beloved old classic?

The moral quandary of reviewing bad books, or books you don’t enjoy. What if you don’t like a book, either one you’ve sought out, or one you’ve been asked to review? Do you write the review, or say nothing? Do you write a (semi) dishonest review, focusing perhaps on a few things you found OK, while leaving out your valid critiques? I still think of this brilliant review of Patrick Rothfuss’ The Name of the Wind, a highly regarded book which I detested. Like a surgeon Adam Roberts dissects his problems with that book, comparing it unfavorably with The Children of Hurin, released at the same time by the estate of J.R.R. Tolkien. Roberts’ review is perhaps a little arch in places but it’s not mean-spirited. I find it illuminating, with much to teach us about the potent spell good fantasy can place on the reader, and the importance of being taken out of the modern world. Some might object to this line of criticism. If you have nothing good to say, don’t say anything at all. I do believe there is a time and place for that sentiment, but I also believe that good critique serves a valuable function. The problem is that I don’t think most authors want to hear it. And I’m not sure I want to write it, as I don’t like hurting anyone’s feelings.

...

Now that I’ve spent some considerable digital ink expressing my deep reservations of the book review enterprise, believe it or not I do want to do more reviews of new works—as I am able. I want to support the sword-and-sorcery community, and there are many worthy publications and authors and titles that deserve the exposure and the commentary. I’ll mix them in as I can.

Sword-and-sorcery news and happenings

Some news, happenings and noteworthy occurrences heard on the sword-and-sorcery trail.

DMR Books to publish Viking Adventures in August. Just take my money. Although I've read a fair bit of Viking historicals and Viking flavored fantasy, I'm not familiar with these tales which makes it all the better. In particular I'm looking forward to reading "The Trader and the Vikings." With works like The Broken Sword and Hrolf Kraki's Saga, Poul Anderson does the Northern Thing as well as any author past or present. And damn, that cover (see right). Speaking of DMR you can now pick up Flame and Crimson at that fine publisher.

If you like Conan the Barbarian (1982), this 2 1/2 hour+ video by The Critical Drinker (how fun is that name?) and guest Andre Einherjar is worth the watch. This is an incredibly in-depth, informed, interesting, and just plain fun and compelling listen, with lots of interesting asides on Milius, Dino DeLaurentiis, the riddle of steel, the train wreck that was Conan the Destroyer, and more. I realize a lot of Howard fans don't like CtB, mainly because Schwarzenegger's Conan is not REH's Conan, but these guys make a compelling case that it's a work of surprising depth, and exceptional artistry and quality. I happen to agree.

As for me, I've got an essay on C.L. Moore that will definitely see the light of day as Swords & Shadows has met its funding goals, ensuring that this special sword-and-sorcery themed issue of Sexy Fantastic magazine will be published. I'm also working on a review of Fred Blosser's The Annotated Guide to Robert E. Howard's Weird Fantasy for The Dark Man journal (spoiler alert: It's good).

Heavy metal summer

It’s going to be a metal summer and fall, and man am I excited for what's to come.

The great Iron Maiden (my favorite heavy metal band ever, sometimes Judas Priest ekes out the no. 1 spot) has released a new single, The Writing on the Wall. I was on vacation when this hit and experiencing it first over shitty iPhone speakers was a mistake. I made myself wait until we got home and had proper sound/headsets before the next attempt. I haven’t given it enough listens to make up my mind, but with each spin it gets better. Love the opening hook and the Celtic feel. No, Bruce is not the same singer, but damn, he’s 60. Who is at that age? Regardless of what the album holds, new Iron Maiden is always a cause for celebration, as is the prospect of seeing the boys from Britain live on their inevitable support tour. The fun I’ve had at these shows over the years is off the charts. I suspect “The Writing on the Wall” will kick ass in concert. I CAN’T WAIT.

Concerts galore. I’ve got three shows lined up for the summer and fall:

1. KISS, Mansfield MA, August 18. Save for the fact that this falls on a Wednesday (blech) and getting out of Mansfield after a concert is like trying to escape from the Hanoi Hilton, I’m always glad to see KISS. My buddy Wayne is an even bigger KISS fan than I.
2. Alice Cooper, with opening act Ace Frehley, Gilford NH, Sept. 18. The best thing about this show is its on a Saturday night. Tied for second is the great double-bill of Alice and Ace. Another show with Wayne. Afterwards we plan to crash at my family’s lake house, a short drive from Gilford, to avoid a long trek back to MA. I’ve seen Ace several times and he’s always good. Alice of course is wonderful (trivia: My first ever concert was Alice on his Trash tour, March 1990).
3. Judas Priest, Lowell MA, Oct. 31. Are you kidding me? The Gods of Metal on Halloween night, at a venue about 30 minutes from my home? Like Maiden, Priest is no mere nostalgia act. I was blown away with their last album Firepower, in particular “No Surrender” and “Traitor’s Gate.” You get new material, but of course with a catalog stretching back 50 years (!) most of what Priest plays are the classics.

Let’s hope this new Delta variant of COVID-19 cooperates and I can get all these in.

Also wanted to mention the passing of Mike Howe, lead singer of Metal Church, dead at 56. A reminder of our mortality. This is why going to shows and enjoying life today is so important because damn, once it’s over it’s over. Apparently he was a family man and in great shape and no cause of death has yet been released. I was not the biggest Metal Church fan but loved a few of their songs, in particular “Badlands,” “Fake Healer,” and “Date with Poverty,” among others. I’m pretty sure I still own the cassette of The Dark. Time to crank some Badlands and remember Mike. RIP.

What sword-and-sorcery needs

I've been seeing some promising signs of a modern day sword-and-sorcery revival, with a growing number of small publishers putting out new works or collections of reprinted works from the old masters. Digital and print magazines are springing up (Tales from the Magician's Skull, etc.), and there's some good scholarship going on in certain corners (DMR, The Dark Man, etc.). All encouraging, and maybe there's a kernel here that will grow.

But sword-and-sorcery is still a niche within a niche. If it's ever going to reach its former heights it needs a lot of help.

Here's what I think sword-and-sorcery needs in order to flourish once again.

1. More readers. We are now seeing many small outlets for S&S fiction crop up, but nothing resembling real commercial markets. It needs to get mainstream, with a larger audience, and more paying consumers to create a viable market for writers and artists. Morgan Holmes once said something along the lines of, what is needed is the modern equivalent of the mass-market S&S paperback of the 1960s and 70s--cheap, eye-catching covers, with good, simple, page-turning stories to back up the packaging. With wide distribution, although times have changed. Printing costs are higher and the days of the drugstore wire-spinning racks have gone, replaced by the online juggernaut Amazon.

2. Good authors. From what I have read there are a few talented modern S&S authors working in the genre today, but who will be our next Robert E. Howard, Fritz Leiber, or Jack Vance? There are a few modern bestselling fantasy authors that I dig--Joe Abercrombie and George R.R. Martin come to mind. Could we see them or their equivalent attempt an S&S splash?

3. A cohesive community, perhaps organized around a fanzine. Guys like Jason Ray Carney are building this right now, with the likes of Whetstone, an amateur magazine that also has a Discord group. I belong to several good Facebook groups, and there are some reasonably well-trafficked Reddit groups and the like. You've got the Swords of REH Proboards and a few other hangouts for the diehards. But it all feels very disparate. Sword-and-sorcery lacks a common gathering space and watering hole, like Amra used to serve. Leo Grin's now defunct Cimmerian journal is the type of publication I'm thinking of.

4. Some type of award, a recognition of excellence for authors and publishers and the like. The closest we had were the Gemmell Awards, which recently died off. I'd love to see a "sword-and-sorcery" category at the Hugos or the Locus Awards but I'm not holding my breath. 

5. A crossover hit, probably a film (or a video game). There's a lot of debate over whether these types of media foster readers, but an actual good sword-and-sorcery film (if such a thing were possible) that garnered a lot of good press, and led some mainstream journalists and bloggers to take the time to point the way to the fiction, could spur new interest and new blood. A wildly popular video game may have the same effect. I don't think comics are popular enough these days to spur the level of interest we saw with Conan the Barbarian in 1970.

We will never see the likes of 1968 again but I do think we could experience a third S&S renaissance, if we could make a few of these happen.