Why bother blogging? And other personal updates

Why?

Why do I continue to keep this blog?

I’ve been doing this a long time, since Sept. 2007, save for a long break circa 2013-2019 to write Flame and Crimson and tend to other matters in my life.

What is its purpose? What is my purpose, continuing to post after all these years?

Occasionally I ask myself, why bother? But such feelings always pass, and I continue my scribblings into the electronic ether. 

I don’t know why I’ve continued. But let’s see what I can come up with.

I love old authors and old bits of popular culture that are slipping away, and I want to preserve them. Jack Vance, Poul Anderson, Fritz Leiber, etc. are grandmasters of fantasy and SF, towering talents better than most authors you will read yesterday, today, or tomorrow, but I’d be surprised if their combined annual sales are 1% of Brandon Sanderson. And then you’ve got dudes like Karl Edward Wagner, Charles Saunders, Gardner Fox, C.L. Moore and others who, outside of some diehard horror and S&S circles, are rapidly fading into yesteryear. I like talking about their stuff and keeping it alive, because it’s damned good, and they need champions.

I am pushing back against Twitter and the dying of the light of (semi) intelligent conversation. Not fighting Twitter in a literal sense (I have no more or less disdain for that platform than any other), but the notion that our thoughts can be compressed into 280 characters, and that history is meaningless. I’m not exactly a purveyor of profundity here, but I try to write the stuff I like to read, that has some amount of context and substance. You can see every post I ever wrote here on this site if you choose to do so, no account necessary. Does anyone read old social media posts? They are vaporware, spoon fed by algorithms over which you have no control. I don’t think they can even be searched in any meaningful way. I like that this page is static AF, boring even. Just read it and leave. But here it remains.

I am fighting the trend of “hot takes.” By which I mean, unqualified gushing praise, or unwarranted criticism, of new and hot properties, for clicks, followers, and ad revenue. My takes are about as hot as reruns of the Golden Girls. I’m OK with not having 500,000 followers as a result.

I’m stubborn. I am aware that blogs are so like, 2008 man. This platform has been supplanted not by Facebook, but by MySpace … and then Facebook, Twitter, Instagram, and TikTok. It’s a dinosaur way to do “this thing,” whatever that may be. I sometimes wonder if Google will just up and delete the Blogger platform. But I despise the need to obsessively create accounts on the latest and greatest platform, again and again. Why? Where does it end? Maintaining 26 social media accounts, and pouring your entire existence into a digital vortex of bullshit? I think most people would be best served picking one or two platforms and settling in. But I’m aware that patience and attention span are in short supply.

So in summary, I’m an old fart who likes old things, including evidently a fondness for outdated blogging platforms. I guess that means I’m here to stay, at least until Google says otherwise.

--

A few other matters less contemplative.

I am reading Larry McMurtry’s Lonesome Dove. I’m not much of a western reader, at all. Cormac McCarthy’s Blood Meridian, a Zane Gray novel or two. Some Breckenridge Elkins… that’s about it. But this one had caught my eye (reviews exclaiming, “if you only ever read one western, make it this one,” Pulitzer Prize winner, etc.) and I needed a sword-and-sorcery break, so I pulled this one off the shelf. It was a slow slog at first, 200 pages of OK slow build, but I’m really enjoying it at the moment. Incredible character studies, outstanding portrayal of frontier life in the waning days of the frontier, some shocking violence. McMurtry skillfully puts you into what a long distance cattle drive in the 1870s/1880s must have been like. Some absolutely beautiful passages. I’m glad I’ve made the effort as the damned book is a monster (858 pages).

Simultaneous with this western foray I’m also in full-blown Halloween mode. I wrote a piece on Algernon Blackwood’s “The Willows” for Tales from the Magician’s Skull. Last night I re-watched The Lair of the White Worm (1988). Campy as hell, fun. Recommended. Prior to that watched “The Vampire Lovers” (1970, Hammer). Also campy and fun, and recommended. Both films star absolutely gorgeous female leads, too.

If you sign up for the mailing list (free) for New Edge Sword and Sorcery magazine you will be entered for a drawing to win a free hard copy of Flame and Crimson. I will mail the book myself, how about that? And make my mark on it, should you want that.

I am committed to going to Howard Days next year. You read it here. More to come on that later. 

I’m on Day 4 of COVID and feeling much better this AM. In another day or two at most I should be back to regular form. Note to self: Get the booster. Dealing with this is a pain in the ass. I’ve had worse cases of the flu, but COVID places your life on hold as you isolate. Not cool to miss your daughter’s senior day cross country meet.

COVID!

I've got it, it sucks, that is all.

2 1/2 years of avoiding the 'vid and finally it got me on a business trip. Plane rides and a big conference, coupled with a few nights out at restaurants/bars, so probably no surprise. The opportunities for exposure numbered in the thousands.

I'm feeling tired, achy, spiked a small fever which seems to have broken. Otherwise OK, but posting here has suffered and likely will continue to suffer in the next few days. We'll see.

Blood Red Skies, Judas Priest

Can it really be I haven't put JP in the Metal Friday rotation since December of last year? Fixing that, stat.

Priest is on my mind a bit more these days because I'll be seeing the Metal Gods in just over a week's time. On Sunday Oct. 16 I'm heading into Boston with a friend of mine to see them at the MGM Music Hall at Fenway Park.

And get this, his 13-year-old son is coming too.

The kid LOVES Judas Priest, and was inspired to pick up a flying V guitar in large part due to their music. He's a damned good player.

This is his first ever concert. He just found out. How's that for a birthday present?

Today I'm going with Blood Red Skies. I can't believe I haven't featured this song yet.

Very, very bold claim coming--the studio version of Blood Red Skies MIGHT be Rob Halford's best vocal performance. Unfounded? Well, listen first, then decide. 1:15 on... yikes. 6:28--he surely shattered glass in the studio.

I don't think anyone else on the planet could sing this, like this. Halford's vocals are ethereal, transcendent, otherworldly on this one, which features lyrics straight out of the Terminator. 

Apocalypse--wow. 

Secret Fire

What is the “fire” borne by characters and otherwise present in the works of Cormac McCarthy and J.R.R. Tolkien?

“I am a servant of the Secret Fire, wielder of the Flame of Anor.” – Gandalf, Fellowship of the Ring

"Therefore Ilúvatar gave to their vision Being, and set it amid the Void, and the Secret Fire was sent to burn at the heart of the World; and it was called Eä." ― The Silmarillion

I want to be with you.  

You cant.

Please.

You cant. You have to carry the fire.

I dont know how to. Yes you do.

Is it real? The fire?

Yes it is. 

Where is it? I dont know where it is.

Yes you do. It’s inside you. It was always there.

I can see it.

--Father and boy, The Road

He just rode on past and he had this blanket wrapped around him and he had his head down and when he rode past I seen he was carryin fire in a horn the way people used to do and I could see the horn from the light inside of it.

--Sheriff Ed Tom Bell, No Country for Old Men

There’s been a fair bit written about the meaning of carrying the fire in McCarthy's The Road, and the origin of Gandalf's "secret fire," but comparably less on what the fire actually is. As I see it:

The creative impulse; the drive to make, rather than destroy. 

The life force. Life comes from somewhere, not from nothing.

That which we must pass on, to the next generation, lest we slip back into darkness. Kindness, opposing selfishness.

Hope, in dark places.

That which makes us good.

The divine spark, if you believe in that.

That it can be “carried” without outward sign tells us it is metaphorical (in Tolkien, it is sometimes more, but Gandalf still describes it as “secret,” rarely unveiled). It is something out of myth, not meant in a literal sense, but conveying a larger Truth.

Carrying means that it requires some effort to sustain. It also seems to signify it can be passed on, to another willing recipient.

I try to do good things with my life. I have been better at this at various times, worse at others. I try to teach my daughters, at least by example. Here is how you behave, watch me. I am trying to give back to others, more than I have as a younger man.

The fire flickers, I lose sight of it. I breathe into the embers, keep it kindled.

What fire sustains you?

---

I make no claim that the fire described by Tolkien and McCarthy share a similar source—though both are Catholic—only that there are similarities of expression and interpretation.

A couple good interpretations here: 

The Grey Havens, “What is the Secret Fire That Gandalf Serves?” 

The Art of Manliness: “Carry the Fire” 

New Edge #0 is out

If you're looking for some new sword-and-sorcery fiction and non-fiction in a compelling package, New Edge #0 is now out. The editor of this new magazine is Oliver Brackenbury, who also hosts the podcast "So I'm Writing a Novel." I've got an essay in it, "The Outsider in Sword-and-Sorcery."

I have not read or perused the issue yet and don't know what to expect. I see the likes of Dariel Quiogue and David C. Smith have fiction in it. There are articles by Howard Andrew Jones, Cora Buhlert, Nicole Emmelhainz, and others, authors with whom I have some level of familiarity. Looking forward to checking it out! Cover art is by Gilead Artist, who was kind enough to send me a sketch inspired by his reading of Flame and Crimson.

Brackenbury is offering epub/PDF versions for free, and selling print copies at cost, and if interest is high enough plans to publish subsequent issues.

Stories include:

The Curse of the Horsetail Banner by Dariel R.A. Quiogue

The Ember Inside by Remco van Straten & Angeline B. Adams

Old Moon Over Irukad by David C. Smith

The Beast of the Shadow Gum Trees by T,K. Rex

Vapors of Zinai by J.M. Clarke

The Grief-Note of Vultures by Bryn Hammond

Articles include:

The Origin of the New Edge by Howard Andrew Jones

C.L. Moore and Jirel of Joiry: The First Lady of Sword & Sorcery by Cora Buhlert

Sword & Soul - An Interview with Milton Davis

The Outsider in Sword & Sorcery by Brian Murphy

Gender Performativity in Howard's "Sword Woman" by Nicole Emmelhainz

The Obanaax and Other Tales of Heroes and Horrors, a review by Robin Marx

What is New Edge Sword & Sorcery? by Oliver Brackenbury

Of Jack London, Earle Labor, and William Dean Howells

I was listening to a recent Art of Manliness podcast in which host Brett McKay replayed “Jack London’s Literary Code,” an episode originally broadcast in January 2020. His guest, Dr. Earle Labor, died on Sept. 15 at the age of 94, leading to the rebroadcast. Labor was one of the world’s foremost London scholars, which makes him a man worthy of respect.

What caught my ear was a comment early in the program about why it took so long for London to be recognized as a major American author worthy of study. Labor cast the blame on William Dean Howells, a shady character I first heard about from Deuce Richardson over at DMR books, years ago. See a more recent piece, "The Dead Hand of William Dean Howells."

From the interview (about the 8 minute mark of the podcast):

Brett McKay: For your PhD you did the first major study on Jack London as a true literary artist, and you were really breaking new ground because for a long time the literary establishment didn’t take London’s work seriously, and very few scholars had studied his craftsmanship. Why was that and what is the status of London today in literature, particularly in terms of scholarship?

Earle Labor: It’s on the rise for sure, and has been for the past generation or so… but for a long time he was dismissed as little more than a hack writer for adventure stories and what have you. Fortunately there have been a number of breakthroughs just in the last two or three decades… I have a lecture I give sometimes on the politics of literary reputation, and I explain to my students, look, the books you read, the ones you read in high school and many that you read in college, were not handed to Moses on that tablet, they were selected by a certain group, and those are the so-called elite. They decided what you were going to read. They decide for example that you are going to read Shakespeare and maybe Hawthorne’s Scarlet Letter, which is fine, but they should be also assigned Jack London’s The Sea Wolf or something in addition to Call of the Wild. 

London was not part of the group that makes those decisions. For one thing London was a western writer. They were not part of the eastern establishment that pretty well dictated the literary selections at the time in the 19th/even 20th century. Eric Miles Williamson uses the term the “Ivy Mafia”… that may not be quite fair but I think it’s kind of fun. Anyhow, the ideas that it’s those easterners, back in the 19th century, even the early 20th century centered around Boston/New York. William Dean Howells was the leader of that group for a generation. Interesting that he encouraged writers like Hamlin Garland, Stephen Crane, even Emily Dickinson, and here’s London at the time, the most popular of all of them, and virtually ignored by William Dean Howells. Now that’s got to have been deliberate I think. All of that ties in to what I call the politics of literary reputation, which has impeded the reputation of Jack for a number of years, but finally we’re getting that recognition. 

Howells dismissal of London strikes me as the same attitude met by Robert E. Howard and H.P. Lovecraft in their writing days, and in the decades after their death: “Pulp hacks” ignored, or certainly not worthy of being mentioned in the same breath as Hemingway or Fitzgerald, or more recently the likes of Updike or Irving. Such elitist attitudes persisted well into the late 20th century, and possibly still do in some circles.

I think (or I’d like to think) that the portrayal of fantasy/speculative fiction as something categorically lesser than realistic novels is now a thing of the past. I’ll admit I don’t keep up with academia or current literary theory. But it does seem like fantasy has moved from its former place in mom’s basement to the adult’s table.

Or, it might be that there is no more literary establishment/intelligentsia, what with the reshuffling of the western canon and the death of Harold Bloom and others of his ilk.

Regardless, adieu Dr. Labor, and thanks for your lifelong work illuminating the contributions of London, a forefather of sword-and-sorcery and one of the great authors of our time.

Apropos, a link to an old piece I wrote for The Cimmerian on Jack London's The Call of the Wild.

Top 10 reasons why I don’t care about Amazon’s The Rings of Power

The Rings of... Meh.

Perhaps you might be wondering, hey, when is that guy from The Silver Key going to weigh in on The Rings of Power? He loves Tolkien.

Consider this that post, but it’s probably not the droids you’re looking for.

I haven’t watched ROP, and at this moment have no plans to. I explain why in this handy top 10 listicle.

A caveat: If you like ROP that’s great! The point of this post is not to (overly) criticize the show, because I haven't seen it. That wouldn’t be honest, or fair. It's to explain my lack of interest. 

That said, apathy for a richly budgeted, dramatic interpretation of a beloved property must have some basis in negativity or critique. In my case, I saw each of The Lord of the Rings films in the theater on opening night, buying advance tickets and braving big crowds and sticky theater floors to watch Tolkien on the big screen. In contrast, I have Amazon Prime, could watch ROP at the click of a button from the safety of my living room… and have yet to expend even that amount of non-effort on the show. Why? My answers follow.

If you like or love the show and think I should give it a chance, please explain why. Who knows, you might win me over. But it will be an uphill battle.

1. The rights weren’t enough. No Silmarillion? No coherent storyline to hang an adaptation upon? Big problem. I knew the writers of ROP were facing monumental issues after learning that they only had rights to the Appendices of LOTR, not the 12-volume History of Middle-Earth nor The Silmarillion. There is no cohesive story to hang a dramatic series on, which means much artistic interpretation is required. That’s a recipe for failure. J.R.R. Tolkien was a genius, and trying to recreate what made him great from appendices and notes is a near-impossible task. The Jackson films were at their best when they hewed to Tolkien’s story and dialogue. In short, the limited deal struck by Amazon was like planting seeds into a thin, arid field, and expecting a rich crop. 

2. The Hobbit wrecked me. If I were to critique the loudest critics of this show it’s with this point: Your Peter Jackson veneration has a large blind spot. Remember these awful films? Like LOTR I also saw them in the theater. Not only did they suck, but I blame The Hobbit for creating the template that film adaptations of Tolkien must be LOUD AND EPIC AND IMPORTANT. The Hobbit (book) is rather small and cozy, save for The Battle of Five Armies and Laketown. The focus should have been on atmosphere and character, and instead it became a wholly unnecessary nine-hour epic. ROP seems to be a continuation of this fundamental misunderstanding of what makes Tolkien great. It’s not bombast and spectacle, it’s story and heart.

3. Dumping Tom Shippey soured me early. I wish we had a better recounting of what led to this foolish decision, but Shippey is the closest human being on earth we have to Tolkien, now that Tolkien’s son Christopher has passed. To cut the World’s Greatest Tolkien Scholar from the project seems to me a major misstep. He was an advisor on the Jackson LOTR films and played a part in their successful adaptation. Plus, he’s a genuine good dude (I spent more than an hour with him years ago at a convention in Boston, and he was very kind and generous with his time). 

4. The reviews haven’t been good. I read and watch reviews (and have written a fair number myself), and I have learned enough to know this show has some serious problems. Many disregard critics (“those who can’t, teach,” etc., and other such nonsense). I don’t. If it’s a source I trust, or if the reviewer is objective, thoughtful, and fair, these hold weight for me. I’m too old and my time is too limited to mindlessly consume entertainment without some indication that it’s worth my time, which leads me to point 5.

5. I only have so much time. I’m 49 years old and am acutely aware that I have only so much time on this planet. I’d prefer to spend that time providing for my family, spending time with family and friends, writing/creating, and reading. The ROP is apparently set to run five seasons, x 8 shows per season, and one hour per episode. That’s 40 hours minimum time investment. That’s a big commitment on something which apparently is not very good (see #4).

6. I’m not a big TV watcher. Give me a book any day. My current TV consumption is some evening news, and the occasional football game. My daughter got me into Stranger Things and I enjoyed that well enough. Beyond that, I don’t watch TV. My friends are still in shock when I tell them I haven’t seen Breaking Bad or The Wire or Better Call Saul or Ozarks, or whatever the hot property is at the moment. I'd rather do other things with my time than suck on the glass teat.

7. I like movies better. Movies have much more appeal than episodic, open-ended series that may or may not end well... if they end at all. Sure, movies can suck too but at least it’s only 2 hours wasted, as opposed to the folks who sat through seven seasons of Game of Thrones only to suffer through a dumpster fire final season. Or folks that invested time in prematurely cancelled shows. I did watch The Walking Dead and was sorely disappointed when that show began to rot from within, ambling along like a mildly hungry animated corpse. Maybe it’s the sword-and-sorcery fan in me, but give me the quick-hitting single film (S&S short story) over the multi-episode, multi-season TV series (phonebook epic fantasy equivalent).

8. I’m old and jaded. Hype bounces off me. I’ve seen enough, and done enough, and experienced enough heartbreak and disappointment, that trailers, regardless of how well-made, aren’t going to move me. I need to find the commitment from within. The irony is this is coming from a guy who works in marketing. 

9. It’s Amazon. I don’t particularly like this company, even though I admire its efficiency in delivering my packages on time. Doesn’t Amazon own enough of the world already? Do we want to live in a world where it also owns all art and product, in addition to the means of distribution?

10. I don’t want to see Tolkien adapted anymore. Yeah, it’s selfish, maybe petty. I don’t know. We’ve got the books, some cool old cartoons, the Jackson films. That’s more than enough. There are wonders beyond compare in The Hobbit, LOTR, The Silmarillion, HOME, The Children of Hurin, The Legend of Sigurd and Gudrun, his letters, etc., not to mention the hundreds of academic volumes examining his works. All of this should be enough. If the right director were to do the right adaptation, for example a Robert Eggers directed The Children of Hurin, I’d watch it. But even then, we don’t NEED it. We’ve got the books, and the books will always be better. You can’t out-do Tolkien’s unique brilliance, no matter how big your budget. Sorry Jeff Bezos.