Contribute a page

I’m just a guy (a classic JAG) who loves art, and is reflective by nature. So, I contribute reflections on art, and its relationship to life. 

I can’t not do this.

Life and art are intertwined. We need myths, and stories. They entertain, but also offer a model for how to live good lives (because goodness is real, not an abstract concept). Art is a mirror on reality, sometimes clear and sometimes carnival fantastic, that gives life shape and meaning.

So that’s what I’m doing here, and in my writings elsewhere.

Anyone who brings art into being or contributes reflections on art and life has done something of value. Whether or not you find commercial success, I salute you. 

Keep creating. Contribute a page.

Apropos of this PSA here is part 2 of Blogging the Silmarillion.

Silmarillion re-read, link to part 1 and letter to Milton Waldman

White ships from Valinor, Ted Nasmith.

I’m currently re-reading The Silmarillion and you can now find the full post of part 1 of my 2010 “Blogging the Silmarillion” series originally published on The Cimmerian, here.

A few additional thoughts and comments on this most recent go-round.

I don’t know why I previously failed to mention Tolkien’s 1951 letter to Milton Waldman that leads off the volume. It’s like reading the cheat code for Tolkien’s greater legendarium. Interestingly this letter does not appear in the 1977 Houghton Mifflin first edition hardcover, but does appear in the gorgeous, Ted Nasmith illustrated 2004 second edition that I also own. Get this latter edition if you don’t already have it, there are nearly 50 illustrations and many appear in this volume for the first time.

Waldman was Tolkien’s friend and an editor at the publishing house of Collins, and the letter is more or less a lengthy summation of Tolkien’s argument that The Silmarillion and The Lord of the Rings should have been published together, or at least in conjunction, “as one long Saga of the jewels and the rings.” Of course that did not occur as The Silmarillion was published posthumously in 1977.

The letter contains a wonderful summation of what lies at the heart of the legendarium, “Fall, Mortality, and the Machine.” I am perhaps slightly more forgiving than others of Tolkien adaptations, even though I’d be content if we got no more, but I do believe that any faithful Tolkien adaptation must contain these elements. A Fall from God, the creator, Iluvatar; the problem of Mortality (and the problem of the pursuit of deathlessness); and the Machine, or the desire to dominate or coerce other wills and raze and bulldoze the natural world. Either implicit or explicit.

Re-reading The Silmarillion, and reviving my old Cimmerian posts

I've started re-reading The Silmarillion. It's been a few years, and I'm due to revisit the rich and wonderful history of Middle-earth.

I'm enjoying it as much as I did upon my last re-read, which prompted me to revisit my old "Blogging the Silmarillion" series for the Cimmerian website. 

Back when I was writing for The Cimmerian I used to run part of the post here and link to the rest. Unfortunately that has resulted in incomplete posts after that site was radically overhauled. Time to correct that by posting the full text here, which I fortunately retained.

Here's the series introduction, Cimmerian sighting: Blogging The Silmarillion. 

I'll post the others as I work my way through the text, and possibly add a little additional commentary.

Some interpretations of the ambiguous ending of The Green Knight (2021)

If you haven’t seen The Green Knight, and don’t wish to be spoiled, stop here before you enter the Green Chapel and its perils. Thou hast been warned.

The 2021 David Lowery written and directed film The Green Knight is an interesting, inventive take on the old poem “Sir Gawain and the Green Knight.” 

It’s beautifully rendered. You can’t take your eyes off it. It also sticks with you, in part due to its ambiguous ending, which is very much open to interpretation.

Here’s a few thoughts I had from a recent re-watch. And yes, I seem gripped again by my annually recurring year-end fascination with King Arthur.

Needless to say spoilers coming. 

***

Brief recap: The plot of The Green Knight (book and film) centers around the arrival of a massive, green-skinned and armored knight in King Arthur’s court on Christmas. He offers up a challenge: Any knight can strike him a blow with sword or axe from which he will not flinch, save that he will return the blow one year hence.

Arthur’s nephew Gawain, the youngest knight in the court, takes up the challenge and strikes a savage cut that sends his head tumbling to the floor. Then, to the horror of all in the hall, the mysterious figure picks up his severed head and turns to leave the stunned court, but not before reminding Gawain he must ride out to his chapel in a year to complete the challenge.

Gawain commits, and embarks on a series of adventures en route. In one of these he is given a green belt/sash that renders him invulnerable to any blow. An obvious, unforeseen advantage in a contest of his sort. But also, unfair and dishonorable.

In the poem, Gawain leaves on the sash, and receives a nick on the neck as a rebuke.

In the film, Gawain removes his sash after an agonized internal struggle, then turns to await the blow. One we’re not sure lands, because the film ends before we see it.

So, does Gawain get his head cut off?

I don’t believe that’s what actually matters. What does is his decision moments prior.

Earlier in the scene Gawain asks an existential question as he stares death in the face: “Is this really all there is?”

This is not (merely) a question concerning the end of his own life, but the possibility of a life without meaning, one ruled by the material laws of nature in which purpose and beauty and meaning are empty and meaningless, and death and decay our only masters. The type of world described by the dragon in John Gardner’s Grendel: “It’s all the same in the end, matter and motion, simple or complex. No difference, finally. Death, transfiguration. Ashes to ashes and slime to slime, amen.”

If he leaves on the sash, he will be invulnerable, but also will have fatally compromised the only virtue that matters in such a world: His integrity. 

Gawain has a flash of what would happen should he leave on the sash: he becomes a king of a fallen kingdom, a dishonorable ruler, haunted by his choice over the long years until the kingdom falls, corrupted.

Ultimately he chooses honor. Does that cost him his life?

The film offers some clues. “Well done my brave knight,” the green knight says, after Gawain removes the sash. And then, the final cryptic line of the film: “Now, Off With Your Head,” which obviously implies he’s a goner. 

After all, a blow is due in return per the sacred rules of the game. Honor demands it.

However, the Green Knight delivers the final line with a good natured, light-hearted spirit, indicating that any blow will be only lightly given, which would make it true to the poem.

As important as this (obviously) is for Gawain and his future, I’m not sure it matters either way. 

Even if Gawain loses his head, the message of the film can be interpreted as profoundly hopeful. 

Let’s start with the idea that the Green Knight represents nature. If so, his acknowledgement of Gawain’s selfless act implies there is honor embedded in nature. It is not an abstract, empty term rendered meaningless by postmodernism, it is as real as the grass under our feet, the rotation of the earth and its seasons. We just have to make the choice.

Though there is a far bleaker interpretation. There may be honor but it ultimately doesn’t matter, nature is going to kill you in the end anyway. It’s all a cosmic joke.

But maybe we should still act honorably anyway, because doing so is its own reward.

Regardless, I believe Gawain's transformation from shiftless coward to noble knight suggests that facing death with dignity is essential to living a meaningful life.

What do you think?

I welcome any thoughts on this.

Where Eagles Dare, Iron Maiden (for Nicko)

Job well done.

This Metal Friday, a toast to the great Nicko McBrain, who last week called it a day after a career that spanned more than 40 years behind the drum kit with Iron Maiden.

When Nicko joined Iron Maiden in 1982 there were skeptics. He was replacing Clive Burr, a terrific player who had been there since Maiden’s debut album, and joining a well-established band that had just put out the wildly popular Number of the Beast.

Nicko had to make an impression. And he did, on the very first song of his first studio album with the band, “Where Eagles Dare.” An awesome, driving tune kicking off side A of Piece of Mind (1983).

It’s telling that the first sounds you hear on this classic album are Nicko’s thunderous drums. He brought a new level of heaviness and intensity to the band, and remained Maiden’s drummer for 42 years, until age and the residual effects of a 2023 stroke forced him to hang up the drumsticks. 

At 72 Nicko has more than earned his retirement.

I’m glad I got to see Maiden and Nicko one last time earlier this year. Our metal heroes are aging, no guarantees of tomorrow.

Of the year in writing, and reading--memoir update and more

I went outside yesterday to take in the trash barrel and pick up the mail (exciting stuff--I’m a rock star, in case you haven’t realized that yet) when I felt a firm bite, piercing my heavy flannel shirt. A deep cold settling into New England. 

The year is winding down, fall rapidly turning to winter, and as I’m wont to do in December I’m turning reflective. 

And so, a reflective post.

I’m planning on one of my usual “annual state of the blog” posts later this month, so I’ll save the Silver Key analysis for later. This is an update on what’s going on outside of the blog, of a reading and writing bent.

Heavy metal memoir

My work in progress has a name but I’m not going to share it—yet. More than a name it’s got 80,000 plus words over 11 chapters, words that are being hammered into readable shape, and setting into something I’m reasonably happy with.

I am confident in saying it will be published next year. If not by a traditional publisher, then by me. 

I’m experiencing the same phenomenon as with Flame and Crimson. The first draft did not come out in a rush (writing is not easy) but it came out, with a beginning, middle, and end, following a detailed outline I put together in the fall of 2022. 

Then I put down the draft, read it … and cringed. Did I forget how to write? Apparently.

On to round two. Ripping out an entire chapter, sections of others. Wholesale rewrites, and additions.

Then round three.

This wave of edits is finally resulting in headway. Despair is turning to hope as I hammer on the raw material and find some gold. Or at least ingots of copper and silver.

This is a far more difficult book to write than Flame and Crimson. That required a great deal of research and academic rigor, far more than the WIP, but the struggle with memoir is telling a compelling story. Not quite what you’d do with a novel, but it relies on some amount of novelistic technique. Scenes, and dialogue, and interior observation. Deciding what is important to the reader vs. what was important to me. It also requires raw honesty of a very personal sort.

To be clear, this is book is most definitely not a history of heavy metal. Those are legion, written by authors far more knowledgeable about and closer to that wild and interesting subject than I. This is my story, of the prime years of my life from teenager-dom to adulthood, written in the context and against the backdrop of heavy metal. It has metal history and observations in it, but filtered through my unique experiences, which form the basis of the work. 

Will anyone find this interesting? Will anyone read it? I don’t know. I do know I had no choice but to write it. 

I believe it is worth committing to paper, if only for my own sake. I believe anyone who has lived a full life has a memoir inside to share. The process of writing it has been cathartic. It involves joy, and pain, revisiting old memories and opening some old wounds. 

It’s intensely personal, loud and dumb. It’s also a blueprint for how I improved my life and how a reader might theoretically improve his or her own. 

I am riven with self-doubt about its viability as art or commerce but that’s par for the course. 

I hope anyone who follows this blog and has enjoyed my ramblings over the years might consider picking it up. I don’t believe you have to be a metal fan to appreciate its message.

Flame and Crimson

Flame and Crimson had a solid 4-5 year run with a lot of chatter, reviews, and even an award from the Robert E. Howard Foundation. It finally seems to be receding into the past, which is fine. Most who know S&S have encountered it in some way, shape, or form.

I remain immensely proud of the book. And I continue to get praise, which never fails to move me.

For the curious Flame and Crimson has a joint 274 reviews across Goodreads and Amazon, averaging 4.6 stars on the latter and 4.2 on the former. Most readers seem to have enjoyed it, both as a scholarly work that added some critical rigor to the subgenre, and as a compelling read. That was the goal.

I believe at some point I will do an expanded second edition. But no immediate plans on that front.

Reading

I’ve read 40 books to date. Not bad, but again will fall short of my annual goal of 52 books (one/week). Which I almost never meet. Life gets in the way, as I’m mostly glad is the case. I live a pretty good, full life.

After The Fall of Arthur I’m feeling like it’s time for another delve into Tolkien—The Hobbit, The Lord of the Rings, The Silmarillion, maybe some volumes of HOME or some of the criticism. I’ve read enough to know that Tolkien will never be surpassed by any other fantasy author, living or dead. So I keep returning to him. Arthur has whetted my appetite.

Here's what I’ve read to date.

1. The Saga of Swain the Viking: Volume 1: Swain’s Vengeance, Arthur D. Howden Smith (finished 1/7)

2. Excalibur, Bernard Cornwell (finished 1/15)

3. Conan the Barbarian: The Official Story of the Film, John Walsh (finished 1/18)

4. Death Dealer 3: Tooth and Claw, James Silke (finished 1/23)

5. Misfit, Gary Gulman (finished 1/29)

6. Shimmering Images: A Handy Little Guide to Writing Memoir, Lisa Dale Norton (finished 1/31)

7. The Shadow of Vengeance, Scott Oden (finished 2/2)

8. From the Heart of Darkness, David Drake (finished 2/11)

9. Art of Memoir, Mary Karr (finished 2/25)

10. Surprised by Joy, C.S. Lewis (finished 3/3)

11. The Long Game, Dorie Clark (finished 3/9)

12. Bulfinch’s Mythology, Thomas Bulfinch (finished 3/24)

13. Game Wizards: The Epic Battle for Dungeons and Dragons, Jon Peterson (finished 4/2)

14. Silk Road Centurion, Scott Forbes Crawford (finished 4/28)

15. Twisted Business, Jay Jay French (finished 5/8)

16. In a Lonely Place, Karl Edward Wagner (finished 5/14)

17. Eaters of the Dead, Michael Crichton (finished 5/30)

18. The Vikings, The Seafarers series, Time Life Books (finished 6/8)

19. Tain, Gregory Frost (finished 6/19)

20. Into the Void, Geezer Butler (finished 6/30)

21. The Craft of Revision, Donald M. Murray (finished 7/2)

22. Tehanu, Ursula LeGuin (finished 7/9)

23. Treasure Island, Robert Louis Stevenson (finished 7/13)

24. Beowulf and Other Old English Poems, translated by Constance B. Hieatt (finished 7/19)

25. Deliverance, James Dickey (finished 7/28)

26. A Grief Observed, C.S. Lewis (finished 8/5)

27. Hither Came Conan, Rogue Blades Foundation (finished 8/18)

28. Somewhere in Germany, Mark LaPointe (finished 8/20)

29. Weird Tales of Modernity, Jason Ray Carney (finished 9/2)

30. Neither Beg Nor Yield, Jason Waltz editor (finished 9/16)

31. Fire-Hunter, Jim Kjelgaard (finished 9/22)

32. Bloodcurdling Tales of Horror and the Macabre, HP Lovecraft (finished 10/7)

33. My Effing Life, Geddy Lee (finished 10/9)

34. The Shining, Stephen King (finished 10/22)

35. The 6% Club, Michelle Rozen (finished 11/4)

36. Mustaine: A Heavy Metal Memoir, Dave Mustaine (finished 11/5)

37. Freedom, Sebastian Junger (finished 11/9)

38. Immaculate Scoundrels, John Fultz (finished 11/20)

39. The Last Celt, Glenn Lord (finished 11/26)

40. The Fall of Arthur, JRR Tolkien (finished 12/2)

Season of the Witch, Grave Digger

Grave Digger... a legendary band with whom I was only lightly acquainted until I saw them open for Blind Guardian circa 2017. I very much enjoyed what I saw, prompting me to explore a bit more of their back catalog. Including this week's selection for Metal Friday.

No frills on "Season of the Witch." Atmospheric opening, a nicely building song with a great guitar tone, heavy, with a wonderful little chorus supported by excellent backing vocals. Given the subject matter of the song I suppose I should have slotted this into October.

Observation: These German power metal bands (Edguy, I'm looking at you) have slightly off-beat lyrics, occasionally non-sequitur, betraying English as a second language. Its slightly word salad and generic fantasy, but nevertheless carried along by the wonderful instrumentation and a powerful vocal performance. Enjoy.