Welcome to the field, ripe fruits.
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| What is the meaning of the stones? Why do they stand alone? |
Put down your roots and grow here,
Wither and enrich our soil.
Spill your seeds in the delirium of battle.
Alone, here stands Ulster
Against all of golden Eriu, allied—
A division to outlast you.
It pleases us, your offer to pour out your blood
While your fundament fails,
Fertilizing your grave,
And we, ravens, pluck the savory, sightless eyes.
--Gregory Frost, Tain
The ancient Irish were badasses (as are some of the moderns, I know of one Murphy who will soon bloody your lip as buy you a Guinness). As Britain’s kingdoms fell one by one to Viking raiders until Alfred stood alone, the Norsemen were never able to break the men of Ulster. See April 23, 1014 and Clontarf.
When your national mythology is built on the likes of Cu Chulainn, warfare is in your blood.
But Ireland was also riven by internal strife. The same clannish fierceness that made the Celts resistant to Viking incursions turned on itself with petty squabbles and bloody feuds. All the way back to great conflicts fought between the legendary Firbolg and the godlike Tuatha De Danann.
To be honest, my knowledge of Irish Celtic mythology suffers next to classical Greek/Roman and Norse (half of it probably derives from AD&D's Deities and Demigods). But in my defense the Celts don’t have the same well-known body of rich literature as The Elder Edda or The Norse Sagas, or The Iliad, The Odyssey or Ovid’s Metamorphoses. Even Bulfinch’s Mythology, which spends most its page count on Greek and Roman stories, opts to cover Anglo-Saxon myths including tales of Old King Arthur, leaving the Irish cupboard bare.
Thank goodness for Gregory Frost’s Tain, which brings the old stories to life in an unforgettable way.
Deuce Richardson sent me a copy of this somewhat obscure 1986 title (Ace Fantasy, I believe just one printing though it’s now an ebook). And damn, I’m glad he did. It was an excellent read.
Frost breathes life into these old—very old--stories. That’s a bit of a clichéd phrase but apt in this instance. Tain is a book not of dry or distant myths but bright blood and lust and vengeance and humor and cutting wit, told with a compelling modern style.
The women in this book… wow. Certainly three dimensional—lusty, prideful, headstrong, tough, ambitious, ruthless--just like their male counterparts, if not more so. The conflict and subsequent carnage stems from a pissing contest between Maeve, Queen of Connacht, and her husband Ailell. Maeve counts up her possessions against Ailell’s and finds them in balance—save that his herd includes the mystical blood red bull Finnbennach. To rectify this unforgivable sleight she orders a cattle raid on Ulster to steal Finnennach’s equal, the dark bull Donn. The army musters and marches. Standing in their way is the great hero Cu Chulainn, who holds a delaying action until the Ulstermen can get their shit together.
Adding further intrigue and a compelling love triangle is the hero Fergus mac Roich, who is openly sleeping with Maeve (she never turns a warrior away from her bed). Maeve’s advances grow so brazen that Ailell has no choice but to unman Fergus by stealing his legendary sword Leochain (there are many double entendres in this book, a sword is not just a sword, is it?)
Tain dips even further back into Celtic mythology with retellings of the tragedy of the impossibly beautiful Derdriu, the tale of the pigkeepers Friuch and Rucht, and the legend of the Amazon Queen Nessa. Frost connects these disparate stories with an interesting framing sequence: A creature of the faerie folk, Laeg of the Sidhe, emerges from a magic cauldron to show the old stories to the boy Senchan. The two wander through these great events as phantom observers with Laeg providing interpretation and light guidance. This was perhaps a slight weakness of the book but it does the job.
Tain is ripe with atmosphere and brings the Emerald Isle to life. We’re introduced to Cromlechs and sacrifices and torcs and all the cool trappings of the era. The Celtic Triple Goddess of war, fate, and death, the Morrigan--Morrigu, Badb, and Nemain—make a startling appearance on the battlefield. Druids also play a memorable and prominent role, bestowing geases with irresistible effect.
The heart of the book is the cattle raid, which is based on the single surviving example of Irish Celtic epic, the Tain Bo Cuailnge. Cu Chulainn is revealed as one of the great all-time heroes of his or any age, with feats of arms and battle prowess second to none. Codes of combat require that one Connacht hero challenge him at a time, and Cu Chulainn cuts them down like wheat, lopping off heads unnumbered until he encounters his near equal in a shallow river duel… but I won’t spoil it or the wonderous exploits therein. Go read Tain if you can find a copy.
I like movies. I really do. Need I say this?
I mean, not liking movies is akin to not liking ice cream. It’s un-American. Heck, it’s inhuman.
I’ve posted numerous reviews of my favorite films. I seem to have a sweet spot for the early 80s, the likes of Blade Runner and Terminator and Excalibur and The Road Warrior (throw in Raiders and the Goonies for good measure). But I watch and enjoy new films too.
Now that I’ve paid my homage to celluloid, I’m not particularly fond of the fetishization of film by lovers of classic characters and IP. The incessant cry of, “this is such an awesome character, but when are we ever going to get the movie!”
Let’s take Conan. We have the amazing Robert E. Howard stories. We’ve got shit-tons of terrific comics, including great new material today from Titan. Pastiche novels. Even a loosely adapted but nevertheless magnificent 1982 film. So when I hear the incessant, when are we going to get a real Robert E. Howard film. We need one! It cheapens what has been done already. Just a bit, and IMO.
But you don’t understand Brian, we need a proper Conan film.
Why? Why do we need one?
I just don’t have the same hand-wringing urgency to get a movie made.
Here’s my question to the people I can feel protesting this post.
When was the last time you said, “that was an AWESOME movie… they really need to write the novelization! Like, now!”
The answer is… never.
Seriously, when was the last time you ever heard ANYONE say, “I love Furiosa… when is George Miller going to get an author to write the novel? That’s what we really need.”
I’ll wait.
When you always want “the movie” you are signifying an artistic hierarchy, one that places movies at the top and television in the middle (“it needs to be made into a Netflix miniseries!”) and poor old books at the bottom—perhaps just above static paintings or digital art.
Captain obvious incoming, but films and books are different mediums. Which means they do some things better than the other.
Films have many inherent advantages over books. The visuals are obvious. But also, sound. The wonderful dialogue, pregnant pauses and raised voices that convey additional levels of meaning are very hard to replicate in a book. And also, wonderful scores. Seriously, just hearing John Williams’ opening theme from Jaws immediately sends hackles up my spine and makes me nervous even when I’m in the neighbor’s swimming pool.
It’s awesome. Books can’t do this.
This combination of gorgeous visuals and stunning sound sweep us up, and make a great movie in an IMAX theater a thing of beauty. An event that I’m glad we have. Did I mention I love movies? I was blown away by Maverick and 1917 and of course The Lord of the Rings (though the book is better).
But books have their own distinct advantages too—advantages even over film. Like character interiority. This is very hard to do in a film, without awkward voiceovers.
Unbridled imagination is another. Film budgets and run times reign in possibility. Because budgets are an issue, the sprawling sweep of a book must be a dramatized compression on the screen. And thus worlds feel smaller than in the book. The Lord of the Rings is a prime example. I love the films, but Middle-Earth isn’t as big, or as grand, as Tolkien's vision.
The third is the unknown—HP Lovecraft can describe something awful beyond our imagination by not showing it. In film, which is purely visual, something must be shown. And it’s rarely as good as our imagination.
But the most important is artistic integrity.
Because movies are made by hundreds if not thousands of people, and because they cost so much, many fingers must touch the final product—including studio executives hungry for a return on their big investment, and their shareholders. Which means, compromises are made.
An author with a single artistic vision has inherent advantages, if they are talented and that vision is true and powerful. As a result books tend to have sharper edges and brighter colors.
I mean does anyone think we’d actually get an accurate “Red Nails” or “The Man-Eaters of Zamboula”? I don’t.
Even if homemade movies made on the cheap but well, by some guy in a basement with cutting-edge AI and a computer render some of these arguments invalid, the underlying principle remains: Books do some things better than film. Which means there are novels that will always, from now until the sun turns cold and dark and burns out altogether in the far-flung future, be better than any movie adaptation.
OK, we do need a Dying Earth movie.
But if we don’t get one? It’s OK.
The world will keep spinning.
We’ve already got Vance’s book … and the book is better.
I found out last night that Eternal Champion bass player Brad Raub passed away, just 36 years old.
So on this Metal Friday I honor his memory with “Worms of the Earth,” off their wonderful album Ravening Iron. With its spectacular Ken Kelly album cover (now THAT would be an amazing original to hang on my man cave wall).
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| Beyond badass. |
Still feeling my way out with this band but I’m really starting to dig Ravening Iron. "Worms of the Earth" should be a hit with any red-blooded sword-and-sorcery/Robert E. Howard/Bran Mak Morn fan. Here’s a sample of the lyrics, which are basically a faithful retelling of the tale:
Upon a Roman cross there hangs a man I cannot save
For this, Rome will have to pay
I must find the door to ebon depths where they degenerate
There's nothing I would spare to see Rome howl in pain
Eyes like golden stars shining in the dark
In Dagon's Barrow I will take the stone they must obey
The King of Picts has forced his claim
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| One of the all-time greats in visual adaptation. Fight me if you think otherwise. |
The King of Picts has forced his claim... he certainly did. Love that.
I can’t express how glad I am to see a band like Eternal Champion lend their own artistic interpretation to REH. We’ve got pastiche novels, visual artists, comic adaptations, gaming supplements, and now heavy metal bands, all keeping Howard alive with their own inspiring visions of the greatest sword-and-sorcery author who ever lived.
Raub added his own verse to that roll-call, no doubt.
Rest in peace brother.
In my professional life I serve a profession called medical coding. No need to look it up; it’s quite niche and rather impenetrable to the outsider, though very important to the quality and financial health of hospitals.
I hear complaints all the time from medical coders about the difficulty of the work, and proposed fixes that would make everything better.
“If only the doctors would document acute systolic heart failure!” “If only the official coding guidelines were clearer about which diagnosis to report as principal!” “If only the insurance companies and hospitals could all agree on the definition of sepsis…
… then all our problems would go away!”
I don’t blame them for lodging these complaints, or for wanting fixes.
But what they don’t realize is they’d be replacing their day-to-day problems with a much bigger problem. Removing all the hard things would cost them their jobs. Because medical coding could be safely automated away.
And it would also cost them part of their life’s purpose, and stunt their development toward becoming an actualized human being.
I agree that their work is complex and often quite frustrating. Byzantine and possibly overly and needlessly complex in some aspects.
In need of some fixes.
But in general I see things with a different lens.
These “problems” are a good thing. Hard is a good thing.
Coding is not only a well-paying career, but for many actually meaningful too. Granted not for all; many consider medical coding, clinical documentation integrity and other like/adjacent professions (trauma/oncology registry, for example) mere work. They’d rather be doing something else, they work for the money and for the weekend.
But others have launched meaningful careers, made lifelong personal and professional relationships, in this line of work. Grew as people, became better versions of themselves, through the struggle of mastering their profession.
As have I.
What happens if it all goes away? And the machines take the work?
You might say, this is just how the world is, and how professions evolve. One line of work is replaced by another, displaced by technology. Some “optimists” argue: We can now spend our time doing more meaningful work instead of these lower-order tasks.
There is some truth to this, but this line of reasoning falls apart when entire human skillsets are outsourced to machines.
Let’s use the example of something more meaningful to readers of this blog: Writing and the visual arts.
If I just enter a series of prompts, and then prompt the AI for additional clarity, and publish a book in a weekend, this is not a meaningful achievement. If I can summon Dall-e to create an image, I did not create the art, the machine did.
You put in no sweat equity worthy of celebration. Had no stumbles, and failures, and doubts, and anxieties that, when you finally overcame them and published the work, made it your crowning achievement. Regardless of whether you ever sold a copy you did something amazing.
You created something and did something hard. You.
We need to do hard stuff.
Doing hard work will disproportionately reward people with greater ability. This leads to inequity … but that’s the way it has to be.
We don’t need to spend all our waking hours doing hard things (I would not be opposed to a four day workweek, for example). Nor am I calling for an end to technological development. Some jobs will inevitably be eliminated by labor saving technology. We don’t need to return to the good old days of horse-drawn wagons and polio.
If we could replace meaninglessly hard work, I’d be in favor of any such labor-saving device. I’m sure the suffering laborer would too.
But no one seems to have a plan for a world post work. Or far more frighteningly, life without difficulty. No one has addressed the fundamental underlying truth that doing hard things is good for us.
There is no intellectual I’m aware of who has painted a compelling--let alone non-dystopic and sane—picture of what a post-scarcity society would look like, and what it would mean for human flourishing. Could we still create believable, heartfelt art without any relationship to struggle? If we didn’t even know what struggle was, because everything was easy, available with the push of a button?
I would not call such a society a utopia, but a terrible dystopia.
The most beautiful human art is about struggle, and loss, and sometimes overcoming it. Even if the victory is only temporary.
Without anything hard to do, we’ll all be eating soma.
