Tag Archives: Fantasy

Grimdark

So I’ve basically played the role of a vaguely interested observer in all this, but something Joe Abercrombie tweeted today – a piece by Daniel Abraham in Clarkesworld – has finally motivated to reach into my proverbial pockets and draw out two-cents, which I now humbly submit to the debate.

As Abraham notes the moniker “Grimdark”  is taken from Warhammer 40,000 (affectionately known as 40k). I played the game as a young fella. I had my armies (Eldar predominantly, but I did put a bit of an Orc Horde together and was compiling some Imperial Guard when I gave it all away. The miniatures  including some incredibly carefully and poorly painted Banshees and Scorpions, were sadly lost in a house-fire) and would spend long afternoons plotting the fractional m, movements required for victory or poring over a codex seeking some tactical advantage. I didn’t get too much into the surrounding mythology of the 40k universe, but it grew exponentially whilst I played and subsequently. I am aware now that entire novel series are devoted to the expanded universe, in much the same way you’ll find with Star Wars and Dragonlance and such.

I am familiar with the line from which “Grimdark” apparently comes: In the grim darkness of the future there is only war.

Two of my favourite modern Fantasy authors (Abercrombie and Richard K Morgan) have been labelled as writing Grimdark, as well as Mark Lawrence,  an author highly recommended to me and near the top of my to-read list (after I finally finish Red Country, which I am powering through at amazing pace). Judging by Abercrombie’s thoughtful response, and Richard Morgan’s, neither of them are thrilled at the assignation (though Joe seems to have embraced it with his twitter handle), but more on that latter.

Mark Lawrence’s response basically summed up my own, but seeing as we’ve made it this far, let’s unpack it a bit.

Genre is a fraught concept. At its best it’s a useful framework for understanding tropes and narrative archetypes, at its worst it’s a cage, a ghetto, a straight-jacket. Mieville’s reference to Tolkein as the “Big Oedipal Daddy” of Fantasy is perhaps a starting point in identifying how the Fantasy genre came to be seen both from within, and from without. Fantasy was escapism for nerds. It was largely derivative to it’s progenitor (and “Author of the Century” no less) and it operated within variations of his British agrarian idyll being threatened by malevolent forces.

Arguably this continued until recently, arguably very recently, arguably it continues still. Many would point (as Abraham does) to Thomas Covenant, and fair enough. Others would point to George RR Martin, whose Game of Thrones was published in 1991 and featured many of the traits now assigned to Grimdark: the amorality, the incest, the rape (so much rape, so casually put to the page), the murders, the attempted (and successful) infanticides, regicide, ultimately (spoiler alert of sorts) the death of the apparent protagonist before the end of the first book.

But Grimdark seems a more modern label than either of these. Perhaps it is the HBO effect and GRRM’s ever-growing fanbase, but even that is older than Grimdark, being in place for two years at least. And so the finger is pointed at Abercrombie (whose First Law books were published in 06,07 and 08), Mark Lawrence (Broken Empire 2011, 2012…), and Richard K Morgan (A Land Fit For Heroes 08, 10…).

Morgan is particularly interesting, because it’s his Fantasy books that see him labelled as Grimdark, but his previous series (published between 2002 and 2005 and focussed on Takeshi Kovacs) wears a label of sci-fi/noir. As Morgan himself points out it is the elements of Noir that he brings to Fantasy which are most likely what is used to label his work Grimdark. The Kovacs novels have been credited with reviving Cyberpunk (the genre spawned, or at least identified, by William Gibson‘s Neuromancer) by grafting “the Gibsonian subgenre” back onto pulp fiction, and I think particularly in this Noir Pulp. It’s a link Abraham makes as well in his Clarkesworld piece, though by Abraham’s distinction I personally see Kovacs as more Hard-boiled than Noir. Kovacs does make moral decisions that go against his self-interest, the difference perhaps is that Morgan makes his protagonist pay the cost of those decisions. Kovacs gets no free pass for having done, or having tried to do, the “right thing”.

Likewise with Abercrombie’s flawed “heroes”.  Logen Ninefingers has a past he wants to escape, but he can’t. In much the same way as Morgan’s protagonist Ringil Eskiath (who shares a name with a Tolkeinian sword), Ninefingers isn’t given the freedom to just put aside the consequences of his past acts. He wants to be a better person, but it’s not going to be easy to change, and will be harder still to convince others of the change. Shivers suffers even more-so. The change in the Northmen is pronounced, from when we first meet him during the final stages of the First Law, through his Styrian experience and his final, decisive, blow in The Heroes. It is not a change for the better. And yet it is a change we, as readers, can understand, perhaps even sympathise with. Is it enough to mean well, even if your actions bring ill consequences? Can we redeem our wrongs by good acts? Would I not too struggle to maintain the finer parts of myself if I had suffered as he suffered? I think these are essential questions for readers of this sub-genre, whatever we decide it should be called. I think these are essential questions for readers of all literature. Especially that last one.

Is it not this question that we ask ourself as Casablanca ends? Would I send the woman I love away, on a plane with another man? Would I risk something of myself for others, even if there was little hope of personal gain and a genuine risk of personal suffering?
When Harry Lime, atop the ferris-wheel in The Third Man, asks how much money it would be worth for one of those specks to simply stop moving, are we not being asked how much we value human life? and being challenged to explain that value, or at least to respond in some way to a character who values it little at all?

Certainly in gritty stories, in amoral characters – or just overly pragmatic ones – we are challenged. I enjoy as a reader that I am. I enjoy as a writer exploring those questions and developing ways in which I can use characters to provide different perspectives on these questions and others like them.

The problem then with Grimdark is that it is used so often pejoratively, and often by those who are seeking to define what they dislike about a certain type of story. Abraham sub-titles his piece “Literatures of Despair” – a phrase he explains, but which I don’t accept. Morgan’s response dialogue is telling. The complaints (of the straw man) become ones of taste and of subjectivity. Some blood, but not too much. Some danger posed to the protagonist, but don’t kill him. Some hint of the enemy being evil, but no rapes or torture. A little military-based murder is ok, but no gore please.

I think allowing anyone, even a readership, to define a genre in such a way, to set up boundaries and borders in which writers should (or must operate), is a stultifying influence. Even more so if those arbitrary borders are then policed by self-appointed guardians, wielding indignation and harking back to a supposed Glorious Age.

If Grimdark is Noir come to the Fantasy worlds then it is no new thing. Indeed it’s taken a generation or two to move from the mainstream into Fantasy. In 1991 Silence of the Lambs swept the Oscars:  Best Adapted Screenplay, Best Director, Best Actress, Best Actor, Best Picture. The cinema-going audience were ready for a story in which the secondary character, an advisor to the FBI (and thus in some way on the side of the ‘good guys’ even if reluctantly) was a cannibal serial-killer. Lector’s escape was celebrated, anticipated not as a defeat of the ‘good’ but as a victory for a character with whom the audience had become fascinated.

On television we watch Dexter, the serial-killer with a ‘Dark Passenger’ and a mission, and hope he doesn’t get caught. We admire Omar Little, a man we have witnessed murder and steal. We hope that Walter White can keep cooking and distributing crystal-meth, because doing so doesn’t make him a bad guy… not exactly… kind of… I don’t know. And that’s the point. These characters are fascinating and exciting and wonderful precisely because I can’t answer that question.

Is it any wonder the audience of modern Fantasy is ready for similar characters? Is it not a good thing that I started questioning why I should still be barracking for Monza to get her revenge, that I should question whether the world wouldn’t be better off if the ‘bad guy’ had’ve just killed her off in chapter one? I want characters who are flawed, who make mistakes, who do things I would never do, who suffer in ways I hope never to suffer. If it serves the story put those guys through the wringer. Carve them up, piece-by-piece, and let’s examine what’s left at the core of them.

All of that’s fine. All of that means that I – now only two chapters into Red Country – honestly don’t know if I want Shy South to catch up to the bandits who took her brothers or not… and surely that uncertainty, that hesitancy, surely that’s a powerful narrative force.


On Cover Art and the Judging of Books Thereby…

At last year’s Genrecon one of the undoubted highlights was a snark presentation of covers given by Sarah Wendell of Smart Bitches, Trashy Books. Of course her particular focus was the Romance novels, an easy target perhaps for snarking, what with Fabio and man-titties (as opposed to man-boobs) and various other such tropes. It came to me though that Fantasy was as easily lampooned, the Hooded man, the enthroned King, the busty and poorly armoured warrior woman.

Covers are vitally important, despite the old adage that does not bear repeating. Perhaps in the ebook market this is less true, as opening a new ebook usually will take you to page one rather than to a cover, but with the flood of product a good cover is still an effective way to draw clicks to your Goodreads, or Amazon, or Kindle store presence.

I was surprised to hear from published authors how little control they had over the covers with which their novels appeared. I did here some anecdotes of cover artists communicating with the author, or perhaps even reading the book, but these were told as exceptions, remarkable precisely because they were not the rule. In some cases the author hated the cover which the publishers used.

Some years ago my sister recommended a book to me:

A-Game-Of-Thrones-George-RR-Martin-Book-Cover

This is (I think) the 1997 edition.

On the back cover, below the blurb, there’s an image of a white wolf running through the snow.

Here, I thought, is everything I hated about Fantasy.

The swordsman in black, the black warhorse, the snowy castle, the raven…

Could these images look more hackneyed and clichéd?

It looked terrible.

I read a chapter or so in case she asked me about it, then it was shelved.

Some years later I found this book in a book store:

AGoT_UK_Current

This is the 2003 edition under the Voyager imprint.

There’s a few extra endorsements, as over the intervening years and sequels Mr. Martin’s work had gathered a following and some rave reviews, but they’re mostly the same.

The blurb is much better on this than on the original, and I’m certain that that played a role in my selecting it too.

I bought it and began reading it without ever making the connection to the book my sister had given me.

It was only when I was several chapters into the book, and hooked, that I started to make connections with the earlier book I had shelved (or in fact, by that time, boxed-up and stored under the stairs).

For five years I had ignored a great Fantasy novel because of its cover.

Another example of a cover leading me to great fiction is Joe Abercrombie’s The Heroes

The-Heroes-HB2front

I had a voucher to a bookstore sent to me as a Christmas gift, and I went in to buy China Mieville’s collection of short stories “Looking for Jake”, but I had some money left over and no real plan so I browsed the shelves.

Abercrombie’s views on maps have been well explained, and he included none in his First Law trilogy (which also have great covers), but this cover (as with the covers for “Best Served Cold” and “Red Country”) manages to convey I think a very real sense of Abercrombie’s world and the style of Fantasy he writes.

I like them far more than the hyper-real close-ups of the US covers.)

I bought it, loved it, and went back through the First Law and “Best Served Cold” in a matter of weeks.

Here’s the jacket of Heroes in all its glory (click the image to enlarge):

The-Heroes-HB_jacket

Recently the author Mark Lawrence responded to some suggestions comparing his cover for King of Thorns to GRRM’s Game of Thrones (specifically the Sean Bean cover that was released to tie-in with the success of the television series)

2013-01-03-book-cover-twins

Lawrence’s response was to refer to similar covers back through the history of genre and still being released:

Conan_the_LiberatorPromise_of_Blood
His point of course is well made. The mere similarity of having your protagonist (if Ned is the protagonist) sitting a throne is as much a part of Fantasy as the heroine swooning in the strong arms of her hunk is a part of Romance.

It’s always tempting of course to judge these covers. Whether they are examples of the best the genre has to offer, or some of the worst covers in the history of literature, there’s no denying their effect. It was suggested that the success of Fifty Shades of Grey in breaking beyond the Erotic Fiction market and into the mainstream was (in part) because it didn’t look like a typical Erotica cover.

It’s also worth acknowledging that the covers do not always reflect or represent the novel in the way the author would wish though, so in the interest of dispelling that hoary old cliche and admitting that of course we all do judge books in this way I invite you in the comments to nominate others.

What covers have made you pick up a book you went on to love?

What covers have drawn you to a book that you hated?

What covers have chased you screaming away swearing never to inflict such rubbish upon yourself… at least until they repackage it?


Gender, History and Fantasy

This one’s a multi-headed beast, so bear with me.

I guess this has been percolating away since I read The Mary Sue article  exposing James Gunn’s misogyny and homphobia. I’ve gotta say it took a lot of the shine off the Guardians of the Galaxy announcement.

Then I became aware of The Hawkeye Initiative on Tumblr, which does a disturbingly good job of depicting the inherent problems with the portrayal of female superheroes (and villains) as objects posing sexily (in impractical outfits).

I’ve been trying to sort out my thoughts on the matter and apply them to the world of Fantasy Fiction… but then Tansy Raynor Roberts up and does a better job than I could have done in her blogpost picked up by Tor.com.

At the same time(ish) Cracked.com publishes Luke McKinney’s article about the ridiculousness of calling out fangirls.

So I’m left with little to say, having to follow in the footsteps of those who have said it so well already. But when has that ever stopped me having my say?

In my own work I thought I had drafted a strong female character. She was a POV character (in a novel with several POV characters) and she was smart and independent and strong. The reader would have known this because I attached these adjectives to her repeatedly. I did this while she was pushed through a narrative in which she showed almost no agency, made no meaningful decisions for herself, was considered (by a patriarchal culture) to be superfluous, and appeared in scenes where women discussed what men did. But she was sassy. And I did several times describe her as strong, independent and smart.

The reviews from my test-readers (and one in particular) forced me to sit back and look, really look, at what I had written for her. I didn’t like what I saw. So changes were made and I believe there has been much improvement. I have also given another character gender re-assignment, and this has been one of my personal favourite improvements in the rewriting.

Ellen Ripley was, in an early draft, a male. (S)He was to be the ship’s security officer (an obviously male role on the ship) and would probably have been cast by an athletic, muscled square jawed type, who would have killed the Alien and survived (with or without the grey panties – damn you Hawkeye! Must you ruin everything?) to fight another day. And the film wouldn’t have been terrible, but I doubt it would have been as good. It certainly wouldn’t have featured in articles in The Guardian celebrating the 30th anniversary of the ‘first action heroine’.
Why does Ripley endure so long after the two Alien films were made? (There were only two weren’t there – I’m pretty sure that’s right) I believe it’s because she wasn’t written as a gender stereotype. She’s a woman, but she’s not defined by that, and nor is she the pendulum reaction of Velasquez in Aliens (who is one of my favourite characters, but in many ways just a different stereotype).

The film Salt is forgettable (I’m not even sure I’ve seen the whole thing, I’ve seen bits), but it is interesting for the fact that the central character was written as a man. Tom Cruise was meant for the role, but withdrew because it was too close to his MI character of Ethan Hunt. At the same time Angelina Jolie was determined that she didn’t want to be a Bond girl – she wanted to be Bond. So a chance came up for her to be the action hero. Contracts were signed, but the deadlines were looming and there wasn’t time for a full re-write. They started shooting with the script for a male Salt and a few shifted pronouns (they did manage to take Salt’s children away from him/her – because while it’s ok for a father to risk his life as a CIA Agent fighting Russians a mother would never do such a thing – so it’s not perfect). The outcome is a film in which the character is played by a female, but not saddled with the gender stereotypes that are written for Strong Female Protagonists. (and some confusing scenes where a rake thin Angelina overpowers goons with brute force).

I met Tansy RR at Genrecon recently (in the sense that I nervously said hello once or twice and joined in a conversation with about ten people – of which she was one). Her take on history is fantastic – and backed up by an impressive academic resume. If history is sexist, so be it. That doesn’t mean there wasn’t stories in which women played important roles. Hell, that doesn’t mean there weren’t women playing important roles in every story. It just means they were ignored. To take that fact and use it to justify continuing to ignore them is reflexive… and just straight-up dumb.

But even if we take patriarchal history as a basis, why should that apply to Fantasy? When Joe Abercrombie spoke at Genrecon he described his work as ‘Realistic Fantasy’ and admitted the concept sounded silly. I was relieved – I’ve been trying to define my own writing for some time now and I kept coming back to ‘Realistic Fantasy’ and getting caught in the oxymoron. The point is that as realistic as we want it to be its still our world to build. If Joe can be inspired by history and then have a character using magic spells to defeat his enemies then why is having a powerful woman going to break the story. How could a reader complain that women have too prominent a role on the basis of history, and yet happily accept the wizards?

And don’t think it doesn’t happen. Some readers make this complaint. It’s ignorant on two counts:

1. History is full of women doing cool stuff that could be the basis of Fantasy novels.

I’ll skip Cleopatra and move straight on to Lucretia, Cornelia, Vibia Sabina, Boadicea, Eleanor of Aquitaine, Empress Theodora, Catherine II of Russia, Queen Elizabeth the First! – and that’s just Western Europe. A quick googling will open up possible tales inspired by Hatshpsut (a female Pharaoh) or Empress Wu Zetian. Hell, tell Penelope’s story. Sure she’s just waiting at home for Odysseus, entertaining courtiers, but surely there’s an interesting tale to be told there. Tell the story of Queen Gorgo – just not one where she gets boned by Jimmy McNulty.

2. It’s Fantasy.

History might have cast women in certain roles, but the history of my fictional world has not – or more accurately it has cast them in different roles. And even if it’s a misogynist fictional world with a patriarchal hegemony, good fiction will come from the conflict of putting a powerful woman in there. How will she cope? How will society cope? What cracks will emerge? What conflicts? Will she be defeated? Forced into submission? Will the power structures shift, compromise? Will she inspire a revolution? This is what drives narrative. This is what makes it a fictional story worth the reading.

I’ll leave the last word to Scott Lynch, who here responds to complaints about one of the female characters in his second ‘Gentleman Bastard’ novel Red Seas under Red Skies.

Comment, criticise, condemn, condone, as you will.

Or debate me face-to-digital-face / pat my back on twitter @jmichaelmelican


Genrecon Australia 2012

Last weekend I went to the inaugural Australian Genrecon and I have to say WOW! What an excellent decision that was. Yay me!

Of course the real congratulations should go to the likes of Peter M BallMeg Vann, and the ninja team from Queensland Writers’ Centre. What a magnificent event they organised and managed!

This was my first ever convention, and I have to admit I had no real idea what to expect (or what I was doing). I read a few tips. Chuck Wendig’s were pretty helpful. A lot of common sense of course but a good guide nonetheless. (He was also quoted in a panel by P M Newton: ‘Plot is Soylent Green’)

The other massive help was Twitter. I was flying basically solo… I knew a couple of people from online interactions, but only one person I’d met face-to-face. So when I walked in to the opening function on Friday night it was a massive relief to start recognising some twitter handles on name tags.

One face I did recognise was International guest of honour Joe Abercrombie. He was surrounded, and congenial and charming and gracious and relaxed and just a wonderful international guest. Full credit to him.

I managed to spark up a chat with Ginger Clark, about whom I knew enough from twitter to give me some icebreakers. We discussed zoos and Australian fauna and Sandy and suddenly the crushing weight of Curtis Brown NY was lifted a little. She’s really a nice person and I had a lot less fear for my Sunday pitch.

The adults only panel was excellent. Good natured and great fun. I worried that I had made a fool of myself in a discussion of the C-bomb, but everyone was great. I’d never considered the difficulty romance writers had choosing between descriptions which were either twee or coarse.

Afterwards I met some great Romance writers who were kind enough to explain to me some of the subtleties of their craft and how careers are forged from one’s writing. Thanks to Denise RossettiNikki LoganAnna Campbell and Alexis (sorry Alexis – I forgot your surname).

I’m on the right, with idiot grin!

Saturday morning was a great highlight. I was running a little late, stopped in for a quick toast and a take-away coffee with the intent of sneaking into a 9am seminar moments late, but Joe was alone at a table, enjoying a pretty good approximation of a full English brekky… what’s a fanboy to do?

Joe was great. We chatted like old pals for nearly an hour. Talked black pudding, Lancaster accents, kids, nappies, travel, Australiana, First Law, Red Country, westerns, my fledgling attempts at a career, Batman as vigilante and Superman as fascist. I got a photo in which I’m grinning like an idiot child on Christmas day.

That an author of his stature should be so welcoming and open, and for him to show such interest in what I was writing, was magnificent and I am so grateful!

The panels were universally excellent. Special mention goes to: Kim Wilkins and her impressive (to me especially) use of Old English; Crime author P M Newton for being so erudite and articulate in the face of Joe Abercrombie’s wise-cracking; Peter Ball and Alex Adsett for their insights into writing as a career; Ginger Clark for her excellent presentation on what an agent does (and how);  the Saturday night Snark from ‘Smart Bitch’ Sarah (Platypus of Doom, Gay Tarot Reading Vampire Were-Roos, Mr Darcy’s horrible secret…); the conversation with Joe Abercrombie (of course).

Thanks also to Peta Freestone and Amie Kaufman for helping me hone my pitch, and to Lindy Cameron of Clan Destine press for her encouraging feedback.

Thanks to everyone who made the weekend so wonderful (especially my wife, who looked after our two boys solo all weekend! How did I get so lucky to have such support?).

It ended with a successful pitch (with a caveat for length) to Ginger Clark and an invitation to submit pages. Could not have hoped for anything more!


The Iron Hills

Like ‘The Green Monkeys‘ and the recently published ‘A Choice of Kings‘ this is set in the same fictional world as my novel ‘Exile‘. In this instance though the time period is about a generation earlier.

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The Iron Hills

Out beyond the palisades, and the ridge of ancient earthen ramparts cut into the hillside, the flat southern fields lay furrowed but unsown. They had been kept fallow through winter, until the Airu moon had risen anew. Then the ploughmen had harnessed up their oxen and set their ploughshares to gouge long wounds into the dirt.

At night, when they returned to the taverns, or to the fire in the market square, they were welcomed and admired. A good ploughman kept his furrows straight and close so that the yield from each man’s strip would be the greater. The ploughmen would sit together and complain each night that the soil was still too hard or, if there had been rains, that it was too soft. They cursed the rocks that hid underground and dulled their ploughs. They would blame the Other Folk, the faeries and gremlins and the mischievous sprites of the fields, for all manner of misfortunes, and then, when the ale had taken its effect, they would laugh and tell tales until the sun was gone from the sky and their sleeping pallets beckoned.

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This is an unpublished Fantasy Short Story complete ate 7,000 words.


On the Literary and Genre

Here a ‘literary author’ (whose work is unfamiliar to me) decries the popularity of ‘genre’.

To summarise:

Edward Docx (has he taken a file extension as a Nom-de-Plume?) has had an initially cheerful, but subsequently less cheerful experience on a recent train ride. Firstly to the positive – everyone was reading. This he hails as a triumph of the novel over the gadgetry and distractions of the modern world. Too soon though his cheer is soured by a realisation that they are all reading Steig Larsson (and presumably none are reading any of his three published ‘literary’ novels). This he bemoans.

Docx makes his targets two of the most successful (read profitable) authors of recent decades. The aforementioned Swede and the American Dan Brown. On the basis of these exemplars he proceeds to rail against the popularity of ‘genre’ (as if these two authors of formulaic thrillers can somehow represent the diversity of all genre fiction). He compares genre fiction to the multinational hamburger chain and Lit-Fic to eel lasagne (I think this is meant as a positive for Lit-Fic).

The problem of course is that these analogies are abject nonsense.

To accuse Brown and Larsson of amateurism is hardly revelatory. That they are populist is demonstrable. That their writing is replete with clichés, unimaginative metaphors, derivative plotting, unenlightened gender politics, naff wordplay and unoriginal formulae… these things can remain undisputed. They are inconsequential to the argument.

What is of consequence is that these writers are not exemplars of ‘genre’ writing. To these authors I could easily add others: E.L.James of ‘Fifty Shades’ fame (infamy) springs quickly to mind, as does Stephanie Meyer and her sparklingly ‘vampiric’ creation. The fallacy here is a classical ‘straw man‘ (or straw woman in my examples). That Literary Fiction should be of surpassing quality to these examples is obvious, but it is no less obvious to me that genre fiction (if indeed there is a coagulant to combine sci-fi, fantasy, crime, romance, thriller, noir, dystopian… into a single category of fiction still somehow distinct from ‘literary’) should not also surpass a standard set so low.

‘Genre Fiction’ is susceptible to the misconception that its success is defined by sales figures, and to some extent this is true of any creative work, be that literary, statuary, musical or acrylic on canvas, but to make this the sole determinant is erroneous, and no less so simply because the work is genre fiction.

To be fair to Docx he does admit that Brown and Larsson are not ‘good genre’ writers, but he never raises any examples of those that are. Where’s his discussion of China Miéville? of Neil Gaiman? even Stephen King, who amid the airport-shelf dross and formulaic horror has written some enduring cultural touchstones – The Shining, Misery, Carrie, The Green Mile, Rita Hayworth and the Shawshank Redemption, The Body (Stand by Me), not to mention the Dark Tower series.

And what of the ‘literary’ authors who write genre? What of Michel Chabon? What of Alan Moore’s Hugo Award winner?  Or Ursula Le Guin’s? What of Cormac McCarthy’s dystopia? or Margaret Atwood’s? And that’s before we begin on Yann Martel or Gabriel Garcia Marquez.

Le Guin herself has written frequently on the ‘false dichotomy’ of literary and genre fiction. Here she responds (brilliantly, and with a zombie) to Ruth Franklin’s review of The Yiddish Policeman’s Union. The implication here seems to be that Chabon has transcended genre because Chabon’s writing is ‘good’. He hasn’t been limited by the constraints of genre… but this is a stifling and rather dated view of genre. I defy anyone to read Perdido St Station or American Gods or The Lies of Lock Lamora and suggest that its genre has curtailed the imagination of either Miéville, Gaiman or Scott Lynch (and of course generally people don’t; generally they declare these works genre-defying, or cross-genre – an ad hoc rescue of their argument that genre confines).

Perhaps the solution is in Ursula Le Guin’s hypothesis that “literature is the extant body of written art. All books belong to it.” That’s not to say that all books are good literature of course, but all are literature (yes, even Twilight).

I went through the Guardian’s 100 greatest Novels of all time and found eighteen (nearly 1/5)  ’literary’ novels that are (secretly or openly) genre fiction (as defined by… me):

Gulliver’s Travels Jonathan Swift:                                                      Fantasy / Alternative World / Satire

Frankenstein Mary Shelley:                                                                    Sci-Fi / Horror

The Count of Monte Christo Alexandre Dumas:                       Adventure / Revenge Thriller.

Alice’s Adventures in Wonderland Lewis Carroll:                  (Children’s) Fantasy

Dr Jekyll and Mr Hyde Robert Louis Stevenson:                          Sci-Fi/Fantasy

The Picture of Dorian Gray Oscar Wilde:                                        Uncanny / Fantasy

The Wind in the Willows Kenneth Grahame:                                  Animist Fantasy

Brave New World Aldous Huxley:                                                          Dystopian Sci-Fi

The Big Sleep Raymond Chandler:                                                          Crime Noir

Nineteen Eighty-Four George Orwell:                                                 Dystopian Sc-Fi

Charlotte’s Web E. B. White:                                                                       Animist Fantasy

The Lord Of The Rings J. R. R. Tolkien:                                               High / Epic Fanatsy

One Hundred Years of Solitude Gabriel Garcia Marquez:          Magical Realism

The New York Trilogy Paul Auster (with which I’m unfamiliar but which is described by The Guardian as a “metaphysical thriller”)

The BFG Roald Dahl:                                                                                          Children’s Fantasy

La Confidential James Ellroy:                                                                     Crime

Wise Children Angela Carter: (with which I’m unfamiliar but which is described by The Guardian as a “Magical Realism”)

Northern Lights Philip Pullman:                                                               Young Adult Fantasy


Published!

My first publishing success story has hit the virtual shelves.

Check out the 2nd issue of ‘Dark Edifice’ magazine for a free dose of emergent Australian Speculative Fiction, including my own contribution: ‘A Choice of Kings’.

It’s a tale of competing obligations, of the difficult decisions that come with power, and of the consequences we must accept if we are to be true to our ideals.

Hope you enjoy it. Feedback most welcomed. Bonus points if you can spot the error which somehow slipped through my rigorous editing… (I hope there’s only one)

http://darkedifice.webs.com/magazine


The Thing in the City (2012)

Somewhere down through the twisting alleys and the narrow streets, down past scrawled and fading graffiti and piled refuse, down between the cracks… a thing grew.

In its beginning it was asomatous. It was a discarnate self, experiencing first the qualia of time, and then of place. It felt the passing of moments. It extended itself into a niche where people rarely went, and in that corner of the city which few knew of, which even fewer cared to visit, there amidst the marginalia of five million stories, it became.

 

********************************************************

This is a Weird Urban Fantasy, complete at 1500 words.


My first publication

I’ve just had my short story “A Choice of Kings” accepted by “Dark Edifice”, a new Australian Speculative Fiction magazine. It’s a non-professional market, but it’s a publication!

Their website is http://darkedifice.webs.com/magazine. Edition #1 is available for free now. My story will be appearing in edition #2 in July or August.

Some of you may have read the story on my blog already but I’ve removed it from there and put a link to Dark Edifice instead.

It’d be great if you could support this new magazine, and in turn support emerging and established Australian writers. They’re also on FB: http://www.facebook.com/DarkEdificeMagazine.

I’m going to to pop some proverbial champagne.


‘Exile’ Prologue Part 2 (excerpt)

This is an early draft from part of the prologue I had planned to my completed novel manuscript titled Exile. The structure of the prologue was to be three short vignettes of related events which affect the main characters but don’t directly involve the main characters.

I’ve posted the first one before. This is the third. I’m going to keep the second up my sleeve. As with the first this too has been cut from the manuscript in its current form as I revise and edit toward a goal of 120,000 – 130,000 words.

******

The village of Grusby had only one inn, and some nights even that one was all but empty. Not tonight. On nights like these it heaved to the joyous strains of bawdy songs and clumsy dancers. Men from the mines had come in to town with raw nuggets to trade and deep thirsts to fill. A shambolic attempt at a minstrel band strummed and stamped in one corner, one man keeping the beat by slapping his meaty palms onto an empty barrel. The press of humanity had opened a circle in the centre of the room; benches and tables had been pushed against the walls and then climbed by grubby children grinning idiot grins through a latticework of crooked teeth. In the centre of the open circle a whip-thin boy who would have seen maybe sixteen summers blushed deep and awkward in ill-fitting clothes. The girl who danced around him was younger still but free; a picture of innocence as she twirled in the traditional circles, following paths that her mother and grandmothers had carved over generations.

The stranger from the capital stood isolated in the crowd. He pressed his tired shoulder-blades against the rough wooden walls and didn’t move more than arm’s length from the barkeep and his tapped barrels. Even as he raised the tired old tankard to his lips he reprimanded himself for drinking. He shouldn’t relax yet, he was north of the Lascon now, nearly home, but nearly was not quite enough. At first he had showed some resistance, when there had still been a sun in the western sky and the inn had been his alone, but the crowd had crashed through the doors like a wave upon the shore and he had been swept along like so much flotsam.

He watched the girl curtsy in that clumsy provincial way, and the boy’s red face lit up with childish delight. He couldn’t help but be drawn along. It was a ceremony far removed from the King’s Court, and the finery here was aged and faded; family heirlooms or relics of long dead ancestors, but it was a betrothal none-the-less, and the father of the bride was generous. No one had asked him his name, and he was glad not to have to give it, but they had clapped him on the back and filled his tankard and when the spitted boar had been brought in from the fire-pit the smell had been irresistible.

He had been in the saddle for over a week to reach this point. He had survived on salted meats, scavenged berries and stolen crops. He couldn’t remember the last time he had tasted ale, or mead, or roasted pork still hot from the coals. He relished the opportunity to have a meal without looking over his shoulder, without waiting for the sounds of pursuit, without suddenly starting up from his food at the slightest sound and reaching for the reins of his horse. Here, ironically surrounded by strangers, he had found himself relaxing; relieved. His full stomach rumbled contentedly and the ale kept sour memories at bay.

The King’s forests on Ile Aux Cerf seemed farther away from this dirty little mining town than the mere miles of road and stretch of sea that lay between them, farther even than the days of travel he had spent. Ile Aux Cerf and and all his past was a lifetime away – a world away. When he had started in his service to the Duc he had been little more than a boy. His initial nervousness had been expected and easily passed off as normal for a peasant among the peerage. Over time he lost those nerves; lost himself in the role he had been asked to play. Despite himself he had even come to like the Duc’s son; an ambitious man, having been of an age to rule for nearly two decades, waiting for the old Duc to die, but personable and given to treating his serving staff well. As a man in the Duc’s service he found that Latonville had been open to him. Merchants, whores and minor nobility had offered him bribery in goods, services or coin. He had refused them all, adding polish to a veneer of loyalty, ignoring dozens of gilt-edged chances to fulfil his true purpose, until eventually that purpose was all but forgotten.

Until that day.

It wasn’t his first trip to hunt the forests on the King’s own island, and nothing had seemed amiss… not until the ferryman’s bony hand had brushed his sleeve and the wrinkled old man had nodded in a way that may have meant nothing and yet meant all the world would change. For a moment he hoped he had read the man’s gesture incorrectly, but the pale blue eyes, piercing and sad, had left no room for doubt. He nodded a reply.

It had been easy to accomplish. Ridiculously easy. Idiotically. He shook his head even now at the thought of it. With one final wrench in his gut he had loosed the arrow, so mortally accurate as to seem accidental. The Duc’s son had slid from his horse with almost comic slowness and it had seemed like long moments before he joined in their panicked rush back to the ferry. He had worn a mask of grief and shock and was never suspected. The ferryman’s eyes had burned into his back the whole way back to the capital but he didn’t dare return the glance.

He had stayed for a week in the capital, waiting for news of the festering wound, feigning dismay at the blood-loss. Eventually the inevitable death was announced, as he knew it would be, and he had borne their consolations and pushed the guilt down deep. That had been the start of the nightmares, and they had followed the next day, as he fled toward the River Laton: northward and homeward. They must have realised his betrayal soon after he left. Perhaps the same day, perhaps the next. He had ridden one horse into the ground and stolen another outside Fourche. He had eaten in the saddle, even slept at times despite himself. If they had followed they would surely be well behind and they would surely not have come this far north of the river.

The nightmares hadn’t eased, and even tonight among this crowd of local miners in full revel he had seen visions of the man he murdered swim across his vision. The ale was having its effect though. His tankard was filled again without his realising and even the discordant singing was not as offensive. The young couple had been tied at the wrists with a loose knot of ribbon and were dancing a waltz of intense concentration. It was sweet, he decided: innocent. He had missed that. It had been a long time since he had felt innocent and he doubted he deserved to.

A toothless old uncle, streaked with the dirt of the pit despite his best efforts, was chattering to him in the deep, guttural dialect of the hills. He had been away from home so long, had not spoken his mother’s tongue in so long, that he was having some trouble following the miner. The base accent, the ale and the man’s toothless gums conspired to further slur language already roughly formed. He nodded and grunted occasionally, smiling at the right times and joining in with the man’s exuberant laughter. In the middle of the room the empty circle collapsed as the ceremonies were completed and impatient revellers cascaded into a chaotic dance.

The constriction of bodies eased and the stranger realised the pressure on his bladder. With a perfunctory nod to the toothless old man he pushed himself away from the wall onto legs drunker than he had realised. From the corner of his vision he noted the women queuing for the inn’s single privy and steered away instead. In moments he was outside beneath a clear sky bright with stars. As he staggered away from the inn and down a narrow alley between empty houses his eyes stayed on the sky above. The fat red moon was swollen in the night, huge and full, and around it were spread so many glittering stars. Here, away from the city, away from the torches and oil-lamps, there seemed so many more of them.

He was still fumbling with his clothes when something struck him like a fist in the shoulder. He turned, expecting to see an enthusiastic partygoer, instead seeing only the empty alley. When he tried to call out he succeeded only in drawing in a painful breath. For a moment he was confused, until he saw the point of an arrow pressing against his tunic, spreading an ugly red spot across the fabric. He tried to touch it but his right hand hung limp at his side, refusing to respond. The pain hit him with realisation.

Over his shoulder he saw the feathered shaft. His head swum and he leaned heavily against the wall with his one good hand. He had turned enough that the second shaft glanced off his temple. It skittered away as he went to his knees and a flow of blood swept into his eyes. Chattering voices sounded in the dark. The black earth struck the side of his face and his breath came in shallow, wet, drafts. When a stalking figure resolved out of the night and flipped him roughly onto his back he tried to plead or beg or curse. His voice bubbled bloodily in his throat and spilled wordlessly in warm, red gouts. The archer yanked at his hand, trying to dislodge a thick golden band from his third finger. For a moment he thought that this was a robbery, a stupid piece of ill-chance, but even as he thought it he knew it was not. He had been followed, or he had been careless, and this was the reward.

In the end the ring would not be dislodged, but the man had taken it anyway, and his finger with it. The crack of his bone had sounded distant to his ears and the knife moved as if it were not him being cut. Even the stars seemed dim and distant. The knife hung above him then, its bloodied blade swimming in his narrowing vision. Swiftly it plunged – into his neck perhaps, or his chest. Once. Twice. Another just to be sure. The assassin pulled a hooded cloak over his head and returned to the embrace of the night from whence he had come while the stranger from the capital fixed his failing sight on the waning, red half-moon and felt his life’s-blood soak into the earth.

******

Once again let me know what you think.


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