Wednesday, July 17, 2013

Vance's The Dying Earth - Review by S.E.

The Dying EarthThe Dying Earth by Jack Vance, S.E.lindberg rating: 4 of 5 stars

Vance's Prismatic Charm of Beautiful, Untiring Adventure

Review Summary: The Dying Earth, is beautiful, pulpy adventure. It is a series of six connected short tales (chapters), each being a mix of (Sword & Sorcery) and (Sword and Planet) consider it (Sword & Sorcery & Planet). And, it is an important classic, first published in 1950; Jack Vance's codification of magic items & spells proved influential in RPG-game design.

Dying Earth Series: Tales of the Dying Earth: The Dying Earth/The Eyes of the Overworld/Cugel's Saga/Rhialto the Marvellous is an omnibus edition of the four novels written by Jack Vance (1916-2013) between 1950 and 1986; the first is simply The Dying Earth, which is itself a collection of six short stories. With the recent passing of Jack Vance (1916-2013), the Sword and Sorcery Group is reflecting on his work this Summer (July-August): The Dying Earth (1950) is the first in the series (the next three in sequence are: (2) The Eyes of the Overworld (1966), (3) Cugel's Saga (1983), (4) Rhialto The Marvellous (1984)).

Codifying Magic - Role Playing Game (RPG)s: Tolkien maybe credited for inspiring "fellowships" of Dwarves, Elves, and Humans to go adventuring (a key trope for RPGs), but his magic-system was never codified well. Some ontology, or approach to classifying, was also needed ...and already provided, actually. Before "Lord of The Rings", Vance delivered The Dying Earth, and seems responsible for providing RPG-franchises with the needed approach: captivating brand names. Vance's Items and Spell titles simply exhibit self-evident credibility : Magic Items such as Expansible Egg, Scintillant Dagger, and Live Boots...and Spells such as Excellent Prismatic Spray, Phandaal's Mantle of Stealth, Call to the Violent Cloud, Charm of Untiring Nourishment. Three decades after The Dying Earth was published, the broader fantasy culture apparently caught on to the branding of spells and magic items (i.e. 1980's Dungeons & Dragons… or even magic-based card games like Pokemon, etc.).

Pace & Style: The title evokes gloomy adventure. The stories follow suit. The poetic, weird narratives will remind readers of predecessor Clark Ashton Smith (1893-1961)'s Lost Worlds; the swashbuckling adventure and planetary exploration evoke Vance's contemporary Roger Zelazny (1936-1995)'s The First Chronicles of Amber. Each tale moves at breakneck speed. Often times, within just one page, teleportation will propel the protagonist across multiple planetary systems and vast continents. Actually, the pace is too fast and the stories appear rushed (keeping this from receiving a 5-star rating). Most encounters involve some haggling/negotiating, and some of these lead to sudden brutality:
"Then you may die." And Mazirian caused the creature to revolve at ever greater speeds, faster and faster, until there was only a blur. A strangled wailing came and presently the Deodand's frame parted. The head shot like a bullet far down the glade; arms, legs, viscera flew in a direction." -- Ch2- Mazirian the Magician
The brisk pace belies the serious, philosophical undertones that persist throughout. The milieu does involve the decline of earth, after all, but Vance does not dwell on it. The action is at the forefront, but darkness is continuously dosed. One moment he'll be describing some present urgency, and then he will sneak in a bit of epic, chronic darkness:
"At one famous slaughtering, Golickan Kodek the Conqueror had herded here the populations of two great cities, G'Vasan and Bautiku, constricted them in a circle three miles across, gradually pushed them tighter and tighter, panicked them toward the center within his flapping-armed sub-human cavalry, until at last he had achieved a gigantic, squirming mound, half a thousand feet high, a pyramid of screaming flesh."-- Ch2- Mazirian the Magician
Beauty Theme: The tales share many of the same characters, but each has a different protagonist. The protagonist from the six tale (Guyal) seems to speaks on behalf of the author's muses; he invites readers to consider:
"Where does beauty vanish when it goes?"

Guyal's Father Answers: "Beauty is a luster which love bestows to guile the eye. Therefore it may be said that only when the brain is without love will the eye look and see no beauty." - Story 6- Guyal of Sfere
Vance's work seems genuinely motivated by an appreciation of art and the mourning of lost beauty. He seemed to be following in succession from like-authors. Mary Shelley, Edgar Allen Poe, Clark Ashton Smith, H.P. Lovecraft all delved into evoking emotions through their art; they were serious writers who philosophized and wrote essays regarding "Weird Beauty" in literature. The undercurrents of dark muses in literary horror fascinate some (link). Below are excerpts and comments of Beauty's themes in The Dying Earth (per story):

1) Turjan of Mirr: The books opens with a sorcerer trying to create living things. His craft, his art, is "life." He mirrors the plight of Victor Frankenstein:
"[Turjan] considered its many precursors: the thing all eyes, the boneless creature with the pulsing surface of its brain exposed, the beautiful female body whose intestines trailed out into the nutrient solution like seeking fibrils, the inverted inside-out creatures...Turjan sighed bleakly. His methods were at fault; a fundamental element was lacking from his synthesis, a matrix ordering the components of the pattern."

"For some time I have been striving to create humanity in my vats. Yet always I fail, from ignorance of the agent that binds and orders patterns."

"This is no science, this is an art, where equations fall to the elements like resolving chords, and where always prevails a symmetry either explicit or multiplex, but always of a crystalline serenity."
Turjan needed more knowledge to complete his goal. This compels him toward making a woman who appreciates beauty (to compete with another woman who cannot detect beauty).

2) Mazirian the Magician: This chapter has significant overtones of Clark Ashton Smith's Maze of Maal Dweeb, Xiccarph tales (1935, 1930) which an alien sorcerer had the "caprice to eternalize the frail beauty of women," maintaining them in a garden. Here, the beautiful T'sain dies to save her maker, Turjan, in a magic-filled chase through an alien sorcerer's garden. This excerpt demonstrates how Vance never ceases to pour out the colors!
"Certain plants swam with changing iridescences; others held up blooms pulsing like sea-anemones, purple, green, lilac, pink, yellow. Here grew trees like feather parasols, trees with transparent trunks threaded with red and yellow veins, trees with foliage like metal foil, each leaf a different metal--copper, silver, blue tantalum, bronze, green iridium. Here blooms like bubbles tugged gently upward from glazed green leaves, there a shrub bore a thousand pipe-shaped blossoms, each whistling softly to make music of the ancient Earth, of the ruby-red sunlight, water seeping through black soil, the languid winds…"
3) T'sais: The titular character, once an antagonist piece-of-art, searches out the ability to see beauty on Earth. As she describes:
"Pandelume created me," continues T'sais, "but there was a flaw in the pattern." And T'sais stared into the fire. "I see the world as a dismal place: all sounds to me are harsh, all living creatures vile, in varying degrees--things of sluggish movement and inward filth. During the first of my life I thought only to trample, crush, destroy. I knew nothing but hate. Then I met my sister T'sain, who is as I without the flaw. She told me of love and beauty and happiness--and I came to Earth seeking those."
Etarr, an ugly companion of T'sais who had his hansom face switched with a demon's, goes with her to witness a Black Sabbath. As they watch the demons congragate, Vance philosophizes:
"Even here is beauty," he whispered. "Weird and grotesque, but a sight to enchant the mind."
4) Laine the Wayfarer : Laine the arrogant magician is challenged to repair a piece of art: Lith's tapestry. Therein is depicted the Magic Valley of Ariventa, but it has been cut in half. Can he restore it?

5) Ulan Dhor: This is a fun piece, with more sci-fi than the others given the reactivation of ruined technology. The artistic elements are less covert here. There are two embattled groups that literally cannot see another. They signify themselves not with classic blazonry...but by simply by color: Green vs. Grays (vs. Reds)!

6)Guyal of Sfere: Guyal's insatiable search for knowing everything leads him on a quest to speak to the Curator of humankind's knowledge. En route, he partakes as a judge in a beauty pageant; here he meets with the maiden Shierl. They go on to explore sacred ruins, battle a demon who consumes beauty, and look upon the treasure trove of beauty, a sanctuary:
"This is the Museum," said Guyal in a rapt tone. "Here there is no danger...He who dwells in beauty of this sort may never be other than beneficent…"
All in all, a recommended read to any sci-fi and fantasy buff, and to any reader who also likes RPGs. Feel welcome to join the discussion (at any time...even if the official group-read time expires):Group-Read Link.

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Sunday, July 7, 2013

Moments of Truth - Book Publishing

Delighting Readers -

 Even During the First Moment of Truth 

Moments of Truth - Consumer Products

Procter & Gamble coined the key instances in which a customer becomes impressed with a product as "Moments of Truth."  Historically, the First Moment of Truth (FMOT) refered to when the customer saw a package on a store shelf; this experience influenced not only the possible purchase...but it set up expectations for the quality of the product. The Second Moment (SMOT) was the instance when the product was used, and the customer assessed whether or not the experience matched expectations.  With the internet changing customer habits, another instance was eventually coined: the Zero Moment of Truth (ZMOT, Link)which is when customers form expectations before directly contacting (touching) the product!

Moments of Truth - Books

How does this framework translate to today's book selling? In this case, the ZMOT occurs when readers comb through online reader/customer reviews. Given that fewer and fewer books are purchased in an actual bookstore, the FMOT will likely be when a book arrives by mail (though one may argue it is when the cover is on an electronic device). The SMOT is when the reader actually reads the book.  The main premise is to identify all touchpoints between the consumer and the product, and then enlighten each instance.
"Every touchpoint with a reader is important..." 
The end of one reader's experience will start the process for a subsequent one, but less than ~10% of readers will post reviews (a statistic based on my own experience).  This amplifies the need to impress potential readers whenever possible.  "Giveaways" are an efficient way to jumpstart the process; these are online-events in which readers signup for complimentary copies of the book...usually with a non-binding commitment to review it.  Every several months I host Giveaways of hardcopy (via and electronic books (via for Lords of Dyscrasia.  Every touchpoint with a customer is important, and a crafty partner of mine reminded me early on to not overlook one.  With the focus on on-line/virtual touchpoints, I almost neglected to make the FMOT delightful for those receiving hardcopies by snail mail.  Thanks to her, the books awarded to Giveaway winners have always been wrapped to impress (thanks Designlab!).  The packaging features a handwritten note with well-folded Kraft paper; a presentation to enhance the First Moment of Truth for Lords of Dyscrasia readers.  

Can the packaging effect the overall experience?  Yes.  The care exhibited in packaging reflects the care imparted when making the product.  One winner even wrote back a hand-written note acknowledging the tradecraft:
"Dear S.E., I got your book today.  The way you presented your book blew me away.  First Class.  I will give my review on First Read Good Reads as soon as I am finished reading.  Good luck to you.  I hope you sell a million.  Sincerely, [reader]"

Monday, July 1, 2013

July Aug 2013 - Groupread: Jack Vance and Your-Own-To-Read-Pile

Time to address "The Dying Earth" and Your-Own-To-Read pile!

Like to read?  Like fantasy fiction? Feel welcome to join the Sword & Sorcery group on Goodreads. This Summer we have to parallel Groupreads (for July-August 2013):

1) Jack Vance: With the recent passing of Jack Vance , we’ll reflect on his work this Summer (July-August): Link to Jack Vance Groupread. An ideal time to read/discuss The Dying Earth series.

2) To-Read Pile: A second group read with the theme of “Anything in your own To-Read pile.” The perfect excuse to read your ever-growing To-Read pile. Choose a Sword & Sorcery book from there, then confess why you haven't read it sooner here: Link to To-Read Groupread

Masthead: As always, the masthead banner image for the group reflects these.
The Dying EarthThe Eyes of the OverworldCugel's SagaRhialto The Marvellous

Montage created from these covers, credits go to artist (L to R)
Unknown ,1950; Jack Gaughan, 1966; Kevin Johnson, 1983; Stephen E. Fabian, 1984

The Dying Earth The Eyes of the Overworld Cugel's Saga Rhialto The Marvellous 

Saturday, June 15, 2013

The Resurrectionist: The Lost Work of Dr. Spencer Black - Review by S.E.Lindberg

The Resurrectionist: The Lost Work of Dr. Spencer BlackThe Resurrectionist: The Lost Work of Dr. Spencer Black by E.B. Hudspeth
S.E. Lindberg rating: 5 of 5 stars

Hybrid Art Forms In Man: At what point does “man” begin and “animal” end?

The Resurrectionist: The Lost Work of Dr. Spencer Black opens with a dense, interesting narrative: the biography of the dark protagonist. Readers tend to get bored with extended narratives, so this introduction is appropriately short. It is a compelling setup, of course, for the illustrations (the latter 2/3rds of book). The author sets the horrific tenor here, enticing the reader to share the excitement that Spencer feels for defining the human condition. Only sensitive readers will cringe at the horror since author E.B. Hudspeth is tactful in his delivery of the macabre. He, like his character Spencer, merely wants to set the readers “free.” True to the role of speculative fiction, he presents art that appears real…then lets the reader ponder the boundary between fact/fiction. The below quote from Spencer seems to echo Hudspeth’s motivation:
"I hear them marvel at my work—my indignant science. I hear them call out in fear of what they see. And there are some gentlemen who doubt what I will tell them. They call me a liar and a charlatan or a quack. But in time the methods of science that I now employ to convince people will surely set them free—alas, this I cannot explain to the angry fools."
The setting is ideal for redefining the nature of “man.” The turn of the 19th century was rich with advances in evolutionary theory, science, and even speculative fiction. Anatomists, philosophers, and scientists ruminated on how far to extrapolate Darwin’s assertions. Most understood that all vertebrates shared a common skeletal structure; but if animals and man were connected in their development, was it not reasonable to reconsider the existence of creatures termed mythological? Were centaurs real? Harpies? Demons? Spencer Black needed to know. Hudspeth uses him to lure us on this quest.

Embryps from Haeckel

There are real life analogues to the fictitious Spencer. Ernst Haeckel (1834–1919) comes to mind. A dedicated, philosophical scientist with outstanding artistic skills, he documented thousands of life forms and published his beautiful plates in “Art Forms in Nature” (translated from German: Kunstforman der Natur). But then his fascination with Art-Nature caused an uproar when he tweaked his drawings of embryos in 1874. Haeckel envisioned familiarities across the embryos of fish, salamanders, turtles, pigs, rabbits, and humans; then he represented these in an evocative table. At a time when photography was not practiced, data was art…and vice versa. Some still claim his drawings were legitimate, but in any case, his artistic embellishments stirred a controversy. That controversy is the same the Hudspeth delivers:

At what point does “man” begin and “animal” end?

The fictional Spencer Black is more corrupt than the real Ernest Haeckel, but now their books share space on my bookshelf. I recommend the hardcopy so you can use it as coffee table book. The anatomical drawings of mythological creatures will certainly entertain and inspire. Preview his artwork at his website:

Update: S.E.Lindberg's Interview with E.B.Hudspeth

E.B. Hudspeth’s novel/art-book combination “The Resurrectionist: The Lost Work of Dr. Spencer Black” chronicles an artist/scientist as he “revives or brings to light again (aka resurrect)” a dormant beauty inside humanity.  With a horrific tale complementing beautiful anatomical drawings of hybrid creatures, he invites us to reconsider the boundaries (if any) between man & animal…between art & science. We appreciate E.B.Hudspeth taking the time to “bring to light” the beauty in his art with this interview.

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Tuesday, June 11, 2013

A Slimy Trope: Sewer Entrances in Sword & Sorcery Movies

When did invading a fortress via a sewer become popular?  

I do not know precisely, but there has been a recent surge.  Between late 2011 and mid-2012, I saw three Sword & Sorcery movies that employed this tactic (details below).  Two of these involved the protagonists breaking-in to their infested homes.  I think the originality has been exhausted now, and I hope this fad fades away. 

Star Wars IV: A New Hope 1977

Death Star Fortress- Sewer Exit-Escape

George Lucas deserves credit for cinematically popularizing a fortress escape sewer-scene in his 1977 Star Wars IV, A New Hope (Death Star garbage compactor scene). Ostensibly, Star Wars is Sci-Fi rather than Fantasy, but it employs most every Fantasy trope that exits.  It certainly seems to have inspired the 2011 Conan the Barbarian break-in into Zym's tower (below).

The Sword and The Sorcerer 1982

King Cromwell's Castle: Sewer Entrance

The hero Talon sneaks through the sewers to rescue potential heir to throne Prince Mikah and his sister Alana.

Conan the Barbarian - 2011

Khalar Zym’s Castle: Sewer Entrance

More special effects were dedicated to the randomly-placed, lurking sewer-serpent "dweller" than were used to demonstrate the power of the magical mask of Acheron motivating the story.  So strangely, this scene was more exciting than the climax of the movie (Here is a link to my rant on that).

Solomon Kane – 2009 globally (2012 in USA via Video Streaming)

Josiah Kane’s Castle: Drainage Entrance

I enjoyed this movie (Link to review) , but I took a sigh when this sewer-trope was demonstrated. 

Snow White and the Huntsman 2012

Ravenna’s (and Snow White’s) Castle; Sewer Entrance

Snowwhite had escaped the castle via the drainage tunnels, so when she returns with and army, she sends some dwarves in to raise the gate.  Very clever...I suppose.

Saturday, June 1, 2013

Leiber’s Mouser and Fafhrd are the Scooby and Shaggy Of Sword and Sorcery

Swords Against Death (Fafhrd and the Gray Mouser, #2)Swords Against Death by Fritz Leiber
S.E.Lindberg's rating: 4 of 5 stars

Leiber’s Mouser and Fafhrd are the Scooby and Shaggy Of Sword and Sorcery

Atmosphere and Style: Fafhrd and Mouser are two rogues who are braver and smarter than Scooby and Shaggy, but form as legendary a duo in many ways. The pair were chronicled over ~5 decades by the man who termed the genre “Sword & Sorcery” (Fritz Leiber) in separate short stories (covering ~40 stories, published over 1939 to 1991). Their adventures in the City of Lankhmar and World of Nehwon were captured in seven books. Scooby Doo Where Are You? was a Hanna-Barbera production, broadcast from 1969 to 1978 (notably the same time many of Leiber’s work was compiled into novels.)

Scooby Doo (and its reboots) were/are known for juxtaposing scary atmospheres with acceptable silliness…in episodic form. This is exactly what Swords against Death delivers, and presumably represents the other Fafred and Mouser novels. A possible exception is the chapter “Ill met in Lankhmar” (the last story in Vol-1 “Swords and Deviltry” in which the scary-silly style is presented, but the outcome more dire than anything in this second volume.

Fafhrd and the Mouser float from one independent adventure to the next. Each chapter is an enjoyable episode, but there is an apparent lack of an overarching conflict for the duo. Ostensibly the chapters are linear in chronology, but they really seemed stand-alone and could be read in any order. From the opening (and the end of the first Volume Swords and Deviltry) I expected the pair to be haunted by their past loves, but these haunts were only addressed in only one chapter later.

Varied perspectives and controlled revelations keep each narrative fresh. The stories are indeed fortified with literate prose and abundant vocabulary, but just when you think Leiber may take his milieu too seriously, you will be treated to a ludicrous robbery by fishing pole, a grand displacement/theft of a house, an assault from giant snowballs, or a hunt from bad guys skiing in an apparent satire to a Bond film. But, the silliness does not detract from enjoyable adventure. Just like the original Scooby Doo cartoon.

Emotive Oil Painting: Oil paintings will forever inspire emotion of fantasy media. For Scooby Doo, background stylist Walt Peregoy created some truly scary paintings worthy as any cover art. During the same years, Jeff Jones illustrated the first five of the ~1970's editions for Fritz Leiber (below list). Check them out:

1970; 1970; 1968; 1968; 1968;1977; 1988
Swords and Deviltry Swords against Death Swords in the Mist (Fafhrd and the Gray Mouser, #3) Swords Against Wizardry (Fafhrd and the Gray Mouser, #4) The Swords of Lankhmar (Fafhrd and the Gray Mouser, #5) Swords and Ice Magic (Fafhrd and the Gray Mouser, #6) The Knight and Knave of Swords (Fafhrd and the Gray Mouser, #7)

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Sunday, May 26, 2013

Bookend Chronicles: Lords Of Dyscrasia review

Bookend Chronicles consistently weaves thoughtful context with excerpts to provide helpful reviews.  It just posted its comprehensive review of Bookend Chronicles: Lords Of Dyscrasia (Link).  I copy/paste the text below since it should help potential readers decide if they want to tour the Underworld: 
For years, the movie industry has inundated us with some of the most graphic, disturbing, horror-laden tales of terror on the silver screen. It would be quite a rare occasion for a story to cause a deep stir in a desensitized mind. But once in a while, a story is constructed that motivates the mind and gets the wheels once again turning in anticipation.
Such is the Lords Of Dyscrasia by S.E. Lindberg.
Lindberg depicts an intensely savage and volatile world within the pages of Dyscrasia. It is a persistent plague that invades the blood and changes the human genome forever. Doctor Grave desperately seeks to save the long bloodline of his sick queen.
"The lifeless embryos exhibit the disease explicitly. The stillborn mutants present eldritch traits, all unique and terrible. Beaks and downy feathers adorn the avian ones. Translucent, soft-shell exoskeletons wrap the invertebrate insectan type, which are always infected with worms."
The disease has sunken into every crevice of daily life. It is no longer an aberrant anomaly, it has become an accepted form of life. Yet there is an unspoken hope that still exists.
"Anyone who could conquer this disease, which is rooted in the fabric of the Land, must be likewise terrible. Perhaps there will be a hero, a warrior who will vanquish dyscrasia, only to usher unforeseen horrors into this world—horrors that will make us all suffer so much we will wish dyscrasia to return…"
Endenken, the leader of a dying culture, wrestles with his own personal demons. Expected to abide by the traditional rules of his people, he must make difficult decisions in a world strife with the disease. His decision will mark the beginning of an end.
"Their blood was sacred. They had few left to carry it. And it was Endenken’s turn to inherit the burden... And the masked grotesqueries swarmed him now, their human frames transfigured by ornate markings and hollow eldritch skeletons."
The gruesome tale continues and illuminates the struggle within the bonds of humanity. An edict of the soul resounds throughout the pages of this nightmarish other-world with spots of dark humor. Lindberg has created an alternate reality that forces the reader to expand the limitations of their imagination.
We must further open our own minds and perhaps even edify our own traditional definitions of religion, belief, and faith.
The illustrations contained are morbid works of art, continuing to tell an epic that is both compelling and fascinating. Even the cover provides a sense of expectancy.
S.E. Lindberg lives near Cincinnati, Ohio. He works as a microscopist, and has spent two decades practicing chemistry.