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REVIEW: The Way of Kings by Brandon Sanderson

With Rhythm of War being released on 17th November 2020, I decided that now would be a perfect time for me to do a re-read of The Stormlight Archive, which begins with The Way of Kings. As I originally read these novels before I started reviewing, this time I will jot down a few thoughts about my reading experiences. I remember having a great time reading these novels, but other than the characters and certain key events my memories are foggy at best.

In The Way of Kings, we mainly follow three characters. Kaladin, a former spearman who now bears a brand noting him as a dangerous slave. He seems to survive when all around him seem to perish. Shallan, a clever and witty young lady who is an amazing artist and wants to save her family’s reputation. Finally, Dalinar Kholin, a fifty-something-year-old Brightlord and warrior who follows the codes of honour and loyalty, and has started having mysterious visions.

There is an ongoing war against the Parshendi, caused by the assassination of King Gavilar, Dalinar’s brother, five years ago. Now, battles and skirmishes take place across the Shattered Plains and in The Way of Kings, we begin our journey into a unique and well-realised fantasy world that features deep histories, legendary armour and weapons, and sprens of many types.

I found I enjoyed The Way of Kings most when I was reading Kaladin and Dalinar’s sections. Kaladin is arguably the main character of the series, and to add depth, we are privy to flashbacks of his formative days. These tend to be well-timed and relate to current happenings. For example, we’ll witness a scene where a twelve-year-old Kaladin is helping his surgeon father, and this shows why present-day Kaladin is able to assist his fallen comrades with medical knowledge in a following segment. During these flashback moments, we begin to understand why Kaladin has ended up in his current predicament and why he has no love for lighteyes, or any men of high rank.

Dalinar’s sections are shown through the Brightlord’s eyes, but also sometimes from his son Adolin’s, and his sister-in-law’s, Navani. They are mainly current-day scenes, dealing with politics, the fact that his nephew the King fears assassination awaits him too, warfare against the Parshendi, and differences in ideals amongst the highprinces. The ideals that Dalinar holds dear are those of honour and the writings that are read to him from the old tome The Way of Kings. Since he has started listening to these words, during highstorms, he has started having visions. He doesn’t know when or where they are set, if they are real, who the messages are from, but many around him are starting to worry for the Brightlord’s sanity and stability in his role.

“Life before death. Strength before weakness. Journey before destination.”

Shallan is one of the most interesting characters, yet what happens to her here, although undeniably intriguing, feels secondary, and doesn’t have the same urgency or focus as Dalinar and Kaladin’s moments. It seemed to drag occasionally and I had to stop myself from rushing it. She finds herself wanting to become the ward of the so-called heretic and scholar, thirty-four-year-old Jasnah Kholin, Dalinar’s niece. If I hadn’t read the following books and didn’t know what happens, my assessment would be that Sanderson uses The Way of Kings to set the groundwork for these two and I think they will become extremely important to the overall narrative going forwards. Through these two we are slowly introduced to Soulcasting, which you could call one of this world’s magic schemes. Another magic scheme relates to the titular Stormlight, but I won’t discuss that further as it is great to find out more about it organically. It seems that all, excluding one character, seem to know nothing about this latter, thought mythical sort of magic, and it gives the wielders some incredible powers and capabilities.

Sanderson has filled The Way of Kings with many varied and memorable characters. In addition to the main players already stated, notable standout mentions go to the members of Bridge Four who go on an amazing transformation during this book. These include Rock, Sigzil, Moash, and Teft. Another player I should mention is the mysterious and riddle-weaving Wit. I’m not an expert of Sanderson’s Cosmere, but Wit may be a character that transcends some of the author’s series. He has an extremely memorable scene with Kaladin and a flute-like instrument, and I’m extremely intrigued to see what part he will play in the overall story arc of The Stormlight Archive.

“This man was extremely talented. The odd melody he played was alien, almost unreal, like something from another place and time. It echoed down the chasm and came back; it almost sounded like the man was playing a duet with himself.”

I went into my re-read of The Way of Kings with The Stormlight Archive firmly planted in my top-five fantasy series of all time. The re-read hasn’t diminished my experience at all. There is truly something enchanting, majestic, and magical about this series. My only minor negatives are that this is a true doorstopper of a read at 1118 pages, there seemed too many very similar Kaladin flashback moments, some of Shallan’s sections dragged, and I seemed to rush the interludes (apart from Szeth’s). With reference to the latter, I believe I actually skipped the interludes on my first read to get back to what I considered as the real meat of the tale, so my reading habits have improved slightly. The ending is phenomenal, featuring a betrayal and a huge battle, excellent showdowns, and a meeting and resolutions that I desired and were extremely well-realised.

“At times, it seems to me that to be human is to want that which we cannot have. For some, this is power. For me, it is peace.”

Although I may unfairly only be rating this 9/10, there is something truly spectacular on show here. I believe that in fifty years time, The Stormlight Archive will be revered and alongside Malazan Book of the Fallen, A Song of Ice and Fire, and The Realm of the Elderlings, it will be used to show what the finest authors in this generation of fantasy when at the very top of their game could achieve. This series is always one of my first recommendations for someone wanting to try adult fantasy too so if you haven’t started this series yet, now is a perfect time.

Read The Way of Kings by Brandon Sanderson

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Five Things Netflix Must Get Right for Conan

While details are sparse at the moment—with no mention of showrunners or writers—the news is out, and one niche corner of fandom has cause to raise flagons in celebration: Conan the Cimmerian is coming to Netflix! For years, sword and sorcery fans have been living through a drought and subsisting on scraps. Now, finally, we may be invited to witness a true feasting of swords!

Already, this announcement has sparked heated debate among the fan base. Some folks seem concerned that Netflix will, by default, change Conan’s gender, race, sexual orientation, and cook up a legendary ‘sjw’ stew from Robert E. Howard’s source material. Others seem worried that Conan’s masculinity will be scoured away and cleaned up for the comfort of the masses (even though Conan’s masculinity isn’t really of the toxic variety). While I’ve seen scant supporting evidence for these viewpoints, and believe these fears to be largely unfounded and rather silly—especially when I consider the success of other morally ambiguous series like Game of Thrones, Vikings, and The Witcher—this conversation has made me wonder what Netflix should do with this property if they wish to create a Conan show worth its weight in Ophirian gold.

Know, oh prince, these are the five ways Netflix can create a successful series out of Conan the Cimmerian.

Bring on the Violence!

Howard wrote action like no other. His scenes of blood and thunder are vivid, visceral, and most importantly, memorable. His special brand of gruesome poetry has become a hallmark of the sword and sorcery genre, often imitated, but rarely matched. This is an area where the choreography and effects crews need to deliver. Skulls should split like melons, heads should leap from shoulders, and Conan should awe the audience with his martial prowess. If gore hounds aren’t able to eat their fill each episode—if we fans are not talking ad nauseam about particularly violent scenes in tones of relish—something won’t be right.

(Finally) Get the Character Right

Conan is not as he’s often portrayed in pop culture. He’s talkative, on occasion, and can be surprisingly articulate. He is also intelligent, cunning, and opportunistic. He isn’t afraid to run from a fight if it means saving his hide. He isn’t the typical dumb barbarian so many parodies have made him out to be. Most importantly, the show must explore the Cimmerian’s peculiar sense of honor. His proclivity to protect his friends and keep his bargains are among his most endearing traits. Where civilized men spin cowardly schemes and plots, Conan must stand apart and become the moral center. Yes, you heard that right. Sure, he may be a thief, pirate, and usurper, and it’s fair to point out his drinking, whoring, and penchant for ultra-violence, but when you boil him down, Conan is a man of his word and a good friend to his allies. It is essential, then, that Howard’s driving theme of civilization vs. barbarism be on full display. Doing so is no small feat, of course, which brings me to my next point.

Get the Casting Right.

This is perhaps the biggest challenge. Look, I love Arnold Schwarzenegger, but the casting director must look beyond bodybuilders or wrestlers. While there’s an argument for Jason Momoa getting a second shot, this seems unlikely. Momoa is a great aesthetic fit for the character, as was Arnold, but there’s much more to bringing Conan to life. Whoever fills the sandals (and we should finally see him wearing sandals) will need to truly capture the character. In short, this show needs a great actor—someone with charm and charisma; someone who can brood and emote; someone who can express melancholies and mirth; someone you want on your team; someone you would never cross. The creative team needs an actor with range, and they need him to be an imposing physical specimen. That’s a lot to ask, I realize, but it will be essential if they’re going to make this work.

Respect and Represent the Source Material while Also Catering to the Medium

Mediums differ. You can’t just copy and paste short stories to the screen. A slavish adherence to the source material won’t work, period. And while they could hew very close without venturing too far beyond Howard’s yarns, they would quickly run out of budget and content. You have to be realistic about these things. Conan has had many careers—wanderer, thief, pirate, king. It isn’t unrealistic to think each season could focus on one or two of these periods in Conan’s life. While Howard’s stories should serve as the foundation, I fully expect minor characters—both allies and villains—to take on larger rolls. The show will need to focus on many intersecting plots, not just Conan’s. Using Howard’s tales as a springboard, the writers should expand and extrapolate.

Don’t Turn it into Generic Fantasy

The Hyborian Age needs to come to life. It needs to feel lived-in and real. Howard created a pseudo-history, one that reflects many kingdoms and cultures from our own. It is a curious mishmash of times, people, and places, but ultimately feels grounded. When the weird elements surface, they have greater impact because the settings and circumstances are believable. We should see ugly slums and shining kingdoms; bleak and ominous landscapes, but also wondrous vistas. We should be awed by ancient-world architecture, but also terrified by mysterious, forsaken ruins. The production designers have a golden opportunity here, and I hope they bring their A-game and receive the financial support they’ll require.

And there you have it. While it’s very tempting to consider which showrunners, directors, and specific actors might be best for the series, I always find it safer for my expectations if I focus on the what, and not the who. Surely, you have your own constructive thoughts on the matter, and I’m more than willing to listen. But whatever you do, don’t call on Crom; that grim bastard never listens!

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REVIEW: Ring Shout by P. Djèlí Clark

P. Djèlí Clark’s Ring Shout is the answer to the question of what if the Ku Klux Klan was not merely a human terror. A spell has allowed the Klan to summon Ku Kluxes – demon-like supernatural creatures to fight battles on their behalf, making them into a more concrete threat. At the same time, the film The Birth of a Nation has stirred up souls, hate and pro-Klan sentiments, enhancing their power. Set in the South in the 1920s around a group of resistance fighters, Ring Shout is a compelling story, harrowing and haunting. It is out from Tor.com on 13 October.

Despite its serious subject matter, it is not just a serious book – it is thoroughly humorous, regularly making me laugh out loud while reading. The main characters are written in a very human way, and have a tendency to bicker, especially about the complexities of language use, which does lead to much situational comedy in tense moments.

One thing that stands out is Clark’s use of vernacular. He has a variety of language associated with both individual characters and groups of characters, used to flesh them out further and enhance cultural associations, both a sort of AAVE and Gullah, which reads as more of a creole language. This is extremely well done and consistent throughout the novella, evoking a sense of immediacy. (Being originally Swiss and based in the UK, I’m not the right person to comment on whether this is accurate or a version he invented for the book.)

And oh, I love the characters. Maryse, who knows how to use a sword (a magic sword, to be precise!) just as well as a gun. Chef, who cooks bombs rather than food, and roasts dogs to attract Ku Kluxes. And Sadie who is too sassy for her own good. A group of young Black women in their twenties hunting monsters. There are more of them, all just as interesting. When they’re not fighting monsters, they’re running drink in the middle of the prohibition. Women after my own heart. But then there is also the older generation of characters, the ones that have still experienced slavery.

The story is told by Maryse, who loves folklore. Early on in the story, she is shown with a book of folktales, and it is a theme that is visible throughout the novella. Elements of Southern folklore, such as haints (restless spirits) show up in the form of Aunties.

Ring Shout is one of the most unique books I have read this year, and with everything that has happened in the last few months, it has also become one of the most timely. It is serendipitous that the novella is published right now, as Clark mentioned in our interview that he originally came up with the idea back in 2015, and then pitched it at the start of 2019. It’ll be fascinating to see what kind of discussion the publication of Ring Shout will be generating once the general public has been able to read it later this autumn. It is addictive and thought-provoking, and a stark reminder that our society needs to do better right now. In my humble opinion, every single one of you should be reading Ring Shout right now and use it to interrogate your own prejudice.

Read Ring Shout by P. Djèlí Clark

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An Interview With P. Djèlí Clark

Ring Shout by P. Djèlí Clark, a supernatural take on the Ku Klux Klan is probably one of the most timely books to be released in 2020. We at Grimdark Magazine had the honour to speak with the Nebula and Locus award-winning (and Hugo-nominated) author about his novella, writing and how fantasy interacts with politics.

He is probably best known for his Ministry of Alchemy sequence, A Dead Djinn in Cairo (short story, Tor.com) and The Haunting of Tram Car 015 (novella, Tor.com) set in an alternate steampunk Egypt. Ring Shout, also a novella is published by Tor.com on 13 October, and he is one of the co-founders of (award-winning, as he points out!) magazine of Black speculative fiction, FIYAH, which we highly recommend you check out after reading this interview! But without further ado, have a read what the man himself has to say!

[FS] Ring Shout was obviously inspired by a long frustration with history, but did you realise at the time you were writing the book just how timely it would be at its release?

[PDC] Not at all. I started thinking up the idea for this story sometime in 2015. It sat with me for a few years, and didn’t really take off until I pitched it as a possible novella in the spring of 2019. So its release at this time is coincidence, or kismet—take your pick. I do, however, welcome the discourse the novella will provoke in the current moment and am fascinated to see what meaning(s) readers might take from it.

[FS] What was your inspiration to separate the Ku Kluxes from the Klans in Ring Shout?

[PDC] While the story didn’t begin to bubble up as an idea until 2015, some of its elements have been with me for a minute. A long while back, I was doing research for a Master’s thesis using the ex-slave narratives of the WPA, taken in the 1930s. There, former slaves who lived through Reconstruction, spoke of the first KKK. They described them dressed at times with horns and other oddities, compared them to haints (restless spirits), and described them carrying out violent and monstrous acts. That was my invitation to imagine over the familiar white sheets and hoods as something more sinister, inhuman: what the characters refer to as Ku Kluxes, as opposed to still human Klans. But I also didn’t want to fall into the trap of ascribing those monstrous acts to just mindless monsters. That would be too easy, evading responsibility for crimes carried out by all-too-human hands. I wanted to convey that to go down that dark road, to become a monster, is in many ways a choice. You don’t just end up there. You always have chances to walk back, before it’s too late.

[FS] In your other life you are an academic historian, how difficult do you find it to switch between the two modes of writing?

[PDC] Not difficult I’d say. Kind of like flicking a switch. But I tend to keep the two separate, as far as writing style. I even have a different laptop for both. How I write creatively, is not how I write as an academic. I’ve tried to blend the two: to make my academic work more literary. Nah. Didn’t like it.

[FS] What books have you read recently that you have absolutely loved and that you think our readers should check out?

[PDC] Rivers Solomon’s The Deep, Tochi Onyebuchi’s Riot Baby, Victor LaValle’s The Changeling. Not a book, but reading Wendi Dunlap’s very creepy Carnivàle, a serial with Broken Eye Books.

[FS] Can you tell us anything about what you are currently working on?

[PDC] The brand new WIP is a secondary world fantasy about an undead assassin, given an impossible task, who risks the wrath of a death-goddess. Still sketching it out.

[FS] You have written award-winning short stories and novellas – what appeals to you about the short form over the full-length novel?

[PDC] Well, I started out many years ago writing novels (all unpublished). When I did try my hand at short stories, my habit for long form left me with novelettes or novellas. Back then though, no one much was publishing that length. I had to teach myself how to write actual short stories, so I could actually get published. Turns out, it was a great way to work on the writing craft. Also introduced me to the short story market for genre, and the works of many very amazing writers. I managed to get published, then managed to get lucky with some nominations. But I still have a habit of creating novelettes and even novellas, with ideas that just won’t fit the short story format. Fortunately, I’ve been afforded some spaces where that sort of stuff can find a home.

[FS] Why do you think fantasy is such an effective genre to write about very real issues affecting our world?

[PDC] I don’t really know. Why does Tolkien find he can better express the hell of WWI through dead marshes and Mordor, or ecological politics through talking trees? Maybe there’s something in the human need to tell and hear stories that are both fantastic and familiar, that makes it easier to wrap real life within myth and folklore.

[FS] You are one of the founding members of FIYAH, a magazine of Black speculative fiction, which I personally think is amazing. How would you pitch the project to our readers of Grimdark so they cannot resist subscribing themselves?

[PDC] Let me amend that just a bit: the award-winning magazine of Black Speculative Fiction. FIYAH not only boasts a World Fantasy award, it features talented Black writers from across the Diaspora—some your readers might recognize, others they can freshly discover. It’s just solidly good writing that cuts across genres, styles, and themes. Grab you a copy.

[FS] We have just hosted a short story competition for previously unpublished authors at Grimdark Magazine – what advice would you give these authors who are just starting out on their careers?

[PDC] Keep creating. Finished that one story? Start dreaming up the next one. Keep reading. Sampling what’s out there can be food for the muse in unexpected ways. Write what excites you. If you want others to love it, you gotta love it first. Finally, be patient—with the world, and with yourself.

Read Ring Shout by P. Djèlí Clark

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Robert E. Howard: Godfather of Grimdark?

Grimdark is a relatively new label for speculative fiction. Maybe the term first rolled around on your tongue while painting Warhammer miniatures back in the 90s, or perhaps it took Joe Abercrombie’s Twitter handle to embed this compound word into your personal lexicon. But the content that’s come to define this genre—the morally ambiguous characters, bleak circumstances, and thought-provoking dilemmas—is far from novel. Of course, dark stories have been around since long before the written word existed, but much of what we’ve come to associate with grimdark fantasy is rooted in the stories of pulp master Robert E. Howard.

Sure, Michael Moorcock, Karl Edward Wagner, and countless others helped provision the journey from dark fantasy to grimdark. But before their time,way back in the 1930s, the Texan known as ‘Two-gun’ was spinning fantasy yarns driven by morally deficient heroes with selfish and sometimes  disturbing motivations. Notably, these sword-and-sorcery tales, as they came to be known, were antithetical to the more hopeful and altruistic writings of Tolkien and those who trailed him. Howard was among the first writers to blend gritty, blood-pumping adventure yarns with dark fantasy elements, and in this regard, I don’t believe he is always given his due credit.

Though Howard’s settings aren’t aggressively bleak, they are as cold and cruel as one would expect from pseudo-historical settings. But it is not so much the plots or the places that resemble our modern concept of grimdark (though there are similarities)—it is his characters and their motivations. His most popular and enduring creation, Conan the Cimmerian, is not a typical hero. While many claim he is an anti-hero, and certain traits favour that description, that label is both vague and wide. Conan not should be so carelessly categorized, nor should Bran Mak Morn, another of Howard’s barbarian kings. After a careful examination of these two characters, I’m comfortable asserting that Howard was the godfather of the grimdark protagonist.

According to Novalyne Price, Howard once described Conan as “the damndest bastard I ever saw” (Price, One Who Walked Alone, 20). I think it’s fair to say that this is no way to describe a hero. And while Conan does play the hero when it suits him, if he doesn’t totally shatter the heroic archetype, he certainly cracks it. His motivations for slaying are manifold. Supported by his capable sword arm and near super-human constitution, he seeks money, wine, women, power, and sometimes vengeance. Time and again, he proves to be unrestrained by moral scruples. In ‘Rogues in the House’, he is jailed after slaying a priest to avenge his fellow thief and partner-in-crime. Then, in negotiations to win back his freedom, he agrees to kill a man he doesn’t know. In ‘Queen of the Black Coast’, after slaying a judge, he hops aboard a merchant ship and threatens to “drench (the) galley in the blood of its crew”. In what is perhaps Howard’s most controversial tale, ‘The Frost Giant’s Daughter’,  Conan reveals his dark lusts as he stalks a nymph-like woman across the barren northern wastes, threatening to “warm (her) with the fire in (his) own blood.” While there’s plenty of evidence to suggest he is literally bewitched by Atali’s magic, it’s disingenuous to claim rape—in this story—is not a motivator, whether he has been charmed or not. These are certainly not heroic traits, not by today’s standards, nor when compared to other fantasy fare of that era.

By his own admission, Howard injected a degree of realism and grit into Conan—aspects shared by modern grimdark protagonists and/or point of view characters. In a 1935 letter to his peer Clark Ashton Smith, Howard wrote:

“Sent a three-part serial to Wright yesterday: “Red Nails”, which I devoutly hope he’ll like. A Conan yarn, and the grimmest, bloodiest and most merciless story of the series so far. Too much raw meat, maybe, but I merely portrayed what I honestly believe would be the reactions of certain types of people in the situations on which the plot of the story hung. It may sound fantastic to link the term “realism” with Conan; but as a matter of fact — his supernatural adventures aside — he is the most realistic character I ever evolved. He is simply a combination of a number of men I have known, and I think that’s why he seemed to step full-grown into my consciousness when I wrote the first yarn of the series. (Robert E. Howard to Clark Ashton Smith, 32 July 1935, Collected Letters of Robert E. Howard 3. 366-367)

It is this warts-and-all realism that separates Conan from other fantasy characters and makes him more akin to grimdark protagonists like Abercrombie’s Logen Ninefingers. He is a man motivated by appetite—whether it’s for “rich juices of red meat”, “lithe and voluptuous” females or for “the feasting of swords”, Conan wears his heart’s desire on his vambrace. And in ‘Red Nails’, the final and arguably most grimdark Conan story, we see the Cimmerian as driven as ever to satisfy his needs. It is a tale of lust, tribal feuds, trophy killings, and the slow, horrifying decay of civilization. In the middle of all this is Conan—horny, hungry and vicious as a panther, giving little regard to the fate of the warring citizens. After a crescendo of blood and thunder, as bodies bleed out in the streets of Xuchotl, readers may find themselves aghast at the bleak themes and ultra-violence on display. But not Conan. Despite all he’s witnessed and all he’s wrought, when the final screams cease, his mind immediately sets back to his purpose, ‘“Well this cleans up the feud,” he grunted. “It’s been a hell of a night! Where did these people keep their food? I’m hungry.”’

To be fair—and at the risk of countering my own thesis—I must highlight Conan’s peculiar sense of honor. In these tales, Howard takes pains to explore the theme of civilization vs. barbarism, and one of his go-to tricks is to portray Conan as a man with a code, especially in regard to his friends. In ‘Queen of the Black Coast’, he kills the judge because he refuses, by order of his curious barbaric mores, to give up his friends. Again, in ‘Rogues in the House’ we learn the lengths he goes to avenge his thief friend, despite risking his own freedom. And regardless of the uncomfortable aspects of the ‘Frost Giant’s Daughter’, other tales give evidence that Conan would not take a woman against her will, nor would he accept sex as a payment for his services. This isn’t to say these examples preclude Conan from being a grimdark protagonist, as these could be considered character traits, but it is only fair to point out that he does have a moral compass.

Though several of Howard’s characters warrant a look under the grimdark lens, another in particular presents a truly compelling case: Bran Mak Morn, last King of the Picts. If Conan is Howard’s power fantasy—a man of sex, drugs, and dripping swords—then Bran Mak Morn represents a man bent beneath the weight of duty. I realize it doesn’t sound immediately grimdark to be married to one’s responsibilities, but the measures Bran takes to beat back the encroaching Romans and preserve his people are both extreme and unsettling, especially for a fantasy hero of the 1930s.

In what many consider Howard’s masterwork, ‘Worms of the Earth’, Bran’s back is to the wall. For years he’s raged against the inevitable; now he stands closer than ever to losing everything to the Romans. Unlike Conan, Bran lacks the luxury of pursuing base pleasures. He experiences all the melancholy with none of the mirth. In an earlier story, ‘Kings of the Night’, we see Bran is willing to condone human sacrifice to gain an edge on his enemies, but that pales in comparison to the depraved acts he commits in ‘Worms of the Earth’. In order to wreak vengeance on the military governor, Titus Sulla, Bran seeks the aid of a witch, whom he must bed in order to curry favour. Once the deed is done, he descends into the hellish depths of the earth to make a pact with the titular Worms—devolved reptilian creatures capable of killing by supernatural means.

While it’s fair to say Bran is doing this for altruistic purposes, it’s equally fair to claim he’s fully aware of what fates he tempts. Despite warnings from both his trusted seer and the devious witch who calls him mad, he remains undeterred, ‘“I seek a vengeance,’ he answered, ‘that can be accomplished only by Them I seek.’”

Further, ‘Worms of the Earth’ ends on purely grim and ominous note and, unlike Conan, Bran does not conqueror his enemies unfazed. Despite glutting his vengeance and surviving the fight, Bran’s actions make no significant difference in the ultimate fight against his enemies. In fact, he has probably made new and more elusive foes. What evils he unleashed we’ll never know, as this was the last Bran tale Howard would write. But if a grimdark story is one where the protagonists make questionable decisions and commit black deeds, only to find themselves deeper in the mud and blood, then ‘Worms of the Earth’ certainly fits the definition.

While it’s easy to suggest Howard’s contributions were nothing more than another branch on the evolutionary chain of speculative fiction, I believe he deserves more credit. If you consider his morally ambiguous characters, their motivations, and his stories’ bleak themes and ominous conclusions, it’s easy to spot the influences he has had on grimdark fantasy. Perhaps over the years, other authors have provided stronger inspirations, but when you follow the thread all the way back to Howard’s pulp tales of the 1930s, you will find the starting point for grim and dark fantasy as we know it.

Originally published in GdM#24

Check out the full issue here.

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REVIEW: Mountain of Daggers by Seth Skorkowsky

Mountain of Daggers by Seth Skokowsky is a collection of short stories about a thief named Ahren (pronounced Aaron). Ahren is arguably the greatest thief in the world and someone who has skills as a sailor, burglar, con man, swordsman, and brawler. Unfortunately, this is not the kind of world that benefits Renaissance Men and he is someone the local gangs don’t know what to do with.

The book is arranged in the context of an old Sword and Sorcery book rather than grimdark. It reminded me strongly of the pulpy adventures of Conan the Barbarian or Fafhrd and the Gray Mouser. Ahren, himself, is not a larger than life character but stoic and reserved with rarely any hint to what he’s really thinking. He reminds me a bit of Clint Eastwood’s Man with No Name, transplanted to a Medieval Italian-esque universe.

Ahren’s motivations seem limited to either coin or cleavage, the later driving him to get involved with several dangerous women throughout the story. He’s not a lech like Conan but more like a gentleman bandit who is certain he can charm any of the young women he gets involved in given enough time spent in his company. How successful depends on the story as quite a few of the women he encounters outwit him rather than the opposite.

Each of the short stories inside the book is yet another one of Ahren’s adventures, loosely organized in chronological form. We follow him from when he’s little more than a sailor sick of doing menial labor for little pay to a man who is feared throughout the continent as the Black Raven. Each of them is self-contained and could have been printed in a magazine with readers never having to read one of the originals.

Seth Skorkowsky is notably an award-winning reviewer of pulp-influenced tabletop games like Call of Cthulhu, Conan the Barbarian, and Traveler. As such, we can see what sort of fiction he’s making a homage to despite this being a book written in the 21st century rather than in the early 20th. This is a world of evil wizards, pirates, thieves’ guilds, decadent nobility, and more. It’s a bitter higher tech than Conan’s world and I’d put it roughly around the same level as the Gentleman Bastard series.

This classic homage to the swashbuckling short stories of the past is going to appeal to a lot of fans but sadly suffers from some of its weaknesses. Ahren’s mysteriousness and stoicism prevents much in the way of character development. He’s pretty much the same individual he was at the beginning, even when he’s only starting his career as the legendary Black Raven. We also don’t have much in the way of a supporting cast as there are only a handful of recurring characters throughout the short stories.

Still, I recommend this book and think it is far from the worst way a fantasy fan can spend their afternoon. The big appeal of this book is its action, daring do, and interesting heists. This is a book about a dashing rogue and Seth Skorkowsky writes them well.

Read Mountain of Daggers by Seth Skorkowsky

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REVIEW: The Left-Handed Booksellers of London by Garth Nix

The Left-Handed Booksellers of London is a rollicking urban fantasy by the prolific Garth Nix, taking place in a slightly-alternate version of the titular city, in the year 1983.

Shortly after her 18th birthday, Susan Arkshaw leaves rural life for the big city to find her fortune and discover the identity of her long lost father. Before long, she is whisked away into the dangerous magical underbelly of old Lun-Dun guided by the charismatic bookseller, Merlin St. Jacques; an agent of a secret society of sorcerous operatives, trained to keep fantastic occurrences safely away from the oblivious public. Merlin believes that Susan – and her mysterious father – are somehow connected to his own private investigation, and the two must help each other if they are to resolve their respective goals.

What follows is a mad-cap journey filled with memorable characters and heart-pumping action, all steeped in a convincing mythology thick with the folklore of its locale. Overall, I was thoroughly satisfied with this novel, finding the plot interesting and action-packed, the characterization sharp, and the realization of the world and incorporation of its accompanying mythos, exceptional. The pacing of the plot points could perhaps have been improved by reducing the many bits of exposition detailing various magical elements during the first quarter-or-so of the book, though this did indeed pay dividends later, and the story undeniably builds up to an exciting and satisfying crescendo.

While the writing itself was generally a pleasure to apprehend, I will note that the author employs an uncommon perspective device, as the point of view shifts between characters, sometimes mid-scene, although it is not an omniscient narration. It’s an affectation of Nix’s that I have scrutinized in a previous work, and while not a style often used in current literature, he ably leverages it here to expedite the narrative by informing the reader directly as to the thoughts of a particular character (in this case, primarily Merlin) without having to later review the scene from their viewpoint or contrive an inference for the reader to understand what they were feeling in that moment. Mostly though, the story is told either through Susan or Merlin, in their own chapters and in more traditional fashion.

Modern readers will be pleased to find transgender representation in the form of the magically gender-fluid, dress-wearing and gun-toting Merlin; a prime candidate for a groundbreaking genre role as a dashing and unflappable warrior. However, those of the most stringent social conscience may be disappointed to see this aspect of the character fade to the background, as the male representation of Merlin quickly takes centre stage; the opportunity to truly showcase such a lead, arguably sidestepped. Regardless, I appreciate the way in which Nix nonchalantly incorporates this element into his character work, and furthermore, respect that he’s laid groundwork for future stories destigmatizing this facet of society.

Fans of Gaiman’s Neverwhere and Butcher’s Dresden Files will appreciate the familiar territory and enjoy the balance struck between irreverence, drama and action, while those new to the genre will surely find this to be an engaging and well-executed entry point into urban fantasy. There is certainly a lot left to mine here, and I could well see this setting be home to many future stories of The Left-Handed Booksellers of London.

Read The Left-Handed Booksellers of London by Garth Nix

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REVIEW: Fortress of Fury by Matthew Harffy

Fortress of Fury is a well-researched, enjoyable historical fiction set in the familiar world of dark ages Britain. There are bloody battles, intriguing characters and plenty of oaths that need fulfilling.

“To lead men is not easy. Think carefully before you accept their oaths. For a man’s promise to his lord is both a treasure and a burden.”

This is Matthew Harffy’s 7th entry into his dark-ages series the Bernicia Chronicles. Set in 647 AD, you may not know much about this particular time period as it is rarely covered in historical fiction. We are more used to the age of the Norse-raiders from the turn of the 8th century to the battle of Hastings. If you are a reader of Bernard Cornwell’s Saxon Chronicles this series will not feel much different. The land and politics are similar, the gritty characters and shield walls are ever present and the names are suitably Anglo-Saxon.

“You know me,” Beobrand said, a half-smile playing on his lips. “I am always careful.”

I have not read the previous entries into the Bernicia Chronicles, nor have I met Beobrand our protagonist before. I can say that you can definitely follow along and not feel lost if you jump into this series with Fortress of Fury, as this book indeed felt like a standalone. I did always feel like I was missing something, a connection with a certain character, a reference here and there, and this ultimately influenced my rating more than another book would.

“Towards lies and towards broken oaths. And towards death.”

The writing is solid, prose clear and direct and engaging. Beobrand is a likeable character and has some awesome moments that make him stand above the rest. There are similarities between him and other main characters of dark ages series, a strong and talented warrior with charisma for days, but that is no bad thing – if it ain’t broke, don’t fix it! The secondary cast are also fun and provide lots of interest, whether in the form of friends, love interests and rivals. The pacing was great and each character had their moment to come through and shine to the reader.

“The men did not speak, but it was clear they came with only one purpose: death in the darkness.”

4/5 – All in all I enjoyed my foray into the Bernicia Chronicles. Fortress of Fury is a solid and fun read that allows you to glimpse into the dark world of 7th century Britain. The fights are intense and engaging and the characters intriguing. I will go back and start from The Serpent Sword as I enjoyed this, but feel I could have loved it if I had joined the characters from book 1.

Read Fortress of Fury by Matthew Harffy

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Exclusive cover reveal for Blindspace by Jeremy Szal

After exploding onto the science fiction scene with his barnstorming adrenaline-fest, alien drug-fuelled debut, Stormblood, Jeremy Szal is back with Blindspace, book two in The Common. Blindspace isn’t scheduled for release by Gollancz until October 2021, but I do have one hell of a cover to show you!

Now, there isn’t a great deal of detail available about Blindspace as of this post (there’s a few tid-bits in interviews here, here, and here) but if you’ve read book one, and you know the toll stormtech has taken on Harmony’s discarded Reaper super soldiers, then you’ll know the tagline on the cover has a big impact.

Sometimes the cure is worse than the disease …

This book is going to be painful, you’re going to cringe, and who knows if Vak, Artyom, Grimm, and Katherine will make it out the other end. And after saying the below about Stormblood, there is no question that I’ll be in line for this book.

Stormblood is a magnificent and explosive adrenaline-fest that ends with an absolute gut-punch that ties all the threads back into one tear-inducing moment. Szal’s debut is an absolute must read for fans of gritty, action-packed, detective / military SF. Whatever book two is, I’m in.

Now that I’ve managed to quote myself, let’s get in to the cover.

Check out the cover

Now, the cover for Blindspace is a thing of sci-fi beauty. The beasty armour, the ship, and the drop into the neon-drenched metropolis below has my imagination swimming with possibilities.

 

Pre-order Blindspace by Jeremy Szal

Get in line for what is going to be an absolutely epic read by using the pre-order links below:

Amazon UK: https://www.amazon.co.uk/Untitled-Szal-2-3-Jeremy/dp/147322747X
Amazon US: https://www.amazon.com/Blindspace-Jeremy-Szal-ebook/dp/B0891TKN1H/ref=sr_1_9?dchild=1&keywords=Jeremy+Szal&qid=1601939507&s=audible&sr=1-9-catcorr
Amazon AU: https://www.amazon.com.au/Untitled-Szal-2-3-Jeremy/dp/147322747X/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=
Book Depository: https://www.bookdepository.com/Blindspace-Jeremy-Szal/9781473227477?ref=grid-view&qid=1601939455517&sr=1-2

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REVIEW: The Tower of Fools by Andrzej Sapkowski

I received an uncorrected proof copy of The Tower of Fools in exchange for an honest review. Thank you to Andrzej Sapkowski and Gollancz.

In The Tower of Fools, we are introduced to the twenty-three-year-old nobleman Reinmar of Bielawa, also referred to as Reynevan, whilst he is having sex with another man’s wife. Unfortunately, the cuckolded husband’s brothers interrupt proceedings and pummel the young rapscallion. Our protagonist somehow manages to escape, losing his many pursuers until finally, Wolfer of Stercza declares that Reinmar is a dead man.

“I’ll catch you, kill you, destroy you. Exterminate you and your entire viperous family.”

There are lots of characters introduced in the opening chapter and the general consensus is that they are all after Reynevan. Reinmar of Bielawa spends much of the novel running and hiding from many who would see him beaten, castrated, or executed. For all who seem to oppose him though, there seem to be many others who will aid him or give assistance, sometimes due of his high birth, that they are friends of a mutual acquaintance, or because he went to university in Prague with them.

Reynevan is an extremely interesting lead character. He’s good-looking, charming, intelligent, a physician, is sort of an apprentice-level mage, is often foolish, makes rash decisions, and has a major weakness when it comes to the opposite sex. Reynevan has more in common with Dandelion than with Sapkowski’s most famous protagonist, Geralt of Rivia.

“Reynevan… Misbegotten, albeit, but of Piast blood. A bishop’s son. Kin of the Nostitz family. The nephew of the scholaster at Wroclaw Collegiate Church. A friend of rich men’s sons at university. On top of that, if that weren’t enough, a conscientious physician, almost a miracle worker, capable of winning the gratitude of the powerful.”

Before I approached The Tower of Fools, one of my favourite elements of Sapkowski’s writing was that he created great supporting characters, groups, brotherhoods and fellowships. An example would be the ensemble of Geralt, Dandelion, Regis, Milva, and Cahir in Baptism of Fire. This strength of the author’s is present throughout The Tower of Fools too, with characters like Scharley, Samson Honey-Eater and Urban Horn being just as complex, colourful and interesting to read about as the novel’s lead is.

Unlike the (mostly) straight-up epic fantasy nature of The Witcher saga, The Tower of Fools would be best described as historical fantasy. It is set in the 15th-century around the time of the Hussite Wars. This is an alternative universe version of historical events that features magic, religious sects, inquisitions, demons, and many monsters of the sort that Geralt would have crossed paths with. There are witches and mages, Wallcreepers, a werewolf who rapes unsuspecting male victims, amongst other creatures lurking in this reimagined Europe. I will admit that the period when this is set is a time of history that I know very little about but I am certain that some of the characters are based upon real-life counterparts. It would be interesting to research the era and see how the characters and the events fit in with those depicted in these novels.

The Tower of Fools was originally released as Narrenturm in Polish almost 20 years ago. This release is the first time that it has been translated into English. The translator is David French who worked with Sapkowski on six of The Witcher novels, and if you enjoyed his work on those novels then, like me, I imagine you will like this translation too. The Tower of Fools has a similar flow, feel, and lexical choices to those books and a couple of the issues that I found with them too. The Tower of Fools must mention the names of hundreds of Knights, members of the nobility and religious figures. It’s extremely detailed and thorough, and all the information, although useful, can be overbearing for a typical reader who just wants to read a good fantasy tale. I honestly didn’t care what twenty various Knights from different places had marked on their shields when it doesn’t seem to have any impact on the story.

For me, The Tower of Fools came across as a slightly darker read than most of The Witcher Saga. The often naive yet good-intentioned (unless he’s got his eyes on pretty women) Reynevan has some horrendous things happen to him in this novel, including events in the titular tower. Some parts read as particularly grim and it is heightened because these moments are due to religious motives and beliefs. The novel features many fights and skirmishes, lots of bloodshed, moments of torture, violence, and gruesome deaths. The Tower of Fools isn’t without humour though. I smiled and chuckled frequently which was a nice juxtaposition to the darkness and gloom. The side characters have some extremely humourous exchanges with Reinmar, and our narrator also gives a cheeky, informal summary at what is to happen in the upcoming chapter.

The Tower of Fools is a great opening chapter of the Hussite Trilogy. It is a well-crafted mix of historical fiction and fantasy with engaging characters, a tight plot, and a unique setting. It is set in a reimagined Europe and features religion, heresy, war, magic, demons, and monsters. The ending is well-worked and fulfilling and sets up the sequel, Warriors of God, in fine fashion. I have had positive experiences with all of Sapkowki’s books so far, except for Lady of the Lake, and for me, The Tower of Fools sits alongside Baptism of Fire and The Tower of the Swallow as some of the author’s finest work. I’m intrigued to see what happens next with the Hussite Wars in this series and to find out the part that Reinmar of Bielawa and his companions may play. Recommended for fans of Sapkowski’s The Witcher Saga, and those who enjoy a dark fantasy take on historical events.

*Quotations are taken from an uncorrected proof copy of The Tower of Fools and could change in the final release.

Read The Tower of Fools by Andrzej Sapkowski

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