#41--Published February 1972
Xiccarph
Clark Ashton Smith
Cover art by Gervasio Gallardo
Xiccarph is a bit of a misnomer for this volume. Only two of the ten short stories are about Xiccarph, and one of them was published earlier in the series. The first story I ever read by Smith was The Maze of Maal Dweb, from The Young Magicians (#6 in the series). I was immediately caught up in the originality and superb storytelling of the author, who gave us a barbarian hero who was (at last!) no match for an educated and proficient wizard. This is still one of my favourite Smith tales. The 2nd and final Xiccarph tale penned by Smith is called The Flower-Women. Though not as powerful a story as The Maze, we do once again see the mighty wizard of Xiccarph in action, taking on bullies of the worst sort. It seems strange that Smith would not have written more about this land and about this wizard, but at least we have these two.
The next three tales take place on Mars, or Aihai, as Smith calls it. While there is a science fiction element to the stories, the reader will quickly discover the usual setting deep underground, with old gods and civilizations long forgotten still up to their nasty beliefs and ceremonies. The descriptions of Mars are really quite good, though despite the exotic setting, the stories are pure horror. Vultboom, The Dweller in the Gulf, and The Vaults of Yob-Vombis all share the deep, dark secrets of ancient Mars that archeologists are always so keen to discover; unless, of course, Clark Ashton Smith is responsible for those ancient secrets. In such cases, it were best that these things remain undiscovered. One thing I find fascinating about all three tales of his only Mars series is how believable they seem. In our modern search for life beyond our planet, even Stephen Hawking advises that broadcasting our whereabouts to aliens is perhaps not such a great idea. Smith has created alien life forms so powerful, hideous and without any scruples, they could still serve as a warning to present civilization. The third story in particular seems to conjure up scenes from the movie "Alien," only even more terrifying and devastating.
The Doom of Antarion is a solo potboiler that links the reader on earth to a distant dying star and the world that dies with it. Again, a definite science fiction element is present, this time without the underground horror. There is darkness aplenty, however, just not the usual Smith kind. Another individual tale is The Demon of the Flower. During his short introductory essays, Lin Carter pauses to ask why Smith suddenly stopped writing his short stories sometime before 1935. Personally, I think that writing story after story that ends with absolutely no hope or glimmer of happiness for the hero would eventually get to be a bit of a downer. Some of these tales almost make one want to run out and watch "The Sound of Music," just for a jolt of optimism and a few moments of unexpurgated sunshine. Even though the hero of Demon "wins" his battle and manages to defeat his nemesis, Smith still manages to quash any trace of victory and hope from the endeavour. Could any sane author continue writing such tales indefinitely?
The Monster of the Prophecy is a longish story, nearly pure science fiction. An alien disguised as an earthling transports a human (the story's main character) back to his own planet. By this point in the book, the reader will be expecting horrible things to happen to the human. Though he is tortured in a uniquely Smith fashion, he manages to survive and even live happily ever after! The tale has a lot to say about accepting differences in others.
The final two offerings are very short prose poems, which Carter mentions were favourite literary forms of Smith. Sadastor and From the Crypts of Memory are both worth more than a quick read, though neither is as good as his finest short stories. ThIS volume opened with another of these prose poems, entitled To the Daemon: An Invocation. I suggest rereading it after finishing the whole book. I think Smith lived up to his aspirations, and he will always be counted as among my favourite fantasy authors.
***1/2 stars. Reviewed April 27th/13
Xiccarph is a bit of a misnomer for this volume. Only two of the ten short stories are about Xiccarph, and one of them was published earlier in the series. The first story I ever read by Smith was The Maze of Maal Dweb, from The Young Magicians (#6 in the series). I was immediately caught up in the originality and superb storytelling of the author, who gave us a barbarian hero who was (at last!) no match for an educated and proficient wizard. This is still one of my favourite Smith tales. The 2nd and final Xiccarph tale penned by Smith is called The Flower-Women. Though not as powerful a story as The Maze, we do once again see the mighty wizard of Xiccarph in action, taking on bullies of the worst sort. It seems strange that Smith would not have written more about this land and about this wizard, but at least we have these two.
The next three tales take place on Mars, or Aihai, as Smith calls it. While there is a science fiction element to the stories, the reader will quickly discover the usual setting deep underground, with old gods and civilizations long forgotten still up to their nasty beliefs and ceremonies. The descriptions of Mars are really quite good, though despite the exotic setting, the stories are pure horror. Vultboom, The Dweller in the Gulf, and The Vaults of Yob-Vombis all share the deep, dark secrets of ancient Mars that archeologists are always so keen to discover; unless, of course, Clark Ashton Smith is responsible for those ancient secrets. In such cases, it were best that these things remain undiscovered. One thing I find fascinating about all three tales of his only Mars series is how believable they seem. In our modern search for life beyond our planet, even Stephen Hawking advises that broadcasting our whereabouts to aliens is perhaps not such a great idea. Smith has created alien life forms so powerful, hideous and without any scruples, they could still serve as a warning to present civilization. The third story in particular seems to conjure up scenes from the movie "Alien," only even more terrifying and devastating.
The Doom of Antarion is a solo potboiler that links the reader on earth to a distant dying star and the world that dies with it. Again, a definite science fiction element is present, this time without the underground horror. There is darkness aplenty, however, just not the usual Smith kind. Another individual tale is The Demon of the Flower. During his short introductory essays, Lin Carter pauses to ask why Smith suddenly stopped writing his short stories sometime before 1935. Personally, I think that writing story after story that ends with absolutely no hope or glimmer of happiness for the hero would eventually get to be a bit of a downer. Some of these tales almost make one want to run out and watch "The Sound of Music," just for a jolt of optimism and a few moments of unexpurgated sunshine. Even though the hero of Demon "wins" his battle and manages to defeat his nemesis, Smith still manages to quash any trace of victory and hope from the endeavour. Could any sane author continue writing such tales indefinitely?
The Monster of the Prophecy is a longish story, nearly pure science fiction. An alien disguised as an earthling transports a human (the story's main character) back to his own planet. By this point in the book, the reader will be expecting horrible things to happen to the human. Though he is tortured in a uniquely Smith fashion, he manages to survive and even live happily ever after! The tale has a lot to say about accepting differences in others.
The final two offerings are very short prose poems, which Carter mentions were favourite literary forms of Smith. Sadastor and From the Crypts of Memory are both worth more than a quick read, though neither is as good as his finest short stories. ThIS volume opened with another of these prose poems, entitled To the Daemon: An Invocation. I suggest rereading it after finishing the whole book. I think Smith lived up to his aspirations, and he will always be counted as among my favourite fantasy authors.
***1/2 stars. Reviewed April 27th/13
#42--Published February 1972
The Lost Continent
C. J. Cutliffe Hyne
Cover art by Dean Ellis
This novel reads not so much as the finest story of Atlantis ever penned, but rather as one man's account of what actually happened in the days before the sinking of the continent. It rings so true as to really seem an eyewitness account of the downfall of a great civilization. The tale begins in Yucatan, at that time a far outpost of Atlantis. It takes place thousands of years before Egypt or Europe had made any advances into civilization. And true to thinking when the book was written (late 1800s), dinosaurs and sea monsters still roamed the earth.
It is a rather humourless and grim tale, but one that is so engrossing and all-encompassing that when the end finally does come, the reader feels as though he has been through the adventure himself. There are two main characters and several minor ones. The hero is Deucalion, summoned from Yucatan to Atlantis to wed the Empress Phorenice (who has red hair, not black as depicted on the cover). Phorenice has declared herself a Goddess, and rules the empire in the most decandent and wasteful manner that she can. Deucalion, loyal to the city, obeys her commands despite his personal misgivings. His love for another Atlantean sets up the final clash between him and Phorenice.
One of the most fascinating things about this book is that it shows Atlantis already fully in decline, with enemies continually trying to breach the walls, and desperate citizens within stealing, robbing and causing violence. Deucalion has been gone for twenty years, barely recognizing his once-great city. It sounds a lot like many of our world's big cities that once were great but are now dominated by crime and violence, not to mention greedy and self-serving leaders. We get to visit not just the great ceremonial heart of Atlantis, but also its narrow and dangerous back streets and the dock and fishing areas. We get glimpses into many different groups of people living and dying within its walls. We also get a look outside the walls, seeing who it is that attacks the city night and day. The storyteller tells a complete tale, and much of it is not very pretty. It is endlessly fascinating, though.
Lastly, we get a taste of how religion (think Sun God) declined, and how Phorenice replaced the priesthood with herself being worshiped rather than the gods. The priests, however, retained their powers, and those powers are rather impressive. However, so few priests remained by the end that Phorenice was able to storm their mountaintop bastion. There was a heavy price to pay for her final indiscretion.
I absolutely loved this book, and look forward to a re-read someday. Older teens should also like it, and it would make one heck of a fine blockbuster movie. Recommended highly.
**** stars. Reviewed May 16th/13
This novel reads not so much as the finest story of Atlantis ever penned, but rather as one man's account of what actually happened in the days before the sinking of the continent. It rings so true as to really seem an eyewitness account of the downfall of a great civilization. The tale begins in Yucatan, at that time a far outpost of Atlantis. It takes place thousands of years before Egypt or Europe had made any advances into civilization. And true to thinking when the book was written (late 1800s), dinosaurs and sea monsters still roamed the earth.
It is a rather humourless and grim tale, but one that is so engrossing and all-encompassing that when the end finally does come, the reader feels as though he has been through the adventure himself. There are two main characters and several minor ones. The hero is Deucalion, summoned from Yucatan to Atlantis to wed the Empress Phorenice (who has red hair, not black as depicted on the cover). Phorenice has declared herself a Goddess, and rules the empire in the most decandent and wasteful manner that she can. Deucalion, loyal to the city, obeys her commands despite his personal misgivings. His love for another Atlantean sets up the final clash between him and Phorenice.
One of the most fascinating things about this book is that it shows Atlantis already fully in decline, with enemies continually trying to breach the walls, and desperate citizens within stealing, robbing and causing violence. Deucalion has been gone for twenty years, barely recognizing his once-great city. It sounds a lot like many of our world's big cities that once were great but are now dominated by crime and violence, not to mention greedy and self-serving leaders. We get to visit not just the great ceremonial heart of Atlantis, but also its narrow and dangerous back streets and the dock and fishing areas. We get glimpses into many different groups of people living and dying within its walls. We also get a look outside the walls, seeing who it is that attacks the city night and day. The storyteller tells a complete tale, and much of it is not very pretty. It is endlessly fascinating, though.
Lastly, we get a taste of how religion (think Sun God) declined, and how Phorenice replaced the priesthood with herself being worshiped rather than the gods. The priests, however, retained their powers, and those powers are rather impressive. However, so few priests remained by the end that Phorenice was able to storm their mountaintop bastion. There was a heavy price to pay for her final indiscretion.
I absolutely loved this book, and look forward to a re-read someday. Older teens should also like it, and it would make one heck of a fine blockbuster movie. Recommended highly.
**** stars. Reviewed May 16th/13
#43--Published March 1972
Discoveries in Fantasy
Edited by Lin Carter
Cover art by Peter Levasseur
Four authors are presented in this anthology of shorter works, and I will review each of them as I finish reading. Two novels by Ernest Bramah were published in the Ballantine Series after this book, and Lin Carter seems to be preparing the reader ahead of time for something a bit different.
The Vision of Yin is a short story that could easily have continued on after the final sentence, though it could be argued that much has been said to that point. Describing the story would not do justice to Bramah's writing style. A son coming of age goes out into the world to seek adventure, or rather, his vision. His wish to visit a sacred island from which no other traveler has ever returned is carried out, and the story tells what happened to him as a result of that journey. When I first read E.R. Eddison's Mistress of Mistresses, I remember thinking how much of the novel was intelligent conversation and discourse. To me it made the book much more enjoyable than if it had just been action and adventure. Bramah is also a master of witty and enlightening conversation, and most of the delight of this story (and hopefully his others, too) is enjoying what was said, how it was said, and what reaction the dialogue had on a character. There are some very funny moments in here, as well as several profound ones.
*** stars.
The Dragon of Chang Tao, if one were to simply describe the story, it would seem old hat to adventure readers. To gain the love of a rich ruler's daughter (Melodious Vision), our hero is set a task by her to slay dragons. With that straight forward plot, concocting a story as fresh as this one really begins to show Bramah's incredible skill with words. Humour and wit do not begin to describe what the intelligent reader will discover in these few pages. This is one of the finest short stories I have ever read.
**** stars.
Richard Garnett is a name with which I am totally unfamiliar. Two stories from a set by him called "Twilight of the Gods" are presented, which Carter had hoped to publish later in the series. There are 21 stories in it altogether. The two presented here have made me very curious about the others. The Poet of Panopolis is a humorous tale of two men vying for position of Bishop in 5th Century Christian lands. The first man is a pagan, and has written the incomparable "Forty-eight books of verse on the exploits of Bacchus...", while his arch-rival is an ascetic living in the desert. Both men are summoned to a hearing by the Christian church fathers to determine who will get the post. It might not sound like a rousing premise for a fantasy tale, but after reading it you will agree that it is unique and highly worthwhile. Each man is asked to make a single sacrifice to gain the position.
***1/2 stars.
The City of Philosophers is a very funny farce in which Plotinus gets the Emperor Gallienus to bring new life to a dead city by inviting philosophers from all schools to live and dispute there. This is one of the richest and funniest stories I have read in many years, and cannot recommend it highly enough. One need not know much about philosophy to enjoy this piece, but if you do know something about the subject, you might just die laughing.
**** stars.
The third author featured in this anthology is Donald Corley, a virtual unknown writer today that Carter rediscovered. He had enough material and hoped to publish a volume of his short stories for the series. If only Ballantine had continued on, even for another year. The trouble is, many of the volumes were not selling. Readers wanted Tolkien. Carter attempted to broaden minds, and did a damn fine job of it. I doubt that anyone could have done a better job of editing this series, despite a few missteps and some shameless self-promotion.
The Bird With the Golden Beak is the story with a scene depicted on the rich cover of this volume. The story seems to perfectly fit my idea of an adult fairy tale, and though the storytelling is relaxed and easy-going, it has a lot in common with several tales from The Arabian Nights. The topic of sexism is sure to come up in any discussion of Corley's writing (though not here, yet), but to anyone who has read the Arabian Nights, there are also things here to read between the lines. I liked the story, its dreamlike quality capturing my mood during late night read. Definitely worth reading.
*** stars.
The Song of the Tombelaine is a short story that covers the ground of a complete novel. This is another interesting study in femininity, with an overly ambitious (sorceress) mother, a compliant and nearly-as-evil daughter, and an innocent and harmless step-daughter who suffers at their hands. The two men in the story seem without power, content to let things happen and too quick to believe the duplicitous women. This is a powerful story, again benefiting from its dream-like prose and understated drama. A true masterpiece in miniature. **** stars.
The Miniature by Eden Phillpotts is a novella that will appeal to some and not to others. While it did appeal to me and appears well placed within the volume, there were a few tedious moments. In a nutshell, the whole history of Earth is viewed by its maker, Zeus, and his accompanying gods, from the creation to its final demise. What comes across mostly is the scope of Phillpotts imagination, especially at the very end, when it is revealed how many other greater civilizations have emerged elsewhere in the universe (this is not a spoiler). The author's grasp of Greek philosophy and religion is not only superb, but his ability to use that knowledge to give us an interesting perspective of them and how everything works is quite astounding. Despite being centered around the supreme god Zeus, the story does not think very much of religion and the way it is practiced here on earth. I couldn't agree more, and some of the insights are so modern and timely as to show any with ears to listen how long these same problems have been going on among "the faithful." People who have strong religious beliefs will have a number of opportunities to be offended. The rest of us will survive the tale just fine.
*** 1/2 stars. Reviewed June 11th/13
Four authors are presented in this anthology of shorter works, and I will review each of them as I finish reading. Two novels by Ernest Bramah were published in the Ballantine Series after this book, and Lin Carter seems to be preparing the reader ahead of time for something a bit different.
The Vision of Yin is a short story that could easily have continued on after the final sentence, though it could be argued that much has been said to that point. Describing the story would not do justice to Bramah's writing style. A son coming of age goes out into the world to seek adventure, or rather, his vision. His wish to visit a sacred island from which no other traveler has ever returned is carried out, and the story tells what happened to him as a result of that journey. When I first read E.R. Eddison's Mistress of Mistresses, I remember thinking how much of the novel was intelligent conversation and discourse. To me it made the book much more enjoyable than if it had just been action and adventure. Bramah is also a master of witty and enlightening conversation, and most of the delight of this story (and hopefully his others, too) is enjoying what was said, how it was said, and what reaction the dialogue had on a character. There are some very funny moments in here, as well as several profound ones.
*** stars.
The Dragon of Chang Tao, if one were to simply describe the story, it would seem old hat to adventure readers. To gain the love of a rich ruler's daughter (Melodious Vision), our hero is set a task by her to slay dragons. With that straight forward plot, concocting a story as fresh as this one really begins to show Bramah's incredible skill with words. Humour and wit do not begin to describe what the intelligent reader will discover in these few pages. This is one of the finest short stories I have ever read.
**** stars.
Richard Garnett is a name with which I am totally unfamiliar. Two stories from a set by him called "Twilight of the Gods" are presented, which Carter had hoped to publish later in the series. There are 21 stories in it altogether. The two presented here have made me very curious about the others. The Poet of Panopolis is a humorous tale of two men vying for position of Bishop in 5th Century Christian lands. The first man is a pagan, and has written the incomparable "Forty-eight books of verse on the exploits of Bacchus...", while his arch-rival is an ascetic living in the desert. Both men are summoned to a hearing by the Christian church fathers to determine who will get the post. It might not sound like a rousing premise for a fantasy tale, but after reading it you will agree that it is unique and highly worthwhile. Each man is asked to make a single sacrifice to gain the position.
***1/2 stars.
The City of Philosophers is a very funny farce in which Plotinus gets the Emperor Gallienus to bring new life to a dead city by inviting philosophers from all schools to live and dispute there. This is one of the richest and funniest stories I have read in many years, and cannot recommend it highly enough. One need not know much about philosophy to enjoy this piece, but if you do know something about the subject, you might just die laughing.
**** stars.
The third author featured in this anthology is Donald Corley, a virtual unknown writer today that Carter rediscovered. He had enough material and hoped to publish a volume of his short stories for the series. If only Ballantine had continued on, even for another year. The trouble is, many of the volumes were not selling. Readers wanted Tolkien. Carter attempted to broaden minds, and did a damn fine job of it. I doubt that anyone could have done a better job of editing this series, despite a few missteps and some shameless self-promotion.
The Bird With the Golden Beak is the story with a scene depicted on the rich cover of this volume. The story seems to perfectly fit my idea of an adult fairy tale, and though the storytelling is relaxed and easy-going, it has a lot in common with several tales from The Arabian Nights. The topic of sexism is sure to come up in any discussion of Corley's writing (though not here, yet), but to anyone who has read the Arabian Nights, there are also things here to read between the lines. I liked the story, its dreamlike quality capturing my mood during late night read. Definitely worth reading.
*** stars.
The Song of the Tombelaine is a short story that covers the ground of a complete novel. This is another interesting study in femininity, with an overly ambitious (sorceress) mother, a compliant and nearly-as-evil daughter, and an innocent and harmless step-daughter who suffers at their hands. The two men in the story seem without power, content to let things happen and too quick to believe the duplicitous women. This is a powerful story, again benefiting from its dream-like prose and understated drama. A true masterpiece in miniature. **** stars.
The Miniature by Eden Phillpotts is a novella that will appeal to some and not to others. While it did appeal to me and appears well placed within the volume, there were a few tedious moments. In a nutshell, the whole history of Earth is viewed by its maker, Zeus, and his accompanying gods, from the creation to its final demise. What comes across mostly is the scope of Phillpotts imagination, especially at the very end, when it is revealed how many other greater civilizations have emerged elsewhere in the universe (this is not a spoiler). The author's grasp of Greek philosophy and religion is not only superb, but his ability to use that knowledge to give us an interesting perspective of them and how everything works is quite astounding. Despite being centered around the supreme god Zeus, the story does not think very much of religion and the way it is practiced here on earth. I couldn't agree more, and some of the insights are so modern and timely as to show any with ears to listen how long these same problems have been going on among "the faithful." People who have strong religious beliefs will have a number of opportunities to be offended. The rest of us will survive the tale just fine.
*** 1/2 stars. Reviewed June 11th/13
#44--Published March 1972
Domnei
James Branch Cabell
Cover art by Brian Froude
This short novel, along with one other included work by Cabell, is easily read and understood. The style is very straight-forward, and seems to be an attempt by the author to make his work more accessible to readers. While it does not lack wit nor charm, the story seems less filling than the others I have read and enjoyed. It is no coincidence that E.R. Eddison's quote appears on the back cover, as Domnei seems strongly related to that master's works. As defined by Lin Carter in the introduction, and by the author in his introduction, "Domnei" is a single word that seeks to describe the art of courtly love, or wooing, in its medieval version. Putting the woman on a high pedestal and having the hero strive to win her is a theme so prevalent in fantasy literature as to almost define it. Other Cabell tales have taken up the same challenge, though not quite in so direct a way.
There are four main characters in the story, three of whom are male. Perion loves the maiden Melicent (a daughter of Dom Manuel, met in other Cabell works). The two were meant to be a couple, and are deeply in love. However, their destiny is to remain apart for many years, with Melicent the captive and unwilling wife of Demetrios, a nearly invincible foe due to his possession of a magical sword, not to mention a strong castle and plenty of soldiers. Ahasuerus is the fourth cast member, and his fate is woven throughout the tale, changing sides and allegiances, and eventually falling in love with Melicent himself.
Cabell's usual humourous writing style is much more subtle this time, and focused on the two male wooers, Perion and Demetrios. Each time one gains ultimate triumph over the other, the winner comes up with an excuse to set the other free rather than kill him, even though they are sworn enemies. Thirty years of fighting and captivity and frustration, which could have ended at nearly any time, are prolonged until the conflict between them becomes their sole means of existing. Once the quest does eventually come to an end, it is anti-climactic for the winner. In other words, the prize herself is okay, but not really what this was all about, which was Domnei. Brilliantly told.
**** stars
Also included in the volume is The Music From Behind the Moon, on the same Domnei theme. This is the palest wisp of a story, told in one-page chapters, of how a minstrel is driven mad by music he hears. It comes from Ettarre, another of Dom Manuel's daughters, who has been enchanted and kept behind the moon. Cabell returns to his old witty self here, and the writing is superb. And so we have before us two tales of the wooing of maidens, and what happens when the wooing was finally successful and complete. In a nutshell, it's the journey towards the goal that keeps us going. Once achieved, the goal, while eminently worthwhile, ends the journey itself, which is what we really wanted after all.
**** stars. Reviewed July 9th/13
This short novel, along with one other included work by Cabell, is easily read and understood. The style is very straight-forward, and seems to be an attempt by the author to make his work more accessible to readers. While it does not lack wit nor charm, the story seems less filling than the others I have read and enjoyed. It is no coincidence that E.R. Eddison's quote appears on the back cover, as Domnei seems strongly related to that master's works. As defined by Lin Carter in the introduction, and by the author in his introduction, "Domnei" is a single word that seeks to describe the art of courtly love, or wooing, in its medieval version. Putting the woman on a high pedestal and having the hero strive to win her is a theme so prevalent in fantasy literature as to almost define it. Other Cabell tales have taken up the same challenge, though not quite in so direct a way.
There are four main characters in the story, three of whom are male. Perion loves the maiden Melicent (a daughter of Dom Manuel, met in other Cabell works). The two were meant to be a couple, and are deeply in love. However, their destiny is to remain apart for many years, with Melicent the captive and unwilling wife of Demetrios, a nearly invincible foe due to his possession of a magical sword, not to mention a strong castle and plenty of soldiers. Ahasuerus is the fourth cast member, and his fate is woven throughout the tale, changing sides and allegiances, and eventually falling in love with Melicent himself.
Cabell's usual humourous writing style is much more subtle this time, and focused on the two male wooers, Perion and Demetrios. Each time one gains ultimate triumph over the other, the winner comes up with an excuse to set the other free rather than kill him, even though they are sworn enemies. Thirty years of fighting and captivity and frustration, which could have ended at nearly any time, are prolonged until the conflict between them becomes their sole means of existing. Once the quest does eventually come to an end, it is anti-climactic for the winner. In other words, the prize herself is okay, but not really what this was all about, which was Domnei. Brilliantly told.
**** stars
Also included in the volume is The Music From Behind the Moon, on the same Domnei theme. This is the palest wisp of a story, told in one-page chapters, of how a minstrel is driven mad by music he hears. It comes from Ettarre, another of Dom Manuel's daughters, who has been enchanted and kept behind the moon. Cabell returns to his old witty self here, and the writing is superb. And so we have before us two tales of the wooing of maidens, and what happens when the wooing was finally successful and complete. In a nutshell, it's the journey towards the goal that keeps us going. Once achieved, the goal, while eminently worthwhile, ends the journey itself, which is what we really wanted after all.
**** stars. Reviewed July 9th/13
#45--Published April 1972
Kai Lung's Golden Hours
Ernest Bramah
Cover art by Ian Millar
One of the things I like best about reading the entire Ballantine series for the first time is being completely surprised. While it has happened on numerous occasions on this reading through most of the books, it also happened often in my younger years when I explored the series less completely and in a more hap-hazard fashion. This volume was one of the last to enter my present collection, so it was a total surprise when I read it this past month (July 2013). A series of short stories is linked together by a thin thread of a main story, in much the same way as "The Tales from the Arabian Nights." Like that heroine, Kai Lung (our present hero) must keep coming up with appropriately-themed tales in order to stay alive another day.
I think of this volume as a collection of incomparable pearls, held together by a barely noticeable string. Each little story is a complete pearl, polished and gleaming, and worth much all on its own. In fact, one of the stories was published a month earlier in "Discoveries In Fantasy," #43, above. The Dragon of Chang Tao was a revelation to me, and I enjoyed reading it so much that I reread it here, in its full context (not really needed). There are a total of nine short stories within the book's framework, and I enjoyed every one of them. Choosing a favourite would be difficult, but I know I will reread them all at some point. Bramah wrote many such books, and Carter had plans to publish more of them in the series. I have not yet searched to see if any others are available elsewhere, but I will be doing so [2023 note: see the Delphi Classics Collection]. These are "faux" Chinese tales of an imaginary China that Bramah created all on his own. They are fantasy in the fullest sense of the term, and the stories are among the wittiest this reviewer has ever encountered. Nothing of interest for children. A treasured jewel box for adults.
**** stars. Reviewed July 30th, 2013
One of the things I like best about reading the entire Ballantine series for the first time is being completely surprised. While it has happened on numerous occasions on this reading through most of the books, it also happened often in my younger years when I explored the series less completely and in a more hap-hazard fashion. This volume was one of the last to enter my present collection, so it was a total surprise when I read it this past month (July 2013). A series of short stories is linked together by a thin thread of a main story, in much the same way as "The Tales from the Arabian Nights." Like that heroine, Kai Lung (our present hero) must keep coming up with appropriately-themed tales in order to stay alive another day.
I think of this volume as a collection of incomparable pearls, held together by a barely noticeable string. Each little story is a complete pearl, polished and gleaming, and worth much all on its own. In fact, one of the stories was published a month earlier in "Discoveries In Fantasy," #43, above. The Dragon of Chang Tao was a revelation to me, and I enjoyed reading it so much that I reread it here, in its full context (not really needed). There are a total of nine short stories within the book's framework, and I enjoyed every one of them. Choosing a favourite would be difficult, but I know I will reread them all at some point. Bramah wrote many such books, and Carter had plans to publish more of them in the series. I have not yet searched to see if any others are available elsewhere, but I will be doing so [2023 note: see the Delphi Classics Collection]. These are "faux" Chinese tales of an imaginary China that Bramah created all on his own. They are fantasy in the fullest sense of the term, and the stories are among the wittiest this reviewer has ever encountered. Nothing of interest for children. A treasured jewel box for adults.
**** stars. Reviewed July 30th, 2013
#46--Published May 1972
Deryni Checkmate
Katherine Kurtz
Cover art by Bob Pepper
A direct continuation of #19 in the Ballantine series, Deryni Rising. The novel will make little sense until its predecessor has been read. Lin Carter not only brought back some of the very best fantasy that had been obscured by time, but he also avidly sought out new readers for the series. He realized that if the series was to continue indefinitely (alas, if it only had) he would need new authors, preferably ones who"wrote trilogies. Ms Kurtz certainly wrote fantasy books aimed towards adults. The first volume introduced us to the Deryni, people with special powers in a world now dominated by normal humans, and a powerful church that wants to rid it of Deryni. The main characters were introduced, and though the new king is a fourteen year old boy, most of the action centers around his two capable adult advisors.
Volume Two is much like a game of chess, so the title seems fitting. However, as we learn towards the end, it is not a "checkmate" at all, but a "check." As Deryni Check is not as appealing a title, though more accurate in describing what is occuring within the plot, the author chose checkmate. At any rate, it is a slow moving middle volume. Though a lot happens, the story gets weighed down with plenty of details. This is not necessarily a bad thing. Watching two average ten year olds play chess is like watching a quick slaughter, whereas two more profound thinkers will take much more time between moves. So if you are familiar with the pace of a good game of chess, the novel may be more enjoyable than if you are not. At times I am nearly reminded of the writing of E.R. Eddison, though Ms Kurtz does not approach his kind of perfection, depth, or colour of language very often.
This is a bleak volume, where mostly bad things happen to good people, much like the body of a novel by Dickens. Much of it is senseless and relates closely to today, where prejudice still dominates the thinking of far too many people. Blind hatred will always be the strongest and most repugent of emotions, and the novel points this out a lot. And yet there is a more innocent yet just as deadly force at work in the world, as indicated with the tragic episode of the King's architect. Sometimes misplaced love can be as devastating in its ways as hatred.
Ms Kurtz has gone on to win many awards and publish a large amount of fantasy work. Without Lin Carter and Ballantine, this would have been a much more difficult task for her. While the middle volume of her trilogy published within the Ballantine series can seem a bit slow, it should also be read that way. With many of the volumes in this series I have found that by taking my time and savouring the language and style of each writer, they are much more likely to be enjoyed than if I just read through them quickly in one or two days. Slow down a bit and you might enjoy this volume more. Not recommended for children.
***1/2 stars. Reviewed August 22nd, 2013
A direct continuation of #19 in the Ballantine series, Deryni Rising. The novel will make little sense until its predecessor has been read. Lin Carter not only brought back some of the very best fantasy that had been obscured by time, but he also avidly sought out new readers for the series. He realized that if the series was to continue indefinitely (alas, if it only had) he would need new authors, preferably ones who"wrote trilogies. Ms Kurtz certainly wrote fantasy books aimed towards adults. The first volume introduced us to the Deryni, people with special powers in a world now dominated by normal humans, and a powerful church that wants to rid it of Deryni. The main characters were introduced, and though the new king is a fourteen year old boy, most of the action centers around his two capable adult advisors.
Volume Two is much like a game of chess, so the title seems fitting. However, as we learn towards the end, it is not a "checkmate" at all, but a "check." As Deryni Check is not as appealing a title, though more accurate in describing what is occuring within the plot, the author chose checkmate. At any rate, it is a slow moving middle volume. Though a lot happens, the story gets weighed down with plenty of details. This is not necessarily a bad thing. Watching two average ten year olds play chess is like watching a quick slaughter, whereas two more profound thinkers will take much more time between moves. So if you are familiar with the pace of a good game of chess, the novel may be more enjoyable than if you are not. At times I am nearly reminded of the writing of E.R. Eddison, though Ms Kurtz does not approach his kind of perfection, depth, or colour of language very often.
This is a bleak volume, where mostly bad things happen to good people, much like the body of a novel by Dickens. Much of it is senseless and relates closely to today, where prejudice still dominates the thinking of far too many people. Blind hatred will always be the strongest and most repugent of emotions, and the novel points this out a lot. And yet there is a more innocent yet just as deadly force at work in the world, as indicated with the tragic episode of the King's architect. Sometimes misplaced love can be as devastating in its ways as hatred.
Ms Kurtz has gone on to win many awards and publish a large amount of fantasy work. Without Lin Carter and Ballantine, this would have been a much more difficult task for her. While the middle volume of her trilogy published within the Ballantine series can seem a bit slow, it should also be read that way. With many of the volumes in this series I have found that by taking my time and savouring the language and style of each writer, they are much more likely to be enjoyed than if I just read through them quickly in one or two days. Slow down a bit and you might enjoy this volume more. Not recommended for children.
***1/2 stars. Reviewed August 22nd, 2013
#47--Published May 1972
Beyond The Fields We Know
Lord Dunsany
Cover art by Gervasio Gallardo
Even though this volume contains the author's first published fantasy stories, it is not a good volume to first encounter Lord Dunsany. No doubt this is why Lin Carter waited until this point to have it published in the Ballantine Adult Fantasy series. It does not contain Dunsany's best writing. In fact, much of it is mediocre, at best. There are hardly any stories to recommend or to reread. One of the best stories had already been published in a different anthology within the series (The Sword of Welleran, published in The Young Magicians, #7, above). Why, then, was it published? I suspect Carter was hoping to republish all of Lord Dunsany's fantasy tales in the Ballantine series, and it made sense at this point to put the early works out there.
"The Gods of Pegana" (1905) was the first of eight slim volumes of fantasy literature that Dunsany published. Carter gives us the whole thing. It is a giant creation myth, and the author takes things one step at a time, telling first of the main god, the creation of lesser gods, and on down to the prophets. It is a fantasy like the "Old Testament," though not nearly as interesting as the original. Though I found this section difficult to get into, the stories are often only one or two pages. Yet there were some good ones. Of 31 tales, I enjoyed 4 of them. Standouts from "Gods" were The Eye In the Waste, Of the Thing That is Neither God Nor Beast, Yonath the Prophet, and Of The Calamity that Befall Yun-Illara. Though these were not enough to rescue "Gods" and make me consider a reread, they did keep me going in search of others.
Carter follows up with one of Dunsany's theatrical plays. "King Argimenes and the Unknown Warrior" is decidely minor, but at least it is short. This play was actually performed in several countries, including the USA. Eight poems come next, enjoyable but not memorable. "Other Tales" takes stories from Dunsany's several other books, and it was here I thought I might strike paydirt. The Kith of the Elf Folk was the first, and I liked it a lot. Carter prefaces each major section with a short essay, something I found helpful and enjoyable. He follows with The Sword Of Welleran, which I like but did not reread. However, out of 8 other stories, only the first and last are really worth mentioning besides Welleran. The book concludes with A Story of Land and Sea, and I found this tall tale as compelling and fun as anything I have ever read. Without giving anything away, a pirate ship sails across the Sahara Desert. This is the kind of story that should have movie producers fighting over who gets to make the screen version. It's also the kind of story that would have inspired my backyard fantasy play days when I was a child.
As good as that final story is (it's also the longest in the volume), it's not enough for me to recommend the book. I love Lord Dunsany's writing, though apparently not all of it (I was not very enamoured with his first novel, either, Volume #2 above). I don't even really like the creation part of Tolkien's Silmarilion, and as most of this volume contains descriptions of those unhelpful and mostly nasty gods of Dunsany's world, it holds little interest for me. I will someday reread all stories I mentioned above. A few stories might be suitable for bedtime reading with children.
Even though this volume contains the author's first published fantasy stories, it is not a good volume to first encounter Lord Dunsany. No doubt this is why Lin Carter waited until this point to have it published in the Ballantine Adult Fantasy series. It does not contain Dunsany's best writing. In fact, much of it is mediocre, at best. There are hardly any stories to recommend or to reread. One of the best stories had already been published in a different anthology within the series (The Sword of Welleran, published in The Young Magicians, #7, above). Why, then, was it published? I suspect Carter was hoping to republish all of Lord Dunsany's fantasy tales in the Ballantine series, and it made sense at this point to put the early works out there.
"The Gods of Pegana" (1905) was the first of eight slim volumes of fantasy literature that Dunsany published. Carter gives us the whole thing. It is a giant creation myth, and the author takes things one step at a time, telling first of the main god, the creation of lesser gods, and on down to the prophets. It is a fantasy like the "Old Testament," though not nearly as interesting as the original. Though I found this section difficult to get into, the stories are often only one or two pages. Yet there were some good ones. Of 31 tales, I enjoyed 4 of them. Standouts from "Gods" were The Eye In the Waste, Of the Thing That is Neither God Nor Beast, Yonath the Prophet, and Of The Calamity that Befall Yun-Illara. Though these were not enough to rescue "Gods" and make me consider a reread, they did keep me going in search of others.
Carter follows up with one of Dunsany's theatrical plays. "King Argimenes and the Unknown Warrior" is decidely minor, but at least it is short. This play was actually performed in several countries, including the USA. Eight poems come next, enjoyable but not memorable. "Other Tales" takes stories from Dunsany's several other books, and it was here I thought I might strike paydirt. The Kith of the Elf Folk was the first, and I liked it a lot. Carter prefaces each major section with a short essay, something I found helpful and enjoyable. He follows with The Sword Of Welleran, which I like but did not reread. However, out of 8 other stories, only the first and last are really worth mentioning besides Welleran. The book concludes with A Story of Land and Sea, and I found this tall tale as compelling and fun as anything I have ever read. Without giving anything away, a pirate ship sails across the Sahara Desert. This is the kind of story that should have movie producers fighting over who gets to make the screen version. It's also the kind of story that would have inspired my backyard fantasy play days when I was a child.
As good as that final story is (it's also the longest in the volume), it's not enough for me to recommend the book. I love Lord Dunsany's writing, though apparently not all of it (I was not very enamoured with his first novel, either, Volume #2 above). I don't even really like the creation part of Tolkien's Silmarilion, and as most of this volume contains descriptions of those unhelpful and mostly nasty gods of Dunsany's world, it holds little interest for me. I will someday reread all stories I mentioned above. A few stories might be suitable for bedtime reading with children.
** 1/2 stars. Reviewed Sept. 20th, 2013.
#48--Published June 1972
The Three Imposters
Arthur Machen
Cover art by Bob LoGrippo
I've been waiting to read this book since I obtained it, late into my collecting. I am a fan of Machen's books, and can recommend his writing. I now realize that I need to read more of his work. Machen is a Welsh-born writer, spending his formative years there, though he lived much of his later life in and near London. Lin Carter has done a very good deed by bringing this author to the attention of fantasy readers. There are actually two main stories in here. The Three Imposters consists of loosely linked short stories, while The Red Hand is one short story, featuring the same characters, in five chapters.
I've always considered that there is a strange relationship between Mervyn Peake's Gormenghast books and those of Charles Dickens. If Dickens had taken mind-altering drugs, he might have come up with something like Peake's creation. I'm not implying in any way that Peake took drugs, but his novels are so hallucinatory that they can appear to be beyond normal human imagination. Peake did not have normal human imagination. Anyway, there is a similar relationship between Conan Doyle's Sherlock Holmes stories and Arthur Machen's Three Imposters. All the elements of a good Holmes tale are there, and we have our two heroes in the shape and form of Phillips and Dyson. Watson and Holmes they are not. The very first story is certainly a tribute to A Study in Scarlet, and takes us deep into the American west. The descriptions of how insidious the landscape of America appears to the storyteller are unique and desperate, making a perfect setting for this initial tale. The rest are set in and around London. Like the cover suggests, much in this volume happens at night. If it is daylight, darkness seems to enshroud us on every page anyway. I do not wish to give any of the story elements away, but there was never a Conan Doyle story quite so macabre as these ones by Machen. Having just finished the book, I am fully prepared to read it again, and indeed I just might do that.
Readers will be reminded of the best of Lovecraft, though Machen wrote years before. The tales usually begin with some grounding in reality, but as things progress, the colour changes and the tone deepens and darkens. Machen is very close to being a literary genius, much more so than many other authors in this series. If you can not find a copy of this book, try Hill of Dreams or The Great God Pan. You will not be disappointed. Nothing here for children.
**** stars. Reviewed October 19th/13
I've been waiting to read this book since I obtained it, late into my collecting. I am a fan of Machen's books, and can recommend his writing. I now realize that I need to read more of his work. Machen is a Welsh-born writer, spending his formative years there, though he lived much of his later life in and near London. Lin Carter has done a very good deed by bringing this author to the attention of fantasy readers. There are actually two main stories in here. The Three Imposters consists of loosely linked short stories, while The Red Hand is one short story, featuring the same characters, in five chapters.
I've always considered that there is a strange relationship between Mervyn Peake's Gormenghast books and those of Charles Dickens. If Dickens had taken mind-altering drugs, he might have come up with something like Peake's creation. I'm not implying in any way that Peake took drugs, but his novels are so hallucinatory that they can appear to be beyond normal human imagination. Peake did not have normal human imagination. Anyway, there is a similar relationship between Conan Doyle's Sherlock Holmes stories and Arthur Machen's Three Imposters. All the elements of a good Holmes tale are there, and we have our two heroes in the shape and form of Phillips and Dyson. Watson and Holmes they are not. The very first story is certainly a tribute to A Study in Scarlet, and takes us deep into the American west. The descriptions of how insidious the landscape of America appears to the storyteller are unique and desperate, making a perfect setting for this initial tale. The rest are set in and around London. Like the cover suggests, much in this volume happens at night. If it is daylight, darkness seems to enshroud us on every page anyway. I do not wish to give any of the story elements away, but there was never a Conan Doyle story quite so macabre as these ones by Machen. Having just finished the book, I am fully prepared to read it again, and indeed I just might do that.
Readers will be reminded of the best of Lovecraft, though Machen wrote years before. The tales usually begin with some grounding in reality, but as things progress, the colour changes and the tone deepens and darkens. Machen is very close to being a literary genius, much more so than many other authors in this series. If you can not find a copy of this book, try Hill of Dreams or The Great God Pan. You will not be disappointed. Nothing here for children.
**** stars. Reviewed October 19th/13
#49--Published July 1972
The Night Land, Volume 1
William Hope Hodgson
Cover art by Robert LoGrippo
There are so many amazing things about this book that it is hard to know where to begin. I still have my original 2-volume set purchased and read when I was a teen. Over the years it has been loaned out several times, too. There is simply nothing else like it in the literature. Though the Bosch-inspired covers hint at strangeness, there is no way to prepare for what lies ahead. The title tells it best. Readers of this series first came across this author in #25, The Boats of the Glen Carrig. That is still a favourite fantasy-horror novel of mine. The Night Land has similarities, but the differences are huge. For one thing, there is a solitary hero facing the dangers of the Night Land this time. If you want to be truly frightened, try going off on a night time adventure all by yourself in some strange country. For another, the hero actually walks everywhere. And crawls, creeps, and runs. But he mostly walks.
There is nothing original about the story. Boy meets girl. Boy loses girl. Boy locates girl, but she is very far away. Boy seeks her to rescue her from certain death. The author's take on this basic story is, however, exotic and bizarre to the extreme. The first chapter relates how our hero meets and woos Mirdath. In one long chapter he appears to relate an entire English Romantic novel. There is little or no hint as to what will follow. In the second chapter, we are suddenly reading a science fiction novel! This quickly takes in elements of horror, and soon enough, fantasy. With appropriate cover blurbs by Lovecraft and Clark Ashton Smith, we should have prepared. But we aren't.
How can one be prepared for a description of "The Great Redoubt," that final refuge of humanity near the end of our planet's life? It is built on a vast scale that I can only compare to what the Krell had created on Altair 4, from the movie "Forbidden Planet." Miles in height and containing more than a thousand floors, the Redoubt alone is from the imagination of a very great mind. A whole series of novels could have been based within it's walls. Is it too far fetched that even our future holds a similar fate? As we continue to destroy our environment and make it uninhabitable for humans, will we not be forced to live inside some massive, self-sustaining environment? We get our first real taste of the horrors that lie beyond the great city when a group of young men leave the city, in search of a legendary second Redoubt, lesser in stature, where its people lost their natural energy base (the Earth-Current) and are in immediate need of rescue. Suffice it to say that leaving the sanctuary and wondering about in the Night Land is not a healthy pastime. None of the expedition returns alive, and a huge rescue mission that follows meets with some bad times, too.
However, sometimes where many fail, one may succeed. This is the premise of the book, as we follow along with our hero as he makes his way through some mighty strange landscapes. Are there monsters? In a word, yes. An entire science discipline has developed to watch and record (from safety, with giant spy glasses) every move these mysterious creatures make. These scientists are like high priests, and are called Monstruwacans! There is even a Master Monstruwacan!! So there is a bit of silliness here and there in the narrative, but it all adds to great reading fun. There is a lot of telepathy, too, and a hand-held weapon called the Diskos, and multi-vitamins and magic water! Being an avid hiker, I enjoyed tagging along to see what was around the next bend in the road. It usually was not a welcome sight, and a lot of hiding goes on. By the end of Volume One we have fully traversed the lands to the north, and have reached as far as we can go. We have walked at least as far as Frodo and Sam. Still no second, or Lesser Redoubt. It must lie somewhere in Volume 2.
**** stars. Reviewed November 7th/13
There are so many amazing things about this book that it is hard to know where to begin. I still have my original 2-volume set purchased and read when I was a teen. Over the years it has been loaned out several times, too. There is simply nothing else like it in the literature. Though the Bosch-inspired covers hint at strangeness, there is no way to prepare for what lies ahead. The title tells it best. Readers of this series first came across this author in #25, The Boats of the Glen Carrig. That is still a favourite fantasy-horror novel of mine. The Night Land has similarities, but the differences are huge. For one thing, there is a solitary hero facing the dangers of the Night Land this time. If you want to be truly frightened, try going off on a night time adventure all by yourself in some strange country. For another, the hero actually walks everywhere. And crawls, creeps, and runs. But he mostly walks.
There is nothing original about the story. Boy meets girl. Boy loses girl. Boy locates girl, but she is very far away. Boy seeks her to rescue her from certain death. The author's take on this basic story is, however, exotic and bizarre to the extreme. The first chapter relates how our hero meets and woos Mirdath. In one long chapter he appears to relate an entire English Romantic novel. There is little or no hint as to what will follow. In the second chapter, we are suddenly reading a science fiction novel! This quickly takes in elements of horror, and soon enough, fantasy. With appropriate cover blurbs by Lovecraft and Clark Ashton Smith, we should have prepared. But we aren't.
How can one be prepared for a description of "The Great Redoubt," that final refuge of humanity near the end of our planet's life? It is built on a vast scale that I can only compare to what the Krell had created on Altair 4, from the movie "Forbidden Planet." Miles in height and containing more than a thousand floors, the Redoubt alone is from the imagination of a very great mind. A whole series of novels could have been based within it's walls. Is it too far fetched that even our future holds a similar fate? As we continue to destroy our environment and make it uninhabitable for humans, will we not be forced to live inside some massive, self-sustaining environment? We get our first real taste of the horrors that lie beyond the great city when a group of young men leave the city, in search of a legendary second Redoubt, lesser in stature, where its people lost their natural energy base (the Earth-Current) and are in immediate need of rescue. Suffice it to say that leaving the sanctuary and wondering about in the Night Land is not a healthy pastime. None of the expedition returns alive, and a huge rescue mission that follows meets with some bad times, too.
However, sometimes where many fail, one may succeed. This is the premise of the book, as we follow along with our hero as he makes his way through some mighty strange landscapes. Are there monsters? In a word, yes. An entire science discipline has developed to watch and record (from safety, with giant spy glasses) every move these mysterious creatures make. These scientists are like high priests, and are called Monstruwacans! There is even a Master Monstruwacan!! So there is a bit of silliness here and there in the narrative, but it all adds to great reading fun. There is a lot of telepathy, too, and a hand-held weapon called the Diskos, and multi-vitamins and magic water! Being an avid hiker, I enjoyed tagging along to see what was around the next bend in the road. It usually was not a welcome sight, and a lot of hiding goes on. By the end of Volume One we have fully traversed the lands to the north, and have reached as far as we can go. We have walked at least as far as Frodo and Sam. Still no second, or Lesser Redoubt. It must lie somewhere in Volume 2.
**** stars. Reviewed November 7th/13
#50--Published July 1972
The Night Land, Volume 2
William Hope Hodgson
Cover art by Robert LoGrippo
(both back and front are identical to Vol 1)
The second volume of The Night Land could not possibly have exceeded its predecessor in strangeness and adventure. The thought of wandering all alone in such a fantastic landscape, described to the last detail, is one of the most unnerving concepts I have ever encountered. When I read the books as a teen, I loved the first one, but not the second. My view has altered a bit with the passing of many years. Now, I love the first one and don't really mind the second one. The language of the hero-narrator gets even stranger and grammatically worse, but overall Hodgson does a pretty decent job of not simply repeating himself with the return journey described herein. True, we cover the same territory in reverse, but the adventures are quite different this time. The main difference is that the hero now has a companion, one that he must continually guard with his life. Lin Carter seems to have done a good job of editing, as he claims to have kept the worst of the very dated love-talk between the two characters out of this edition. We can all be thankful.
While the male hero protecting his dainty female companion may be a somewhat dated concept to today's fantasy readers, it wasn't when these books were written. The gal proves to be fairly good at saving the day herself, too. While the story seems to be continually interrupted by the thoughts of the hero, mostly of love this time around, we must concede that something must be going through his head during his long journey. The fact does not bother me, and some of the love scenes and antics quite amused me. I am never in a hurry to finish any of these Ballantine books, so prolonging the journey by reading only a few pages on some days makes these constant interruptions much more bearable. When the action sequences do arrive, we get several pages of some of the best adventure storytelling out there. Two main combat scenes are amazing in their detail and their ability to get the reader's heart racing. Good descriptions of a strange landscape are beguiling, but having life or death interaction with it keeps us turning pages quickly. The final scenes in the Night Land set a good tempo for a fine finale, and I read the last two chapters in one go.
Much of the book could pass as supernatural horror, especially the parts where we learn what is and what has been happening to the people of the Lesser Redoubt. We don't learn everything, but just enough to convince us that a visit to the Night Land should not be on anyone's bucket list. I found the series tireseome at times, and occasionally put the book down after progressing only a few pages. However, I always returned and soon found myself reinvolved. Even Lord of the Rings has sections that do not inspire me to stay up and read all night. Like that masterpiece, Hodgson has described a very long walk through some of the most dangerous lands to be found in literature. Overall, I enjoyed the journey very much. Not of interest to children.
*** stars. Reviewed Nov. 28th/13
(both back and front are identical to Vol 1)
The second volume of The Night Land could not possibly have exceeded its predecessor in strangeness and adventure. The thought of wandering all alone in such a fantastic landscape, described to the last detail, is one of the most unnerving concepts I have ever encountered. When I read the books as a teen, I loved the first one, but not the second. My view has altered a bit with the passing of many years. Now, I love the first one and don't really mind the second one. The language of the hero-narrator gets even stranger and grammatically worse, but overall Hodgson does a pretty decent job of not simply repeating himself with the return journey described herein. True, we cover the same territory in reverse, but the adventures are quite different this time. The main difference is that the hero now has a companion, one that he must continually guard with his life. Lin Carter seems to have done a good job of editing, as he claims to have kept the worst of the very dated love-talk between the two characters out of this edition. We can all be thankful.
While the male hero protecting his dainty female companion may be a somewhat dated concept to today's fantasy readers, it wasn't when these books were written. The gal proves to be fairly good at saving the day herself, too. While the story seems to be continually interrupted by the thoughts of the hero, mostly of love this time around, we must concede that something must be going through his head during his long journey. The fact does not bother me, and some of the love scenes and antics quite amused me. I am never in a hurry to finish any of these Ballantine books, so prolonging the journey by reading only a few pages on some days makes these constant interruptions much more bearable. When the action sequences do arrive, we get several pages of some of the best adventure storytelling out there. Two main combat scenes are amazing in their detail and their ability to get the reader's heart racing. Good descriptions of a strange landscape are beguiling, but having life or death interaction with it keeps us turning pages quickly. The final scenes in the Night Land set a good tempo for a fine finale, and I read the last two chapters in one go.
Much of the book could pass as supernatural horror, especially the parts where we learn what is and what has been happening to the people of the Lesser Redoubt. We don't learn everything, but just enough to convince us that a visit to the Night Land should not be on anyone's bucket list. I found the series tireseome at times, and occasionally put the book down after progressing only a few pages. However, I always returned and soon found myself reinvolved. Even Lord of the Rings has sections that do not inspire me to stay up and read all night. Like that masterpiece, Hodgson has described a very long walk through some of the most dangerous lands to be found in literature. Overall, I enjoyed the journey very much. Not of interest to children.
*** stars. Reviewed Nov. 28th/13
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