Fantasy Books

Far From the Madding Crowd, by Thomas Hardy First published in 1874, Hardy’s Far From…

The post The Push and Pull of Desire in “Far From the Madding Crowd” Plus “The Past is Red” appeared first on LitStack.

One of the most frequently used characterisations in fantasy is that of the outcast or outsider. In fact, I would say that for many fantasy readers this idea of not belonging is one of the genre’s key attractions. How many readers do you know that have been seen as outsiders for just wanting to read,…

 

The Teller of Small Fortunesby Julie Leong
What is it about:Tao is an immigrant fortune teller, traveling between villages with just her trusty mule for company. She only tells "small" fortunes: whether it will hail next week; which boy the barmaid will kiss; when the cow will calve. She knows from bitter experience that big fortunes come with big consequences…
Even if it’s a lonely life, it’s better than the one she left behind. But a small fortune unexpectedly becomes something more when a (semi) reformed thief and an ex-mercenary recruit her into their desperate search for a lost child. Soon, they’re joined by a baker with a knead for adventure, and—of course—a slightly magical cat.
Tao sets down a new path with companions as big-hearted as her fortunes are small. But as she lowers her walls, the shadows of her past are closing in—and she’ll have to decide whether to risk everything to preserve the family she never thought she could have.
What did I think of it:This is such a good read!
I will confess I fell in love with the cover, and that's why I bought tis book. It turned out to be a Cozy Fantasy: as if your read is giving you a hug by being mostly nice, comforting, and happy.
I loved Tao and the people she meets and befriends. Especially Mash, the ex-mercenary is so awesome (and bearded mostly, although he should stop shaving entirely Voodoo Bride wants me to add).
There are of course some stakes to keep everyone moving, but I never worried, trusting that this book wouldn't disappoint me by suddenly being mean to me. 
All in all a wonderful read, and I immediately bought an extra copy to gift a good friend for her birthday (because nobody gets to borrow mine!).
Why should you read it:Cozy Fantasy! So nice and huggable!

Wolf Man (Universal Pictures, January 17, 2025)

Why oh why can’t Hollywood produce a decent werewolf movie?

I’ve had my heart broken twice in the past few months, first by The Beast Within (2024) and most recently by Wolf Man (2025).

I first told you about The Beast Within starring Kit Harington, back in August. In summary, it was lousy. Though the trailer implied a suspenseful, cohesive tale, Beast was a rambling affair that didn’t seem to know what it wanted to be. As for an actual werewolf transformation, it was implied but never really materialized. Instead, director Alexander J. Farrell tried to distract us from this fact with a knee-jerking series of events that barely held together as a story. Even putting Harington half-naked in a dog collar wasn’t enough to make me forgive this mess.

So, if you tell me I should have known better when, with renewed hope, I ran off to the theater last weekend to see Wolf Man, I wouldn’t argue.

Wolf Man

Making another attempt at revitalizing the classic monsters franchise ahead of opening its “Dark Universe” park in May, Universal Studios got behind this werewolf movie produced by Blumhouse, which made me think there was a chance it would be good. Afterall, it was Jason Blum who inspired Universal to give their Dark Universe movie franchise another go after Tom Cruise’s The Mummy was an unmitigated atrocity.

Universal had scrapped all the big-budget monster remakes they had teed up, which was more than fine with most fans, including me. Then here comes indie production company Blumhouse, hitting a home run with The Invisible Man (2020). Making nearly $145M on a $7M budget that’s a 20x return, meaning Hollywood couldn’t throw new projects at Jason Blum fast enough. When I heard Blumhouse had been handed the remake of Wolf Man (1941) I dared to be cautiously optimistic.

What a mistake.

I can count on one hand the number of times I’ve sat in a theater looking at my watch. I nearly always find something to love about most movies, but Wolf Man was so awful I would have got up and left had it not been for the tiny flame of hope I had that maybe the ending would redeem my two-hour investment.

It didn’t.

Here’s how Universal described Wolf Man:

Golden Globe nominee Christopher Abbott (Poor Things, It Comes at Night) stars as Blake, a San Francisco husband and father, who inherits his remote childhood home in rural Oregon after his own father vanishes and is presumed dead. With his marriage to his high-powered wife, Charlotte (Emmy winner Julia Garner; Ozark, Inventing Anna), fraying, Blake persuades Charlotte to take a break from the city and visit the property with their young daughter, Ginger.

But as the family approaches the farmhouse in the dead of night, they’re attacked by an unseen animal and, in a desperate escape, barricade themselves inside the home as the creature prowls the perimeter. As the night stretches on, however, Blake begins to behave strangely, transforming into something unrecognizable, and Charlotte will be forced to decide whether the terror within their house is more lethal than the danger without.

Sounds promising right? And for the first 20 minutes or so it kind of was. The dialog was lame, but the premise was interesting. En route to the childhood home in the middle of nowhere, the family gets into an accident and as they extricate themselves from the wreckage, the dad is bitten by an animal that runs off before they get a good look. Que the slow transformation of the dad into a werewolf which could have been awesome but instead was so drawn out and mind-numbingly boring it made me angry.

And come on – we had two fabulous werewolf movies back in the 80s in the form of The Howling (1981) and American Werewolf in London (1981), so someone in Hollywood must have kept the instructions on how to create a credible werewolf transformation with practical effects.

Wolf Man

But no. Wolf Man not only failed in its plot and dialog, but it utterly and completely defecated the mattress in creating an even remotely interesting werewolf.
So why does Hollywood keep getting werewolves wrong? The answer might lie in their complexity. Werewolves require nuance, and filmmakers seem allergic to it. Moreover, there are considerable technical challenges of depicting a werewolf convincingly. While CGI can be incredible, the extreme overuse of computer effects has resulted in a bit of audience backlash, causing filmmakers to go back to practical effects which clearly can’t keep pace with a modern audience’s expectations.
Finally, there’s a lack of fresh ideas. Perhaps it’s time for filmmakers to take inspiration from outside the box—or at least hire a scriptwriter who doesn’t think “lycanthropy” is just a fancy word for mood swings.

Despite these missteps, there’s still a tiny glimmer of hope for us werewolf fans. Enter Robert Eggers, the visionary director behind Nosferatu (which I’ve seen multiple times and absolutely loved – more on that next week). Eggers has announced his next project, Werwulf, will be a period horror film that promises to blend folklore, psychological terror, and meticulously crafted visuals into the ultimate werewolf tale.

Fans of Eggers know his penchant for historical authenticity and atmospheric storytelling, which could make Werwulf the fresh take that the genre desperately needs. With Eggers at the helm, there’s genuine hope that audiences will finally get a werewolf film that balances primal horror with emotional depth.

Hollywood, the ball’s in your court. But for now, maybe leave the werewolves alone for a bit. They deserve a better cinematic fate than what they’ve had recently.

Edgar Rice Burroughs’ Barsoom novels: A Princess of Mars, The Gods of Mars and The Warlord of Mars, and Thuvia, Maid of Mars and The Chessmen of Mars (Science Fiction Books Club, July 1970, January 1971, and January 1973). Covers by Frank Frazetta

For sheer fun and adventure there’s nothing better in my opinion than Sword & Planet fiction (also called Interplanetary Adventure, Interplanetary Romance, or Planetary Romance). But exactly what is Sword & Planet fiction? Well, Edgar Rice Burroughs (ERB) created the prototype in 1911 with A Princess of Mars, which featured an Earthman named John Carter who is mysteriously transported to Mars, called Barsoom by its inhabitants.

The basic Sword & Planet story involves an earthman (rarely an earthwoman up to this point in time; 2025) on a strange world where he must use his wits, his muscles, and his sword against a host of human and nonhuman foes. The hero is generally chivalrous and the setting is an exotic alien world, often with multiple suns or multiple moons, populated by a variety of strange plants, animals, and intelligent beings. Magic is virtually non-existent, but there may be elements of “super-science,” such as open-decked flying ships or even ray-guns, although the latter take second billing to the blade. The emphasis is on swashbuckling sword fights, wild escapes, and desperate rescues.

[Click the images for Mars-sized versions.]

Edgar Rice Burroughs’ Venus novels: Carson of Venus, Lost on Venus, Escape on Venus, Pirates of Venus, and The Wizard of Venus (Ace Books, June 1979, June 1979, January 1974, March 1973, and January 1973). Covers by Frank Frazetta, Esteban Maroto, Frazetta, Roy G. Krenkel, and Roy G. Krenkel

In addition to the Barsoom books, ERB also wrote a second Sword & Planet series, five books set on Venus (Amtor to the natives), featuring the earthman Carson Napier. Napier is intending to fly a rocket ship to Mars but ends up crashing on cloud-covered Venus.

He finds a world of giant trees and strange creatures, and, of course, a princess. Her name is Duare. Like Barsoom, Amtor mixes the primitive with super science, but the emphasis is on action, adventure, and personal combat with edged weapons.

Escape on Venus, The Moon Men, Pirates of Venus, A Fighting Man of Mars, and The Chessmen of Mars (Ace Books, 1964, October 1962, January 1963, March 1963, and December 1962). Covers by Roy G. Krenkel, Ed Emshwiller, Krenkel, Krenkel, and Krenkel

The five books in the series are:

1. Pirates of Venus
2. Lost on Venus
3. Carson of Venus
4. Escape on Venus
5. The Wizard of Venus

The Wizard of Venus is a novelette that wasn’t published until after ERB’s death. The book includes a second novelette called “Pirate Blood.”

The Moon Maid, The Moon Men, and The Moon Men (Ace Books, January 1974, March 1974, and October 1962). Covers by Frank Frazetta, Frazetta, and Ed Emshwiller

I enjoyed ERB’s Venus books a lot but they were not the equal of his Mars books — in my opinion. A lot of this has to do with Carson Napier. He’s no John Carter. He is a hero, and brave, but he makes plenty of mistakes and often needs to be rescued himself. He also uses more advanced weapons — essentially ray-guns — on many occasions. That means less “swashbuckling,” a minus for me. Certainly, though, if you’re interested in S&P fiction, the Venus books are a must.

The Venus books have been released in various editions. The pictures I have above mix older and newer editions. The older ERB books have covers and illustrations by Roy G. Krenkel, Jr, one of my favorite artists. Some of the newer ones have Frazetta images, and Frazetta was influenced by Krenkel.

The Moon Maid (Ace Books, January 1974). Cover by Frank Frazetta

A series that I would have liked to see more of from ERB was his Moon Maid series. It’s sometimes described as a trilogy, but only the first book is full length. That’s The Moon Maid (copyright 1923). The sequels are novellas called The Moon Men and The Red Hawk (copyright 1925), which I first read combined in a later Ace book called The Moon Men. The novellas are reprinted from the pages of Argosy All-Story Weekly, where the tales were first serialized in 1925.

The Moon Maid has an awesome Frank Frazetta cover that is one of my favorites among his works. I have two copies of The Moon Men, one with a Frazetta cover and the other with a cover by Ed Emsh.

The Moon Maid  (Del Rey Books, May 1992). Cover by Laurence Schwinger

The hero in The Moon Maid is Julian the 5th, an Earthman who has lived through many previous incarnations and remembers them. He is leading a rocket ship journey to Mars when the ship has to make a forced landing on the Moon.

They find an oxygen atmosphere inside the moon, and a wild land of strange creatures, including human-type and centaur-type intelligent races. Julian meets a princess of the human-type, Nah-ee-lah, and must rescue her. There’s lots of action and hand to hand combat, although not a lot of sword fighting. I would classify it as S&P.

The Moon Maid: Complete and Restored (Bison Books, April 2002). Cover art by Thomas Floyd

The Moon Men and The Red Hawk are not — properly speaking — S&P fiction, because they take place on Earth. In The Moon Men, the Kalkar inhabitants of the Moon have conquered Earth. Julian the 9th, another reincarnation, leads a revolt, but it remains to “Red Hawk,” a descendent of Julian to finally free Earth from the Lunarians’ rule.

The three parts of the Moon trilogy have been published together by Bison books along with all kinds of extras (see above). I don’t have that copy yet but will get it for my collection. The series is one of ERB’s best.

More on Burroughs, including Tarzan and The Land that Time Forgot, in my next post.

Charles Gramlich administers The Swords & Planet League group on Facebook, where this post first appeared. His last article for Black Gate was The Masters of Narrative Drive.

Victorian Psycho is soon to be a feature film from A24 starring Margaret Qualley and…

The post Spotlight on “Victorian Psycho” by Virginia Feito appeared first on LitStack.

 

Did I already read this? Yes!
Am I still totally looking forward to getting this beauty in my eager trotters? YES!
Believe me: you want this book! It's utterly amazing and beautiful in and out! 
Go preorder: I totally did.

Never the Rosesby Jennifer K. Lambert
UNSTOPPABLE WAR. UNSPEAKABLE SINS. IMPOSSIBLE LOVE.
Genevieve Gornichec’s The Witch’s Heart meets Madeline Miller’s Circe in this epic and deeply emotional romantic fantasy debut by Jennifer K. Lambert. The hardcover edition features beautiful stenciled edges.
The Dread Sorceress Oneira has retired. She’s exhausted from fighting the endless wars of kings and queens, and has long accepted that her death is near. Alone at last but for a few uninvited companions―a near-mythical wolf, a goddess’s avatar, and a feline that embodies magic itself―Oneira realizes that she’s bored. On a whim, or perhaps at the behest of fate, she makes an unlikely trip to the most extensive library in existence: the home of her most powerful rival, the sorcerer Stearanos.
By recklessly stealing a book from him, Oneira inadvertently initiates a forbidden correspondence. Taunting notes and clever retorts reveal a connection neither has found―nor could ever find―in any other.
But Oneira soon learns that Stearanos, bound to a vile king, is tasked with waging war on the queen she once served. A relationship with him is far too dangerous to pursue despite their mutual desire―and yet, Oneira can’t seem to stay away.
A bond with Stearanos could alight the long-extinct flame of life within her… or it could destroy her entirely.

Expected publication July 8, 2025

Buy Grave Empire 

OFFICIAL AUTHOR BIO: Richard Swan is a critically acclaimed British genre writer. His debut fantasy novel, The Justice of Kings, was an instant Sunday Times bestseller and has been translated into seven languages. His other work includes the Art of War and Great Silence trilogies, as well as short fiction for Black Library and Grimdark Magazine.

Richard is a qualified lawyer, and before writing full time spent ten years litigating multimillion pound commercial disputes in London. He currently lives in Sydney with his wife and three young sons.

FORMAT/INFO: Grave Empire will release on February 4th, 2025. It will be available in paperback, ebook, and audiobook formats.

OVERVIEW/ANALYSIS: Renata Rainer's job is a joke. As ambassador to the Stygion mermen, she largely has given up hope of ever being useful, given that the mermen want nothing to do with humans. But when two monks arrive claiming to have lost contact with the afterlife, suddenly Renata finds herself in the midst of a critical mission. The Stygion are some of the world's foremost arcana practitioners, and it's up to Renata to verify if recent portents do indeed herald an apocalyptic event known as the Great Silence. But Renata's not the only one interested in the Great Silence - and there are those who want help along the end of the world instead of stopping it.

Grave Empire is a haunting, harrowing journey that envelopes you in its atmosphere, while asking readers for patience in experiencing the actual payoff. This is a story of three individuals scattered across an empire who are realizing that a Very Bad Thing is coming. One is unraveling the secrets of a mysterious plague, another must travel through a warzone to consult with magic practitioners who can shed light on an ancient prophecy, and another is investigating strange reports on the frontier of the empire. Each story is compelling and unsettling, as our characters come to understand just how very wrong things are.

And yet when the dust settled, it felt like all that had been accomplished was learning that yes, a Bad Thing is coming and it is a VERY Bad Thing. The nature of the Great Silence is absolutely a satisfactory threat, and I look forward to seeing how our characters try to handle it, especially as some dominoes began tipping at the end of our story. But this first book is essentially all table setting. Here is the empire, here are the characters, here is the state of the mortal plane, here are some of the weird things that are happening. Will we explain how these weird things are tied together? Not really.

I do want to touch on the relationship between the Empire of the Wolf trilogy and this new The Great Silence trilogy. You do not need to have read the first trilogy to enjoy this new series; the events of Empire of the Wolf are as removed from the characters as the Napoleonic Wars are for us. Those events were definitely a big thing that happened, but they don't inform the characters' day to day lives.

The writing here is also more accessible than the previous trilogy. The first series was told first-person memoir style, while this new one is told across three third-person POVs. I think it also reflects the difference in tone between the two stories. Whereas Empire of the Wolf was a more personal journey of an individual caught up in world-shaking events, Grave Empire feels a little more big picture, a view of how several nations will grapple with a new threat.

CONCLUSION: I want to be clear, overall I really enjoyed Grave Empire, even if the ending left me a bit underwhelmed. I remain hopeful that the second book in this trilogy is going to take everything in the first book and use it for a fantastic sequel. In reading the first trilogy set in this world, I was lukewarm on book one, and then the sequel was one of my top reads the following year. Given how monumentally unsettling the nature of the Great Silence is, I think there's every chance this series will follow in its predecessor's footsteps.

  

Howard Andrew Jones at GenCon, 2023

In 2019, I had an idea: a lot of my friends loved reading sword and sorcery fiction, but they didn’t write it. They would say, “One day.” Many of my undergraduates also expressed interest in writing fantasy, but they often felt discouraged by form rejection letters (genre magazine slush piles are epic). Having studied the history of genre fiction, I knew about the old tradition of “fanzines”— not-for-profit amateur publications that provided a low-stakes outlet for new writers. Just submitting work, collaborating with an editor, and seeing it in print can transform someone’s self-image from being just a reader to being a writer.

So, after some conversations with friends and a bit of encouragement, I started thinking seriously about launching my own zine.

As an academic, I’m deliberate by nature. I like to consult and take my time. Honestly, if I could have formed a committee for this, I probably would have. Instead, I decided to email someone: Howard Andrew Jones.

[Click the images for larger versions.]

The three Dabir and Asim volumes: The Desert of Souls, The Bones of the Old Ones, and the collection The Waters of Eternity (Thomas Dunne Books, February 2011, December 2012, and November 2011). Covers by Charles Keegan, Steve Stone, uncredited

At the time, I didn’t know Howard personally, but I knew of him. He was a celebrated name in sword and sorcery. Howard had published an e-zine (Flashing Swords) in the genre, written essays and edited for Black Gate, and authored an incredible series of novels set in a sword-and-sorcery-inspired Arabia featuring Dabir and Asim (The Desert of Souls and The Bones of the Old Ones). He was also working on a new trilogy, The Ring-Sworn Trilogy, and I had already read the first book.

On top of all that, Howard had written several fun Pathfinder RPG novels, and he was editing Tales from the Magician’s Skull, the magazine for contemporary sword and sorcery fiction, published by Goodman Games. I loved that magazine. If anyone could give me advice on starting a zine, it was Howard.

I didn’t expect much when I emailed him. I wrote a long message, gushed a bit as a fanboy, and sent it off. Honestly, I wasn’t really expecting a response.

The next day, I was in my campus office grading papers when my office phone rang. My office phone never rings. In my ten years at CNU, maybe one student has ever called me. It’s practically an artifact – a dusty relic of a bygone era. My first instinct, as a millennial, was to let it go to voicemail. That’s what you do: let them leave a message and call back after some breathing exercises.

But for some reason, I picked it up.

“Hello?”
“Jason?”
“Yeah, this is Jason.”

The voice on the other end was calm, relaxed, with a kind of deliberate enunciation.

“Heeey, Jason! This is Howard.”
“Howard?” I said, not quite connecting the dots.
“Howard Andrew Jones. You emailed me about a magazine idea.”

I still get a little emotional thinking about that first call. Maybe I’m projecting, but I was immediately surprised, disarmed, and touched. Howard had gone out of his way to call me – call me! My office number isn’t even in my email signature, so he must have looked me up online to find my CNU contact info. I hadn’t even expected a reply, and here was this great author, taking the time to phone me.

Tales of the Magician’s Skull, edited by Howard Andrew Jones. Issues 1, 7, and 12
(Goodman Games, 2017, 2022, and 2024). Cover art by Jim Pavelec and Sanjulian

I was a bit starstruck when we first talked. I’m already an awkward person, but the awkwardness was dialed up as I tried to gather my bearings. Howard, however, was so kind, calm, and genuinely enthusiastic about fiction, writing, and fantasy literature that I found myself speaking to him like an old friend. I’m pretty sure we talked for over an hour during that first conversation. I remember he was multitasking while on the phone – taking out the trash or doing yard work.

In the years that followed, whenever I spoke to Howard, he always seemed to be en route somewhere – driving to town, running errands, sometimes saying, “Hold on, I’ve got to grab this thing.” He felt real and grounded in a way that made people feel at ease. He gave off this sense of being completely unaware of how cool he was or how others saw him – or, if he did know, he just didn’t put much stock in it.

Over the next five years, Howard and I stayed in almost constant contact. We texted regularly. Often, he’d reply to a message with something like, “You free? Driving to town.” When I started my magazine and created an associated Discord server, he joined and became as active there as anyone, if not more so.

His comments were always supportive, kind, and encouraging. He shared favorite authors, thoughts on prose style, and a steady drip of wisdom for aspiring writers. Whenever anyone mentioned his work, he would chime in, “Thanks for reading it,” “Glad it worked for you,” “Really appreciate the kind words.”

Outside of Discord, we talked on the phone often. One thing I noticed was that Howard frequently mentioned his friends – not in a name-dropping way, like he wanted you to know he knew big authors, but in a way that made you feel like you were part of this collaborative effort, this network of fellow creatives. To him, it seemed, writing wasn’t a solitary pursuit but a shared craft. It was like Howard was always attending a seminar on fiction, and his calls were a way of touching base to see how your progress was going.

The books of Howard Andrew Jones

For instance, he’d say something like, “Hocking and I were talking about dialogue – how it needs to reveal character but economically, like in hardboiled detective fiction” (I’m paraphrasing). From the way he spoke, I got the sense that Howard had a lot of writer friends, and they talked about the craft of writing the way master carpenters might talk about solving technical problems with wood.

Fandom can get a little gossipy, but Howard never said a negative thing about anyone. He was almost stubbornly kind and assumed the best intentions from people. Being in touch with him felt like being welcomed into a very supportive club. Over time – without me even realizing it – Howard became something of a mentor or even a sensei in sword and sorcery writing.

At first, we just talked about sword and sorcery (a genre he was deeply opinionated about – he really didn’t like Tros of Samothrace (“Bounced right off it)), but our discussions evolved into broader topics: writing, work, heroism, and how storytelling affects people’s lives. I can honestly say I learned a lot about writing from him, at least an MFA’s worth, or more.

I met Howard in person three times over the six years I knew him. I saw him at GenCon, the big gaming convention that also includes a section for genre writers. We sat on several panels together discussing sword and sorcery fiction. He attended Howard Days, a celebration of Robert E. Howard, the pulp author who created sword and sorcery (yes, it gets confusing). And then I saw him again at GenCon this past August of 2024.

In August, aside from a persistent leg injury, Howard seemed… OK. I need to be honest and say he struck me as a little blue at GenCon, and he suspected it was due to the injury or the associated medication treating it. He had every reason to be happy. He had just published the first two books of his Hanuvar series. If I remember correctly, book three, Shadow of the Smoking Mountain, had just come out or was coming out. At the convention, he gave me an ARC and signed it with the words, “Find a way or make one.” I took this as a nod to the writer’s life, a reminder to persevere and create despite the challenges.

The Ring-Sworn Trilogy by Howard Andrew Jones (St. Martin’s Press, 2018-2021). Covers by Lauren Saint-Onge

On the last day of GenCon, literally just before leaving, Howard, my wife Nicole, and I had lunch together. It was the first time Howard had met Nicole. She joked and referred to Howard as “my friend in my pocket” because I was always texting with him. I laughed and told her, “You don’t understand – this guy is so cool. He’s the nicest guy you’ll ever meet.”

That might sound like grief-motivated hyperbole now, but, in hindsight, it wasn’t. That’s exactly how I spoke about Howard before I knew anything was wrong.

Nicole and I had lunch with him, and of course, they hit it off. I can’t recall the details but Howard was fascinated with Nicole’s life growing up on a farm (did Howard come from a rural background?). After the meal, Howard said he was glad to have met her.

We left the restaurant. There were hundreds of people in the corridors at GenCon, a veritable sea of humanity, and Nicole and I were ready to leave, luggage in hand. So, we said our goodbyes. I had no idea it was the final goodbye. Howard gave me a hug and said, “Well, safe travels to you and your beautiful wife. And, keep writing.” Then he disappeared into the crowd.

A few weeks later, I learned he had gone to the hospital with acute symptoms.

I’m still in the anger phase of all this. Howard was such a good guy. It felt like, as a writer, he was hitting his peak. In my view, he had so much more to give the world – not just through his novels but through who he was as a person. I know my story is just one of many similar ones. That’s the kind of person Howard was: everyone who met him seemed to come away with a story about his kindness. This tragedy couldn’t have happened to a more undeserving person.

Howard, you’ll be missed, man. Thanks for being you.

Jason Ray Carney is a Lecturer in Popular Literature at Christopher Newport University. He is the author of the academic book, Weird Tales of Modernity (McFarland), and the fantasy anthology, Rakefire and Other Stories (Pulp Hero Press). He edited Savage Scrolls: Thrilling Tales of Sword and Sorcery for Pulp Hero Press and is an editor at The Dark Man: Journal of Robert E. Howard and Pulp Studies and Whetstone: Amateur Magazine of Sword and Sorcery. His last article for Black Gate was a review of Lord of a Shattered Land.

Here are 7 Author Shoutouts for this week. Find your favorite author or discover an…

The post 7 Author Shoutouts | Authors We Love To Recommend appeared first on LitStack.

Book links: Amazon, Goodreads

ABOUT THE AUTHOR: Charles Burns grew up in Seattle in the 1970s. His work rose to prominence in Art Spiegelman's Raw magazine in the mid-1980s and took off from there, for an extraordinary range of comics and projects, from Iggy Pop album covers to the latest ad campaign for Altoids. In 1992 he designed the sets for Mark Morris's delightful restaging of The Nutcracker. He's illustrated covers for Time, the New Yorker and the New York Times Sunday Magazine. He is the official cover artist for The Believer magazine. Black Hole received Eisner, Harvey and Ignatz awards in 2005. Burns lives in Philadelphia with his wife and two daughters.

Publisher: Pantheon (September 24, 2024) Length: 224 pages Formats: Hardcover, ebook

It’s been a long wait -ten years, to be exact-but Charles Burns is back with Final Cut, a weird, sad, and beautifully drawn trip into the mind of an awkward teenage filmmaker named Brian. Set in the early ‘70s, the story follows Brian as he and his friends make a low-budget horror movie on a camping trip.

Everything revolves around Laurie, Brian’s red-haired crush, who becomes his muse, his obsession, and, ultimately, the centerpiece of a story he might be rewriting in his head.

As a result, Final Cut can initially feel like a simple coming-of-age story about a group of friends making a low-budget film in the woods. But true to Burns’ style, there’s so much more beneath the surface. As Brian edits his movie, it becomes clear he’s also “editing” his memories of that summer, creating a version of events where he has more control—and maybe even the happy ending he never got.

This comic has great vibes. You’ve got razor-sharp art that’s stunning, a creeping sense of unease, and characters you’re not quite sure how to feel about. Since I love unreliable narration, I loved the eerie, dreamlike atmosphere. Brian’s a loner who’s into art and movies—cool enough—but he’s also kinda creepy. He films Laurie without her knowing, sketches naked pictures of her, and lurks outside her tent at night. His version of events might not be a full story.

That’s the hook here: is this all really how it went down, or is Brian “editing” the summer in his head to make it more palatable? He’s a filmmaker, after all, and Final Cut plays with that idea of memory as a movie you can tweak. The whole thing has this dreamy, slightly unsettling vibe, like you’re stuck in Brian’s head with him.

The art? Absolutely stunning and otherworldly. Burns’ haunting artwork is unparalleled, as he effortlessly shifts between grounded realism and surreal horror. The color palette—rich blues, stark whites, and deep reds—heightens the unsettling atmosphere, while the splash pages and film-like sequences are nothing short of stunning.

If there’s a downside, it’s that the pacing can be uneven and its core is quite simple, really. Unrequited teenage love, even with all the surreal touches, might not sound like much on paper. And yeah, some parts drag, like the repetitive “making the movie” scenes. But by the end, Final Cutk hits you with this quiet, bittersweet sadness.

Final Cut is a beautifully weird, unsettling, and surprisingly tender look at love, art, and the stories we tell ourselves. If you’re a fan of Charles Burns or just love weird, thoughtful comics, this one’s worth the ride.

I received a review copy from the publisher. This does not affect the contents of my review and all opinions are my own.

At the Bottom of the Garden by Camilla Bruce

Mogsy’s Rating: 3.5 of 5 stars

Genre: Horror

Series: Stand Alone

Publisher: Del Rey (January 28, 2024)

Length: 384 pages

Author Information: Website | Twitter

I’ve been a fan of Camilla Bruce ever since I read You Let Me In, which won over with its dark, complex characters and unsettling themes. Her stories so often blur the lines between the real and the supernatural, and her newest novel At the Bottom of the Garden seemed like it would too—a blend of eeriness and whimsy and atmosphere. However, certain aspects also fell short of my admittedly high expectations.

The book introduces Clara Woods, a conniving woman who seizes on an opportunity to reshape her future when a tragic climbing accident claims the lives of her brother and his wife, leaving her as the sole guardian of their two orphaned daughters. Ambitious and cunning, Clara dreams of becoming the head of her own diamond business but lacks the funds to make it happen. With her late brother’s estate now in the hands of his children, Clara begins to plot her way into gaining access to their inheritance.

Still grieving the loss of their parents, 14-year-old Lily and 9-year-old Violet suddenly find themselves transported from their lavish townhome into a decaying manor in the countryside, living with their aunt whom they hardly know. Clara seems kind enough, and says all the right things, but the girls know better. Each secretly harbors a unique gift—Lily can “see” the emotions of others as different colors, while Violet has an inexplicable connection to the realm of the unliving. As their aunt’s manipulative behavior grows worse, the sisters begin to suspect her motives, especially when the house begins to feel increasingly suffocating and oppressive. One day, Violet’s mysterious ability unleashes a long-buried secret, and before long, Clara is surrounded by the ghosts of her past. A tense battle of wills ensues as Clara isn’t about to back down, while the girls grow increasingly defiant and emboldened by their powers.

The story primarily unfolds through chapters alternating between the perspectives of the three characters. Clara is a real piece of work—a greedy, social-climbing widow who is secretly delighted when her half-brother dies and only sees taking care of his daughters as a means to an end. Lily is more mature than her age would suggest, quietly observant and deeply protective of her younger sister. Violet is pure innocence, wanting only to please. Each POV adds a layer to this precarious dynamic, as the girls’ resistance causes Clara to push to take her scheming to the next level.

The writing style is interesting in this one, though it also strongly reminded me of In the Garden of Spite and All the Blood We Share, both books in which Camilla Bruce takes readers into the twisted minds of morally complex, often villainous characters. The main difference is, At the Bottom of the Garden takes on a more whimsical, cartoonish tone— turning Clara into something like a wicked witch from a children’s fairy tale. However, the charm doesn’t last. Eventually, the lack of depth shows through. You start wondering why the girls aren’t taking the obvious, logical steps to get out of their situation. Clara’s ideas become more and more far-fetched. Over time, these unrealistic elements just keep piling up, making the story feel increasingly oversimplified and shallow.

And though I ultimately liked that this was a ghost story, I couldn’t help but feel its potential was wasted. Things started out strong, with a sense of foreboding that was practically palpable. Yet as events unfolded, the plot began to lose its focus, meandering into subplots that distracted from the central conflict involving the haunting, the girls’ abilities, and Clara’s role as a murderess. All that started to feel like a backdrop rather than the key driving force, and by the time we got to the ending, the resolution was rushed and somewhat unsatisfying. The ending simply lacked the emotional impact I was hoping for, a letdown after the tensions built throughout the story.

Overall, in my opinion, At the Bottom of the Garden was not Camilla Bruce’s best, but the strange gothic dark fairy tale vibe does make it more unique and stand out among her other books. And despite my criticisms, I did enjoy it for its atmosphere and slow-burn supernatural plot. Recommended if you are a fan of the author, or for readers who can appreciate a lighter take on horror.

 

This is a reread. First time reading it has to be between 2001 and 2009 somewhere. I borrowed it and now finally have my own copy.I mostly remember atmosphere, vibes, and that I loved it. Starts out promising, the writing is so good!

He swallowed queasily. The footlocker seemed to swell to fill his room, muttering its ugly secrets to itself.

(page 35, Wizard of the Pigeons by Megan Lindholm/Robin Hobb)
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Teaser Tuesdays is a weekly bookish meme, previously hosted by MizB of Should Be Reading. Anyone can play along! Just do the following: - Grab your current read - Open to a random page - Share two (2) “teaser” sentences from somewhere on that page BE CAREFUL NOT TO INCLUDE SPOILERS! (make sure that what you share doesn’t give too much away! You don’t want to ruin the book for others!) - Share the title & author, too, so that other TT participants can add the book to their  TBR Lists if they like your teasers!

Savage Sword of Conan #1 (Titan Comics, February 2024). Cover art by Joe Jusko

Savage Sword of Conan, from Titan Comics, is the comic book that I have been waiting for. It is a thing of perfection: art, story, presentation, physical format – all unmatched.

The cover by Joe Jusko is brilliant, capturing some brutal imagery from the prose story within, penned by Jim Zub. I loved Joe’s work on the original SSoC run.

The introduction by Roy Thomas was a delight. Roy was the mastermind behind Conan the Barbarian and Savage Sword of Conan, but he’s also known for creating characters such as Wolverine, Vision, Werewolf by Night, Luke Cage, Iron Fist, Ultron, and scores more. Hearing that he had plans to contribute to this magazine filled me with joy.

[Click the images for savage-sized versions.]

Interior pages from Savage Sword of Conan #1. Art by Max Von Fafner

The first story in SSoC #1 is called “Conan and the Dragon Horde,” written by John Arcudi, with art by Max Von Fafner. It has violence, bloodshed, nudity, sex, murder, betrayal, greed, superstition, intrigue, and horror. It is a classic Conan yarn that includes a fascinating female protagonist. Maybe she’ll stick around, or maybe she’ll go her own way, like Valeria. I can’t wait to see.

The prose story by Jim Zub, “Sacrifice in the Sand,” was a pleasant surprise. I have to admit to almost always feeling a sense of dread when someone other than REH writes Conan, but by Crom, this Zub guy gets it, much like his contemporary, John C. Hocking. The story was short, but the action was intense, realistic, and engaging, with a nice little twist at the end. Congrats, JZ.

More interiors from Savage Sword of Conan #1. Art by Max Von Fafner

Next, we had a Solomon Kane yarn, “Master of the Hunt.” Placing an SK backup story in SSoC is chef’s kiss perfect. It brings back wonderful memories. Written and illustrated by Patrick Zircher, this was an excellent Gothic tale, with all that 1600s mood and tone. The Puritan gun-toting swashbuckler is one of REH’s finest creations, and he is well represented here.

The magazine closes with a piece by Jeffrey Shanks, who delves into the publishing history of Solomon Kane, which many readers will no doubt find fascinating. Jeff is a bona-fide REH scholar, much like my dog brothers, Mark Finn and Chris Gruber.

Interiors from Savage Sword of Conan #1. Art by Patrick Zircher and Howard Chaykin

This book was great. The husky offset paper is thick and opaque, yet has that newspaper quality to it, bringing back the nostalgia of the original run. You can smell the ink – it’s glorious.

One thing I would love to see in the future (and I know this is wishful thinking) is art by Val Semeiks in the pages of this series. I’ve been working with Val off and on for eight years on Hyperborea RPG content, and I think it would be a wonderful “full circle” event to see him back where he started – illustrating Kull in SSoC. I’d love to see that happen.

Savage Sword of Conan #1 (Marvel Comics, 1974). Cover by Boris Vallejo

The original Savage Sword of Conan #1 was published in 1974, featuring an incredible cover painting by Boris Vallejo (see above). It picked up where Savage Tales had left off, with Roy Thomas spearheading the efforts within.

The talent of the contributors is off the charts: John Buscema, Barry Smith, Alfredo Alcala, Gil Kane, Pablo Marcos, Esteban Maroto, Neal Adams, Ernie Chan, and a riveting article by Glenn Lord. All of it, as Roy Thomas states “… is dedicated to Conan and the other heroic-fantasy creations of the late Robert E. Howard (1906-1936).”

Interiors from Savage Sword of Conan #1 (Marvel Comics, 1974). Art by
John Buscema, Pablo Marcos, Esteban Maroto, Neal Adams, and John Chua

I already had a copy of this book, but I picked up this backup copy for $20 from my old pal, Chris, of Chris’s Comics.

For me, the most iconic Conan art was established by Frank Frazetta with his cover paintings on the Lancer paperbacks, and John Buscema with his cover and interior art in Marvel’s Conan the Barbarian and Savage Sword of Conan. When I was young, one of the things I always looked forward to was the next issue’s cover painting for SSoC.

Cover art for The Savage Sword of Conan #54 (Marvel Comics, July 1980). Art by Earl Norem

They rarely disappointed. Among those cover painting artists, one of my personal favorites was Earl Norem. I don’t believe he has received the attention he deserves for capturing incredibly dynamic scenes, such as the one pictured above, fighting a sand demon.

One of the prizes of my personal collection is the page below, purchased at a NY Comicon in the late 90s. This is an original page from Savage Sword of Conan #197, published in May, 1992.

Original art from Savage Sword of Conan (Marvel Comics, May, 1992). Art by John Buscema and Ernie Chan

It features Roy Thomas writing, John Buscema pencils, and Ernie Chan inks. The ultimate creative dream team. On this page we see Conan, Belit, and Valeria. This is a one-of-a-kind piece that I will never part with!

One of the ultimate dream teams in comic book history was Roy Thomas, John Buscema, and Alfredo Alcala. The page below is from Savage Sword of Conan #20, adapting the Robert E. Howard story “The Slithering Shadow,” originally published in Weird Tales magazine in 1933. A sword-and-sorcery masterpiece.

Splash page from Savage Sword of Conan #20, by Roy Thomas, John Buscema, and Alfredo Alcala (Marvel Comics, July, 1977)

The third and final volume of Barbarian Life: A Literary Biography of Conan the Barbarian, by Roy Thomas, is a must-have for fans of Roy’s take on Robert E. Howard’s most famous character.

In thousands of four-color panels for Marvel Comics, Roy Thomas told the tale of Robert E. Howard’s greatest creation, Conan the Barbarian. Now, in this definitive biography and analysis, Roy chronicles Conan’s comic book life, issue by issue, plot by plot, and artist by artist.

For ten years, from October 1970 when Roy and artist Barry Smith assembled the first issue of Marvel’s Conan the Barbarian, to October 1980 when Roy and artist John Buscema completed their last issue together on the series, Thomas wrote of Conan’s gigantic melancholies and gigantic mirth — as well as the wars, the wenches, and the wizardry that bedeviled the Cimmerian from one issue to the next.

In this final volume of the series, Roy Thomas explains the creative process behind his final few issues of Conan the Barbarian, his run on King Conan, and selected stories published in Savage Sword of Conan. Additional features include a full-length interview with Roy, a short history of sword-and-sorcery in the comics, and the tale of Conan’s battles with the Comics Code.

Barbarian Life: Volume Three: A Literary Biography of Conan the Barbarian by Roy Thomas (Pulp Hero Press, April 26, 2021)

Now, I do want to preface what I am about to say by noting that my thoughts may be clouded by the nostalgia of my youth: lying on my bedroom floor, poring over my Conan comics and studying the words and art with rapt interest.

That being said, of all the pastiche authors who have developed new, original Conan tales, Roy Thomas may be my favorite — and he did it with the accompaniment of a brilliant visual medium, working with some of the finest artists of the day, such as the aforementioned Barry Smith and John Buscema, and also greats such as Alfredo Alcala, Gil Kane, and Ernie Chan.

Unfortunately, one of my favorite Conan artists, the incredible Val Semeiks, didn’t cross paths with Roy, but he deserves mentioning nonetheless for his breathtaking art.

Jeffrey P. Talanian’s last article for Black Gate was The Dreams in Gary’s Basement: Gary Gygax and the Creation of Dungeons & Dragons. He is the creator and publisher of the Hyperborea sword-and-sorcery and weird science-fantasy RPG from North Wind Adventures. He was the co-author, with E. Gary Gygax, of the Castle Zagyg releases, including several Yggsburgh city supplements, Castle Zagyg: The East Mark Gazetteer, and Castle Zagyg: The Upper Works. Read Gabe Gybing’s interview with Jeffrey here, and follow his latest projects on Facebook and at www.hyperborea.tv.

 

ABOUT THE AUTHOR: J E Hannaford is powered by coffee, dragons and whisky. She teaches Biology in the real world and invents fantasy beasts to populate her own.
She lives in Suffolk, UK, and pines for the coast and mountains of Wales.
A love of nature and the ocean washes through the pages of J E Hannaford's stories and pours out of the characters who live in it.
Find J.E. online: website
Gates of Hope links: Amazon, Goodreads
ESMAY
Well, I don’t know what I was expecting from Gates of Hope, but I am pretty sure nothing could have prepared me for the wildly imaginative epic sci-fantasy adventure it turned out to be. It’s got dystopian landscapes and societies, completely unique flora and fauna, a magical academy and secret societies, at least six types of mystifying magic, planet hopping portals, and, hear me out, space dragons. What’s not to love… right? 
From the very first page, I found J.E. Hannaford’s bold storytelling and rich prose to be incredibly immersive. Yes, we are dropped into quite a deep pool of unfamiliar fantasy terminology and complex history and lore, but the way that this entire world (or should I say universe?) unfolded through the three distinctly unique POV characters’ eyes felt wonderfully organic to me. 
Whether it was Darin with his dream/song magic, dangerous secret society shenanigans, and newfound psychic moonhound bond (Star is the MVP!!), Suriin with her emotion magic and desperate lust for an adventure to take her outside the deep crater communities of Caldera, or the outcast Elissa all the way over on the moon of Tebein discovering outlawed magical powers that could save her entire race from the tyrannical rule of the alien awldrin overlords, if they don’t eliminate her first; I am not kidding when I say that every single chapter contained some type of new marvellous piece of revelatory world building that just filled me with awe. 
However, as interesting and intriguing as I found the events unfolding throughout these characters’ increasingly wild lives, I have to admit that I never truly connected to any of them, and I soon found myself struggling to stay engaged by the almost slice-of-life storytelling. To me, Gates of Hope lacked a strong overarching conflict/plot pulling everything together into a cohesive whole, and it felt like everything was happening TO these characters rather than because they took any decision driven by personal motivations, which made it quite hard for me to really root for them.
Maybe I was just hoping and expecting this story to be something it was never meant to be, and ultimately I truly can’t deny that Hannaford’s ambitious vision for the Aulirean Cycle is beyond impressive. While this first book in the series failed to truly hook me at any point, I think the explosive ending showed a lot of potential and set up the sequel(s) in a very strong way. So, if you are looking for an exceptionally slow-burn and character-driven epic sci-fantasy adventure that is simply bursting with imagination, emotion, and heart, then I can’t recommend Gates of Hope highly enough. 
ŁUKASZ

Sometimes, a book feels like it’s going somewhere, only for you to realize you’ve been waiting for things to happen and they still haven't. Gates of Hope is one of those books. It’s clear J.E. Hannaford poured her heart into building this world (interplanetary dragons, magical moonhounds, and a system of magic fueled by emotions and music), but all that effort doesn’t quite translate into an engaging story.

The premise is solid: a war-torn world, magical gates destroyed by a dragon, and three protagonists dealing with the fallout. But rather than picking up speed, the plot crawls. Elissa struggles under alien rule on one of the moons, Darin bonds with his moonhound while learning magic, and Suriin works on controlling her powers. They all have potential, but their stories don’t really connect, and for most of the book, it feels like nothing significant happens.

The pacing is the main culprit. It’s practically at a standstill for long stretches. The book spends so much time on small, everyday details and repetitive scenes that the plot barely gets a chance to move. Even when things finally pick up near the end, it feels too little, too late.

The characters also didn’t do much to save the story. While there’s some charm - Darin’s moonhound, Star, is a highlight - the protagonists themselves feel flat. Their personal growth and struggles should’ve been the heart of the story, but instead, it’s like watching three separate, slightly dull movies that never quite come together.

That said, the world-building is impressive. You can tell Hannaford put a lot of thought into creating her universe, and for readers who love rich, detailed settings, this might hit the spot. 

If you’re patient and enjoy slow, slice-of-life fantasy, Gates of Hope might work for you. Otherwise, it’s a bit of a slog - a lovingly crafted world where not enough actually happens.

OFFICIAL SPFBO RATING

Take My Name but Say It Slow is a luminous memoir-in-essays exploring place, identity, and…

The post Spotlight on “Take My Name But Say It Slow” by Thomas Dai appeared first on LitStack.

A LIFE IS NOT IMPORTANT EXCEPT IN THE IMPACT IT HAS ON OTHER LIVES – Jackie Robinson’s epitaph

Mark Rigney, Howard Andrew Jones, Bob Byrne

I did an interview last week with Jason Waltz for his ’24 in 42′ podcast (Yeah, I know: You just can’t wait to hear that one…).

One of the questions was about my favorite quote/lyric/poem/motivational thought. Some of you who know me probably figure it’s a Bible verse. And there are a couple that are right up there.

But it’s the epitaph on Jackie Robinson’s gravestone, which leads off this post.

My buddy Howard Andrew Jones has passed away from brain cancer. You’re going to see a LOT of people singing his praises in the coming weeks. All of it deserved. If I can stop crying long enough, my Monday morning post will be on Howard.

But you’re gonna see a common thread in the talk about Howard. The impact he had on other people’s lives. Especially in encouraging and helping writers – mostly in the sword and sorcery field.

Measured by impact, Howard’s may well be the most important life in the past three-plus decades in the genre. He was relentless in being kind, helpful, encouraging, engaging – just fucking NICE – in an era when nice isn’t all that common anymore.

My favorite memories of Howard are our phone talks about hardboiled private eye fiction: not what you’d guess of one of the brightest lights in the sword and sorcery genre.

But as you read the posts about Howard here on FB, just keep noting how many people thank him for helping them. For impacting their lives and careers.

Howard totally lived that quote on Robinson’s headstone. More than most of us do. A good man who lived an important life.

The world’s light is a little less bright this wintry day. A star has gone out.

 

That was my response to seeing John O’Neill’s post on Friday, announcing that Howard had lost his battle with brain cancer. Facebook has been full of fond memories and sorrows from his many friends.

There are two people I’ve gotten to know somewhat through my writing/blogging, who were liked by everyone who knew them. No one had a bad word for mystery writer Bill Crider, or for Howard. He did not suffer bullshit well, but if you knew him, you were his friend. And you felt fortunate to be one.

I only met him once, at a Windy City Pulp Fest, but we talked on the phone, emailed, and FB messaged. I always enjoyed talking to him. We often compared the aches and pains of trying to remain physically active as we grew older. And suddenly, he won’t grow any older. Life can suck.

Regarding his work, my favorites are his Dabir and Asim Arabian stories. The two novels are epic Arabian fantasies – ‘swords and sandals’. But the short stories are really mysteries in an Arabian fantasy setting, and I love that! If you don’t at least have Waters of Eternity in digital, you totally should.

I liked his Pathfinder novels. The Ring-Sworn trilogy was good, but not one of my favorites.

I had not yet started his most recent trilogy, The Chronicles of Hanuvar, though I had read a couple short stories, which he incorporated into the first novel, ala Raymond Chandler (Howard was a hardboiled PI Pulp expert). I sat down Friday night, and I spent a chunk of my weekend working through Lord of A Shattered Land.

This is Howard’s best work. He had moved to another level. I assume books two and three will only drive that home. He had signed a five-book deal with Baen. They liked it so much, they added two more books to his contract.

Howard was a year younger than me, and he had a lot of great writing years ahead of him. He was taken far too soon – I feel the same about Carl Wilson of the Beach Boys.

As I said in my FB post, Howard was nice. He was a genuinely good guy. He was fun to talk to, and he really was committed to helping people in the field. If you saw his FB updates on the chicks (he operated a farm) in winter, you got a sense of what a neat guy he was.

I got to visit him once after the news of his illness came out. That’s the pic above, with three of us Black Gaters together. He was still the gentle, soft-spoken soul I knew.

I hope the plaudits and the accolades keep coming. And I hope there’s something in his memory at 2025 Windy City.

Howard will be missed by many, for many years to come. The following is from his first Hanuvar novel, and it’s become the Howard quote for many of us, with his passing:

“Why are you crying? Warrior’s don’t cry.”

“They do when a hero dies.”

We lost a hero. I’m one of many who will miss you greatly, friend.

And if you’re looking for some modern fantasy to read, you really ought to grab that first book and check out one of the finest sword and sorcery writers of this century:

The Chronicles of Hanuvar

Lord of a Shattered Land
The City of Marble and Blood
Shadow of the Smoking Mountain

Bob Byrne’s ‘A (Black) Gat in the Hand’ made its Black Gate debut in 2018 and has returned every summer since.

His ‘The Public Life of Sherlock Holmes’ column ran every Monday morning at Black Gate from March, 2014 through March, 2017. And he irregularly posts on Rex Stout’s gargantuan detective in ‘Nero Wolfe’s Brownstone.’ He is a member of the Praed Street Irregulars, founded www.SolarPons.com (the only website dedicated to the ‘Sherlock Holmes of Praed Street’).

He organized Black Gate’s award-nominated ‘Discovering Robert E. Howard’ series, as well as the award-winning ‘Hither Came Conan’ series. Which is now part of THE Definitive guide to Conan. He also organized 2023’s ‘Talking Tolkien.’

He has contributed stories to The MX Book of New Sherlock Holmes Stories — Parts III, IV, V, VI, XXI, and XXXIII.

He has written introductions for Steeger Books, and appeared in several magazines, including Black Mask, Sherlock Holmes Mystery Magazine, The Strand Magazine, and Sherlock Magazine.

David Lynch is gone; he died Wednesday at the age of  seventy-eight, bringing one of the strangest careers in American film to an end and leaving the rest of us to try to reach a conclusion as to what it all meant.

He never made a western. He never made a romcom or a workplace comedy. He never made a “prestige” period picture. He never made a buddy movie or an action movie or a heist movie or a (straightforward) crime movie. Not for him was getting hold of a franchise and riding it until it died of thirst in the desert; he wasn’t interested in making Mission Impossible 6 and 7/8. The only things he made were David Lynch movies (as the producers of Dune found to their dismay), and those were about as far out of the mainstream of American cinematic entertainment as it is possible to get and still be permitted within the city limits of Hollywood.

I resist calling him an “experimental filmmaker” — though there is a grain of truth in the description (in the effect of his work more than in its intent) — because I don’t think he was experimenting at all; I think he had a cement-solid vision of what film was and what it could do, and he knew precisely what he was up to every single minute.

For much of the past fifty years, people have spent countless hours burning up mental calories trying to “figure out” Eraserhead, Mulholland Drive, Fire Walk with Me, and Lost Highway, which seems to me to be a waste of time (though there are worse things to do with your idle hours). David Lynch’s films aren’t Sudokus, nor are they housing tract prospectuses or blueprints for can openers or toaster ovens; they’re dreams, and if his career illustrates anything, it’s how literal and flatfooted the vast majority of films are, and how very few filmmakers utilize to any degree the extraordinary power of the medium to dissolve and reconfigure the walls of reality. (In this a goof like Ed Wood beats most of today’s A-List directors, though Wood’s surrealism was the result of ineptness rather than art.)

Lynch’s most puzzling visions stubbornly resist dissection or definitive explanation, but most of the difficulty results from seeing them as puzzles in the first place. Instead, they’re spiritual weather reports; David Lynch was a meteorologist of the soul, and though he was American to the core, his movies have more in common with European films like Alain Resnais’ Last Year at Marienbad or Ingemar Bergman’s Persona or Hour of the Wolf than they do with the more commercial work of his American contemporaries.

The first Lynch film I saw was The Elephant Man (1980), which was (along with 1999’s The Straight Story) as “normal” a movie as he ever made. Even then, though, I knew that this was about as far from being a conventional, heartwarming, “disease-of-the-week” weepie as you could get. The difference becomes clear when you compare the film to the box-office winners of 1980 and imagine how the directors of The Empire Strikes Back, Private Benjamin, 9 to 5, or Coal Miner’s Daughter would have handled the story of John Merrick.

Not everyone responded positively to Lynch’s oblique, uncompromisingly interior approach, especially at first. It royally ticked off Roger Ebert, for instance, who was presumably upset that The Elephant Man wasn’t the sort of thing Sydney Pollack would have given us. Ebert also hated Wild at Heart (1990), Lynch’s off-kilter, violent, Wizard of Oz-inflected love story, though how the man who wrote Beyond the Valley of the Dolls could disdain “sophomoric humor” or criticize anyone for indulging in the “cop-out” of “pop satire” is beyond me.

As time went by, though, Lynch gathered more and more approval, but many critics praised him because of the attack they believed he was mounting on the values of what used to be called “Middle America.” What else could a movie like Blue Velvet be but a savage repudiation, an unqualified exposure of the wormy rot underneath the shiny linoleum?

However, in seeing Lynch as an unqualified celebrator of subversion, these critics were missing half the boat. Lynch didn’t believe that the “real truth” of the world was a hidden corruption that was bound to come out sooner or later and overwhelm everything, or that the scrubbed, brightly-polished surface of “normality” was nothing but a lie or a hypocritical sham.

He believed in the reality and power of both the decency and the corruption. You cannot accuse David Lynch of cynicism (Ebert’s mistake), but he was certainly as Manichean as they come, seeing as he did a world poised on the razor’s-edge between darkness and light, with each constantly trying to encroach on the other’s domain. It’s his acknowledgement of both aspects of life and his rapt love of their battle, and his belief that the balance between them is subject to the merest breath, that make him such a complex — and divisive — artist.

Certainly, a man who could make both Blue Velvet, in which the placid surfaces of ordinary life conceal a subterranean hell of twisted desire and violence, and The Straight Story, where the only perversion is the decision to ride a lawn mower across the state to visit an estranged brother, is a one-of-a-kind visionary. Those two films may be Lynch’s most emblematic ones, and they are not opposites, as may appear at first glance; they are fraternal twins, one light, one dark, but standing shoulder-to-shoulder and hand-in-hand. That they both issued from the same mind and are the products of the same sensibility may be the most disturbing thing of all — they are, in fact, both the work of an Eagle Scout.

He is irreplaceable. We have other great directors — Paul Thomas Anderson, David Fincher, Kathryn Bigelow, Martin Scorsese, Quentin Tarantino, to name just a few. But even the most adventuresome of them rarely do more than occasionally edge a toe into the territory that David Lynch spent his whole career traversing from corner to corner. He was fearlessly committed to going ever farther, digging ever deeper. He was like a legendary explorer, again and again plunging into trackless, unknown territory where anything might happen. Every film was a Lewis and Clark expedition into the wild unconscious, and the reports he brought back from those brave forays into the void revealed unbelievable terrors and awe-inspiring beauties.

Probably like many others, when I heard of Lynch’s death the first film I though of was Eraserhead. Back in the Pleistocene (the early 1980’s, that is), if you heard about an interesting movie and wanted to see it, you pretty much had only one recourse — your local video store, and so I rented a VHS cassette of Eraserhead from the Blockbuster down the street. Then, late one night, while my wife slept peacefully in our bedroom, I turned off the lights in my living room, put the movie in the player, and was instantly plunged into an eerie, repulsive, frightening, baffling, disorienting world that was also undeniably comic and even, at times, darkly beautiful. I was clearly watching something that was not made for me — or against me, for that matter. It wasn’t made with reference to me at all, or to anyone or anything else in the world. It was wholly itself, and came to me like an artifact from another universe.

No movie has ever given me the creeps like Eraserhead did — or made me think like it did. When it was over, I sat alone in the darkness and wondered what the hell had just happened.

Old movie posters often used to be emblazoned with a cheesy boast — “Like Nothing You’ve Ever Seen Before!!” The silly slogan came true in Eraserhead; it came true again and again in everything that the enormously gifted, magnificently weird, profoundly divided David Lynch gave us. I’m sorry that he is gone, but I’m so grateful that he was here. There was only one of him, and considering the disquieting nature of his unique vision, I’m glad for that, too. I can only take so many nights like the one when I watched Eraserhead.

Thomas Parker is a native Southern Californian and a lifelong science fiction, fantasy, and mystery fan. When not corrupting the next generation as a fourth grade teacher, he collects Roger Corman movies, Silver Age comic books, Ace doubles, and despairing looks from his wife. His last article for us was A Singular Success: Fat City

The sultry side of Italy is calling your name, and there’s no better way to experience it than through XXX cams. Get ready to indulge in the passionate culture and sensuality of this beautiful country from the comfort of your own home.

With an array of seductive performers waiting to entertain you, these XXX cams will transport you to a world of desire and pleasure. So sit back, relax, and let Italy show you its sexy side.

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Stripchat

Stripchat is a newer cams website that has quickly gained popularity due to its unique features and affordability. It’s also a great place to experience the sultry side of Italy through its diverse selection of Italian models who are ready to fulfill your wildest fantasies.

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What sets Stripchat apart from other cams websites is its innovative features that bring a new level of interaction between viewers and models. Cam2Cam allows you to turn on your webcam and let the model see you, creating an even more intimate experience. There’s also Virtual Reality (VR) technology available for select shows, bringing you one step closer to experiencing Italy like never before.

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From petite brunettes to curvaceous blondes, Stripchat has a diverse selection of Italian models to choose from. You can also filter your search by kinks and fetishes, ensuring that you find a model who caters to your specific desires. Plus, the website has a New Models section where you can discover fresh faces and potentially find your new favorite Italian model.

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Next on our list is Jerkmate, a cams website that takes user experience to a whole new level. This website prides itself on bringing viewers closer to their fantasies through its advanced technology and interactive features.

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Last but certainly not least is ImLive, a cams website that has been in the industry for over 15 years. With its longevity comes a loyal following and a wide range of features that make it one of the top choices for those seeking an intimate experience with Italian models.

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What are the Best Live Xxx Cam Sites in Italy?

Some of the top live xxx cam sites in Italy are Chaturbate, LiveJasmin, and BongaCams. These sites offer a wide variety of models and categories to choose from, as well as high-quality video streaming and interactive features. Other popular sites include CamSoda and MyFreeCams. It is recommended to do some research and read reviews before choosing a specific site to ensure the best experience.

How Can I Find Authentic Italian Models on Xxx Cams?

One of the best ways to find authentic Italian models on xxx cams is by using specific search filters on the cam site. You can also look for models who mention their nationality or location in their profile bio. Another option is to join Italian-specific xxx cam communities where you can connect with models directly. Contacting the customer support of the cam site and asking for recommendations may also help you find authentic Italian models.

Are There Any Special Features Or Categories for Italian Xxx Cams?

Yes, there are several special features and categories for Italian xxx cams. Some popular ones include Italian MILF cams, Amateur Italian cams, and Italian BDSM cams. Many Italian xxx cam websites offer a wide variety of performers from different regions and cities in Italy. There is a diverse range of options for those looking for Italian xxx cams.

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The post Experience the Sultry Side of Italy With These Xxx Cams appeared first on Fiery Romance.

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Good 9.2 Free Sign Up Exploring Japan’s Kinkiest Sex Webcam Shows

Japan is known for its rich culture, beautiful landscapes, and delicious food. However, there is another side of Japan that often goes unnoticed – its thriving adult entertainment industry. In recent years, more and more people have turned to webcam shows for their sexual gratification, and Japan has been at the forefront of this trend. With a wide variety of cam websites to choose from, it can be overwhelming to decide which one to explore. But fear not, as we delve into the world of Japan’s kinkiest sex webcam shows and review the top cam sites – Live Jasmin, Stripchat, Jerkmate, and ImLive.

The Rise of Webcam Shows in Japan

Webcam shows have become increasingly popular in Japan due to various reasons. One of the main factors is the strict censorship laws surrounding pornography in the country. So, if you’re tired of dealing with sign-ups and want to jump straight into the action, check out these sexting websites for a hassle-free sexting experience. While traditional pornographic content is heavily censored, live webcam shows offer a more explicit and interactive experience for viewers.

Another reason for the rise in popularity of webcam shows is the convenience they offer. With just a click of a button, viewers can access a plethora of content tailored to their specific preferences without leaving the comfort of their own home.

Moreover, with advancements in technology and internet speeds, live webcam shows have become more accessible and high-quality than ever before. The Kyrgyzstan live sex cams give a glimpse into the country’s unique culture and intimate side.

The Controversy Surrounding Kinky Sex Webcam Shows

While some may view kinky sex webcam shows as harmless entertainment, others argue that it promotes objectification and exploitation of performers. There have been concerns raised about performers being coerced into certain acts or working under unsafe conditions.

However, with proper regulations and guidelines in place, these concerns can be addressed effectively. Many cam sites have taken steps to ensure the safety and well-being of their performers by implementing strict rules against harassment and abuse.

It is also worth noting that many performers choose to work in the webcam industry willingly and find it empowering to explore their sexuality on their own terms.

Review of Top Cam Sites Live Jasmin

Pros:

• High-quality video and audio streaming
• Large selection of Japanese performers
• Various payment options available

Cons:

• Limited free content
• Expensive private shows
• Somewhat outdated website design

Live Jasmin is a popular cam site known for its extensive selection of models from Japan. With over 5000 Japanese performers, viewers are spoiled for choice. The site offers high-quality video and audio streaming, making the viewing experience more enjoyable.

However, Live Jasmin does come at a cost. Private shows can be quite expensive, and there is limited free content available. Some users may find the website’s design to be outdated compared to other cam sites. With the popularity of Russia XXX Cams on the rise, more and more people are turning to online streaming for their adult entertainment needs.

Stripchat

Pros:

• User-friendly interface
• Diverse range of categories and fetishes
• Affordable private shows

Cons:

• Inconsistent video quality at times
• Somewhat intrusive ads during live streams
• No option for one-on-one private chats with models

Stripchat stands out from other cam sites due to its diverse range of categories and fetishes. Viewers can explore their kinks and fantasies through various chat rooms and private shows.

The private shows on Stripchat are relatively affordable compared to other cam sites, but the video quality can be inconsistent at times. There is no option for one-on-one private chats with models, which may be a drawback for some users. Some viewers may find the ads during live streams to be intrusive.

Jerkmate

Pros:

• Frequent promotions and discounts
• Advanced search filters for specific preferences
• Option for virtual reality shows

Cons:

• Inconsistent video quality at times
• Limited selection of Japanese performers
• No free content available without signing up for an account

Jerkmate is a popular cam site that offers advanced search filters for viewers to find their desired performer based on specific preferences. The site also offers virtual reality shows, adding a new level of immersion for viewers.

However, Jerkmate has a limited selection of Japanese performers compared to other cam sites. Some users have also reported inconsistent video quality during live shows. It is worth noting that viewers must sign up for an account before accessing any free content, which may be a downside for some.

ImLive

Pros:

• Affordable private shows with various payment options
• Diverse range of categories and fetishes
• Interactive features like live sex toy control and cam2cam option

Cons:

• Limited free content available without signing up for an account
• Somewhat outdated website design
• No option for virtual reality shows

ImLive boasts a diverse range of categories and fetishes, making it an ideal choice for viewers looking to explore different kinks. The site offers affordable private shows with various payment options, accommodating different budgets.

However, similar to Jerkmate, ImLive requires users to sign up for an account before accessing any free content. There is no option for virtual reality shows on the site. Some users may find the website design to be outdated compared to other cam sites.

The Impact of Japan’s Kinkiest Sex Webcam Shows

The rise in popularity of kinky sex webcam shows in Japan has had a significant impact on the adult entertainment industry. It has provided an alternative form of sexual expression for performers and viewers alike, breaking away from the traditional forms of pornography that often objectify and exploit women.

Moreover, with advancements in technology, live webcam shows have become more interactive, allowing viewers to engage with performers and tailor their experience to their preferences. This level of personalization has made kinkier sex webcam shows even more appealing to viewers.

With strict regulations in place, these cam sites have created a safe and consensual environment for performers and viewers. This has led to a more positive perception of the adult entertainment industry and its role in promoting healthy sexual exploration.

Summary

Japan’s kinkiest sex webcam shows have gained popularity due to various factors such as strict censorship laws, convenience, and technological advancements. While there is controversy surrounding these shows, proper regulations and guidelines can ensure the safety and well-being of performers.

Live Jasmin, Stripchat, Jerkmate, and ImLive are among the top cam sites offering quality content for viewers interested in exploring Japan’s kinkiest sex webcam shows. With each site having its own unique features and drawbacks, it ultimately comes down to personal preference when choosing which one to explore.

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How Can I Find Reputable and Safe Japan Sex Webcams to Watch?

• Another option is to look for recommendations from trusted sources, such as friends or online communities focused on adult content.
• It’s important to also take precautions when accessing these sites, such as using secure payment methods and avoiding sharing personal information with unknown broadcasters.
• One way to find safe and reputable Japan sex webcams is by using established websites that have a good reputation and user reviews.

Are There Any Specific Cultural Norms Or Etiquette I Should Be Aware of When Using Japan Sex Webcams?

Yes, there are several cultural norms and etiquette that you should be aware of when using Japan sex webcams. It is important to respect the privacy and boundaries of the performers, as well as refrain from making any derogatory comments. Nudity and sexual acts may be censored or prohibited on certain platforms due to laws in Japan. Even if you’ve never considered indulging in the world of adult cams, Belgian Adult Cams offer a unique and titillating experience that is not to be missed. It is also considered polite to tip or provide gifts to performers as a way of showing appreciation for their work. Please make sure to familiarize yourself with the terms and conditions of the website or platform before engaging in any activity.

Can You Recommend Any Popular and Highly-rated Japan Sex Webcam Websites Or Performers?

Yes, I can recommend a few popular and highly-rated Japan sex webcam websites or performers. Some of the top choices include Sakura Live, Strip Chat, and MyCams. These sites offer a wide variety of Japanese performers and have received positive reviews from users.

What are Some Legal Considerations I Should Keep in Mind When Accessing Japan Sex Webcams?

When accessing Japan sex webcams, there are several legal considerations to keep in mind. It is important to remember that the age of consent in Japan is 13 years old, which means that engaging in sexual activities with someone under this age is considered statutory rape. Be aware that filming or sharing images of individuals without their consent is illegal and can result in severe penalties. It is also crucial to respect the privacy of the performers on these webcams and refrain from recording or distributing their content without their permission. Make sure to research and follow any laws or regulations related to online pornography in your own country as well as Japan’s laws regarding obscenity and child pornography.

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