A detailed look at Swords & Sorceries: Tales of Heroic Fantasy Volume 2 by contributor Andrew Darlington:"Two
moons. A wild and desolate landscape. A swordsman with an over-fondness
for wine. Mike Chinn opens this evocative collection with some
traditional elements, a sinister female mystic with a feline familiar,
and gaunt fortress with supernatural secrets. In his 1987 study of
fantastic sagas – ‘Wizards And Wild Romance’, Michael Moorcock observes
that ‘epic fantasy can offer a world of metaphor in which to explore the
rich, hidden territories deep within us.’ Not sure if that applies to
“The Essence Of Dust”, but Mike Chinn’s tale does open out into the
potential multiverse realms of the Internection where time and space
melts into contradiction.
"Fantasy has deep story-telling roots that
go all the way back to earliest human legends, myth-making and
folk-tales of voyages into demon-haunted strangeness. It assumed a
separate ‘Swords and Sorcery’ identity, different and distinct, around
the time doomed Texan Robert E Howard unleashed the mighty-thewed Conan
the Cimmerian for 1930s Pulp ‘Weird Tales’ editions, leading into Fritz
Leiber who not only coined the term as a variant on the cheaply-produced
Gladiatorial Sword-&-Sandals epic historical movies, but also spun
the intriguing Fafhrd & The Gray Mouser tales. Clark Ashton Smith
contributes ornate and elaborate fantasia of ‘The Empire Of The
Necromancers’ in far-future Zothique, and L Sprague de Camp began
anthologizing what he calls ‘a class of stories laid, not in the world
as it is or was or will be, but as it ought to have been to make a good
story.’ Until Moorcock’s brooding albino Elric of Melniboné adds his
existential strife through the pages of ‘Science Fantasy’ magazine, all
the wild way through to Sláine of ‘2000AD’ adventuring through
warp-spasmed versions of Celtic myth in vivid art panels.
"Although it
has elements of Science Fiction, Swords & Sorcery is not bound by
physical laws, and embraces all manner of outré magic alongside the
generic brand of symbolic elusiveness that Moorcock’s essay identifies.
Although beware magical elements, for they also have their own logics,
and their trickster rules. As such, it’s a wide field for fictional
invention. But, lest it descend into a leaden cliché of repetition, all
genres and subgenres must evolve if that vitality is to remain. This new
original anthology series from Parallel Universe Publications springs a
host of new angles from a range of familiar and less-than familiar
names, mixing in regulation heroic fantasy ingredients through the
perception of a new generation of tale-spinners. Tais Teng – a Dutch SF
writer and illustrator, uses an ‘inland sea’ that stretches from
Jorsaleem to Baghdad as a location for twisting historical religions
into new configurations, with skilled thief Esme Shadowkind, Shakan the
Fleet and Hethor of Samarkand scheming to rewrite sacred text ‘Book Of
Ormazd’ in a way that alters the world itself, using a bronze flying
horse and a file of the prophet Zoroaster’s blood. Dev Agarwal’s “Stone
Snake” uses a grimoire – not a ‘grey mare’, to liberate an entombed
giantess in order to halt the evil resurgence of Dagon’s minions from an
oceanic time before the human era.
"Also within pseudo-historical
times there are ventures transgressing the secure boundaries of the
Roman Empire into the barbarian horrors beyond in Martin Owton’s “Out In
The Wildlands”, in a foray that such writers as Rosemary Sutcliff might
initially have conjectured, albeit without the fiery demon
confrontation. While Susan Murrie Macdonald – one of only three writers
who also graces the first volume of this ongoing series, entrances with
her Market storyteller regaling the beguilement of Azalea Swordmaid with
her demon-born half-brother battling corpse-eating ghouls in the
Cinader cemetery.
"Phil Emery’s “Seven Thrones” also succeeds because
of the deceptive simplicity of its structure, a series of gladiatorial
contests fought to the death by swordsman Zain and poet Kazen, for the
decadent amusement of unseen watchers. ‘Magic, even dark magic, is
somewhat akin to poetry.’ And it is, ‘the cadences of a blade, the flow
of a quill.’
"Yet Steve Dilks’ sticks to what Jason Hardy terms
‘well-written Old School heroic fantasy in the Howard vein’ (on the
‘Echoes Of Valhalla’ website). His “The Amulet And The Shadow” displays
all the genre’s timeless ingredients, the medieval assault-towers of the
Lomantian Empire that batter the gates of Jadira could just as easily
be the siege-engines of Troy or the Idylls of Arthurian legend, with
outlaw slave Terach of Amrythia, who escapes through a visitation of
eldritch sorcery and blasphemous enchantment in order to exact bloody
revenge, only to discover an eternity of dark damnation in the
denouement. Swords & Sorcery does not concern itself with social
evolution. As an egalitarian in a democratic age, one wonders why the
fictional need for a monarch? Must that always be a human cultural
constant, if not King must it be Sovereign, Potentate, Tsar or Jeddak?
Does its presence answer some Jungian archetype for natural hierarchy
deep in the gut of the psych? If there is ever to be a New Wave of
Swords & Sorcery it must surely deal with these regressive issues.
"Can
a genre based in such antique precepts reinvent itself in new ways?
There are powerful indications here that it can. Earlier formative
collections such as L Sprague De Camp’s ‘Swords & Sorcery’ (Pyramid
Books, 1963), and the entrancing Donald A Wolheim-edited ‘Swordsmen In
The Sky’ (Ace Books, 1964) gathered exploits from the pages of antique
magazines, while Lin Carter’s ‘Flashing Swords’ series (originally
Granada Publishing, 1973) took things forward with new tales by
established writers, Fritz Leiber, Jack Vance, John Jakes and Michael
Moorcock. David A Riley’s intention seems to be to straddle the
extremes, retaining the best of the old with new inputs and novel
concepts. Such as the magical realism of Pedro Iniguez, the bagful of
dreams that lap in around the images of his “A Thousand Words For
Death”.
"Adrian Cole’s “The Eater Of Gods” strikes the right balance,
his new ‘Voidal’ story touches all the essential genre bases, yet
breathes new energies into the format with devious thieves Bluug and
Hurranok employing all the humorous conman guile of Jack Vance’s Cugel
as they bluster their way through the mountain city Yamazantra into the
presence of the living god Cadavarion Celestes.
"To admit a vested
interest, my own contribution to the anthology – “Antediluvia: Seasons
Of The World”, draws on the wonderful Leigh Brackett, a troubadour
Donovan Leitch poem, Atlantis and current evolutionary theory concerning
an interglacial era in which at least three proto-human species
interact as they share the world.
"Liberally illustrated by Jim Pitts distinctive illustrations, Conan might describe this anthology as ‘By Crom, it’s good!’"
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