Book Review: Swords & Dark Magic (Part 1)

Swords and Dark Magic – The new Sword and Sorcery is an anthology released in 2010, consisting of 17 stories in the style of classic Sword & Sorcery. It got pretty decent reviews and ratings, and with most of the big names of the genre being quite old already (Conan even made it into public domain almost a decade ago), I was quite intrigued to see what current authors have to offer as their personal take on it. I have to say that my personal knowledge of contemporary fantasy writers is very superficial, but even I have certainly heard of such names as Steven Erikson, Glen Cook, Michael Moorcock, and Joe Abercrombie. Since each story is by a different writer and was created independent of the others, the only sensible way to review them in detail is to do them each separately. I will keep it mostly spoiler free, but still point out specific things that I consider worth special mentioning.

Goats of Glory by Steven Erikson

This first story is about five mercenaries who seem to be the only survivors of a big battle who just barely made it back to inhabited lands and arrive in a small village so tiny and remote that even the locals have no idea what country they are in and who their lord might be. Pretty much everything about the village and its inhabitants is disgusting and for most of the story we get to see these rather unpleasant people resting at the local tavern after their exhausting escape. As night approaches the tavern owner directs them to the ruined keep at the edge of the village since their are no rooms or beds for visitors in that dump. And clearly both the tavern owner and the local gravediggers are quite anxious to see these unexpected visitors to put up their camp there for the night. Of course, things turn out to get a lot more complicated.

Maybe I am just spoiled with using Tolkien and Howard as my main references, but when I read fantasy stories, I expect rich descriptions of people and places. Both are unfortunately missing in this one. Another thing that I consider important for Sword & Sorcery short stories is to get to the point quickly and telling the reader what the story is about. Why do I care what these people are doing? Again, this story fails to deliver an answer, and for about two thirds of it I am just watching unpleasant people doing nothing. In turn, the remaining pages of the story hurry through the actual mystery and exciting events, even though a lot more could have been done with it. So far, a disappointing start.

Tides Elba by Glenn Cook

This story is about the Black Company, of which I have heard, but don’t know anything about. It’s about a group of mercenaries whose save and easy asignment of guarding a city gets distrubed by the arrival of one of the six powerful sorcerers of their mutual enigmatic boss. He simply is delivering the company new orders, but there seems to be some really bad history between him and them, which makes the mercenaries afraid something really bad is going to happen to them. The orders are simple enough, find and capture the rebell leader Tides Elba, but something about the whole thing seems very fishy.

It starts relatively simple with a group of mercenaries (again) sitting in a tavern playing cards and killing time (again). But as the story goes on, things are getting increasingly confusing. The mercenaries are afraid of the sorcerer and believe he is setting up to destroy them, but the story doesn’t tell us why. They find one of his notes that deeply disturbes them, but we’re not told what’s on it. Then they make copies of it and hide them, then have their wizards magically whipe their memory of ever having done so. But again, no explaination is given why and for what purpose. And then the conspirators who appeared to be old and trusted friends turn out to be actually hating each other, with no reason given. And apparently the fate of world is in danger, but we’re never told what’s the story with that either. There clearly is a big plot going on between the characters and they are hatching a cunning plan to outsmart the sorcerer. But the reader is never let in on it and even at the end when everything had played out, I still didn’t know what they were trying to do. To make things worse, this story is bad at descriptions either. Apparently some of the mercenaries are not warriors but wizards, but that remains entirely unclear until someone is suddenly casting a spell. One of them has been with the company for over a hundred years, which is mentioned multiple times, but there’s never any information on whether humans normally live that long in that world or if he is a dwarf, or anything like that. The worst offender is the main character and narrator, of whom I don’t know anything. I think the characters name is Croach or someting; I believe it is mentioned once towards the end. Not only do not know the rank or position, I am not even able to tell if the character is a man or a woman. This isn’t good either.

Bloodsport by Gene Wolfe

This story follows a man and a woman who were raised to be warriors in some weird game that combines gladiator combat and chess. This is already a really stupid idea that could ruin a good story all by itself. They end up wandering and the woman is looking for some kind of prophecy and eventually they come to a magical cave. This story reads like watching a movie in fast forward. You are able to tell that there are two characters that show up through the whole story and are apparently relevant to the plot,that the action moves between six or so different locations, and that it’s apparently some fantasy world with swords, spears, and horses, but you never have a clue what any of it means and what’s going on.

I really hate repeating myself, but again the story is completely lacking of any descriptions. The previous two stories had very brief and sparse information on where the scenes are set and what kind of environment the characters are in. This one manages to do nothing at all. At one point it’s in an area (I assume), then in a house in a destroyed city, then somewhere in thr countryside, and suddenly in a forest. There are never any transitions or anything establishing the scene. Plot also is completely nonexisting. And as I seem to have to say over and over, things are only starting to get interesting, at least as much as the word applies here, in the last third. The first two thirds could simply have been summarized in two sentences as a “how we got here”. This story is terrible. It is complete garbage. This one is just shit.

Hopefully the next three stories will be a lot better.

Book Review: Swords and Deviltry / Swords Against Death

As a big fan of Robert Howards Conan and fantasy works with the common themes and features of Sword & Sorcery, I still never got around to read anything by Fritz Leiber. He was the man who introduced the term Sword & Sorcery for the already existing type of fantasy literature, that with the massive impact of Tolkien’s The Lord of the Rings needed to identify itself as its own distinctive niche. (In hindsight, Leiber’s attempt to define a fantasy subgenre might have been the only one that was actually successful.) He introduced the term of Sword & Sorcery referring to the type of his own stories of Fafhrd and the Gray Mouser, but also considered Robert Howard’s Conan and Kull as prime examples of the genre he wanted to define.

So there really was no way I could push this out any further in my own explorations of the genre, and finally got around to get myself the (chronologically) first two collections of the series about these two famous heroes. Swords and Deviltry and Swords Against Death. It turned out to be a highly sobering experience.

The two books contain 15 stories, which were mostly written between 1939 and 1963, with the remaining four written in 1970, presumedly specifically for the inclusion in the collections, that were released the same year. Two other collections with stories mostly written during the 60s had been released two years earlier. There might be a possibility that these stories from the 60s are what fans consider the prime of the series, and that the two books I read where just the leftovers that were published to follow the success of the two previous collections. When your name is popular and you have ready material lying around, that’s a perfectly sound thing to do. But it’s the stories from 1970 I have the greatest problem with, and I think it’s unlikely that a writer would completely change his style in just two years. And while yes, the four stories from 1970 may have been rushed to get the two new books out, I still believe that after reading through these two collections, I have now a pretty good picture of the series as a whole.

And as I have already let shine through, it left me quite underwhelmed. Swords Against Death is really not a good book. Swords and Deviltry is a terrible book. I am not terribly well read about fantasy fiction from the early to mid 20th century, but I read most of Howard and Lovecraft, as well as Burroughs’ A Pricess of Mars, which share the same format and target audience. And compared to these famous authors, I find Leiber’s writing quite wanting. It might be unfair to compare an unknown novice writer to the best in the genre, as he has been when he wrote his first stories, but from everything I heard about him, Leiber’s fans seem to put him on the same illustrious pedestal as them. And there I really don’t see him. Not even anywhere close!

Now I have a very low opinion on literature critics and even though German literature was one of my two primary subjects during my last two years of school, I know pretty much nothing of the categories and terminology by which critics analyse and compare books. And while i read quite a lot during my life, virtually all of it is what literature snobs would call trash. (Though the actual term they are using around here is trivial literature.) But in this case, I really don’t have any trouble recognizing genuinely bad writing and identify the worst offenses. What has been striking me the most right from the start is a severe lack of descriptions. Fantasy lives and breathes fantastic or even just spectacular or evocative environments, as well as characters and creatures that are telling so much about themselves and their world even without saying a word. This is completely missing from these stories set in the world of Newhon. I read 15 stories and still the only thing I know about Fafhrd’s appearance is that he is tall and has red hair. The Gray Mouser comes down to being small and dresses in gray. The people they are dealing with are either fat, or have a black beard, but that’s as much description as we get. With environments it’s even more sparse. Another problem is Leibers language which he uses in the stories. Language changes over time, but Howard’s writings are two decades older and Burroughs’ even twice that much. And Leiber’s choice of words is deliberately archaic, and it doesn’t work out well. As a result, dialogs are very stilted. Probably the biggest offense in the stories is Leiber’s style of structure and pacing. Very often the first half of the story has nothing happening at all, and all that does happen is almost entirely irrelevant to when the actual adventure begins. Now no writer should slavishly cling to established conventions and imitate others when he thinks his own way works better for his stories. But other writers of the fantasy genres who use a similar short story format tend to start the story where the action begins and mention the events that lead to that point only in a paragraph or two, and for very good reasons. Now I admit that Lovecraft’s stories consist almost entirely of buildup and have the action scene at the very end, and in some of the stories it appears that Leiber might be trying such a thing as well. But in that case the buildup needs to consist of information that we will later need to understand the significant of the big reveal at the end, or in other words, actually build something up! In Leiber’s case, it tends to come off as padding. And that leads to what is by far the biggest mistake: The actual mystery, which the two heroes don’t know anything about yet, gets told in it’s entirety by the villains while the protagonists and the reader sits down and listens to a lecture. Then after the villain has told his complete lifestory, evil plan, and means to defeat him, we get a half-page fight scene and the story is over. “Show, don’t tell” may be an overused phrase that is often given way too much weight, but in this case it really nails down the problem.

This all can be excused, if the actual story that is being told, is a compelling one. Which these ones simply not are. You can’t shine shit. Even if you had a writer who is good at structure, pacing, and evocative descriptions, these stories are still bland. Think of the movie Avatar. Yes, it’s really pretty and looks gorgeous, but once you scratch the paint on the surface, there is nothing below it. As I see it, if you are an aspiring writer and look up some guides of common beginners mistakes that can easily avoided, Swords and Deviltry is the only sample material you need to find all of them in action, easy to spot. There is much more wrong with these two books, but that would be specific scenes and dialogs and would drift into nitpicking, so I am leaving it at these general issues from which the series suffers throughout all the stories.

If this is what many people seem to consider one of the Grand Masters of Sword & Sorcery, then I can now really understand why the genre has been suffering so much under a reputation of trash. I always assumed it’s the violence, whoring, and nihilism that offended “propper” critics, but it seems that even ignoring that, the writing is still bad. To anyone who wants to try Fafhrd and the Gray Mouser anyway, I recommend picking up Swords in the Mist and Swords Against Wizardry. Those are hopefully not quite as bad as Swords and Deviltry and Swords Against Death.