The Neverending Story

You know, one fantasy novel I never hear much talked about these days is The Neverending Story. Published originally in German as Die Unendliche Geschichtein in 1979, it became popular here in the United States in the eighties thanks to that terrible, terrible kids' movie of the same (except for a capitalized E) name. Of course I loved that movie (which is terrible) at the time, and especially that sweet theme song. But just read the book (which I did when I was a teenager) and you'll see what a hatchet job the movie is. The author, Michael Ende, would seem to have agreed with that assessment. Let's not even discuss the sequel.

I recently read the book to my kids. I'd forgotten what a mind-bending piece of meta it is. We read it as originally published, with the page-size capital letters at the beginnings of the chapters (from A for Chapter 1 to Z for Chapter 26) and the dual colors of ink (red and green) to help you navigate between metafictional modes. I'm not exactly sure what Ende was getting at with all those layers of self-reference, so here's where you get to see me puzzle that out.

If you haven't read The Neverending Story, watch out, because I'm about to spoil it all, though I don't think it's really the kind of book that gets spoiled by your knowing the plot ahead of time.

Bastian, a doughy, wimpy schoolboy with a deceased mother and an emotionally frigid father, steals a strange book from an enigmatic dealer, and holes up with it in the schoolhouse attic. In it reads the adventures of Atreyu the Greenskin, the chosen savior of Fantastica, which is being devoured by the Nothing while the Childlike Empress languishes from a mysterious illness. (Unlike in the movie, the Nothing literally looks like nothing, as though you'd gone blind.) (The clouds in the movie look pretty cool, though.) The Empress, it seems, must be given a new name by a human, but humans have stopped coming to Fantastica. We gradually learn that the purpose of Atreyu's quest and all his sufferings are solely to get Bastian, the human reader, interested in the book. At the Magic Mirror Gate, it's revealed that Bastian and Atreyu are, in some sense, the same person.

Bastian, in his reluctance to say the (slightly goofy) name he's thought up, forces the Childlike Empress to go to the Old Man of Wandering Mountain and have the story told again from the beginning, within the story itself. Here (and elsewhere) I catch just a hint of both Nietzsche (the eternal return) and – just maybe! – The Worm Ouroboros. AURYN, the talisman borne by Atreyu and the symbol of the book as a whole, consists of two snakes biting one another's tails…

Once Bastian says the name (I'll let you read the book to find out what it is), he finds himself in Fantastica. In 100% green ink now, he cuts an impetuous and increasingly disturbing swath across a succession of bizarre landscapes in an adventure that reminds me a bit of A Voyage to Arcturus. The one command laid upon him is DO WHAT YOU WISH, which seems great at first. But it turns out that each wish costs him a memory. He starts to become insufferable as he forgets what he once was.

What everyone tells him, though, is that he has to go right through Fantastica, making whatever wishes come to him and following wherever they lead. Whenever he stops wishing, he starts going in circles. He tries to make himself emperor (no one can see the Childlike Empress twice), which doesn't go too well, and almost results in his becoming the demented resident of a city of mad would-be emperors superintended by a creepy monkey. Eventually the wishes divest him of everything – his very last memories – and leave him an empty shell.

The strange thing about The Neverending Story is that, despite its having more layers than a premium nacho plate, it's enjoyable as a story in its own right. The world of Fantastica is convincingly portrayed, and Ende's powers of invention are seemingly inexhaustible. One of the main pleasures in reading the book is experiencing all the surprising and beautiful things he comes up with. The story ends with…well, with something heartwarming and sentimental. I won't knock it, but if that were the point of the novel then it wouldn't have the power it has.

To me a lot of it seems to be a parable about storytelling. Bastian is the one person in Fantastica who can tell stories. The stories he tells come true as the tells them, but there are always unintended consequences: dragons that cause suffering, clown-butterflies who vandalize. What's more, Bastian's path of wishes and growing lack of self-knowledge make him less and less capable of telling stories at all.

The Childlike Empress is portrayed as indifferent to good and evil, but her mandate, to go on wishing, while not exactly "good," is fitting, appropriate, right. It's what Bastian's got to do. Similarly, telling a story is a spiritually draining process, but the teller must go where it leads. If it's worth telling it's got a certain logic that has to be obeyed. In her indifference, I think the Empress is merely Story personified. Morality for the characters in a story is one thing; the "morality" of the storyteller (which is neither more nor less than the virtue of good craftsmanship) is another. Someone I follow online recently said something to the effect of, what kind of person takes pleasure in the misery inflected upon a character by a cruel author? I suppose it's possible to get a sadistic thrill in reading a novel, but for me it's really more the pleasure of seeing a pattern fall into place.

As I said, telling a story is a spiritually draining process. Literally, perhaps: it sucks something out of you. It's also fraught with peril. In setting yourself up as the emperor of your (invented) world, you  may find yourself doing violence to your own conceits and being relegated at last to the city of demented might-have-beens.

But maybe I'm just saying all that because I've been going in circles myself lately…

Of Hippogriffs and Cocadrill-Serpents

The world didn't ask for it, but it's coming anyway: a new wrap-around book cover for The Worm Ouroboros. Here's the progress I've made so far:

It's a stylized landscape showing Koshtra Pivrarcha, Koshtra Belorn, and the Lake of Ravary. In the distance we glimpse the Bhavinan and Morna Moruna. The Lords Juss and Brandoch Daha stand before Sophonisba; poor Mivarsh Faz is about to become dinner for a cocadrill-serpent. I've purposefully incorporated images from Keith Henderson's illustrations, including this hippogriff:

The style is somewhat inspired by Persian miniatures. I don't do justice to the tradition, of course, but I'd like to try my hand at adapting it again in the near future. At any rate, the Iliad and Icelandic sagas are often mentioned in connection with The Worm Ouroboros, but I've always detected something distinctly Oriental in it as well.

Mivarsh's legs echo Brueghel's painting of the fall of Icarus, which I've always found humorous:

A giant landscape, with the purported subject represented by two tiny legs kicking in the corner. Poor Icarus! And poor Mivarsh! Who told us that he was destined to be devoured by a crocodile, and then was devoured by a crocodile.

Fantasy Cathedrals and McMansions

My post about "serial epic fantasy" a few weeks ago has gotten more (non-robot) hits than most of my recent posts, so I thought I would revisit the topic, which is, after all, a perennial one on this blog. In fact, it goes back to my second post ever, when I threw down my gauntlet before the literary world.

At the time I wrote that, I had just despaired of ever finding an agent or publisher for my gargantuan first novel, which was 150K words after trimming it down by half and seriously boring. It was about autism, autogyros, quantum mechanics, and various characters that eventually found a home in my Enoch stories. At the back of my mind, I knew that it was too inwardly focused to be readable. I ultimately relegated my autistic recluse to the void in favor of a sanguine pugilist who leaps before he looks and basically does everything I would never do.

So that post was (and is) a kind of manifesto. Manifestos are fun, especially when they're full of hyperbole and self-importance. So let's do another! I'll begin with an unapologetic catalog of my twenty favorite fantasy novels, listed in chronological order:

• Phantastes by George MacDonald (1858)
• She by H. Rider Haggard (1887)
• The Time Machine by H. G. Wells (1895)
• The House on the Borderland by William Hope Hodgson (1908)
• The Night Land by William Hope Hodgson (1912)
• A Princess of Mars by Edgar Rice Burroughs (1912)
• Thuvia, Maid of Mars by Edgar Rice Burroughs (1916)
• A Voyage to Arcturus by David Lindsay (1920)
• The Worm Ouroboros by E. R. Eddison (1922)
• The King of Elfland's Daughter by Lord Dunsany (1924) 
• The Dream-Quest of Unknown Kadath by H. P. Lovecraft (1927)
• At the Mountains of Madness by H. P. Lovecraft (1931)
• Out of the Silent Planet by C. S. Lewis (1938)
• Perelandra by C. S. Lewis (1943)
• Titus Groan by Mervyn Peake (1946)
• Gormenghast by Mervyn Peake (1950)
• The Lord of the Rings by J. R. R. Tolkien (1955)
• The Last Unicorn by Peter S. Beagle (1968)
• Little, Big by John Crowley (1981)
• The Book of the New Sun by Gene Wolfe (1983)
• Mythago Wood by Robert Holdstock (1984)

Well, okay, that was twenty-one. To get on that list, you have to have made a permanent impression my imagination, and I have to have reread you as a guilty pleasure at least once. A list of my favorite short fiction would include pieces by George MacDonald, Robert W. Chambers, Arthur Machen, Lord Dunsany, H. P. Lovecraft, Robert E. Howard, Clark Ashton Smith, and C. L. Moore. I tend to gravitate toward the weird and ornate, like "The Repairer of Reputations" or "The Fortress Unvanquishable, Save for Sacnoth" or "The Tower of the Elephant" or "The Demon in the Flower."

So I think it's fair to say that I'm biased toward the what came before the Tolkien watershed. When I read what other people have to say about pre-Tolkien novels, I often get the feeling that they're viewed as ungainly precursors, as the dinosaur skeletons at the museum entrance. They're the work of primitives who didn't quite know what they were about, Giottos and Fra Angelicos to our modern Raphaels and Caravaggios. They're tolerated or even admired, but as a kind of academic curiosity that one delves into occasionally as an act of literary penance.

My preferences are quite the opposite. I do read modern fantasy. I discover hidden gems that way. They're out there, to be sure. But my first and only real love is the pre-Tolkien canon. How many times have I read A Voyage to Arcturus or Phantastes or The Worm Ouroboros? Too many to count. If I read modern fantasy, it's because I'm looking for something to satisfy the hunger whetted by these works.

But, more often than not, genre fiction cheats this desire. It's got no bite, no danger, no weirdness. It's tame. To put it in galline terms, it's caponized and clipped. It lacks the grotesque stylistic bosses, the glowing digressions, the awkward framing devices and dumb shows of the classics.

I could point to myriad ways in which the works of the pre-Tolkien canon influenced one another. But each draws far more from philosophy and science and mythology. They were part of a real literary movement rather than a genre. A literary movement is a living thing that grows according to its own inner logic and is necessarily bound in time; a genre is a dead thing, a pigeonhole in a commercial classification system depending on the presence or absence of various material elements. The difference between fantastic literature and a lot of genre fiction is the difference between a Gothic cathedral and a McMansion.

And in case I seem entirely dismissive of more recent efforts, let me emphasize that I'm not talking about everything that's out there right now. I've read things that I've liked very much. But just look at the sheer quantity of it all. The kinds of works I like can't be mass produced or made to order. They're like lightning strikes. And one thing I note about the majority of the authors I listed above is that their primary career was not fiction writing. If it had been, they would have starved.

Let me also emphasize that I'm not into nostalgia. I have no desire to try to "get back" to anything. If a true fantasy novel is to be written in our time, it must take root right here in the twenty-first century, drawing its nourishment from the world around us even if in reaction against it. There are no "good old days" to hearken back to. The world in which fantasy first flourished was a dirty and brutal place, and the master fantasists were people of their time. Even the one author most responsible for creating the modern fantasy novel, the aggressively backward-looking William Morris, was a social activist whose efforts in manufacture reform were echoed in the ultra-modern Bauhaus half a century later.

As Tolkien points out, the Escape for which fantasy is often blamed has "Disgust, Anger, Condemnation, and Revolt" as its companions. True fantasy is not safe. It's revolutionary. But genre fiction can't be revolutionary. It mixes and matches the established tropes, making novel arrangements rather than creating new worlds. It might, if quite certain of its audience, cautiously advance a few progressive or conservative talking points, but it will never ever do anything that makes it unclear which tribe it's supposed to appeal to, because that is the one unforgivable sin.

It's easy enough to talk about all this on my blog, and I do often enough. The quality of my novels is debatable, but at any rate they're out there. Sometimes you just have to get up on a rooftop and shout about what you're doing and why you're doing it.

Plus, the robots were getting kind of rambunctious in my absence. Go away, robots. Dance somewhere else.

Related: A Festival of Wrap-Around Cover Art

Serial Epic Fantasy?

I mentioned in my last post that I've been finding epic fantasy somewhat boring lately. That's got me thinking about what epic fantasy is (or ought to be) and why precisely I'm finding it boring. Unfortunately, I'm something of a dinosaur (or would it be a paleontologist?) in my tastes, and anything I say is automatically about thirty years out of date, if not more.

(But wait. I thought fantasy was literature for the dinosaurs. When did it become all edgy and contemporary and topical? Wasn't there a time when fantasists prided themselves on looking backward? I guess that's a topic for another post, though. Back to epic fantasy.)

I've been reading Stephen Donaldson's Lord Foul's Bane this summer. It's been slow going. I tried reading it once a good while ago, but put it down because of That One Scene. But it's a fairly well-respected book all the same, and an example of post-Tolkien fantasy that didn't fall into the cookie cutter approach of some other authors at the time. (You know who you are.) So now I'm giving it another go.

And I'm finding it kind of dull.

I don't think my problem is with the novel, exactly, but with the subgenre in general, or maybe with myself. There was a time when I ate epic fantasies up. The thicker the better. But I realized one day that the particular series I was reading at the time wasn't going anywhere, and that there was no reason the author couldn't keep spinning them out forever. What got me started reading doorstops and paper weights was, of course, The Lord of the Rings. But LOTR had three things that these others lacked: a beginning, a middle, and an end. It had a sense of wholeness, of completeness. And that's rare in the subgenre called epic fantasy.

Which is kind of ironic. An epic, properly so-called, is a narrative recounting the deeds of larger-than-life characters taking part in great events of universal import. There's an expectation of roundness, of unity and completeness. Think of the Iliad. Its action take place in a matter of weeks, but its perspective encompasses the entire Trojan War, from the judgment of Paris to the razing of the city. Any other epic worthy of the name is similarly comprehensive.

The two great original works of epic fantasy of the twentieth century – The Worm Ouroboros and The Lord of the Rings – take that approach, though describing the end rather than the middle. The Book of the New Sun, which in my opinion is up there with those two, is more like the Iliad in that it narrates the middle of its great events, pointing toward the end without altogether explicating it. Afterwards, each of these authors continued to write in his invented world in various ways, but none sought to actually add to his epic, because it was clearly finished.

Obviously, the more commercial aspects of the fantasy genre militate against that kind of completeness. What people call "epic fantasy" nowadays is often really serial fantasy, which in a way is the opposite of the epic. An epic requires wholeness, with build-up to climax and aftermath. It can't just be arbitrarily prolonged like a soap opera.

Of course, it's premature for me to pin all this on the Thomas Covenant novels. They do seem to have a certain wholeness, though they're also a kind of commentary on the subgenre to which they belong. And I'll admit that I'm interested in seeing where it's all going, at least as far as the main character is concerned, despite my utter contempt for him. I couldn't care less about the Land. But maybe I'm supposed to not care.

Or maybe, like Thomas, I've just gotten too cynical to care. That's a scary thought.

Cf. my long-ago post Literary Fantasy and Ecological Comedy.

Eternal Return

Thereupon distilled from the neck of the alembic a white oil incombustible, and the King dipped his rod in that oil and described round the seven-pointed star on the floor the figure of the worm Ouroboros, that eateth his own tail. 

Like a black eagle surveying earth from some high mountain the King passed by in his majesty. His byrny was of black chain mail, its collar, sleeves, and skirt edged with plates of dull gold set with hyacinths and black opals. His hose were black, cross-gartered with bands of sealskin trimmed with diamonds. On his left thumb was his great signet ring fashioned in gold in the semblance of the worm Ouroboros that eateth his own tail: the bezel of the ring the head of the worm, made of a peach-coloured ruby of the bigness of a sparrow's egg. His cloak was woven of the skins of black cobras stitched together with gold wire, its lining of black silk sprinkled with dust of gold. The iron crown of Witchland weighed on his brow, the claws of the crab erect like horns; and the sheen of its jewels was many-coloured like the rays of Sirius on a clear night of frost and wind at Yule-tide.  

— The Worm Ouroboros 

A friend recently facebooked about Nietzsche's idea of eternal recurrence. I read Nietzsche from time to time, mostly because I find him entertaining, and good fodder for story-writing. But he had quite a few keen insights, too. At any rate, the discussion brought to my mind the following passage from Beyond Good and Evil:

…the ideal of the most high-spirited, alive, and world-affirming human being who has not only come to terms and learned to get along with whatever was and is, but who wants to have what was and is repeated into all eternity, shouting insatiably da capo [from the beginning] – not only to himself but to the whole play and spectacle… [Beyond Good and Evil, Section 56, trans. Walter Kaufmann]

There are a number of other references to the idea in Nietzsche's works. My friend was thinking about a possible influence on Faulkner's The Sound and the Fury ("literature"? yawn!) but of course what it made me think of was…The Worm Ouroboros.

The worm Ouroboros is, as we all know, the worm that eateth its own tail, and this is the structure of the eponymous romance. (Spoiler alert.) Our heroes, the Homeric supermen Juss, Goldry Bluszco, Spitfire, and Brandoch Daha, having defeated their dastardly enemies at long last, have in fact defeated themselves in ridding the world of strife and conflict, which to them is the very game that makes life worth living. They realize this, and lament it, bringing about the appalling miracle that takes them from the story's tail to its teeth.

Queen Sophonisba covered her eyes, saying, "My lords, I see no more. The crystal curdles within like foam in a whirlpool under a high force in rainy weather. Mine eyes grow sore with watching. Let us row back, for the night is far spent and I am weary." 

But Juss stayed her and said, "Let me dream yet awhile. The double pillar of the world, that member thereof which we, blind instruments of inscrutable Heaven, did shatter, restored again? From this time forth to maintain, I and he, his and mine, ageless and deathless for ever, for ever our high contention whether he or we should be great masters of all the earth? If this he but phantoms, O Queen, thou'st 'ticed us to the very heart of bitterness. This we could have missed, unseen and unimagined: but not now. Yet how were it possible the Gods should relent and the years return?" 

But the Queen spake, and her voice was like the falling shades of evening, pulsing with hidden splendour, as of a sense of wakening starlight alive behind the fading blue. "This King," she said, "in the wickedness of his impious pride did wear on his thumb the likeness of that worm Ouroboros, as much as to say his kingdom should never end. Yet was he, when the appointed hour did come, thundered down into the depths of Hell. And if now he be raised again and his days continued, 'tis not for his virtue but for your sake, my lords, whom the Almighty Gods do love. Therefore I pray you possess your hearts awhile with humility before the most high Gods, and speak no unprofitable words. Let us row back."

And the next morning, wonder of wonders, the episode that began the chronicle recurs, and the reader contemplates the heroes' "happy" fate, doomed, deathless in glory, endlessly to repeat the events of the story with infinite variations. It's the perfect "ending," terrifyingly joyous, both satisfying and appalling in its adherence to the story's inner logic and philosophical outlook. It could very well be the best ending to any fantasy novel ever written – a vision of a strange and alien moral topography that may be fine to visit, but not someplace you'd ever want to live.

The superhuman lords and ladies that populate the book's pages are Nietzschean heroes, joyous, strong, carefree, and utterly unconcerned with the peasantry. We encounter peasants on only one occasion, when Eddison adopts the curious narrative device of relating the upshot of a battle through the words of a soldier returning home to his farm. Actually, for someone bent on celebrating the martial deeds well-armed aristocrats, Eddison is strangely reticent to describe an actual battle. We have this second-hand account of the battle at Krothering Side, for instance; the sea-battle off Melikaphkhaz in the Impland seas and the final battle before the gates of Carcë in waterish Witchland take place off-stage as well, while the extermination of the Ghouls that forms the novel's thin backstory is related only through brief allusions. In a way the device reminds one of Elizabethan drama, which is not unfitting, but no Shakespearean actor ever scaled an icy mountain, rode a hippogriff, or fought a brain-eating mantichore, either. So it seems more likely that Eddison simply didn't feel that his talents were equal to the task. Which, to my mind, is just as well; book battles usually read like accounts of volleyball matches to me.

But back to Nietzsche. I'm not certain how much of a direct influence on The Worm Ouroboros Nietzsche actually was. People always talk of Eddison's characters as following a Nietzschean moral code, which I suppose they do, but both authors were really looking to Homer's heroes as exemplars, and you could just as well call the Worm's moral code Homeric. However, this idea of the great da capo and eternal return makes it seem more likely that Eddison did know something of Nietzsche's philosophy.

Tolkien, as is well known, was an admirer of Eddison's fantasies, despite adhering to the exact antithesis of Eddison's personal philosophy, so we'll let him have the final word.

I read the works of [E. R.] Eddison, long after they appeared; and I once met him… Eddison thought what I admire 'soft' (his word: one of complete condemnation, I gathered); I thought that, corrupted by an evil and indeed silly 'philosophy', he was coming to admire, more and more, arrogance and cruelty. Incidentally, I thought his nomenclature slipshod and often inept. In spite of all of which, I still think of him as the greatest and most convincing writer of 'invented worlds' that I have read.*

* From a letter to Caroline Everett dated 24 June 1957, The Letters of J. R. R. Tolkien, Houghton Mifflin Co., 1981.

What Is So Great About The Worm Ouroboros?

A while back I discovered the statistics section of my blogging dashboard. Apparently I've just passed the ten thousandth visit since starting this blog in late 2011, thanks in no small part to the dedication of all the loyal spam-bots who carefully pore over everything I've written. Thank you all.

Most amusingly, Blogger shows you the search keywords that got visits to your site. I usually feel sorry for these people, as I probably didn't give them what they were after when they searched for "tom cruise," "gouache artists," "planet krypton," "of the attraction for," "i am a catholic not like someone else," "flying whale," "soylent green paper answer key," or "the protagonist doesn."

But recently someone came here from a search for "what is so great about the worm ouroboros." Ah, now this is something I can help with. My friend, you have come to the right place.

Here, without further ado, are the…

TOP TEN REASONS WHY
THE WORM OUROBOROS
IS SO GREAT

Reason 10. Alliteration in Duress

But the Prince himself took flamboys and went six in company to the old banquet hall, overpowered the guard, brake open the doors, and so stood before Lord Juss and Lord Brandoch Daha that hung shackled to the wall side by side. Something dazzled they were in the sudden torch-light, but Lord Brandoch Daha spake and hailed the Prince, and his mocking haughty lazy accents were scarcely touched with hollowness, for all his hunger-starving and long watching and the cark and care of his affliction. "La Fireez!" he said. "Day ne'er broke up till now. And methought ye were yonder false fitchews fostered in filth and fen, the spawn of Witchland, returned again to fleer and flout at us."

Reason 9. Overdecorated Palaces

At the end of the hall upon a dais stood three high seats, the arms of each composed of two hippogriffs wrought in gold, with wings spread, and the legs of the seats the legs of the hippogriffs; but the body of each high seat was a single jewel of monstrous size: the left-hand seat a black opal, asparkle with steel-blue fire, the next a fire-opal, as it were a burning coal, the third seat an alexandrite, purple like wine by night but deep sea-green by day. Ten more pillars stood in semicircle behind the high seats, bearing up above them and the dais a canopy of gold. The benches that ran from end to end of the lofty chamber were of cedar, inlaid with coral and ivory, and so were the tables that stood before the benches. The floor of the chamber was tessellated, of marble and green tourmaline, and on every square of tourmaline was carven the image of a fish: as the dolphin, the conger, the cat-fish, the salmon, the tunny, the squid, and other wonders of the deep. Hangings of tapestry were behind the high seats, worked with flowers, snake's-head, snapdragon, dragon-mouth, and their kind; and on the dado below the windows were sculptures of birds and beasts and creeping things.

Reason 8. Hippogriffs and Crocodiles

In such wise Mivarsh fell asleep, clasping the egg as a man should clasp his dearest. And a little before dawn it hatched in his arms and fell asunder, and he started awake, his arms about the neck of a strange steed. It went forth into the pale light before the sunrise, and he with it, holding it fast. The sheen of its hair was like the peacock's neck; its eyes like the changing fires of a star of a windy night. Its nostrils widened to the breath of the dawn. Its wings unfolded and grew stiff, their feathers like the tail-feathers of the peacock pheasant, white with purple eyes, and hard to the touch as iron blades. Mivarsh was mounted on its back, seizing the shining mane with both hands, trembling. And now was he fain to descend, but the hippogriff snorted and reared, and he, fearing a great fall, clung closer. It stamped with its silver hoofs, flapping its wings, ramping like a lioness, tearing up the grass with its claws. Mivarsh screamed, torn between hope and fear. It plunged forward and leaped into the air and flew.
     The Demons, waked by the whirring of wings, rushed from the pavilion, to behold that marvel flown against the obscure west. Wild was its flight, like a snipe dipping and plunging. And while they looked, they saw the rider flung from his seat and heard, some moments after, a dull flop and splash of a body fallen in the lake.
     The wild steed vanished, winging toward the upper air. Rings ran outward from the splash, troubling the surface of the lake, marring the dark reflection of Zora Rach mirrored in the sleeping waters.
     "Poor Mivarsh!" cried Lord Brandoch Daha. "After all the weary leagues I made him go with me." And he threw off his cloak, took a dagger in his teeth, and swam with great overarm strokes out to the spot where Mivarsh fell. But nought he found of Mivarsh. Only he saw near by on an island beach a crocodile, big and bloated, that eyed him guiltily and stayed not for his coming, but lumbering into the water dived and disappeared.

Reason 7. Dramatic Entrances

Lord Juss and Lord Brandoch Daha watched, as men watch for a star to rise, that radiant portal. And like a star indeed, or like the tranquil moon appearing, they beheld after a while one crowned like a Queen with a diadem of little clouds that seemed stolen from the mountain sunset, scattering soft beams of rosy brightness. She stood alone under that mighty portico with its vast shadowy forms of winged lions in shining stone black as jet. Youthful she seemed, as one that hath but just bidden adieu to childhood, with grave sweet lips and grave black eyes and hair like the night. Little black martlets perched on her either shoulder, and a dozen more skimmed the air above her head, so swift of wing that scarcely the eye might follow them. Meantime, that delicate and simple melody mounted from height to height, until in a while it burned with all the fires of summer, burned as summer to the uttermost ember, fierce and compulsive in its riot of love and beauty. So that, before the last triumphant chords died down in silence, that music had brought back to Juss all the glories of the mountains, the sunset fires on Koshtra Belorn, the first great revelation of the peaks from Morna Moruna; and over all these, as the spirit of that music to the eye made manifest, the image of that Queen so blessed-fair in her youth and her clear brow's sweet solemn respect and promise: in every line and pose of her fair form, virginal dainty as a flower, and kindled from withinward as never flower was with that divinity before the face of which speech and song fall silent and men may but catch their breath and worship.

Reason 6. Dancing Animals

Next the Red Foliot called for his Cat-bears, that stood before him foxy-red above but with black bellies, round furry faces, and innocent amber eyes, and soft great paws, and tails barred alternately with ruddy rings and creamy; and he said, "O Cat-bears, dance before us, since dearly we delight in your dancing."
     They asked, "Lord, will you that we perform the Gigue?"
     And he answered them, "The Gigue, and ye love me."
     So the stringed instruments began a swift movement, and the tambourines and triangles entered on the beat, and swiftly twinkled the feet of the Cat-bears in the joyous dance. The music rippled and ran and the dancers danced till the hall was awhirl with the rhythm of their dancing, and the Witches roared applause. On a sudden the music ceased, and the dancers were still, and standing side by side, paw in furry paw, they bowed shyly to the company, and the Red Foliot called them to him and kissed them on the mouth and sent them to their seats, that they might rest and view the dances that were to follow.

Reason 5. Bad-Ass Sorcerer Kings

Like a black eagle surveying earth from some high mountain the King passed by in his majesty. His byrny was of black chain mail, its collar, sleeves, and skirt edged with plates of dull gold set with hyacinths and black opals. His hose were black, cross-gartered with bands of sealskin trimmed with diamonds. On his left thumb was his great signet ring fashioned in gold in the semblance of the worm Ouroboros that eateth his own tail: the bezel of the ring the head of the worm, made of a peach-coloured ruby of the bigness of a sparrow's egg. His cloak was woven of the skins of black cobras stitched together with gold wire, its lining of black silk sprinkled with dust of gold. The iron crown of Witchland weighed on his brow, the claws of the crab erect like horns; and the sheen of its jewels was many-coloured like the rays of Sirius on a clear night of frost and wind at Yule-tide. 

Reason 4. Stinking Mantichores

Small time was there to ponder. Swinging from hold to hold across the dizzy precipice, as an ape swingeth from bough to bough, the beast drew near. The shape of it was as a lion, but bigger and taller, the colour a dull red, and it had prickles lancing out behind, as of a porcupine; its face a man's face, if aught so hideous might be conceived of human kind, with staring eyeballs, low wrinkled brow, elephant ears, some wispy mangy likeness of a lion's mane, huge bony chaps, brown blood-stained gubber-tushes grinning betwixt bristly lips. Straight for the ledge it made, and as they braced them to receive it, with a great swing heaved a man's height above them and leaped down upon their ledge from aloft betwixt Juss and Brandoch Daha ere they were well aware of its changed course. Brandoch Daha smote at it a great swashing blow and cut off its scorpion tail; but it clawed Juss's shoulder, smote down Mivarsh, and charged like a lion upon Brandoch Daha, who, missing his footing on the narrow edge of rock, fell backwards a great fall, clear of the cliff, down to the snow an hundred feet beneath them.
     As it craned over, minded to follow and make an end of him, Juss smote it in the hinder parts and on the ham, shearing away the flesh from the thigh bone, and his sword came with a clank against the brazen claws of its foot. So with a horrid bellow it turned on Juss, rearing like a horse; and it was three heads greater than a tall man in stature when it reared aloft, and the breadth of its chest like the chest of a bear. The stench of its breath choked Juss's mouth and his senses sickened, but he slashed it athwart the belly, a great round-armed blow, cutting open its belly so that the guts fell out. Again he hewed at it, but missed, and his sword came against the rock, and was shivered into pieces. So when that noisome vermin fell forward on him roaring like a thousand lions, Juss grappled with it, running in beneath its body and clasping it and thrusting his arms into its inward parts, to rip out its vitals if so he might. So close he grappled it that it might not reach him with its murthering teeth, but its claws sliced off the flesh from his left knee down ward to the ankle bone, and it fell on him and crushed him on the rock, breaking in the bones of his breast. And Juss, for all his bitter pain and torment, and for all he was well nigh stifled by the sore stink of the creature's breath and the stink of its blood and puddings blubbering about his face and breast, yet by his great strength wrastled with that fell and filthy man-eater. And ever he thrust his right hand, armed with the hilt and stump of his broken sword, yet deeper into its belly until he searched out its heart and did his will upon it, slicing the heart asunder like a lemon and severing and tearing all the great vessels about the heart until the blood gushed about him like a spring. And like a caterpillar the beast curled up and straightened out in its death  spasms, and it rolled and fell from that ledge, a great fall, and lay by Brandoch Daha, the foulest beside the fairest of all earthly beings, reddening the pure snow with its blood. And the spines that grew on the hinder parts of the beast went out and in like the sting of a new-dead wasp that goes out and in continually. It fell not clean to the snow, as by the care of heaven was fallen Brandoch Daha, but smote an edge of rock near the bottom, and that strook out its brains. There it lay in its blood, gaping to the sky.

Reason 3. Conjuring in the Iron Tower

And now through every window came a light into the chamber as of skies paling to the dawn. Yet not wholly so; for never yet came dawn at midnight, nor from all four quarters of the sky at once, nor with such swift strides of increasing light, nor with a light so ghastly. The candle flames burned filmy as the glare waxed strong from without: an evil pallid light of bale and corruption, wherein the hands and faces of the King Gorice and his disciple showed death-pale, and their lips black as the dark skin of a grape where the bloom has been rubbed off from it. The King cried terribly, "The hour approacheth!" And he took a phial of crystal containing a decoction of wolf's jelly and salamander's blood, and dropped seven drops from the alembic into the phial and poured forth that liquor on the figure of the crab drawn on the floor. Gro leaned against the wall, weak in body but with will unbowed. So bitter was the cold that his hands and feet were benumbed, and the liquor from the phial congealed where it fell. Yet the sweat stood in beads on the forehead of the King by reason of the mighty striving that was his, and in the overpowering glare of that light from the underskies he stood stiff and erect, hands clenched and arms outstretched, and spake the words LURO VOPO VIR VOARCHADUMIA.
     Now with those words spoken the vivid light departed as a blown-out lamp, and the midnight closed down again without. Nor was any sound heard save the thick panting of the King; but it was as if the night held its breath in expectation of that which was to come. And the candles sputtered and burned blue. The King swayed and clutched the table with his left hand; and again the King pronounced terribly the word VOARCHADUMIA.

Reason 2. The Lord Gro

And the son of Corund went, and returned anon with Lord Gro, that came with furtive step yet goodly and fair to behold. The nose of him was hooked like a sickle and his eyes great and fair like the eyes of an ox, inscrutable as they. Lean and spare was his frame. Pale was his face and pale his delicate hands, and his long black beard was tightly curled and bright as the coat of a black retriever.

Reason 1. The Lord Brandoch Daha

His gait was delicate, as of some lithe beast of prey newly wakened out of slumber, and he greeted with lazy grace the many friends who hailed his entrance. Very tall was that lord, and slender of build, like a girl. His tunic was of silk coloured like the wild rose, and embroidered in gold with representations of flowers and thunderbolts. Jewels glittered on his left hand and on the golden bracelets on his arms, and on the fillet twined among the golden curls of his hair, set with plumes of the king-bird of Paradise. His horns were dyed with saffron, and inlaid with filigree work of gold. His buskins were laced with gold, and from his belt hung a sword, narrow of blade and keen, the hilt rough with beryls and black diamonds. Strangely light and delicate was his frame and seeming, yet with a sense of slumbering power beneath, as the delicate peak of a snow mountain seen afar in the low red rays of morning. His face was beautiful to look upon, and softly coloured like a girl's face, and his expression one of gentle melancholy, mixed with some disdain; but fiery glints awoke at intervals in his eyes, and the lines of swift determination hovered round the mouth below his curled moustachios.

See also here, here, and here.

If, on the other hand, these things leave you cold; if you shrink from these jeweled Renaissance word-palaces; if the wine of true fantasy is too heady for your milk-and-water tastes; if you prefer the safe tropes of genre fiction to the strange, the terrible, the beautiful, and the eccentric – if any of these apply to you, my friend, then flee this place, and never let twilight catch you in the Lotus Room.

Getting There

I posted recently about my chosen vein of speculative fiction, namely, planetary romance, or the sword-and-planet novel. One peculiarity of early practitioners of this high and lonely art is the variety of means they employed in getting their protagonists to the Other Side.

Among the earliest we have Jules Verne (From the Earth to the Moon and its sequel) and H. G. Wells (The First Men in the Moon), both of whom use mechanical means. Verne, who was obsessed with gadgets and "realism," has his travelers fired out of a cannon (and, truth be told, they never actually land on the moon), while Wells, who was more interested in ideas and settings, uses a rather absurd physical artifice, giving mere lip-service to theoretical constraints, much as he does in The Time-Machine. Verne, I believe, took him to task for this, but wrongly, to my mind – I find that I can forgive the author any amount of ridiculousness as to means of transport, so long as his style is sufficient to bear it along, and he attends to realism once we get there. Chandler wrote that plausibility is mostly a matter of style, and I agree with him.

And anyway, look at the historical antecedents, such as they are. Ariosto has his hero drawn by hippogriffs to the moon, and Dante is conducted by celestial spirits. Perseus – the archetypal voyager to the Other Side and slayer of fearsome alien foes – flies on winged sandals lent him by the gods, while St. Brendan executes his wonder-voyage through the North Atlantic in a flimsy leather coracle. The whole point is to get there, never mind how.

David Lindsay follows Wells rather than Verne in the absurdity of his conveyance in A Voyage to Arcturus, but the account is mysterious and quite compelling. Once again, I find it easy to suspend my disbelief in the hands of a competent storyteller. And, once we're there, we're caught up in the protagonist's physical and spiritual reactions to the alien landscape of Tormance, and Earth is all but forgotten.

Other writers didn't trouble themselves to employ even the most superficial of mechanical means. In The Worm Ouroboros, E. R. Eddison has Lessingham borne to Mercury in a hippogriff-drawn chariot conducted by a wise martlet (after which he was promptly forgotten). On the other side of the Atlantic we have Edgar Rice Burroughs, whose John Carter has only to look upon the Red Planet with a certain measure of longing to find himself there, though stark naked and seemingly in a different body. Otis Adelbert Kline, a Burroughs imitator from the thirties, uses telepathic body-exchange to get his down-and-out character to Mars. His artifice is less successful, in that we're apparently expected to forget about the fate of the Martian prince trapped in the dispossessed, jilted hero's body back on earth.

Most of the examples we've cited so far have the device of a framing story that involves the principals but is quickly forgotten, which (to me) adds a certain charm not to be found in other veins of literature. Here, then, are the keynotes of classic planetary romance:

1. The main structure of the tale is that of an everyman observer in an alien milieu.
2. The observer must be someone with whom we share rapport, hence must originate from Earth or an Earth-based society in something close to our own day and age.
3. The observer must be immersed in the alien milieu, hence must effectively be cut off from mundane society – marooned, as it were. The milieu must be a closed environment, like a desert island.
4. Because it's the immersion that matters, the mode of conveyance is of little import. The simpler and quicker, the better.

Some time after the "classic" period, C. S. Lewis wrote two planetary romances, consciously using both mechanical and spiritual means. In Out of the Silent Planet, Ransom is kidnapped by a rogue professor and his gentleman accomplice and taken to Mars in a spaceship. The ship is just as absurd as anything in Wells or Lindsay, but much more artfully introduced and described. The interplanetary voyage itself is starkly beautiful; I can't think of any other description of space that compares with it. In Perelandra Lewis doesn't bother with technology at all, and has his hero conveyed to Venus in a stone sarcophagus carried by angels. By his own account, this was inspired by a reading of A Voyage to Arcturus. Again, the point is to get there, never mind how.

Later writers were apparently uncomfortable with such flights of fancy, I suppose because the growing canon of science fiction and the advances in rocketry were daily making this scientifictional license less acceptable and less necessary. The protagonists in works like Leigh Brackett's The Sword of Rhiannon, Ursula Le Guin's Rocannon's World, and Frank Herbert's Dune get there by means that are purely mechanical and (within the genre) plausible. So, sadly, we have no more hippogriffs, astral projection, angelic sarcophagi, telepathic mind-exchanges, or backyard rocketships. They've lost something essential, though, because a keynote of the subgenre is that travel to the Other Side has to be exceptional. Otherwise we just have space opera or some other form of science fiction.

Some "planetary romances," instead of taking place elsewhere, take place elsewhen, in the very far future. Examples include H. G. Wells' The Time-Machine, William Hope Hodgson's The Night Land, A. E. van Vogt's The Book of Ptath (a.k.a. Two Hundred Million A.D.), Brian Aldiss' The Long Afternoon of Earth, and Gene Wolfe's Book of the New Sun. The keynotes are much the same. There is usually some kind of framing story and a fanciful mode of conveyance, or at least (as in Wolfe's case) some playful description of how the account was obtained.

For me personally, what really defines the subgenre is the sense of remoteness, of otherness. I like an observer I can identify with, or at least some kind of reference point with what I'm familiar with, however tenuous, but equally important is my total immersion in the other sphere. These two factors go hand in hand. A novel taking place in some other planet not linked to our own in any way would be out-and-out fantasy (like The Dark Crystal, say); a novel taking place in a planet linked to our own but not utterly severed in time or space is science fiction or alternate history.

Planetary romance: it's its own thing.

Idyll by the Bhavinan

Exotic Landscape, Henri Rousseau

"So they made their dwelling in that cave beside deep-eddying Bhavinan, and before that cave they ate their Yule feast, the strangest they had eaten all the days of their lives: seated, not as of old, on their high seats of ruby or of opal, but on mossy banks where daisies slept and creeping thyme; lighted not by the charmed escarbuncle of the high presence chamber in Galing, but by the shifting beams of a brushwood fire that shone not on those pillars crowned with monsters that were the wonder of the world but on the mightier pillars of the sleeping beechwoods. And in place of that feigned heaven of jewels self-effulgent beneath the golden canopy at Galing, they ate pavilioned under a charmed summer night, where the great stars of winter, Orion, Sirius, and the Little Dog, were raised up near the zenith, yielding their known courses in the southern sky to Canopus and the strange stars of the south. When the trees spake, it was not with their winter voice of bare boughs creaking, but with whisper of leaves and beetles droning in the fragrant air. The bushes were white with blossom, not with hoar-frost, and the dim white patches under the trees were not snow, but wild lilies and wood anemones sleeping in the night.

"All the creatures of the forest came to that feast, for they were without fear, having never looked upon the face of man. Little tree-apes, and popinjays, and titmouses, and coalmouses, and wrens, and gentle round-eyed lemurs, and rabbits, and badgers, and dormice, and pied squirrels, and beavers from the streams, and storks, and ravens, and bustards, and wombats, and the spider-monkey with her baby at her breast: all these came to gaze with curious eye upon those travellers. And not these alone, but fierce beasts of the woods and wildernesses: the wild buffalo, the wolf, the tiger with monstrous paws, the bear, the fiery-eyed unicorn, the elephant, the lion and she-lion in their majesty, came to behold them in the firelight in that quiet glade."

The Worm Ouroboros, Chapter XII

The Worm Ouroboros: Fantasy before Genre

The Lords Juss, Goldry Bluszco,
Spitfire, and Brandoch Daha.

Mass-market reissues of The Worm Ouroboros invariably try to package it as something it’s not. The goal seems to be to bamboozle unsuspecting readers into buying it. This attempted pigeonholing  is to be expected, perhaps. But even among those who appreciate Ouroboros, it is hard to find someone who will advocate it without hedging and apologizing.

One of its great sins seems to be that its races of Demons, Witches, Ghouls, Imps, and so on are just nations, and not distinct species. I have to admit that I don’t understand the complaint. But maybe that’s because I don’t understand why some people who read fantasy fiction actually enjoy it. I suppose that someone whose definition of fantasy is “a story taking place in a quasi-medieval fictional world peopled with sapient species such as dwarves, elves, halflings, orcs, etc., and involving taverns and walled cities” might be scandalized by Ouroboros. But the definition is a degenerate one, and that type of reader probably wouldn’t like any real fantasy, or, at any rate, wouldn’t like it for the same reasons that I do.

The other main complaint concerns “The Induction,” the ”awkward” framing device with which the story opens, involving a man named Lessingham who is wafted away one night to Mercury to witness the wars between the Demons and the Witches. The device is dropped after the first couple of chapters, and Mercury is never mentioned again, the world being referred to as middle-earth thereafter (naturally enough, since it is the Demons’ earth). Personally, I find the device delightful. It is strange and beautiful, and in a way mirrors my own more mundane “induction” in the old Dewey decimal section. Furthermore, given that Eddison adopts a Jacobean/Elizabethan-style prose in telling his story, and that English Renaissance plays often had such inductions and framing devices (e.g., A Midsummer Night’s Dream, The Taming of the Shrew), I don’t think the choice at all unnatural.

Then again, perhaps I simply take an abnormal delight in “dumb shows” and awkward or slow beginnings, from the strange awakening of Anodos, to the silly explanations at the beginning of The Time-Machine, to the the séance with which A Voyage to Arcturus opens, to the homely beginnings of The Hobbit and The Lord of the Rings, to Ransom’s walking tour and abduction, to John Carter’s contemplation of Mars. I like being eased into the sublime and the otherworldly from familiar surroundings. That contemporary fantasy writers don’t feel the need to build a bridge from the familiar only reflects the degeneracy of the genre, in which all has become familiar, in which keywords and cover images are used to elicit conditioned responses.

A good fairy tale begins at home but takes the reader to Faërie; the modern fantasy novel purports to take place wholly in Faërie, but actually never leaves the couch.

The Worm Ouroboros

I was about twenty when I discovered E. R. Eddison’s The Worm Ouroboros. I was a shelver in the university library, working in the old, rarely visited Dewey decimal section on the top floor. The title caught my eye, and I took the book down and opened its well-worn cover. As I began to read, I knew that here was a vein of a different metal. Something richer, stranger, more real, more alien, and more true to itself even than Lewis or Tolkien, the authors I had grown up with. The strangest thing was that I had never heard of it. Nor, for that matter, had anyone. And yet it is (in my humble opinion) one of the great works of the English language.

Ouroboros was first published in 1922 and sold very poorly. However, it came to be known to both C. S. Lewis and J. R. R. Tolkien, and Lewis in particular praised it as a strange and unique synthesis of northern hardness and renaissance luxury. Even Lin Carter, that insufferable chatterbox, had the sense to put it forward as a candidate for the greatest fantasy novel ever written. Praise for it has not been limited to fantasists. In his introduction to the 1952 edition, Orville Prescott speaks of it as a “majestic romance” and an “enduring masterpiece, though a strange and imperfect one.”

What do I love about it? To begin with, the Jacobean style in which it is written is unbelievably gorgeous and ornate, but never unnatural, silly, or pretentious. Eddison’s sentences have a heady, round, and ringing rhythm, so that the book is a delight to read aloud (as I have done, twice). The heroes are a combination of the courtly renaissance prince, magnanimous and well-spoken, and the lordly homeric chieftan, while the villains, bad rather than evil, are glorious monsters and chimeras that it is impossible not to admire. The settings range from the rich palaces of many-mountained Demonland to the marshes of waterish Witchland and the Iron Tower of Carcë to the devil-haunted, blasted waste of the Moruna to the jewel-like Lake of Ravary guarded by immortal spirits and ringed with impassible peaks.

But all this is material. No amount of praise or description could convey the sense that one has upon opening the book, that here is something vital, real, and substantial, something with a life of its own. It is a work of art, pursuing its own ends with no thought of utility. That is what I love about it. That is what fantasy should be.