Category Archives: A Writing Life

247. The People’s President

220px-battle_of_new_orleansSince my dad’s younger brother was named Andrew Jackson Logsdon, you might guess that Andrew Jackson was well thought of in my family. He is well thought of by most Americans as the first people’s president, a man who went to Washington, overthrew the elites, and returned the country to its democratic roots. A champion of the common man.

I disagree.

As a person trained in both anthropology and history, I have to declare my biases. Jackson was an important president, with much to his credit. I grant that. But he was also the leader of a successful movement to drive out the legal residents who were owners of vast tracts of land throughout the South, to make way for his white followers.

By the way, I plan to use the word Indian. It’s a description, not an insult, and it is the word that was used in the 1800’s. When Jackson finally sent the native people west of the Mississippi, he settled them in Indian Territory, not Native American Territory.

Jackson led an unapologetically racist movement, but there was no racial purity about it. The whites who moved into the vacated lands took their black slaves with them, and many of those slaves were partly white. (See yesterday’s post and numerous posts last January and February. Go to the tag cloud and click race.) The Indians who were moved out were frequently partly white, and took their black (and mixed) slaves with them when they went.

There is an argument that, morality notwithstanding, a stone age people had to give way before an industrialized one. Even if that idea has merit elsewhere, it does not apply to the frontier South in the early 1800s. The region was not industrialized, although gin-separated cotton would bring organized agriculture in the form of the plantation system during the next two decades. It was a land of small farmers (white or Indian), mostly engaged in subsistence agriculture (white or Indian), dotted with small towns (white or Indian) and few cities. White society and Indian both maintained slaves. Both traded with the larger world, mostly England, for manufactured goods.

White society, however, was under pressure from growing population beyond the Appalachians. Call it greed, or call it need, the whites wanted what the Indians had, and they took it. Jackson played a key roll in it all.

Jackson first came to public attention as an Indian fighter in the Creek War. It didn’t start out as a war between the Creeks (a historically imbedded term for the Muscogee tribe) and the Americans, but as a civil war between the lower Creeks who had made peace with the dominance of whites and the Red Stick faction which had not. Some whites were killed, militia units were organized, and Jackson became their leader. The regular American army was unavailable; they were fighting the British along the Atlantic coast. The War of 1812 was underway, and the Red Sticks were receiving British arms.

Jackson proved to be an effective general, tough and uncompromising. This is the period that gave him his nickname Old Hickory for those qualities. The Red Sticks were crushed and the entire Creek nation lost half their land at the end of hostilities. That was the pattern of frontier Indian fighting.

Next, Jackson defended New Orleans (brilliantly, to give the man his due) and emerged a Washington-like American hero. His road from New Orleans to the White House was long and rocky, but he became President in 1828 and won reelection in 1832.

Jackson was dedicated throughout his life to the removal of Indians from their lands in the South for resettlement them beyond the Mississippi. Toward that end, he effected passage of the Indian Removal Act in 1830.

This act required Indian tribes to sign treaties exchanging their original lands for new lands west of the Mississippi. Most tribes resisted, and the saga of bribery, coercion, and trickery that brought about the change would fill volumes. Among the Cherokee, for example, a small faction was bribed into signing a treaty which was then enforced on the whole tribe. Anger over this betrayal led to political assassinations among the Cherokee once they reached the new Indian Territory.

16,000 Cherokees were removed for the Indian Territory. 4000 died along the way. Jackson retired after his second term and died eight years later. By that time tens of thousands of non-citizens who had been resident in America for generations had been deported – excuse me, I meant removed – to beyond the borders of the United States.

**         **         **

We’ve looked at Andrew Jackson and Thomas Jefferson, two Presidents from the first half of the nineteenth century. We’ve seen what Jackson did about the non-citizens living in America. We’ve seen how different thinking was then on race and gender, even for someone like Thomas Jefferson. It’s good that we have progressed.

Or have we? I guess we’ll find out on Tuesday.

246. Unalienable Rights

u-rNext week, we elect a president. Today and tomorrow let’s look at the lives of two of our early ones, Jefferson and Jackson.

Everybody knows the passage in the box above. Thomas Jefferson wrote it. It is logical to think that he believed what he wrote, and yet he held Sally Hemings and his children by her in slavery.

Odd? By the standards of our day, certainly. By the standards of his day, it was odd that he freed any of them. His father-in-law also had a black concubine and children, and freed none of them.

If you have read anything I posted from mid-January to the end of February of this year, you know I am no apologist for slavery, Jim Crow, or resistance to interracial marriage. However, if you plan to understand historical events and beliefs, you have to examine them in their own context. The Sally Hemings story gives us a lens through which to examine both slavery and women as child bearers, whether wife or concubine, in the days when our nation was being created.

The story begins two generations before Jefferson. A slave name Susanna bore a child to a white man named Hemings; the child was named Betty. Both were owned by Francis Eppes, then were inherited by Eppes’ daughter Martha. When Martha Eppes married John Wayles, the slaves, mother and daughter, went with her.

Martha Eppes Wayles had a daughter, also named Martha, before her death. Wayles was widowed twice more, and also had several children by the slave Betty Hemings. The youngest of these was named Sally.

Martha Wayles (the daughter) married Thomas Jefferson. Sally Hemings was her half-sister (they shared a father) and was three-quarters white. When John Wayles died, Thomas and Martha Jefferson inherited his slaves, including Betty and Sally Hemings.

Martha Jefferson had a daughter, also Martha. Thankfully, for ease of reading this post, she was called Patsy. Jefferson’s wife Martha died. When Thomas Jefferson was appointed American envoy to France, he took Patsy with him, and took Sally Hemings as her companion. It appears that the Thomas Jefferson/Sally Hemings affair began in France.

Accurate research is difficult on affairs that are semi-hidden. As best we know, Sally Hemings bore Jefferson six children: two daughters who died in infancy, one daughter and three sons who live to adulthood. All these children were seven-eighths white, and all were slaves.

The children and their mother remained house slaves. They never worked the fields; the male children were given training to become artisans. At age 24, the eldest son was allowed to “escape” to the North. The daughter followed shortly after. The younger sons were given their freedom in Jefferson’s will. Sally Hemings was inherited by Patsy and informally freed.

Why did Jefferson, the champion of unalienable rights, hold his “wife” and children in slavery? Let’s look for answers.

Sally Hemings was legally negro, genetic heritage notwithstanding. That could not be changed. She could have been freed, but Jefferson could not have married her, even if the thought had ever occurred to him. If freed, she would have not become a full citizen of Virginia or of the United States. If freed, she would have passed completely out of Jefferson’s control, and she would also have passed out from under his protection. Which of those two factors weighed more heavily on Jefferson? We cannot know.

We can speculate, however, based on how he treated his children. They were legally negro, although actually seven-eighths white. They could not be given the rights of white children. They could not inherit, which was something of a moot point since Jefferson died deeply in debt and his estate went to his creditors. He allowed his elder two to “escape” to the North after they were adult. He freed his younger two in his will; they were just reaching legal maturity at the time of his death.

He did not free Sally Hemings in his will. Why? Was he unable to let go, or was he depending on his daughter Patsy to take care of her in her old age? She was in her mid-fifties when Jefferson died. Again, we cannot know.

A lot of scholarship has been devoted to Sally Hemings. We know quite a few facts, but from this distance, understanding comes hard. Did Jefferson do the best he could under the circumstances? Do we even have the right to be disappointed that he didn’t do more? We have more questions than answers.

**        **        **

It is important to consider what happened to Sally Hemings’ offspring, but that will require a future post.

245. Serializing

I’ve been doing a lot of serializing lately. In fact, I’ve been at it for over a year, but lately it has become intense.

Publishing novels serially in periodicals is a very old idea. Most of Charles Dickens work came out that way. What I’m doing is a bit different though, because Dickens wrote his novels to be serialized. The size of each chunk was known to him when he wrote. And the chunks were bigger.

David Copperfield was a novel of 358,551 words. I know this by downloading it from Project Gutenberg, transferring it to my word processor, and using the word count function. You might make note of that; it is a useful technique. David Copperfield was published in twenty monthly installments. That makes each installment was about 18,000 words. In SFWA (Science Fiction Writers of America) terms, each installment was of novella length.

My typical serial post is about 600 words.

Dickens serialized in order to sell to those who could not afford his books, and at the same time, to boost sales of those books when they came out after they appeared in periodicals. Most successful nineteenth century authors followed the same pattern. So did the big names in twentieth century science fiction, although they wrote smaller novels and presented them in fewer, but longer installments. Often they didn’t sell their books for serialization until they were already completed.

That is also my situation. Nothing I have presented in Serial was in progress at the time it was serialized. I’m too slow and picky a writer for that. Some of the things presented had been published, some had not, one was presented as a excerpt from a completed novel, and one was a fragment from a novel I’ll probably never finish. Jandrax was annotated to such a degree that it almost forms a writing primer, and How to Build a Culture was entirely a how-to.

Everything I have presented in Serial has been to assure continued readership of the website. It’s a trick. Leave ‘em hanging, and they’ll come back. And the whole website is to assure a readership for my upcoming novel Cyan, and for others that will follow.

But man, it has been fun.

I’ve enjoyed revisiting old friends. I’ve learned a lot from a close re-reading of old material, especially regarding pacing. Since I post four days a week, each post has to be relatively short, both to keep from running out of material too soon and to keep each reading experience brief for the sake of the daily reader. I didn’t originally choose 600 words; that just evolved.

The actual process of taking a novel and breaking it into pieces has been fascinating, frustrating, and a rewarding learning experience. It begins with a completed novel, which may be decades old, and which will already have been polished to a high shine. Still, I find errors from time to time.

First, using a word processor version, I have to re-read the novel, looking for natural breaks in the action every two and a half to three manuscript pages. I type a nonsense word at each break. I use breakbreak, as one word, which has meaning to me but would never appear in the actual text. This will allow me to use the find function to jump from break to break if I should need to. After typing breakbreak, I highlight what I have chosen, use the word count function, then type in the number of words. If it seems too short or too long, I adjust.

That takes care of post #1. Now to repeat. Jandrax required 92 posts. Raven’s Run will require 150. Some posts make sense on their own, but some require that I start with a sentence or two from the previous day’s post. I use bold-italic to denote this repeat.

All this takes place on a single word processor document. I then make individual documents of each post-to-be. This is a backup to what will actually appear on the website. At this point, I run the spell checker one last time and face the two-space conundrum.

I learned touch typing in high school in the mid-sixties on a mechanical (not even electric) typewriter. This was overseen by Mrs. Worden (AKA the warden) who pounded (pun intended) the rules into our heads. One rule was that you put two spaces between sentences.

Over the years I went from mechanical typewriters, to electric typewriters, to computers, but the rule stuck with me – even after everyone else had stopped using it. Raven’s Run was written before I kicked the two space habit, so now I have to go through each document removing the second space.

The last step is copying from word processor file to website.

Tedious? Yes. Fun? Absolutely. If you write, and you don’t enjoy reading your own work, why bother?

244. Walking by Night

outhouseHere in California, Halloween doesn’t look like itself any more. I suspect the same metamorphosis is taking place across the country. Images from the Mexican Day of the Dead are everywhere, competing with Anglo witches, ghosts, goblins, and jack-o-lanterns.

It’s no surprise, really, since Halloween has become a $econd Chri$tmas, in terms of commerce. I have no trouble understanding why retailers are producing big-eyed, flower painted skulls for sale. I have some trouble understanding why anyone is buying them.

As a matter of full disclosure, I don’t care for Halloween, and at both ends of my life I have had little to do with it. In the middle, when I lived in cities, I hosted the trick-or-treaters who came to my door, just like everyone else. I admit the mid-level kids were fun and putting up with a little pleasant extortion was just being a good grown-up. I wasn’t much impressed by the adults with infants in arms, or the overaged teenagers who grunted and threatened like gang bangers. But many Americans have no sense of age appropriateness, so they were no surprise.

Anyway, I would be a hypocrite if I hated trick-or-treaters after all my praise of Christmas last year. After all, trick-or-treat and wassailing are the same ritual.

I haven’t had a trick-or-treater at my door since I retired to the foothills, and that brings me full circle. When I was young – during the fifties in very rural Oklahoma –  we didn’t trick-or-treat. We were simply too spread out. It would have been impossible to walk to anyone’s house, and in those days parents weren’t about to drive their children all over the county just for their amusement.

Instead, the local tradition was ritualized vandalism by teenagers. That was the night outhouses got turned over – and yes, people still used them. Windows got egged, toilet paper got tossed, there was even some graffiti. In Oologah, the next town south, I saw a business sign which had been tagged with Oologah hoars. Vandals couldn’t spell back then either.

As October rolled around, all the adults started telling outhouse stories from their misspent youths, and current youths started planning. I took no part in any of it, but I heard it all, and one story in particular caught my fancy. I think it was true; at least I knew the old lady in question.

She lived in a little house in town, with no plumbing and an outhouse out back. Every year somebody turned it over on Halloween, and she was tired of it. This year, she went out when it was still light and settled in to wait with a shotgun across her knees. Eventually it got dark, and eventually she heard whispers and the first creak as the local teenagers got a grip the outhouse. She threw the door open, leaped out and gave a mighty scream, and fired both barrels into the air. When the echoes cleared, there was no sound but retreating footsteps.

The old woman went to bed with a smile on her face. The would-be vandals, once they recovered from their fright, had the memory of a priceless adrenaline rush and a story to tell for the rest of their lives.

I love it when everybody wins.

243. On Fantasy: Archaism

Marion Zimmer Bradley is well known for her fantasies, but she cut her teeth on science fiction. Her Darkover series was a massive best seller in its day. Darkover is a planet in our universe, populated by humans from a stranded starship, whose powers of the mind come (quite scientifically) from the pollen of psychotropic plants and from interbreeding with non-human natives. Lost and out of contact with their technological roots, they evolve a feudal society. They create an archaic world from a purely science fiction starting point.

Of course this is a reductionist view of a complex and massive series of novels and short stories. But it makes the point that archaism in fantasy is easy to achieve. You could almost write a formula:

HORSES + SWORDS + MAGIC = FANTASY

Of course it takes more than that to achieve good fantasy.

The time before known time is an ancient idea. Atlantis and Mu fit into it. Tolkien’s Middle Earth came before recorded history. So did the world of Conan. The worlds of Michael Moorcock seem to be of this nature, but a closer reading will have to follow them sideways in time. Alternate histories allow access to archaic worlds coexisting with our modern world. We can go to other 2016s, where the Native Americans are the only Americans, or Rome still rules, or Muhammed became an atheist. Take your pick, and if you can’t find what you like, you can write your own.

Remnant stories also let the past live on. Professor Challenger found dinosaurs still living deep in the Amazon. Hilton’s characters found Shangri-La. Even Rick Brant, in the favorite series from my childhood, found a lost remnant of an earlier age hidden in the Himalayas in The Lost City.

You could go sideways in time, or backward, or to some lost valley and find dystopian, crowded cities, but that almost never happens. Archaism is about escaping modernity, crowding, complication, and life in cities. Back to simpler times. Back to the good old days. Back to the land of childhood. Back to the middle ages where knights in shiny armor rode pretty horses and rescued damsels with big bosoms and pearly teeth from dastardly villains – or dragons.

Does anybody believe this? Of course not. Does anybody want to believe? Of course. And in the friction generated when those two truths rub together, the fire of archaism is born.

So our hero goes back (or sideways) and he/she finds the land of her/his heart’s desire and it isn’t what she/he expected at all. But it isn’t bad. There are problems to overcome, heartaches to endure, and villainy to face, but so what? That’s true in Portland, and Austin, and New York City as well. In the new/old world  there are beauties and wonders, in addition to troubles. And it’s probably green, with trees and meadows, even if it also has rain and snow instead of eternal sunshine.

Above all, there aren’t any traffic jams. And the cell phone never rings.

Wait a minute. I’ll get my backpack, and we can go.

242. On Fantasy: Language

Up sword, sayeth Sir Gallant, lest I cleave thee where thou standest.

Yeah, that’s pretty bad, and it has been a long time since I’ve seen that kind of fake-ancient language used in fantasy, except as a joke.

Language in fantasy is both a necessary tool, and a dangerous one. You can’t just throw in some thees and thous and -ests, but you also can’t speak in modern, colloquial English. Simple formality is the easiest way out. Even Zelazny, for all his smart-ass-with-a-sword characters, wrote with intelligence and a great deal of formality. If you want your characters to speak slang, you have to invent slang appropriate to their world, and that takes some effort.

Remember, whatever language your characters speak, even if you are setting your fantasy in early England, no one on Earth speaks that language today. In my fantasy world of the Menhir there are three languages in play, and a mid-sea island has a bastard language drawn from all three. It doesn’t matter. The book gets translated into English, whatever language the characters are speaking.

Whatever your genre, you are likely to have characters from different levels of society. Whether you are writing about nomads from the desert encountering the Pasha of Nevermore, or a Bostonian talking to a southern slave in 1845, you need to find a way to make your characters sound different from modern America, and from each other, but still be comprehensible. And it needs to sound natural. ‘Taint easy.

Languages – note the difference – are also dangerous, but at least you don’t have to invent one if you don’t want to. Tolkien did, to a degree far in excess of the needs of his stories. Almost no one else ever does.

I did, in a manner of speaking. The Menhir stories grew from a single image, and I had no idea for years where they were going. Things got invented, and the world of the Menhir grew by accretion. I invented a style of fighting, which required invention of a sword/lance, which required invention of a name, and lancette entered my story’s vocabulary. A thousand place names and personal names got invented. Gradually, the world grew a religious background which became the underpinning for what passes for magic on the world. This morphed into an entire system for the handling of life and death, and words like ai, enreithment, and abahara entered the vocabulary of the story. I invented a kind of peasant dwelling and now we had hartwa. My people started out with oxen and horses but that wasn’t satisfactory so they were soon riding kakais and using tichan to pull their wagons.

Words begat words, morphographically. Since ai means power and dzi– means man of, then a dziai is a man of power, and the men of the plains whose entire lives revolve around their mounts are, of course, the dzikakai.

As if that weren’t enough, my people started quoting words and phrases from the language of a nearby kingdom; just like the English quote the French, n’est-ce pas. I eventually made myself a glossary, but don’t take that as a requirement. I’ve been living on the world of the Menhir, part time at least, for four decades, but even I get confused sometimes.

**      **       **

I’ve told this story before, but I can’t leave the subject of language in fantasy without repeating it. The scene, as I recall, was Westercon 33, Los Angeles, in 1980. A panel of writers and editors was discussing fantasy, and things had gotten out of hand. After a grueling discussion of what some magical breed of horses in Lord of the Rings ate, they had moved on to the subject of archaic language. Somebody said it was okay, but don’t overdo it. Somebody said archaisms should be used sparingly, like spice in food. That went back and forth for several minutes until some wag in the audience stood up and asked, “Are you saying we can have archaic, and eat it too?”

I wish I had thought of that.

241. On Fantasy: Magic

Any sufficiently advanced technology is indistinguishable from magic.
Clarke’s third law.

The universe is full of forces; some of those forces are personalities.
reference lost

I believe that the second quotation above is from a piece by James Blish, which I read many years ago and no longer have available to me. If anyone recognizes the source, let me know. In that same piece, I believe, he spoke of Black Easter as an experiment in which he treated the Book of Revelation as simple fact. Roger Zelazny made a career out of treating non-Western religions as if they were simple fact.

Like stardrives, magic can be highly structured or haphazardly thrown in when the story needs it. Both styles work, depending on the skill of the author. The most organized magic I recall is Randall Garrett’s Lord Darcy stories. For disorganization, see any new author.

A primary, underlying question in any presentation of a fantasy world is, “Where does the magic come from?” Is it a dispersed, readily available natural resource like The Force in Star Wars? Does it reside within its wielder, and a natural consequence of his being? Or is it owned by other powerful beings, who must be supplicated or bargained with to obtain a portion of their power? This choice has a huge effect on how dark the story is likely to become.

Christianity, in earlier centuries, saw witches as wielders of power which they obtained by pacts with Satan. Harmful as they were, they had no power of their own. In many dark fantasies, the searcher after power obtains his heart’s desire from some greater being who is, in essence, a Satanic stand-in. Such Faustian bargains never end well.

Magic, in fantasy writing, often goes unexplained. The talisman in The Monkey’s Paw is understood by the reader without elaboration, just as a reader of westerns doesn’t need an explanation of how a six gun works.

It is quite usual for a fantasy hero to have inborn power. Harry Potter was a wizard born of wizards. Ged is an unknown until his power is discovered by a mage. Corwin is a son of Amber.

It is equally usual to concentrate on the education of a wizard, or mage, or dziai. Ged went to Roke; Harry Potter went to Hogwarts, and my Tidac took two books to learn how to use his power because he had no mentor. His father never learned, and it destroyed him.

Can we have fantasy without magic? Pavane is an alternate universe science fiction or an alternate history novel, but its tone makes it read like fantasy, except for the absence of magic. What seems to be magic in one chapter, may just be a dying dream; it isn’t made clear to the reader. For me, this places Pavane on the borderline between genres.

On the other hand, Randall Garrett’s Lord Darcy stories are all about magic, but their system of magic is so comprehensively worked out that they read like science fiction.

I know that my Menhir story, in its infancy, read like a quasi-medieval world. Slowly I came to grips with how the powers of every soul are affixed to menhirs at death, making menhirs into gestalt sentient beings which become repositories of power that can be tapped, at peril, by men of power. Only then did magic come into the world of the menhir. And only then did it begin to read as fantasy.

240. On Fantasy: Tone

Menhir, introduced last Thursday, is presented in two novel length chunks – Valley of the Menhir and Scourge of Heaven – but it is one story just as the three parts of Lord of the Rings are one story. The Morning of the Gods is a short prolog featuring characters who set things in motion, but are not before us throughout the work. One, although central to the plot, stays in the background through most of the books, and the other dies early.

The tone of this prolog is intense and serious, but it can afford to be. It only lasts eight ms pages; if it were prolonged, such seriousness would quickly become pretentious. Books, like the characters in them, need to breathe. This is true whatever the genre.

J. R. R Tolkien set the tone for tone in fantasy, and not necessarily for the best. The combination of pretension and childishness that came from mixing hobbits with humans and elves was, for me, an uneasy mix. I liked Lord of the Rings well enough to read it twice, decades apart, but I don’t think I could make it through again. To be fair, the hobbits were the best thing in the books. When I tried to read the Silmarillion, the less the hobbits were there to lighten the mood, the harder I found it to read, until I finally bogged down and quit.

Tone at its best is found in A Wizard of Earthsea, which is, for my taste, and without equivocation, the best fantasy novel of them all. The overriding factor in the tone of Earthsea is humility. Ged is the son of peasants (or Earthsea’s equivalent) and he never loses touch with his humble beginnings. True, his arrogance leads to tragedy, but the bulk of the book is the story of Ged regaining the humility which is his natural state.

The language of the book is simple, matching the tone of the story. The image of a man in a tiny boat, pursuing his nemesis alone across Earthsea, has an almost Ghandiesque simplicity about it – if we remember that Ghandi had the simplicity and arrogance to bring down the British empire.

Tone can take many shades in fantasy, and still work. Fritz Leiber’s Fahfrd and the Grey Mouser stories on one hand and Keith Robert’s Pavane on the other are worlds apart in every way, but each strikes the tone necessary for its story. And yes, I know Pavane is an alternate worlds novel, but it reads as a fantasy.

Roger Zelazny’s tone has one foot in science fiction and the other in fantasy. It doesn’t matter what he writes, his tone remains the same, and it works everywhere. Lord of Light is certainly science fiction and Creatures of Light and Darkness is certainly fantasy. Amber, in all its volumes, transcends categorization, but all these works belong in the genre called everything-Zelazny-wrote. I’ve read all his work repeatedly, and will continue to do so, because I get lost in the sound of his voice. And that is what tone is, after all.

239. Morning of the Gods

Not counting fragments, dead ends, and works in progress, I have written nine novels. Three were science fiction; two were published and one is in the process of being published, so this blog had concentrated most heavily on that genre. Three others were more or less contemporary, a survival novel, a mystery adventure (now on display over in Serial), and a novel on teaching, a bit of which appeared in Serial last Christmas time.

You wouldn’t know it from this blog, but I have spent more time and effort, and more of my soul, on three novels of fantasy than on all my other efforts combined. It’s time to give them a moment in the sun. Here is the opening of Valley of the Menhir, a prolog called Morning of the Gods.

**       **       **

Other lands; other skies.  Not of earth. Lands of red sky and green sea; or gray sky and silver forests. Lands and peoples as endless as the sand, and as nameless. Realities shifting into one another, slipping by like images glimpsed in a nightride through chaos.

Out there in the night that stretches away from us all – there where consciousness ends; where experience missed sets an iron boundary on our lives – there is a land of red sky and green sea, Poinaith, and another land where the gray sky leans down to lock hands with the sliver elfin forest. 

And there is a land that has no name. We will call it the World of the Menhir. Although menhirs are found on many worlds – they are, in fact, the gateways between worlds – on no other world are the fates of its people so intertwined with their menhirs.

The World of the Menhir was temporarily Godless. Certainly, there were plenty of ways to worship. Piety was great among the people, but the last real Gods had departed a thousand years ago. All that was about to change.

In the land of red sky, two riders came, the one skirting the water’s edge and throwing up a spray of spindrift, the other riding some paces inland and throwing up a spray of creamy sand.

The foremost rider, Rem Ossilo, drew rein and his mount Margyr shook its head in rebellion at ending its run. Hea Santala’s mount closed the distance between them and they cantered inland to the cliff base and the path that wound upward. Switchbacking single file, Rem Ossilo in the lead, they ascended the cliff to a rounded, grassy hill. The sea was green beneath them, hurling itself against the headland beneath a rusty sky.

At the top Rem dismounted to look back. There was no pursuit – yet. Hea Santala’s gaze followed his. Though her face was lined with sadness and his with anger, there was no mistaking the commonality of that gaze. It was a last looking, drawing in memories for an uncertain future, hoarding a moment out of time to nourish them in exile.

Rem Ossilo gazed long at the distance, first assuring himself of their temporary safety, then taking in the panorama of his homeland. That was his way. Hea Santala took in all things at once, loving the land and fearing her enemies in the same unwavering gaze. Even hating her enemies somewhat, not for their animosity, but because she must leave this land. That was her way.

Rem looked then at his wife; that there was still some affection in his glance was a tribute to her, not to him. In the distance there was a hint of dust. She raised a finger to point, saying, “Our children are coming.”

For a moment every light emotion left his face, and it was as if someone had opened the gates of hell. Then hell turned icy and he turned away from the sea, remounting and urging Margyr toward the jumble of menhirs that surmounted the hillock. Hea Santala followed without comment. All her life she had followed without comment, and that had been her undoing.

**       **       **

That’s the last you’ll see of Poinaith as Rem and Hea pass into exile in another world, the world of the Menhir, where Valley of the Menhir will properly begin five generations later.

238. The Worst Story

The Worst Story Ever Told

The rest of this week and all of next are devoted to fantasy. It’s a fluid category. In one sense, everything is fantasy. Science fiction almost always has some outré element, and it usually deals with science or engineering which hasn’t been invented yet, and probably never will be in the “real” world. The Iliad and the Odyssey are predicated on believing that the Gods are real. So is Pilgrim’s Progress, The Scarlet Letter, and most American fiction written before 1950.

We just need is a simple definition which separates science fiction from fantasy, so we can compare apples with apples. It probably doesn’t exist, but I’m going to throw something into the pond just to stir up the water.

Science fiction stories tell us to ask for the stars.
Fantasy stories tell us to be careful what we ask for.

**       **       **

The Gods have always told us to be careful what we ask for, and most men, frightened, have complied. A few have had the courage to complain, at least in poetry and song. Leonard Cohen, in Bird on a Wire, said:

I saw a beggar leaning on his wooden crutch,
He said to me, “You must not ask for so much.”
And a pretty woman leaning in her darkened door,
She cried to me, “Hey, why not ask for more?”

Khayyam in the Rubiyat, using pots as metaphors for human beings, said:

After a momentary silence spake
Some vessel of a more ungainly make:
  “They sneer at me for leaning all awry;
What! did the hand, then, of the Potter shake?”

**       **       **

Of those who knuckled under and said, “Be careful what you ask for,” no one has written a more damnable story than W.W. Jacobs’ The Monkey’s Paw. Morally, that is. As a piece of fiction, it is superb. As an apology for the status quo, no one has done better. That is to say, no one has done worse.

Without, the night was cold and wet.” So the story begins. Mr. White and his son are playing chess when Sergeant-Major Morris, back from India, comes visiting and tells the tale of a talisman, enspelled by a fakir, which grants three wishes to three men. The holy man “wanted to show that fate ruled people’s lives, and those who interfered with it did so to their sorrow.”

The first man had his three wishes. Morris does not know what the first two were, but the third was for death. Morris then had his three wishes, but he won’t discuss them. He hurls the talisman into the fire, but Mr. White recovers it and . . .

No, I can’t tell you any more. It’s all too horrible.

(But you can click the link above and read for yourself.)

Of course not all fantasy fits my baiting definition, and much that is not fantasy, does. I’m just poking the beast with a stick, because every time I read something that says, “Be careful what you ask for,” I am once again infuriated by the propaganda of surrender.