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.

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.

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.

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.

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.