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News about Stillpoint Digital Press books, authors and other offerings

Testing, testing…

So, I’m creating a new website. And it’s got blogs and stuff. And I thought I’d crosslink it to my Livejournal (and thence, hopefully, to my Facebook account.)

Why, you ask?

Well… Um…

I can’t tell you yet. But I will. Soon. I promise. 🙂

Eragon – The Real Thing?

Last night I finished Inheritance, the fourth and final volume of Christopher Paolini’s young adult fantasy adventure series of the same name (but more commonly known by the name of the first book and main character, Eragon). I enjoyed the book—it’s fast-moving, epic, and well-written. But I find myself feeling vaguely unsatisfied, and trying to identify the source of my dissatisfaction.

Inheritance cover

The book feels very much like many other final books of epic fantasy series: an action-packed thrill ride toward a looming conclusion. It follows our protagonists (primarily Eragon, but also to a lesser extent his cousin Roran and his dragon Saphira) through a series of increasingly difficult challenges—largely pitched battles in their effort to help the Rebel Alliance, er, the Varden unseat the Big Bad Boss, the Dark Lord Voldemort, er, Sith Lord Darth Vader, er, Chuckles, the Evil Piggy, er, King Galbatorix who awaits them in his lair in the city of Urubaen. While the structure of the plot definitely hews to the classic Hero Journey laid out by Joseph Campbell (among others—and you have to know that I think that this is a good thing!), it also contains some wonderful original elements. The whole 880-page story practically pulses with urgency as our heroes face one life-or-death struggle after another, each a bit more dire than the last. At last, Eragon defeats Galbatorix in a satisfying and unexpected manner while Roran helps to defeat the king’s army outside. The heroes live happily ever after, though not without a few surprises: The End. Good stuff, right? So why do I feel as if I just had a sixpack of TAB? TaB Sixpack It isn’t Paolini’s prose style, which has grown in leaps and bounds over the eight years since the first book’s publication. (He was famously—and depressingly—fifteen when he started writing the series. Eesh.) He always had an ear for language and a sense of how to write compelling action, but now the scenes seem to be truly his own. No longer do you feel as if you can tell what he was reading the night before he wrote a particular section, as you could in the first two books. (There are scenes and tropes early in the series that are lifted past the point of homage from Star Wars, Lord of the Rings, The Dragonriders of Pern, the Earthsea books—and those are just the ones I recognized. Heck, my daughters both still stumble over the main character’s name; half of the time, they call him Aragorn.) The characterizations, which were always pretty good, if a bit archetypal, have gotten stronger and more complex. But still: TAB. Why? As someone who’s working on his own YA adventure series, not to mention someone who is kind of fascinated with narrative in and of itself, I find myself worrying at this question quite a lot. I think that there are a couple of reasons that I felt this way. Perhaps it’s a certain amount of Hero Journey overload. Mind, I just finished and enjoyed Mastiff, the finale of Tamora Pierce’s Bekka Cooper trilogy, which has a very similar structure. Still, Paolini’s book follows the outline so assiduously…. Part of it, I think, is that the battles get old. The book opens with a series of three sieges, in each of which Eragon, Saphira, Roran and Co. risk their lives, but ultimately destroy the resistance of Galbatorix’s troops. Each sequence is compelling on its own, but a sense of battle fatigue sets in. This is not lessened by the fact that Eragon and his main fighting partner, the beguiling and deadly elf princess, Anya (who definitely isn’t a Chekhov refugee—no whining here, she gets things done) so totally overmatch the human soldiers whom they are fighting. The two of them against a castle full of Galbatorix’s troops is a huge mismatch—in Eragon and Anya’s favor. Though each of these battles serves its own narrative purpose, and though Paolini describes them well, it gets a bit old watching Aragorn crush yet another courtyard full of poor SoBs — mixed in with a number of honest to goodness villains. About halfway through the book, even Eragon bemoans the fact that he’s killed so many hundreds of Galbatorix’s troops. But it doesn’t save him or us from the tedium. Some of the problems were unavoidable, the corners a writer paints him- or herself into by releasing the first book before the last is written. I sighed in sympathy when at the end of the first battle he finally introduced the weapon that would allow Eragon and Co. to kill Galbatorix’s dragon Shruikan. It’s cheating to introduce Chekhov’s Gun in the freaking fourth act; but I do understand that he must have figured out what needed to be introduced only after the first three books were already out. Still. When it literally galloped into the story, it felt like a bit of a Dauthdaert ex Machina. Another problem is Galbatorix’s actions. Not his character: when we finally meet him, he’s a wonderfully compelling, apparently rational human being; it’s nice to see a Dark Lord who doesn’t advertise (except that the whole Empire is his advertisement, of course). But his behavior… He’s clearly read the Evil Overlord List, but I’m not sure how well he learned from it. He lurks in his capital, waiting for Eragon to come to him so that he can force the boy to join him when he could (we are told) easily crush the Varden and subvert Eragon’s will to his own if he wanted. It’s as if he’s played too many video games and thinks, Okay, I’m the final boss. I must stay in my throne room and wait for the hero to assail me. The actions that he in fact does take are occasionally bizarre except insofar as they drive the plot. He risks his main surviving helpers, Eragon’s half-brother Murtagh and his dragon Thorn, to attack the heart of the Varden’s camp and kidnap the Varden’s leader, Nasuada. Why? Um… To break the spirit of Eragon and the Varden? Maybe? Actually, it just ticks them off, as Galbatorix should have known it would. (We find out that Murtagh pleaded that Nasuada not be killed. Why? Um.) Mind, the scenes from Nasuada’s point of view are wonderfully creepy–if you can stand seeing someone tortured. Nasuada was always one of my favorite characters in the series–the only weapons she’s got are her own intelligence and resolve and she uses them well. But still, the only reason for kidnapping her seems to be…. Oh, yeah, this brings up another problem. The romantic themes. Epic fantasy tends to be a hard genre to marry well to romance. Tolkien’s love stories were awful—except for Eowyn’s crush on Aragron, which was nicely done but painful. Rowling’s books had to have a romantic element; I mean, how could you write a series about a bunch of teens whose central theme was Love (well, and Death) and not include it? And she obviously managed pretty well, but I don’t think you’ll find to many folks really got into the romance angle of the books who felt 100% satisfied with the ending of the books, no matter what their preferred pairing was. In these books, there have been three Great Loves: Eragon and his hopeless infatuation with Anya, who considers him all but a child; Roran and Katrina, whom he pursues literally all of the way across the continent to rescue from the evil Ra’zac; and… Murtagh and Nasuada (well, four, if you include Brom and Eragon’s mom). Where the heck did that last one come from? At first I thought Paolini was playing around with Stockholm Syndrome or something, but no: Nasuada’s inner strength shames Murtagh into becoming a better man. Feh. And then, at the end of the books? Well, Roran and Katrina are headed home with their new baby boy to Palancar Valley. Nice, though we’ve hardly seen Katrina for the entire book, except to remind us that she’s really pregnant. But stays with the army anyway. Nasuada and Katrina? Um. Murtagh flies off, seeking to find himself again, while Nasuada settles in to the job of ruling the empire. And Eragon and Arya? Um. Nothing. They sigh at each other a lot. They have finally said how much they want to be together. Their dragons mate, for goodness sake. And what do they do? Each follows his/her fate in an opposite direction—she to rule the elves (somehow, it was okay for her to be a dragon rider and a monarch at the same time, but it simply wasn’t possible for Eragon; while he takes the newly found cache of dragon eggs literally off the edge of the map because “there’s no place for the dragon riders to live in Alagaesia.” Say what? This is a country that has been described as having huuuuuuuuge quantities of open space. Plains. Mountains. Islands. Okay, so dragons are big and require a lot of food, and nice cliffs and caves and stuff. But really? And he’s Never Coming Back. All of this because of a fortune told to him in the first book by Angela the Herbalist (one of my other favorite characters). Here’s the problem with prophecies in a serial book. If you’re going to foreshadow the ending early on, you had better work pretty damned hard to make sure that the final living out of that prophecy is both inevitable but unexpected, or it will be unsatisfying, as this was. He just… leaves. The End. When Frodo leaves at the end of Return of the King, it is a perfect but awful conclusion to his story. Tolkien, a veteran of World War I, knew that even the victors can’t always come home. Sam returns to the Shire and fulfills his potential: married, successful, happy. Frodo fades. But this? I’m hoping that (as he implies) he’s going to write more here, because the characters are lovely and the world interesting, even if the main story line has been exhausted. Hey, none of Le Guin’s Earthsea books springs directly out of the others, but that does’t stop them from being a fabulous series. Because to spend 2500 pages or so building up this huge romantic tension between Eragon and Arya and resolve it with him sailing off into the sunset? Feh. TAB. And one other thing that bothered me, now that I’m thinking about it. Angela. There’s this enormous mystery about just who she is that’s been built up over the four books. There are some wild hints that are thrown out during Inheritance, making you wonder whether she’s mortal, let alone human…. But no. We never find out. Any huge series is going to have loose ends. But this one irked me. I’m making it sound like I hated the book. I didn’t–I enjoyed it. I read the last third of it in a single sitting. I liked the book and the series. But that doesn’t stop me from feeling as if there were some very real flaws that kept it from being Diet Coke, let alone The Real Thing. It's the real thing Read it? What did you think?

Love in a Time of Cholera: Why you shouldn't reread your favorite books

I’m sure you’ve had this experience: you go back to reread a book that you absolutely loved when you first read it, and… Meh.

A week ago I would have told you that Gabriel Garcia Marquez’s Love in a Time of Cholera was one of the great reading experiences of my life: a deeply romantic exploration of enduring human love. I finished rereading it for the first time in a bit over twenty years (ouch), and… Meh.

The problem for me was that, where I had been swept along by the sheer romantic ache of the central story–a couple separated in their youth who finally find love in extreme old age–on this read I found their story annoying.

The character of the woman, Fermina Daza, was still a compelling one: she’s a complex, intense, interesting woman, and you can see two men losing their hearts to her. But her husband, Dr. Urbino, only rises above being a pompous prig in her memory, and Florentino Arizo, the young man who first captured her heart, is portrayed as both an obsessive stalker and a philandering hypocrite. The recitals of the endless affairs in which he indulges while waiting for his One True Love become, after a while, numbing and–eventually–distasteful. By the time he takes his final pre-Fermina lover, a school girl trusted to his guardianship, Florentino’s right to claim any kind of moral high ground for his enduring passion for the lost love of his youth is long gone. No Joycean “scrupulous meanness” here–the two men are painted in absolute, merciless detail, and boy, they don’t come across well. At which point, I have a hard time caring about the story.

My other problem was the laxness of the narrative. I love Garcia Marquez’s audacity when it comes to narrative. In Nobody Talks to the Colonel, he writes from the point of view of an entire Caribbean nation, shifting in mid-sentence from a prostitute to a bishop to a group of school children. In the amazing Chronicle of a Death Foretold, he tells you what happened in the first few pages and then spends the rest of the book dissecting the cause. In Love in a Time of Cholera, he utilizes the same quasi-journalistic approach over and over–telling us what happened and then telling us at great length how or why it happened. After a while, I found myself wanting him just to get on with it. Also, threads drop. The opening sequence involves the aged Dr. Urbino attending to the body of a friend who has committed suicide. At the friend’s house, he discovers a letter addressed to him that contains news that shakes him to the core; it is this sense of disquiet that leads, we are given to understand, to his falling accidentally to his death. What was in the letter? We never find out. It’s never mentioned again. It doesn’t feel like a literary evocation of the unknowable. It feels like a lazy cheat.

I think I’m going back to reading young adult fantasies.

Love in a Time of Cholera: Why you shouldn’t reread your favorite books

I’m sure you’ve had this experience: you go back to reread a book that you absolutely loved when you first read it, and… Meh.

A week ago I would have told you that Gabriel Garcia Marquez’s Love in a Time of Cholera was one of the great reading experiences of my life: a deeply romantic exploration of enduring human love. I finished rereading it for the first time in a bit over twenty years (ouch), and… Meh.

The problem for me was that, where I had been swept along by the sheer romantic ache of the central story–a couple separated in their youth who finally find love in extreme old age–on this read I found their story annoying.

The character of the woman, Fermina Daza, was still a compelling one: she’s a complex, intense, interesting woman, and you can see two men losing their hearts to her. But her husband, Dr. Urbino, only rises above being a pompous prig in her memory, and Florentino Arizo, the young man who first captured her heart, is portrayed as both an obsessive stalker and a philandering hypocrite. The recitals of the endless affairs in which he indulges while waiting for his One True Love become, after a while, numbing and–eventually–distasteful. By the time he takes his final pre-Fermina lover, a school girl trusted to his guardianship, Florentino’s right to claim any kind of moral high ground for his enduring passion for the lost love of his youth is long gone. No Joycean “scrupulous meanness” here–the two men are painted in absolute, merciless detail, and boy, they don’t come across well. At which point, I have a hard time caring about the story.

My other problem was the laxness of the narrative. I love Garcia Marquez’s audacity when it comes to narrative. In Nobody Talks to the Colonel, he writes from the point of view of an entire Caribbean nation, shifting in mid-sentence from a prostitute to a bishop to a group of school children. In the amazing Chronicle of a Death Foretold, he tells you what happened in the first few pages and then spends the rest of the book dissecting the cause. In Love in a Time of Cholera, he utilizes the same quasi-journalistic approach over and over–telling us what happened and then telling us at great length how or why it happened. After a while, I found myself wanting him just to get on with it. Also, threads drop. The opening sequence involves the aged Dr. Urbino attending to the body of a friend who has committed suicide. At the friend’s house, he discovers a letter addressed to him that contains news that shakes him to the core; it is this sense of disquiet that leads, we are given to understand, to his falling accidentally to his death. What was in the letter? We never find out. It’s never mentioned again. It doesn’t feel like a literary evocation of the unknowable. It feels like a lazy cheat.

I think I’m going back to reading young adult fantasies.

Editor! Editor!

So I’ve had this experience a number of times in the past few weeks: someone starts talking about this wonderful Joseph Campbell book they’ve read, Pathways to Bliss

And I find myself feeling very shy.

Here’s the thing. Part of me is tickled pink—I spent two years of my life on the bloody book, and so it’s gratifying to hear that it had a profound affect on someone. Part of me is a bit astonished, because all I see when I open it are the typos. (I haven’t found a new one in a while—it’s been out seven years—but I know they’re in there somewhere, mocking me.)

And part of me bristles. Joseph Campbell book? Yeah, yeah, he’s the author and all of that, but who do think pulled the gorram thing together???

See, editors don’t do readings. We don’t do book tours. We don’t do radio interviews. And so we aren’t confronted with the affect our work has on readers on quite as immediate a level.

We also don’t get to toot our own horns. At least, not very loudly.

And yet there’s a part of me that definitely wants to say, “Hey! I’m listed on the title page too! My blood, sweat, and cerebral matter are splattered across every page of that book!”

Which is silly. But interesting.

Just thought I’d share that.

Lavinia: The Aeneiad Brought to Life

Many of us are familiar at this point with what is known as fanfiction, a largely internet-based genre in which writers of every level of ability apply their skills to worlds and characters created by others. At worst, they offer amateurs a chance to allow their imaginations to play in fields plowed by more skilled craftsmen. At best, they create a fractal lens to the original work, expanding the reader’s understanding of the original book and its themes, turning the perspective offered by the original author inside-out and upside-down.

Of late, this genre has gone mainstream. Gregory Maguire’s Wicked recast the Wicked Witch of the West as the protagonist of Frank Baum’s Oz books. Margaret Atwood’s Penelopiad tells of the hardships suffered by Odysseus’ abandoned queen.

In Lavinia, master fantasist Ursula K. Le Guin takes a minor character who appears late the Aeneiad–Aeneas’ second (or perhaps third, but certainly last) wife, and tells a rich story around her, properly epic in scope and detail.

The book starts with a breath-taking descent into the point of view of Lavinia, princess of a minor Latin kingdom. She is a seer, and the subject of numerous prophecies–the most powerful and closely guarded imparted to her by the dying poet Virgil, who lived hundreds of years in Lavinia’s future.

The narrative continually seems to loop back on itself, as Lavinia’s knowledge as the point of view character looking back on the events about which she is telling, the knowledge imparted to her by Virgil, and the urgency of the crises through which she lived seem to cross and overlap.

As the book reaches its halfway point, several things begin to weigh it down: Lavinia’s own passivity as a character, which is quite profound, and the author’s desire to tell the story fully. The final chapters are rushed, whole decades sailing by in the space of paragraphs.

Nevertheless, this wonderful storyteller’s ability to weave a fantastic tale out of the material of everyday life (even the everyday life of the Latium of some 2500 or 3000 years ago), and the compelling philosophical questions that Le Guin raises and Lavinia considers–together they make this a worthwhile and original glimpse into Virgil’s world.

Great Literature in Five Sentences Meme

So, this is a simple meme: take a Great Novel (the more complex the better) and retell it in five sentences or less. Think Reduced Shakespeare Company.

Finnegans Wake: Abridged

goes around. THWWWAAAAAAACK. HCE dreaming. Shaun and Shem fighting. Livia Plurabelle being. And it all

:smirk:

Summer Knight: These Faeries Are Not All Sweetness and Light

After the first book in the series, Jim Butcher established a pattern in his Harry Dresden novels. In each volume, detective/wizard Dresden faces off against another genus in the family of magical beasties. In the second volume, it was werewolves; in the third, it was vampires. This time around, he is confronted with creatures which (unless you’re big on Celtic myth) you may not think of as scary: faeries.

These faeries are not (for the most part) sweet little Tinkerbelles or Fantasia-inspired sprites. They are creatures of what Harry calls the Nevernever who are nonetheless closely tied in with the elements of the natural world. In particular, they are connected with the seasons. Still trying to help end the war between wizards and vampires that he helped start at the end of the previous book (without being offered up as a blood sacrifice by the wizards’ White Council), Harry gets sucked into a power struggle between the two rival Faerie courts of Summer and Winter. The Summer Knight has been bumped off, his mantle of power stolen, and the Winter Queen, Mab (remember her from Romeo and Juliet?), wants Harry to prove that her side wasn’t responsible. In the mean time, Harry’s girlfriend has skipped town and his first love unexpectedly appears–but on whose side?

The action in Summer Knight is fast-paced, without being quite as horrific as in Grave Peril (Book 3); nor is it as formulaic as it was in Fool Moon (Book 2). Butcher continues to weave in threads from Harry’s past, and to expand the reader’s understanding of the parallel universe that Harry inhabits (both in Chicago and in the Nevernever). He returns here to something more closely resembling the gumshoe/whodunit form with which he began the series so wonderfully–a cross (as I have said before) between Dashiell Hammett and JK Rowling. Shakespearean references abound (beginning with the punning title), which Butcher manages to be very sly about… until the very end. Ah, well. All’s well that ends well. 😉