Ballantine Adult Fantasy Series

<body topmargin=0 leftmargin=0 marginheight=0 marginwidth=0> <table cellpadding=0 cellspacing=0 border=0><tr> <td valign="top" height=50 BGCOLOR="#006699" TEXT="#080000" background="043085a3.jpg"> <div> <FONT SIZE="5" COLOR="#000000" FACE="Arial" ><B>Lone Mtn Homestead</B></FONT><B>    </B><B> |     </B><A HREF="index.htm" TARGET="_top" TITLE="Lone Mtn Homestead"><U><B>home</B></U></A></div> <div> <A HREF="index.htm" TARGET="_top" TITLE="Lone Mtn Homestead"><U><B><IMG SRC="03b0e0e0.png" border=0 width="14" height="14" ALT="up" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></U></A><B>   </B><IMG BORDER="0" SRC="1x1.gif" HEIGHT="14" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" WIDTH="14"><B>     </B><IMG BORDER="0" SRC="1x1.gif" HEIGHT="14" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" WIDTH="14"><B>  </B><A HREF="id312.htm" TARGET="_top" TITLE="London Trip 11"><U><B><IMG SRC="0300e0e0.png" border=0 width="14" height="14" ALT="next" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></U></A></div> <div> </div> </td> </tr><tr> <td valign="top" height=430 BGCOLOR="#FFFFFF" TEXT="#080000" background="04507073.jpg"> <div> <I>Ballantine Adult Fantasy Series</I></div> <DIV ALIGN="LEFT"></DIV> <div> <A HREF="#tolkien_a_look_behind_the_lord_of_the" TITLE="Ballantine Adult Fantasy Series"><U><I><B><U>Newest Review: #P17</U></B></I></U></A><A HREF="#tolkien_a_look_behind_the_lord_of_the" TITLE="Ballantine Adult Fantasy Series"><U><I><B><U>:  TOLKIEN:  A LOOK BEHIND THE LORD OF THE RINGS</U></B></I></U></A></div> <div> <I><B>Now reading:  </B></I><I><B><U>The Doom That Came to Sarnath</U></B></I></div> <bR> <div> <I><B>Info and Discussion Contact Mike a</B></I><I><B>t</B></I><FONT SIZE="1" COLOR="#009900" FACE="Arial" ><I><B> </B></I></FONT><FONT SIZE="2" COLOR="#0000FF" FACE="Arial" ><A HREF="mailto:pegasus48124@yahoo.com" TARGET="_top" TITLE="mailto:pegasus48124@yahoo.com"><U><I><B>pegasus48124@yahoo.com</B></I></U></A></FONT></div> <bR> <bR> <div> <I><B><U>Book Reviews from the Series</U></B></I></div> <bR> <div> <I><B>     Over the years I have read a number of the books in the </B></I><A HREF="http://en.wikipedia.org/wiki/Ballantine_Adult_Fantasy_series" TARGET="_top" TITLE="http://en.wikipedia.org/wiki/Ballantine_"><U><I><B>Ballantine Adult Fantasy Series</B></I></U></A><I><B>, some more than once.  I am currently re-reading several of them, as well as discovering the remainder for the first time, and will post my own reviews here as I finish them, in the order the series was published.  I have recently completed my collection of all the volumes.  I now own the entire series and pre-series of books!!  I got started reading them through my late Uncle Jimmy, who got me interested in Tolkien.  He had also purchased the E.R. Eddison series and the Gormenghast trilogy, books he didn't seem to appreciate as much as I later did.  These three series of books (Tolkien, Eddison and Peake) literally blew the lid off my teenage head, eventually leaving me thirsting for more.  C.S. Lewis was good, but didn't really inspire me the way those other series did.  Along came Lin Carter, editing a phenomenal sequence of paperbacks published one per month through Ballantine Books.  The first one that I discovered and read was Morris' "Well at the World's End" (it was on a paperback rack at the Sudbury Woolworths).  After reading this, I never looked back.  I was soon introduced to Lord Dunsany, H.P. Lovecraft, William Hope Hodgson and other masters of the craft.  Several books in the series were reprints of material appearing for the first time in paperback, while a few others were receiving their first publication ever.  All of them were obscure to the fantasy reader of that time.  Only now, as I attempt to read my collection, do I fully realize the breadth and scope of what Lin Carter was attempting!</B></I></div> <bR> <div> <I><B>     Before the main series was underway, Ballantine had been publishing fantasy for some time, including the authorized paperback editions of The Hobbit and Lord of the Rings.  This so-called "pre-series" is just as important to readers and collectors as the main series, and will be given equal consideration here.  These include the novels of Mervyn Peake and E.R. Eddison as well as those of Peter S. Beagle and David Lindsay.  Once Lin Carter began writing introductions, the books were considered to be part of the main series, and all featured a unicorn symbol on the cover.  Sometimes in reprinting the earlier pre-series, a unicorn was added to the cover, though no Lin Carter comments were ever featured.</B></I></div> <bR> <div> <I><B><U>Rating System:</U></B></I><I><B> </B></I><FONT SIZE="4" COLOR="#000000" FACE="Arial" ><I><B>*</B></I></FONT><I><B> Put in recycling.</B></I></div> <div> <I><B>                              </B></I><FONT SIZE="4" COLOR="#000000" FACE="Arial" ><I><B>**</B></I></FONT><I><B> Been there, done that.</B></I></div> <div> <I><B>                              </B></I><FONT SIZE="4" COLOR="#000000" FACE="Arial" ><I><B>***</B></I></FONT><I><B>Check this out.</B></I></div> <div> <I><B>                            </B></I><FONT SIZE="4" COLOR="#000000" FACE="Arial" ><I><B> **** </B></I></FONT><I><B>or</B></I><FONT SIZE="4" COLOR="#000000" FACE="Arial" ><I><B> ***** </B></I></FONT><I><B>Read at once.</B></I></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <I><B><U>PRE-SERIES</U></B></I></div> <bR> <div> <I><B>     This series was not introduced by Lin Carter, and the Unicorn symbol of the Adult Fantasy books only appeared on certain reprints.  It includes 18 separate volumes.  I will read and reread them all over the next few years, posting reviews as I go.</B></I></div> <DIV ALIGN="LEFT"></DIV> <div> <I><B><U><IMG SRC="179a63190.jpg" border=0 width="1123" height="793" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></U></B></I></div> <div> <B>Group photo of the pre-series.  Donald Swann's "The Road Goes Ever On' is not in the photo, but is discussed below (#9).</B></div> <bR> <div> <I><B><U><IMG SRC="19db55cc0.jpg" border=0 width="853" height="460" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></U></B></I></div> <div> <I><B>The combined cover art of Ballantine's first publication of Lord of the Rings.  The cover of The Hobbit, below, shows</B></I></div> <div> <I><B>slightly more landscape to the west.  As a teen I had a poster of the above art as well.  The above image was scanned</B></I></div> <div> <I><B>from my copy of "The Road Goes Ever On," #9 below.  Ballantine published one other series with a tri-panel cover.</B></I></div> <div> <I><B>See #20 below, "The Well at The World's End."</B></I></div> <bR> <div> <B>#P1 Published August 1965</B></div> <div> <B><U>The Hobbit</U></B></div> <div> <B>J.R.R. Tolkien</B></div> <div> <B><IMG SRC="173490900.jpg" border=0 width="400" height="400" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <bR> <div> <B>          </B><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><B>Why is a mere mortal such as myself reviewing one the the greatest children's books of all time?  More literature has been written about Tolkien's creations than about almost any other work of fiction in the English language.  So why add more?  Because, good readers, I am reading and reviewing all of the Ballantine fantasy books released in their "pre-series" and official "adult" series.  Of course I have read this book at least six times, but I am now returning to the Ballantine series after many years, hoping to find the rich storytelling and magical writing style that I left at my last reading.  It all begins right here, with the first fantasy book published by Ballantine.  There was no thought yet of a series at all from them, let alone a "pre-series" and an actual "adult" series.  Still, Ballantine was publishing the entire Lord of the Rings, which itself is aimed towards adults.  When it first was published in paperback in America, it raged through North American university campuses the way that Dungeons and Dragons (inspired by guess who?) would many years later.  The first line of "The Hobbit" is now as famous as James Joyce's opening sentence in Ulysses.  Tolkien (and Ballantine fantasy) begins thus:  "In a hole in the ground there lived a hobbit."  Fantasy literature would never be the same after that sentence, and subsequently this paperback book, was unleashed on an awaiting American public.  </B></FONT></div> <div> <B>         Tolkien wrote a story that has such a huge and wide scope to it, that it could easily have stretched to three, and all fans wish it had!  At nearly 300 pages in length, it was one of the longest individual children's books ever published up to that time.  Sadly, I have never known any children who have read it and exclaimed it to be their favourite book.  It used to be on the classroom reading list for Gr. 7 at the school where I taught music for many years.  And yet I can remember kids in Gr. 5 (10 years old) reading Fellowship of the Ring, Two Towers and Return of the King!  I daresay there are many adults who read it as a child who hold it as dear as I do.  I was likely about sixteen when I first read it.  I immediately knew that I was part of the story and in tune with the vast landscape and the incredible adventure themes.  As a young teenager I used to walk miles and miles away from my home on weekends, later hitch-hiking for a day to get even farther away.  This book is aimed at anyone who has a "Tookish" side to their personality.  If you wish to meet Elves, a Wizard, a terrible skin-changer (Beorn, my hero!), great eagles, dwarves, orcs, goblins, the dragon Smaug, and walk through forests and fields and into mighty mountains, then get reading.  If you have read it, but not for ages, it is time to rediscover Middle Earth when it was still fresh and mostly unexplored by readers from our own time.  A superb classic, for children and adults. </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><B>***** </B></FONT><B>stars.</B><B>  </B></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#P2 Published October 1965</B></div> <div> <B><U>The Fellowship of the Ring</U></B></div> <div> <B>J.R.R. Tolkien</B></div> <div> <B><IMG SRC="17902efd0.jpg" border=0 width="302" height="509" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <bR> <div> <FONT SIZE="3" COLOR="#006699" FACE="Arial" ><B>        </B></FONT><B> </B><B> Even though</B><B> Tolkien wrote six Lord of the Rings books, they were originally published in three volumes, making everyone think he had written a trilogy.  The series makes much more sense as six individual books, and would give even more scope and gandeur to the epic series of Frodo and his adventures.  I will briefly deal with each book separately in my short reviews.</B></div> <div> <B><U>BOOK 1</U></B><B> </B></div> <div> <B>     This has long been my favourite book of the six.  It sets the stage for the entire series, but even better than that it reconnects to The Hobbit, with many of the same characters appearing once more, and some of the same landscape encountered.  This direct connection gives one a feeling that one has been here before, but that the scale of things has increased vastly!  "A Long Expected Party" does a lovely job of transitioning from the children's story to the adult one, with plenty of country humour thrown in.  The second chapter, "Shadow of the Past", brings serious issues into the forefront, and we learn a lot more of the backstory involved with the ring.  Of course we are all anxious to set out for Mt. Doom, and when the travellers do finally leave The Shire, we are into the adventure itself.  Many of the most frightening moments in any fantasy literature are to be found between The Shire and Rivendell in Book One.  Evil woods, including a very nasty old willow tree, barrow wights, black riders, and some unfriendly folk in Bree, all contribute to the somber and very dark mood that pervades much of the series.  Keeping Gandalf out of the frame for much of the first book is a brilliant stroke, too, as the Hobbits quickly find out about the dangerous world around them.  Not all is dark and violent, however.  We meet Elves along the way, and the incomparable Tom Bombadil, earth's original Green Man.  Once in Bree, we are comforted to see Strider take the Hobbits under his protection, and lead them towards Rivendell.  The climax of Book One, "Flight to the Ford", with the black riders pursuing Frodo, even outdoes the final climax at Mt. Doom, in my opinion.  Tolkien loves stories about walking adventures, as do many people in Britain, a country designed for walkers.  In essence, The Hobbit and Lord of the Rings are stories about walking adventures.  There is considerable horseback riding later on, too, for horse lovers, though never for Frodo and Sam.  They have to walk all the way, and after Bree there are no pubs anywhere, friendly or otherwise!  There is sanctuary though, such as in the house of Tom Bombadil, at The Prancing Pony in Bree, and of course, in Rivendell.  But Rivendell is part of the tale told by another book.  If it weren't for Ballantine's insistence on publishing only three books, we might have a different new cover to show you at this point.  And of course they would have sold twice as many books!  </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><B>***** </B></FONT><B>stars</B></div> <div> <B><U>BOOK 2</U></B></div> <div> <B>     I remember the first time I read LOR, having to stop at the end of Book 1 to catch my breath before resuming Book 2.  Apparently Tolkien felt the same way, as it takes him considerable time to get things moving once again.  At over 40 pages, "The Council of Elrond" is a bit long-winded, but impossible to not read if one cares anything about the story.  We get to meet each member of the company that will travel with Frodo, and hear everything they have to say on the subject of the Enemy.  Finally, nearly 80 pages and two months in Rivendell later, the company sets out.  Things sometimes move even slower in Middle Earth than our own United Nations!  I have always enjoyed the walk from Rivendell to Lorien (via Moria).  Tolkien gets back into the spirit of Book 1 as the big hike carries on.  The snowy mountain pass is great reading, but then we end up stumped in front of the rear gate that leads into Moria.  The book lends itself more and more to becoming a fine game, computer and/or board, with puzzles, danger and plenty of scenery all the way along.  Moria itself is one of the most remarkable places in Middle Earth, with the Dwarves having eventually tunnelled so far down into the depths of the mountain that something very nasty was disturbed.  The Balrog (Durin's Bane) took two Dwarven civilizations out without too much trouble, and ends up on this visit taking Gandalf with him to the pits of hell as he falls into a nearly bottomless fiery crack in the underground world.  The shock of losing Gandalf this early in the adventure is a good one, and Tolkien catches us quite nicely with it.  The remainder of the company makes it to another of Tolkien's amazing haven creations, Lothlorien.  There is virtually no limit to what Tolkien can add to Middle Earth to make it seem more and more real, and as we go along discovering places and things, our minds are continually dazzled.  The maps provided in the book hardly do justice to the vast landscape we pass through, but other cartographers later on have taken care of that aspect quite nicely.  With the Fellowship reeling from the loss of Gandalf, they linger in Lorien an unknown amount of days, though it seems few and turns out to be a lot.  I like how Tolkien plays with Time on occasion, as most of the time he records seasons and lunar cycles quite readily.  With Book 1 leaving us at the edge of our chairs as Frodo races towards Rivendell, Book 2 also urges us to read onward (and purchase the next book) with the death of Boromir and the splitting of the company.  With two of the company now dead, Tolkien makes this tale seem more and more plausible.  The book ends with Aragorn having to make the most important decision of his life.  The first volume of Lord of the Rings is top notch adventure writing, seldom, if ever, equalled, though imitated countless times.  It is a superb story, with a variety of characters (alas, none of them female) and locales, and enough chills and spills to satisfy most discrimating readers.  If you are one of the seven or eight people that have never read Tolkien, "Fellowship" is a really good place to begin. Young adults should like this, too. </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><B>***** </B></FONT><B>stars.</B></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#P3 Published October 1965</B></div> <div> <B><U>The Two Towers</U></B></div> <div> <B>J.R.R. Tolkien</B></div> <div> <B><IMG SRC="179229f20.jpg" border=0 width="297" height="498" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <bR> <div> <B><U>BOOK 3</U></B></div> <div> <B>     We get the second volume of the series underway by leaving Frodo and Sam, and following the adventures of the remaining members of the company.  The first half amounts to an exciting chase, as Gimli, Aragorn and Legolas set out on foot after Pippin and Meriadoc, who have been captured by Uruk Hai.  It is a fast-paced adventure, as the three heroes run across the Plains of Rohan in a fruitless attempt to overtake these orcs on steroids, creations of Saruman.  We meet so many great new characters in this Book, including Eomer, Eowyn (the first female character to get more than a passing glance), Treebeard, Wormtongue, and Theoden.  We even get to meet Saruman for the first time, and hear him speak.  To this reader, there are many highlights in Book 3, beginning with the valiant death of Boromir.  Next comes the Great Run, which so amazes the Riders of Rohan when they meet.  Treebeard and the Ents must be one of the very best character types within any fantasy novel.  They are so unique and old and powerful, it is almost as if Tom Bombadil came back for a swing or two at Saruman.  The Battle of Helms Deep is unforgettable, especially the immense number of orcs that take part, and thier seemingly endless onslaught.  And Tolkien's handling of the re-awakening of Theoden, once he casts off his advisor, Wormtongue, is truly worthy of many re-readings!  When he picks up his sword and wields it once again, we want to cheer him along with his men.  Of course the entire Fellowship gets back together (except for Boromir, Frodo and Sam), and though we may feel cheated at suddenly having Gandalf in our midst once again, Tolkien's explanation of what occurred between the Balrog and the Wizard after they fell into Kazad-Dum, and what happened to the Wizard afterwards, not only makes sense but must have been what happened!  It would also make an entire book all on its own!  Tolkien is a genius at writing narrative and creating characters and developing them, and has few equals in literature of any type.  His weakness lies in detailed descriptions, though due to the length of the books, this is not really a weakness but a strength.  We are left to fill in the spaces with our imaginations.  Just enough detail is provided for us to accept Middle Earth as real and organic.  The adventure continues at a break-neck pace in Book 3, and this page-turner will not take many nights to read.  </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><B>*****</B></FONT><B> stars.</B></div> <div> <B><U>BOOK 4</U></B></div> <div> <B>     Frodo and Sam, left out of the story in Book 3, get their own book now to bring us up to date with their adventures.  This has always been my least favourite part of Tolkien's narrative, and I think part of the reason is that he has his least interesting character in Frodo.  The main reason I dislike it so much is that one of his most interesting characters, Samwise Gamgee, has been more or less relegated to the status of Frodo's faithful dog.  One soon is tired and sickened by all of the "Mr. Frodo Sir," and "Master" and so on.  I know British class system constraints were rampant in Tolkien's time, but this is an aspect of the book that sorely tries the patience of a reader from modern times.  Not once does Sam call his friend simply "Frodo", nor does Frodo ever ask him to.  Apparently since he cuts the grass and does the gardening back at Bag End for Frodo, Sam is some type of lower class slave, even though treated well by his "master."  This just goes on and on and on, and becomes much worse after Shelob gets hold of Frodo for a time.  Sam, not Frodo, is the hero of the story, as we shall see in Book 6.  Frodo is a mere mule, carrying the ring (rather badly) into Mordor.  The story is helped along by Gollum, the loveable fish eater; the wise Faramir; Shelob (much worse than the Balrog, methinks), and the ever-darkening landscape and sky.  By the end of the book (yet another one of those cliff-hanging endings Tolkien is so fond of, and Ballantine failed to capitalize on) we are preparing for the worst, as Frodo is captured by orcs virtually inside Mordor, leaving Sam to bear (and wear) the Ring.  If any part of Tolkien's work ever needed a re-write, this is it.  If any character ever seemed more like a faithful dog, Samwise is it.  Of course the book must be read, but it is, for this reviewer, the low point of the series. </B></div> <div> <B> ***</B><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><B> stars.</B></FONT></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#P4 Published October 1</B><B>965</B></div> <div> <B>The Return of the King</B></div> <div> <B>J.R.R. Tolkien</B></div> <div> <B><IMG SRC="17a033fa0.jpg" border=0 width="307" height="506" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <div> <B><U>BOOK 5</U></B></div> <div> <B>     This book contains some of Tolkien's finest writing, as well as some of his most violent.  It also exposes him to one of his biggest flaws, by having help arrive just in time so many times over that it becomes expected.  This is usually not a problem in the Silmarillion, but in Lord of the Rings the story is filled with the "just in time" arrival of friends and friendly armies.  Still, each chapter of Book Five is among Tolkien's best, and the story gathers such momentum and energy that it seems like we are amidst the most heroic deeds ever penned to paper.  Minas Tirith is the first great city of men that is revealed to us in Middle Earth, and its location and design have inspired artists since the books were published.  Being both inside the city (with Pippin and Gandalf) and outside (with Merry and the Rohirrim) is a stroke of genius in storytelling, as we get both the anxiety (as the great walls are besieged) and the thrill of riding to its rescue.  The arrival of the Rohirrim at the fields of Pelennor is likely the greatest moment of storytelling I have ever read, along with the buildup to its approach.  After the fierce and enormous battle of the Hornburg, one wouldn't think that Tolkien could top himself with another great battle, but he does.  The highlights of the battle are twofold, namely the arrival of the ships with Aragorn, and the killing of the captain of the Nazgul by Merry and Eowyn, though other events and descriptions, namely the peril of Faramir and the death of Denethor, are nearly as riveting.</B></div> <div> <B>     Tolkien has had virtually nothing to say about women up until now, and this has long been a criticism levelled at him and the books (though not by this critic).  However, how he treats the story of  Eowyn, daughter of Theoden and Shield Maiden of Rohan, easily makes up for his earlier lapse.  Eowyn is my favourite character in the entire series (next, of course, comes Sam), and would make a fine movie on its own just about her experiences.  Her misplaced love for Aragorn is so touching as to be genuinely tragic, and her inability, despite her strong spirit and training as a warrior, to do anything except look after the women, children and old men, leaves us deep in Tolkien's debt for the way he resolves her character.  To see her spirits at their lowest in the Houses of Healing is to think the author mad for placing so fine a creature in such dire straits.  Of course, he has a plan, and to finally see the winds of change come over her is more satisfying than seeing the ring plunge into Mount Doom.</B></div> <div> <B>     This is easily one of the greatest books ever written, with the pot fully stirred and heated. </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><B>*****</B></FONT><B>stars.</B></div> <bR> <div> <B><U>BOOK 6</U></B></div> <div> <B>     And now, back to Frodo and Sam.  Ah, yes.  If only Tolkien had substituted the word "friend" every time Sam says "Master," what an easier and more pleasurable read this would be.  In England the word has a different meaning, as it is usually applied to an Oxford professor or equivalent.  But after a time, it sounds far too much like Sam is Frodo's slave.  But on to the story.  The darkest part of the series began as the Hobbits climbed past Minas Morgul and encountered Shelob in Book Four.  With Frodo captured by orcs and Sam left all alone for a time with the ring, the darkness continues unabated until they are rescued by the eagles on the slopes of Mount Doom.  Once rescued from the orc watchtower by Sam (is there anything Sam didn't do to get the ring to Mount Doom?), the tale becomes one of the final, grim path.  The Hobbits now realize that they will make it to the mountain, but will never make it back again.  A grimness of purpose not seen till now settles upon them.  Sam gives up most of his food and water so that Frodo can have some, and ends up carrying Frodo up the mountain.</B></div> <div> <B>     Despite all this aid, Frodo has no intention of getting rid of the ring, something we've suspected all along, and it's time to bring Gollum back into the story, to fulfill the purpose for which he was created.  I like to ponder alternative endings here.  What if Gollum had been captured, and the two Hobbits were left alone?  Would Sam have pushed Frodo into the fire, likely then jumping in himself afterwards?  Or would Frodo struggle for a while with Sauron before being defeated, and thus losing the final battle for Middle Earth.  Sadder endings occur in stories of the Silmarillion.  Even had Tolkien wished to end the series in such fashion, it is doubtful that Ballantine would have published a work with such a conclusion.</B></div> <div> <B>      With the ring destroyed, and everyone now getting married, it's finally time for all the characters to wander back home (except Gimli and Legolas, who plan on doing some sight-seeing first).  Just when the reader thinks the story is over, along comes one of the best chapters in the entire series.  "The Scouring of the Shire" is how the four Hobbits are finally judged.  Did their trip to foreign lands amount to anything other than them saving the world?  That worthy feat does not mean all that much to the average denizen of far-off Hobbiton and The Shire.  They are having problems of their own.  But Frodo, Sam, Merry and Pippin really get to show their stuff to the locals, and the writing once again becomes heart-stopping high adventure, a final thrust of the knife from Tolkien, and managing to tie up all loose ends and more or less ending the story happily ever after.  In this case, the characters deserve it!</B></div> <div> <B>     In the end, all writers of high fantasy must bow down low before Tolkien, the Master if ever there was one. </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><B>***** </B></FONT><B>stars.</B></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#P5 Published December 1966</B></div> <div> <B><U>The Tolkien Reader</U></B></div> <div> <B>J.R.R. Tolkien</B></div> <div> <B><IMG SRC="19a935040.jpg" border=0 width="309" height="516" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <bR> <div> <B>          </B><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><B>One can only imagine the pressure on Ballantine Books to publish more material by Tolkien, after the huge success of Lord of the Rings.  The author would have likely been offered an immense sum to write more Middle Earth stories, but nothing else was forthcoming.  Something had to be done, however, and quickly.  He likely showed them some of his work on The Silmarillion, which was still years away from being reading for publication.  However, with its tenuous ties to Hobbits and such, it was sure to leave Ballantine impressed but unusable for the forseeable future.  What they managed to pull together was "Stories, poems and an essay" by the author of The Hobbit and The Lord of the Rings, and at the time most of us were pretty darn glad to have it.  Looking back on it after forty years, it is much less impressive today.  The material is okay, and the essay certainly raises interesting points.  For example, it is doubtful that J.R. would have given his approval for a film version of LOTR if he were still alive.  He did not even fancy artist's impressions of fairy stories.  Best to picture it in the mind, and I could not agree more.  While the fiction material included is entertaining, it is not very memorable.  Farmer Giles of Ham is a great little story (reviewed on this page below:  see P16), as is Leaf by Niggle.  However, after reading LOTR they barely register on the mind a few weeks later.  Not until The Silmarillion was published (1977) would readers again feel the power that this author possessed.  Today, "The Tolkien Reader" may serve the same purpose today that it did in 1966:  give the person who just finished reading LOTR a quick injection of more Tolkien.  The difference now, of course, is that readers have access to "The Silmarillion," as well as to Christopher Tolkien's epic series of the history of Middle Earth, all indispensible to lovers of Middle Earth.  My favourite part of "The Tolkien Reader" is a little Tom Bombadil poem, where he floats down the river in his boat and goes to visit Farmer Maggot.  There are other good things in the volume, but all in all, most material had been previously published, and could easily be skimmed over.  Not essential Tolkien, in my opinion, though the essay still has power.  Back in the days, however, we had nothing else.  Except for the essay, most material is suitable for children.</B></FONT></div> <div> <B>**</B><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><B>1/2</B></FONT></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#P6 Published April 1967</B></div> <div> <B><U>The Worm Ouroboros</U></B></div> <div> <B>E.R. Eddison</B></div> <div> <B><IMG SRC="15fb31fa0.jpg" border=0 width="305" height="506" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <div> <B>Cover by Keith Henderson</B></div> <bR> <div> <B>     The first fantasy novel published by Ballantine after the five Tolkien books, this one, like Tolkien's masterpiece, is unique in the annals of literature.  If one disregards the Induction and certain aspects of the first few chapters, and the finale which glorifies war for the sake of war, then one quickly realizes that here indeed in the finest fantasy writing within the entire Ballantine series and pre-series, if not of all time.  To be fair, Eddison is not for everyone's taste.  I know of no females that claim him as their favourite writer, despite the women in his stories being the most intelligent, feminine, beguiling, crafty and beautiful in the history of fantasy literature.  Alas and alack, however, they do not go into battle, remaining rather as women tied to medieval and rennaisance ways.  </B></div> <div> <B>     Once past the first chapter or two and its downright silly framing device (which Eddison soon entriely forgets about, though perfects in the next volume of this loose series), the novel becomes the most heroic and fantastic I have ever read.  Chapter Two, "The Wrastling for Demonland" has no equal anywhere else in the fantasy canon, and is a mesmerizing introduction to the Witches (bad guys) and the Demons (good guys).  Of course there are also the Pixies, the Imps, the Ghouls and the Goblins.  However, it is the very few well-sketched characters who make the book what it is.  Gorice XI and Gorice XII, Lord Gro, Queen Sophonisba and the Lady Prezmyra all keep us enthralled.  The four main heroes, Juss, Spitfire, Brandoch Daha and Goldry Blusco are too heroic to seem human, and their characterization is barely developed.  They love war and fighting, and were created for no other purpose in life.  Still, we manage to adore them! </B></div> <div> <B>     Chapter Four, "The Conjuring in the Tower," reveals the sorcerous root of Castle Carce's evil.  Fritz Leiber worshipped Eddison, and it shows.  The conjuring scene depicted is as frightening as the best that Leiber himself ever wrote, and is one of the highlights of the novel.  Another tie-in to Leiber is the fearsome mountain climbing chapters, which he mimicked in his Fafhrd and Mouser series.  Never before or since have there been such feats of climbing as those undertaken by Lord Juss and Brandoch Daha to the summits of Koshtra Pivrarcha and Koshtra Belorn.  As if scaling sheer cliffs thousands of feet high weren't daunting enough, they must battle the loathsome mantichore whilst doing so.</B></div> <div> <B>     There are epic battles galore, enchantments, evil sorcery aplenty, and deeds of derring do that would make other heroic fictional characters blush with envy.  However, Eddison is not just an amazing fantasy writer and incredible sword and sorcery fanatic.  He also describes his created world, its landscapes and seascapes, castles and people with the finest and most detailed brush ever used by an artist.  He can wax descriptive moreso than any other fiction writer I have ever encountered.  He can use half a page to describe a lady's hairstyle, or her wardrobe, or the room she stands in.  The palaces and castles are described down to the last detail, as is the topography of the land as well as the sword hilt of a hero's weapon.  He has a painterly eye for detail, and thus uses his skill to deepen our link to his strange and event-filled world.</B></div> <div> <B>     Eddison is a writer's writer.  Anyone who has written, or attempted to write a fantasy novel, will be completely swept away by his unearthly skill.  His works repay many, many readings.  I have so many favourite sections that even just listing them here would require more space than I am willing to use.  However, I will mention only one, a dream-like moment that is easy to miss.  Lord Gro, in Chapter XXV, has come around to the view that Witchland is abhorrent, and he rides out from Owlswick Castle to switch allegiance to Demonland.  On his solo ride north, he comes across a forest glade that stirs his very soul, as he sees as if in a dream animals and hoofed peoples dancing merrily in the noonday sun.  It is a mere page or less in a novel of 520 pages, but typical of the magic Eddison can create when least expected.  The prose is absorbing and always filled with lushness.</B></div> <div> <FONT SIZE="3" COLOR="#000000" FACE="Arial" ><B>     The ending disappoints, when we discover that the four heroes are merely warmongering louts who know not what to do in times of peace, except lament that there is no more enemy.  This from a man who lived through WWI.  Had he known Hitler, one wonders how Eddison's theme of endlessly repeating war would have gone.  Would he have wished Hitler to come back to life so we could fight him all over again, just for sport?  Despite the ending, the book still dazzles beyond what even the greatest of stories have done.  This must remain one of the greatest epics of fantasy literature, and a must-read for anyone who says they like fantasy writing or sword and sorcery.  The disappointments are dwarfed by the rewards.  Not recommended for children.</B></FONT><B>  </B><I><B>*****</B></I><FONT SIZE="3" COLOR="#000000" FACE="Arial" ><B> stars.</B></FONT></div> <DIV ALIGN="LEFT"></DIV> <div> <B> </B></div> <bR> <div> <B>#P7--Published August 1967    </B></div> <div> <B><U>Mistress of Mistresses</U></B></div> <div> <B>E.R. Eddison</B></div> <div> <B><IMG SRC="160d3d0e0.jpg" border=0 width="317" height="526" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <div> <B>Cover by Keith Henderson</B></div> <bR> <div> <B>     Reading Eddison's books again on the first summer vacation of my retirement has been a revelation.  It's comforting to know that in some ways I have not changed a whit since I was 20.  In other ways, too numerous to mention, I am of course a totally different person.  Eddison's books, more than any other single author (with Tolkien and E.R. Burroughs coming in tied for second) strongly shaped who I am.  Eddison not only writes the best fantasy and adventure books, he also is the best writer in a strong crowd.  Fans of "The Worm Ouroboros" will be surprised at how little action takes place within the pages of "Mistress."  There is still action, including numerous battles, but much of the prose has turned to political intrigues, as well as to philosophy and love.  The Mistress of the title is none less than the Goddess Aphrodite, and she takes three roles in the novel.  This is her chess game, and she is the dark Queen.  Fiorinda, Antiope and Mary Lessingham are all different </B><I><B>dresses </B></I><B>that she wears, though she has worn countless others throughout time.   </B></div> <div> <B>     Duke Barganax and Lessingham are her two rooks, whilst the aged philosopher Dr. Vandermast could be her bishop, though no religious connections are evident anywhere in Eddison's pagan world.  Two of that Lady's more interesting pawns are the fierce lynx-lady Anthea, and the delightful and less intense Campaspe, who is also a sleek water rat.  Eddison plays his characters extremely well, from the most noble (Barganax and Lessingham) to the most offensive (the Vicar and King Derxis).  However, he also plays with time, able to transport us instantly (and his two characters) from a busy banqueting hall to a most secretive woodland cabin to enable a night of passion and love-making.</B></div> <div> <B>     Eddison, in perhaps my favourite book of all time, is a creator not just of worlds (any hack writer can do that), but of atmospheres.  His writing varies from stark clarity and almost painful intensity--to cite but one example from dozens, near the beginning of the novel when the Vicar is washing his dogs--to the most poetic and mesmerizing discussions about love and philosophy transpiring under moonlight at a lavish outdoor banquet.  Any scenes that feature Anthea, Campaspe and Dr. Vandermast are among my favourite parts, and include some of the most profound and magical fantasy writing ever penned.  An example of Eddison's writing that is Shakespearean in quality and tone occurs within the private garden of Queen Antiope, where she and her female cousin are being harassed by the most unnoble King Derxis and his boorish entourage.  Once Lessingham arrives upon the scene, all changes swiftly.  His way of dealing with the visiting dastards is, for me, the high point of the novel.  Once this garden scene ends, we don't even see what transpires afterwards, only hear of it third hand several days later.  Completely brilliant, and a sure sign of genius writing in action!</B></div> <div> <B>     If a book of fantasy adventure sprinkled with intelligent discussions, magical transformations, poetry, love, high intrigue and tragedy, and some of the most fascinating characters to ever grace the page of any story are your cup ot tea, then plunge in at all cost to Eddison's unique masterpiece.  If you loved reading Greek myths and the like in your childhood, prepare for the ultimate entry!  The book stands completely alone, and does not require reading of the previous "Worm Ouroboros."  It is a cliche to say so, but they simply don't make books like this anymore.  Completely unsuitable for children.  A pure delight for adults. </B><FONT SIZE="4" COLOR="#000000" FACE="Arial" ><I><B>*****</B></I></FONT><B>stars.</B></div> <bR> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#P8--Published February 1968    </B></div> <div> <B><U>A Fish Dinner In Memison</U></B></div> <div> <B>E.R. Eddison</B></div> <div> <B><IMG SRC="17173b090.jpg" border=0 width="315" height="521" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <div> <B>Cover by Keith Henderson</B></div> <div> <B>         </B></div> <div> <B>           It must be extremely difficult for an author, having written the two best fantasy books ever penned, undertaking to write a third.  Although written six years after Mistress (see above), Fish Dinner seems fresh and whole, like its two predecessors.  Obviously Eddison was glad to be back in Zimiamvia, and his writing clearly demonstrates that.  Although Worm, Mistress and Fish Dinner can be read in any order, and all stand totally independent as masterworks of high fantasy, readers of one will likely want to seek out the others.  The events in Fish Dinner take place earlier than events in Mistress, though many of the same characters are in both novels.  There is even more crossing between worlds in this story, something that can happen quite suddenly and without premonition.  The reader can be startled to discover that half a page has been read without realizing the shift in worlds and perspective that has taken place.  </B></div> <div> <B>          My love of these books is not so much in the whole entity, though of course that aspect is without peer, but rather in the colourful little one-act scenerios that tend to occur throughout.  For example, the chapter entitled "Queen of Hearts and Queen of Spades" could be extracted and read on its own, an amazing and awe-inspiring account of the redhead Queen taking her bath in an outdoor pool, having discourse with the dark-haired Fiorinda, inspired by Baroque paintings of like themes.  It is such a memorable description of evening that I have never forgotten it, and always enjoy the rereading.  Again, in a later chapter entitled "Seven Against the King," we are in a confined area (this time an old, run-down hunting cabin deep in the woods), and here Eddison has written a superb one-act play that could be staged successfully and stand entirely on its own.  The King, alone, rides to the location to put down a rebellion of his worst enemies, in the cabin where they have secretly met to plot his downfall.  It is a gripping Shakespearian scene with a suitably energetic climax, and once read becomes totally unforgettable.  </B></div> <div> <B>          And so, too, with the Fish Dinner itself, the like of which has never been undertaken since!  If you enjoy plenty of philosophy with your dinner, you will love this scene.  It also includes world-making, as we meet the Creator and his Inspiration.  This is a very difficult chapter, requiring at least one reread, and is explained further in the next book of the series, "The Mezentian Gate".</B></div> <div> <FONT SIZE="3" COLOR="#111111" FACE="Arial" ><B>          Another favourite chapter involves Anthea, the skinchanger-nymph, and ancient Dr. Vandermast, guarding the lady Fiorinda (Aphrodite herself, of course!) as she enjoys an evening of love-making with Barganax, Duke of Zayanna, in a secret upstairs room inaccessible to other mortals.  In comes the jealous and uncouth husband, soon blaming and  picking on the defenseless Vandermast for his wife's infidelity, and Anthea soon changes into her lynx form.  Don't mess with her when someone pushes her mentor, the ancient Doctor, around, or strikes her mistress in the face!!  Great writing, superb settings, a unique and colourful writing style and bursts of intense and memorable action keep the reader turning pages, and sometimes rereading parts too!  If I were only to read one of the four books by Eddison, it would likely be Mistress of Mistresses.  Having said that, I should admit that there is no possible way I could only read one of his books!  Not suitable for children</B></FONT><B>. </B><I><B>***** </B></I><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><I><B>stars.</B></I></FONT></div> <div> <B>         </B></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#P9--Published October 1968</B></div> <div> <I><B><U> <A NAME="the_road_goes_ever_on"><IMG BORDER="0" SRC="1x1.gif" HEIGHT="1" ALIGN="bottom" WIDTH="1" HSPACE="0" VSPACE="0" ></A></U></B></I><I><B><U>The Road Goes Ever On</U></B></I></div> <div> <I><B>Donald Swann, J. R. R. Tolkien</B></I></div> <div> <I><B><IMG SRC="19dcea800.jpg" border=0 width="490" height="640" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <bR> <div> <I><B>          </B></I><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><B>As a classical pianist and teacher of music, I came across this volume many, many years ago.  I have taken it out now and again, though have never performed any of the works within.  That may change, however.  For this review I went back and played and sang all of the tunes again.  One of many disappointments for me with Peter Jackson's version of the trilogy was the absence of poetry and song from the epic movies.  I doubt if Tolkien wold have been amused at their absence.</B></FONT></div> <div> <B>          The hardcover book opens with an introduction by Donald Swann, the composer, telling how he came to write the pieces, as well as some of the performances.  Following the seven songs, Tolkien himself provides notes to some of them.  All of the songs are easy enough to pick out on a piano for someone with basic music reading skills, and the tunes are easy enough to sing, avoiding wide leaps and extreme ranges.  However, the accompaniments are sophisticated enough to require at least a very capable Level 9 student to perform them, and an experienced singer of art songs.  When I first plunked them out on a piano as a teen I did not find them that appealing.  Every few years I would pull them out and go over them again, gradually liking them more and more.  I finally like them enough to seriously consider finding a good singer and performing them, perhaps on Bilbo and Frodo's birthday (Sept. 22).  </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><B>****</B></FONT><B> stars.</B></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#P10--Published October 1968</B></div> <div> <I><B><U>Titus Groan</U></B></I></div> <div> <I><B>Mervyn Peake</B></I></div> <div> <I><B><IMG SRC="17b436110.jpg" border=0 width="310" height="529" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover art by Bob Pepper</B></I></div> <bR> <div> <I><B>          Reading Titus Groan again after so many years is to read it for the first time.  Although I remembered all of the main characters, I had forgotten so much else, including almost all of the actual castle and its surroundings.  Reading a simple caption of the plot would not necessarily mark it as one of the best fantasy novels ever penned.  It has weird characters, a broad story, and it all takes place in a huge castle.  But what weird characters!  And what a castle!  None of the people are very much like any other character ever heard of in fiction.  And the castle?  At over a mile and a half long, and hundreds of feet high, there is simply nothing to which it can be compared.  My very favourite characters are Fuchsia and Dr. Prunesquallor, the only two people that appear to have a healthy, if distant, relationship with one another, and appreciate each other for what they are.  And what are they?  Two lonely people, a young girl and an aging doctor, trapped in a lonely world so ritualized and invested with somber, inexplicable laws that even drawing a free breath of air is a difficulty they must face each and every day.  The writing is so lucid and often so melancholy that  the reader at first despairs that anything will occur to advance the plot.  The novel is not rich in storyline.  Titus is born at the beginning of the book, and grows to about eighteen months.  The book ends with him, as a baby, becoming the 77th Earl of Groan in Gormenghast Castle.  There are subtle subplots, such as the hatred between Flay, Lord Groan's first servant, and Swelter, the head of the vast castle kitchen.  There is the story of Keda, a member of the Dwellers, who live as a tribe apart in rough huts just beyond the castle.  Keda first becomes a wet-nurse to the newborn Titus, before having a child of her own (following hard on her devastating personal tradegy).  There are the bizarre twins of the blood, Clarice and Cora, attempting to gain power for themselves, and Steerpike, the young man who promises them everything but intends to leave them not a crumb.</B></I></div> <div> <I><B>          If not the plot, then what drives the book onward?  It is nearly impossible to put the book down once the first few chapters have been dispatched.  The writing is simple and straight forward, but so off-center that by midway into the lengthy book one has been led to a unique situation--originality and creativity beyond compare.  Not that the book is flawless--Steerpike, at the tender age of seventeen, would seem more suited to a well-educated villain of twenty-three or twenty-four, and he never seems to age, always remaining at seventeen.  His presence is more symbolic--without him, there would be no story to tell, and life at Gormenghast would continue to be guided by meaningless ritual.  This is Peake's way of saying that without evil and evil-doers, the world would not be capable of growth and change.  Every action Steerpike takes to advance his own cause ultimately comes back upon him, so he seldom makes gain without pain.  Life will never be the same for him, the castle, or any of its dwellers.   He is the force of change, which itself is caused by his cruel and selfish actions.  But change is desperately needed, despite the price paid to achieve it.  One glance at the life of the 76th Earl should convince us. </B></I></div> <div> <I><B>          Whole sections of the book are dreamlike, and unwind much like a fairy tale, while other parts are as realistic as any non-fiction account.  The first and last chapters are outstanding in this regard, each containing poetry beyond measure in their book-end positions within the novel, as well as some devastating and biting realism.  The second reading of this truly great novel will stay with me until my dying day, and hopefully I will read it a third time before then!  This is an indescribably fabulous novel, with depth, passion, humanity and tenderness well beyond what mere words are usually capable of conveying.  A must read.  Older teens and adults only.  </B></I><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><I><B>*****</B></I></FONT><I><B>stars.</B></I><I><B> </B></I><I><B>        </B></I></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#P11--Published October 1968</B></div> <div> <I><B><U>GORMENGHAST</U></B></I></div> <div> <I><B>Mervyn Peake</B></I></div> <div> <I><B><IMG SRC="185132090.jpg" border=0 width="306" height="521" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover art by Bob Pepper</B></I></div> <bR> <div> <I><B>          The sequel to Titus Groan rises like a tidal wave above events in the first book.  After reading Gormenghast, that first book seems like an innocent foray into fantasy fiction by comparison.  Peake pulls out all stops for Volume Two, and the eighty chapters and nearly 600 pages fly past like the greatest of adventure movies.  We watch Titus grow from a young school boy to a grown man, under the tutelage of the oddest, least competent schoolmasters in the history of fictional literature.  The most amusing sections of this part of the novel are balanced with events of such weight that at times the reader, always reading with wide eyes, is mercilessly manipulated.  The sudden and violent death of the Headmaster has to be one of the best set ups in literature.  No less so for Irma's "coming out party," as she invites all the schoolmasters to her home for a soiree, in order to choose one to be her husband.  It is one party never to be forgotten, masterfully set up by Peake for unsuspecting readers (there is simply no knowing when Peake is setting something up until it actually happens).  When the tears of laughter and numerous disbelieving headshakes begin, the reader will finally know what Peake has been up to.</B></I></div> <div> <I><B>          Besides so many funny things happening, the book contains events of the deepest tragedy, guaranteed to bring the reader to tears.  All of the main characters are back from Volume One (except the ones that died in that volume), and enough new ones to keep interest high.  As Titus grows older, certain major catastrophic events overtake him and the castle, and we can trace his maturity and mental development to these events.  Each of these major events will affect the involved reader nearly as deeply.  Steerpike grows from merely being evil to becoming one of the most twisted Machiavellian characters in literature.  Our fascination with him does not lessen because of this, but rather increases.  There comes a point, however, when the reader will merely wish for him to be exterminated, like a cockroach.  So despicable does he become that it is quite painful to read about him later in the book.  His ultimate undoing is, of course, the climax of the book (both books, actually), but with the damage already caused by Steerpike, it seems almost anti-climatic.</B></I></div> <div> <I><B>          As to Titus, if any young boy, Earl or not, ever had a stranger start to life, I would certainly like to hear about it.  The novel ends in the only way it could, with Titus having made up his mind to break with the hated castle traditions, the very same traditions that drove his father insane.  This is not a spoiler, as the third volume is entitled Titus Alone.</B></I></div> <div> <I><B>          As one of the best novels ever written in the English language, Gormenghast does require careful reading of volume one, Titus Groan.  Even this act does little to prepare the reader for what is to come.  The novel is an exhilarating leap off a cliff, into the unknown and with the realization that the landing is going to be a rough one.  I cannot believe that I waited so many years before a second reading.  Very likely the best book I have ever read.  </B></I><I><B>Older teens and adults only.  </B></I><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><I><B>*****</B></I></FONT><I><B>stars.</B></I></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#P12--Published October 1968</B></div> <div> <I><B><U>Titus Alone</U></B></I></div> <div> <I><B>Mervyn Peake</B></I></div> <div> <I><B><IMG SRC="18843a0c0.jpg" border=0 width="314" height="524" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover art by Bob Pepper</B></I></div> <bR> <div> <I><B>          This is a very disturbing book, even more than the previous two volumes.  Missing from Volume Three is Gormenghast Castle and all of its inhabitants.  Admittedly, after the deaths of Steerpike and Fuchsia there is far less reason for an author to hang about the place, so off we go into the wild blue yonder.  Also missing from this volume is any sense of what is actually going on.  Titus walks about like a zombie from one fantastic place to another, all set within an Orwellian world that is frightening though not really believable.  Gormenghast Castle, as outrageous a place as it was, is always believable.  The dull world that Titus now finds himself in is not, in any sense, a real place.  It's more a state of mind, and if this is where Titus is, then really he is nowhere.  Titus is the least interesting character in the entire three volume series, and making him the lead character in a full-length novel is a very iffy proposition.  His reactions to his environment and to the people he meets (fascinating as those characters are, though much less so than in his two previous novels)often leave the reader in the emotional doldrums.  The only reason we are able to continue on with the story is because Peake uses chapters that are often barely a page long, and there are around 120 chapters.  It's easy to read a chapter or two at a time.  Had the chapters been thirty pages long, I doubt if most readers would make it through.</B></I></div> <div> <I><B>         This is a frustrating book, and no doubt continues to disappoint fans of Gormenghast.  However, we have to realize that there is very little of that story left to tell, and no doubt Peake himself needed to flee from those grey walls, escaping his entrapment.  The fact that he was able to leave there, along with Titus, and not return even when he had the opportunity, tells us that he had had his fill of the Castle and its inhabitants.  Killing off Fuchsia was best way to end all interest in the remaining characters.  No other remaining character could have held things together for another novel set within the castle, not even Titus.  So we are all forced to take this painful journey together, and make of it what we can.  We know Peake had plans to return to the Castle, and this summer (July 2011) "Titus Awakes" is to be realeased, the fourth book of the cycle, completed by Mervyn's late wife, Maeve.  Whether or not this will answer some questions not answered in Titus Alone, or whether it will continue to bewilder loyal fans, cannot be predicted.  I expect the latter.  Our two lenghty visits to Gormenghast Castle will have to do us for eternity, much like our visits to Middle Earth.  There is no more, so do not weep.  Instead, thank your lucky stars that Peake's novels found you, and that you were able to discover the greatest fantasy novels ever penned.  </B></I><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><I><B>*** </B></I></FONT><I><B>stars</B></I></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#P15--Published February 1969</B></div> <div> <I><B><U>A Fine and Private Place</U></B></I></div> <div> <I><B>Peter S. Beagle</B></I></div> <div> <I><B><U><IMG SRC="13ac3a0c0.jpg" border=0 width="314" height="524" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></U></B></I></div> <div> <B>Cover by Gervasio Gallardo</B></div> <bR> <div> <B>      This is a superb work of fiction written by a 19 year-old wunderkind.  Although he has only written a handful of novels, Beagle is still one of the most important names in fantasy literature.  If you read this book you will know why.  Set entirely in a large fictional New York cemetery, the book is about a man who lives there in and around a mausoleum.  He has retreated from society, is kept company by ghosts and is brought food fairly regularly by a raven.  It is such a beguiling work that I don't wish to say much more about the story.  However, there are so many nuggets of wisdom in these pages that it may just as easily be filed under "philosophy".  Take the story of the seagull told to Mr. Rebeck by the raven, for example.  In a few short paragraphs the author sums up what it is about life that messes everyone up.  To some extent, everyone is metaphorically lost in Iowa, searching for the ocean.  Every bit of water we come across there, no matter how small, keeps up our hopes of finding our way back to the ocean, impossible though the task really is.  Though we search for the big picture, we get distracted by the little ones.  </B></div> <div> <B>     Mr. Rebeck, our hero, is eventually helped to his ocean by Mrs. Klapper, a woman he meets one day as she visits her husband's tomb in the cemetery.  The author has a sharp ear for dialogue and the local Jewish dialect spoken between these two people who meet and slowly get to know one another.  Besides the Raven, the only other main characters in this play (it could easily be adapted to the theatre) are Michael and Laura, both of whom are ghosts.  Mr. Rebeck is able to see and hear people who have recently died and been buried in the cemetery, but finds that they slowly drift off to sleep after a month or so.  He helps these ghosts adjust to their new habitat and type of existence.</B></div> <div> <B>     The novel is spellbinding and difficult to put down, and will remain in the reader's memory long afterwards.  Characters are deeply drawn, portrayed realistically and without resorting to gimmicks or caricature.  There is some delightful humour, inspiring conversations and thoughtful ideas.  Most of all, though, </B><I><B><U>A Fine and Private Place</U></B></I><I><B> </B></I><B>is a truly wonderful story about people searching for Truth, and finding at least a sizeable piece of it in the end.  The last line of the book, spoken by Mr. Rebeck, will have the reader scurrying back through the pages in search of the seagull story once again.  Highly recommended.</B></div> <div> <I><B>***</B></I><B>1/2 stars</B></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#P16--Published March 1969</B></div> <div> <B><U>Smith of Wootton Major: Farmer Giles of Ham</U></B></div> <div> <B>J.R.R. Tolkien</B></div> <div> <B><IMG SRC="18c43f190.jpg" border=0 width="319" height="537" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <div> <B>Cover by Hildebrant Brothers</B></div> <bR> <div> <B>          One can imagine how desperate Ballantine was to get hold of more material by Tolkien.  His major opus, "The Silmarillion," was still in progress.  Envisioned as a series even longer than LOTR, it was left mostly unfinished at Tolkien's death and put into something of a published form by his son Christopher years later.  But there were no more Hobbits forthcoming, something Ballantine would have wanted badly.  In fact, there wasn't much of anything forthcoming.  Instead, we get two pleasant but minor tales by the Master, each readable in one sitting and very easy to digest.  One of them had even been recently published by Ballantine!   </B><B><U>Smith of Wootton Major</U></B><B> is the lesser of the two tales, and new to paperback readers.  It is filled with simple charm and light humour.  No Tolkien fan would want to miss even the most minor of his tales, and this one is a rewarding snack.  Just strange enough to make it quite memorable, I will never eat a piece of cake with small tokens in it without thinking of Mr. Smith and his adventures.</B></div> <div> <B>          </B><B><U>Farmer Giles of Ham</U></B><B>, though still light reading, is more substantial than Smith, and more humourous.  Watching Giles take on a giant with his blunderbuss, and then a formidable dragon with his magic sword, and a snooty, prideful king with his wits, is a rewarding tale that children of all ages will love.  The seriousness of LOTR and The Silmarillion are lovingly offset by this charming fairy tale.  I really admire how Tolkien uses the history of place names, in this case Thames, to make the story seem plausible long ago!  Still, this tale had already appeared in The Tolkien Reader.  No doubt the new publication was aimed at much younger readers.</B></div> <div> <I><B>***</B></I><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><B> stars.</B></FONT></div> <DIV ALIGN="LEFT"></DIV> <div> <B>   </B></div> <bR> <div> <B>#P17--Published March 1969</B></div> <div> <B><U> <A NAME="tolkien_a_look_behind_the_lord_of_the"><IMG BORDER="0" SRC="1x1.gif" HEIGHT="1" ALIGN="bottom" WIDTH="1" HSPACE="0" VSPACE="0" ></A></U></B><B><U>Tolkien: A Look Behind the Lord of the Rings</U></B></div> <div> <B>Lin Carter</B></div> <div> <B><IMG SRC="19e83d230.jpg" border=0 width="317" height="547" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <div> <B>Cover art by Curtis Woodbridge</B></div> <bR> <div> <B>          It is somewhat strange that I never came across this book in all my years of Tolkien collecting.  Perhaps I saw it and didn't think I needed Lin Carter to explain Tolkien's masterpiece to me.  That was a mistake.  Far more than what its title implies, Carter gives a concise historical recap of fantasy literature since writing was invented.  His writing style is easy to follow, and while obviously a scholarly book, it does not seem that way when read.  I easily devoured a few chapters every day, and I am now searching out some of the original fantasy material Carter discusses.  Much of it is free on-line.</B></div> <div> <B>          The author gives summaries of The Hobbit and the Lord of the Rings, not once realizing nor mentioning that Tolkien had intended six books to be published, not a "trilogy," which was the publisher's choice.  Unfortunately, Peter Jackson fell into the same trap when he made the movies.  Now he plans to release "The Hobbit,"  but as two films!?  It is also rather charming to watch Carter guessing as to the content of the not-yet-published "Silmarilion," left unfinished at Tolkien's death (he was alive when this book was first published) and put into published form by his son Christopher.  Carter (and we) did not know at the time that the Silmarilion was the work Tolkien considered his masterpiece, which had been waylayed for years and years because readers wanted "more about Hobbits."</B></div> <div> <B>          There is much of interest about Tolkien within these pages, and even though Carter strays far from the actual trilogy in many of his chapters, he never forgets what his book is about and always manages to relate it back to Tolkien's writing, even if to prove that said work was not a genuine influence on the master.  Carter refrains from criticizing the books, but sticks to showing influences and discussing possible sources for the material.  There is a chapter that nicely sums up Tolkien's essay on the fairy story (discussed here in #P5, above), as well as chapters on Classical tales, Medieval Romance, etc., including worthy discussions of William Morris and other early fantasy writers.  Hardly anyone who reads this book will not seek out some of this other reading material.</B></div> <div> <B>          Carter obviously knew a lot about fantasy writers, both living and dead.  He was a perfect choice to write this book, and we are still the richer for reading it, even forty years on!  He was also the perfect choice to head up the Ballantine Fantasy Series itself, which had not yet officially started.  The rich bibliography at the conclusion to this book is still a who's who of early fantasy writing, and just as useful today as in 1971.  Recommended strongly for all fans of Tolkien and the adult fantasy series.  </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><B>**** </B></FONT><B>stars.</B></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#P18--Published April 1969    </B></div> <div> <B><U>The Mezentian Gate</U></B></div> <div> <B>E.R. Eddison</B></div> <div> <B><IMG SRC="172f3b0e0.jpg" border=0 width="315" height="526" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <div> <B>Cover by Keith Henderson</B></div> <bR> <div> <B>          </B><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><B>Of the four Eddison books published in paperback by Ballantine, The Mezentian Gate is the one I know least.  This was the very first time I have reread the novel, despite having read the others multiple times.  This may have been predjucial on my part.  The book was published posthumously, was left incomplete, and mostly takes place well before Mistress and Fish Dinner.  Had Eddison lived long enough to complete the work, Mezentian Gate would have easily consumed two volumes.  As is, this is a remarkable book, easily as important as the other two in the main series, and ties up the entire series magnificiently and completely, leaving no loose ends.  Much of the book is complete, and we get chapter after chapter once again with all our favourite persons, including Anthea and Campaspe and Vandermast.  There is brilliance on every page, and by the end (completed by the author) all enigmas are explained and revealed, and we are left with no more Zimiamvia.  Or are we?  That worm ouroboros thumb ring keeps popping up, and by the conclusion to Mezentian Gate, one realizes that we are now finally prepared to begin the series again, knowing what we now know.  Or should we wait a few years once again and then reread everything, hoping that we will forget what we know and rediscover it all over again?!  Far and away the best fantasy series ever conceived, let alone actually written.  I found them all hard to put down, and all have favourite chapters.</B></FONT></div> <div> <B>          Curiously, some of the events in Mezentian Gate overlap those in Fish Dinner, but are seen from a completely different perspective.  Reading chronologically, then, read them last to first.  I still prefer to read them in the order written.  If you loved other Eddison books in the series, don't be put off by the incomplete chapters--the author has provided a summary of each one, so we always are kept in the loop.  </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><B>****</B></FONT><B>stars.</B></div> <div> <B>__________________________________________________________________________________________________________________________________________</B></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <I><B><U>MAIN SERIES</U></B></I></div> <bR> <div> <I><B>     This series featured an introduction by Lin Carter for each volume, and the Unicorn symbol on the book cover.  It includes </B></I></div> <div> <I><B>65 separate volumes, many of which I have never read.  I am reading and reviewing the entire series.  The photo shows </B></I></div> <div> <I><B>the published order from top left to bottom right.</B></I></div> <div> <B><IMG SRC="179ec4620.jpg" border=0 width="964" height="866" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <div> <B>Group photo of the main series, all featuring the unicorn symbol at top right, and introductions by Lin Carter.</B></div> <bR> <bR> <div> <B>#1--Published May 1969</B></div> <div> <I><B><U>The Blue Star</U></B></I></div> <div> <I><B>Fletcher Pratt</B></I></div> <div> <I><B><IMG SRC="19c27d040.jpg" border=0 width="637" height="516" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover art by Ron Walotsky</B></I></div> <bR> <div> <FONT SIZE="3" COLOR="#006699" FACE="Arial" ><I><B>    </B></I><B>      </B></FONT><B>I only recently acquired this book on a visit to Gardner Books in Tulsa, OK.  While there I also located a hard-to-find book by John Bellaire, a brilliant fantasy writer not represented in this series as his novels are usually aimed at older children.  I was eager to read the first actual book of the Ballantine series, and was hoping to find it a book I could really sink my teeth into.  After all, this story (the first with the Unicorn logo) was the flagship for the series.  People buying this book would certainly buy more if they enjoyed it.  However, if it was not up to their expectations, the series would likely be ignored.  No one could fault Lin Carter for his eclectic tastes in fantasy literature, and probably no one knew more about the subject at the time.  He was trying to establish an </B><B><U>adult </U></B><B>series, something to distinguish it from the Narnia books and The Hobbit (today, far too many young children attempt the Lord of the Rings).  Ballantine assumed there was a market, based on sales of Tolkien, Eddison and Peake at the time.  One never really knows how such decisions are made, but for reasons unknown to this reviewer Pratt's offbeat novel was chosen to lead off the series.  How instructive and fun it would be to interview Lin Carter on the subject of issuing this fine series with the hindsight of many years.  Alas, it will never be.  </B></div> <div> <B>     The main reason for issuing this novel as the first of the series is likely to be because it is </B><B><U>adult.</U></B><B>  Carter wanted to emphasize that kids should not be reading this stuff.  They likely would not, giving up on the complicated world created by Pratt long before any sexual shenanigans begin.  I must admit that after reading Tolkien, Lewis, Eddison and Peake, it was refreshing to read about sex in fantasy worlds.  I was beginning to wonder how they kept the different species going!  Of course Pratt offers the willing reader much more than the occasional sexual romp (as does Fritz Leiber).  He brings us to a fully functioning (make that disfunctioning) world nearly as complex and filled with intrigue as Eddison's Zimiamvia, though smelling a bit more like Leiber's Lankmar.</B></div> <div> <B>     My main complaint with the novel is in its characters.  Rodvard does not make a very gripping hero, and Lalette fails to engage me as the main heroine.  They even fail as anti-heroes, unable to do much of anything good or bad.  For much of the time they are either puppets of one side or another, or simply trying to run away from where they are.  Since most of the narrative concerns them, this is a serious flaw.  Not only that, but the Blue Star object itself seems ineptly used in Rodvard's care.  By searching a person's eyes, the wearer of the Star can read their thoughts.  Rodvard isn't very good at this game, and doesn't seem to improve much with practice.  Lalette isn't allowed to be much of a witch, either.  With all sides practically forbidding the use of witchcraft, she only seems to resort to it when made suddenly angry and she is unable to control her temper.</B></div> <div> <B>     The politics are sometimes confusing, too.  There are several groups vying for power in one part of the world, and another group in power in another, though not, it seems, fully in control.  Again, the author doesn't seem to make us care much about any side.  It seems he is writing without conviction.  Pratt seems to have created a world where bad things happen to mediocre people.  As a result, I felt relieved when the book ended, as if I had been released from bondage, or awoken from a dream that had been annoying me.  The concept of the story is good (ignoring the useless framing device Pratt uses to introduce and conclude the tale): someone hired by the Court can read people's thoughts, keeping the ruling party informed.  Knowing one's enemy can go a long way to keeping one side in power.  Pratt attempts to develop the idea into a story, but the story lacks colour and life--it seems as if we are looking at browns and greys too much of the time.</B></div> <div> <B>     Coming on the heels of Lord of the Rings and E. R. Eddison's books, perhaps Carter was trying to show a completely new side to fantasy writing.  I just think it was a little early in the series to be doing it, and it may have scared a potential audience away from the mark of the unicorn.  Not recommended for young readers.</B></div> <div> <I><B>**</B></I><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><I><B>1/2 stars.</B></I></FONT></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#2--Published June 1969</B></div> <div> <I><B><U>The Kind of Elfland's Daughter</U></B></I></div> <div> <I><B>Lord Dunsany</B></I></div> <div> <I><B><IMG SRC="19c385fc0.jpg" border=0 width="645" height="508" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover art by Bob Pepper</B></I></div> <bR> <div> <I><B>    </B></I><B> I am one of Lord Dunsany's greatest fans, and find most of his fantasy writing to be high and above virtually every other writer of the genre.  He has a magical way with words and phrases that brings dreaming into our conscious thoughts.  Ballantine Publishers and Lin Carter, with the first two releases, have already shown the path that the series will travel.  There will be newer fiction from living authors, as well as many other stories brought to light from some of the greatest fantasy literature never seen before in paperback and/or not available to readers for many years.  I suspect that trying to link any of these later volumes to Tolkien is an example of wrong thinking, though it is especially true of Dunsany's work.</B></div> <div> <B>     Despite its obvious strengths , I did not care very much for this novel.  Again, it comes down to characterization.  Dunsany is unmatched in his descriptive prose, as the following short excerpt from Chapter XXXII illustrates:</B></div> <bR> <div> <B>          "</B><FONT SIZE="2" COLOR="#111111" FACE="Arial" ><I><B>He [the King] opened the coffer with a spell, for it opened to no key, and taking from it an ancient parchment scroll he rose and read from it while his daughter wept.  And the words of the rune as he read were like the notes of a band of violins, all played by masters chosen from many ages, hidden on a midsummer's midnight in a wood, with a strange moon shining, the air all full of madness and mystery; and, lurking close but invisible, things beyond the wisdom of man.</B></I></FONT><B>"</B></div> <bR> <div> <B>     Now that is magical prose, and there is plenty more where that came from.  Dunsany seems to have no limits in his ability to create mood and setting.  Where his limits affect the quality of writing is in his depiction of character.  In a short story (Dunsany wrote many), a one-dimensional character can be allowed if the setting and story are brilliant enough.  However, in a novel exceeding 235 pages, we require more than shadows and wisps.  The King is a man who does not want to lose his daughter.  The hero, Alveric, loves the princess but only on his terms, never once allowing her to be who she wants to be.  The princess is torn between love for her father and love for her son, Orion.  Orion is a mad hunter who runs around with huge packs of dogs killing unicorns (an offensive fairy tale prince if there ever was one).  We learn everything we need to learn about each character almost the first time we meet them.  </B></div> <div> <B>     The exceptions are Lurulu the troll, a delightful character full of charm and mischief (though his simple mind certainly has definite limits) and the witch Ziroonderel, possibly the finest depiction of a witch in fairy tale fiction, apart from Terry Pratchett's creations.  Without them we would be hopelessly adrift.  Still, the descriptions and landscape are nearly enough to save the book, but in the end not quite.  Alveric's quest to rediscover Elfland and find the princess again is a good analogy for anyone who has lost something irreplaceable and does not realize its value until it is gone.  Madness can follow quickly, and here indeed it does.</B></div> <div> <B>     Children would be unlikely to last through this long wash of lovely dream-like prose, and in that sense it is an adult fairy tale.  The hunting of unicorns with dogs would certainly be upsetting to them (and to many adults), though there is nothing stopping young readers from plowing through Dunsany's novel.  I would send them to some of his finer short stories first.  Not recommended for young readers.</B></div> <div> <I><B>**</B></I><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><I><B>1/2 stars.</B></I></FONT></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#3--Published July 1969</B></div> <div> <I><B><U>The Wood Beyond the World</U></B></I></div> <div> <I><B>William Morris</B></I></div> <div> <I><B><IMG SRC="19c47ff80.jpg" border=0 width="639" height="504" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover Art by Gervasio Gallardo</B></I></div> <bR> <div> <I><B>     </B></I><B>William Morris is one of the greatest fantasy writers who ever lived, and I enjoy reading his works as much as I do Tolkien's.  Tolkien also enjoyed reading the Morris fantasy tales.  This novel is a great introduction to Morris' medieval fantasy style, and Carter did well to publish this one first.  It's a simple tale, but with enough weird twists and some welcome humour to keep one reading till the very end.  The story is in several parts, with each section displaying Morris' imagination to the fullest except, perhaps, the very last part.  Morris also leaves a lot of mystery behind, not really telling us much at all about the Maiden, and even less about the King's Son and the Queen.  Our hero never does return to his native land to settle scores, nor does he journey back to the Castle in the Wood.  Who built the castle, and why?</B></div> <div> <B>     While the ending is a bit pat and inexplicable, at least Morris feels compelled to give a proper ending.  Sequels were not the rage in the 1800s, and authors usually liked to tie things up in one go.  Still, there is room for some fanfic writing here, especially the early years of the Maiden's life, her capture by the Queen, and even some early history of the Queen herself.  Like a really good fairy tale, there is a lot left to the imagination.  While there is no doubt that the novel is intended for adults, there is little here that a younger reader would find objectionable.  The story moves along quickly, and Morris does not get into his 'story within story' theme very much.</B></div> <div> <B>     I can't say that I have a favourite part or passage.  I enjoyed all of it, and found the book difficult to put down.  The author's attempt at a type of medieval prose works like magic.  There is little use of magic in the story, but there is some.  It is significant, perhaps, to adult readers that the Maiden loses her ability to perform magic on her wedding night.  Morris continues to be a top favourite writer for me, especially in this particular series.</B></div> <div> <B>Suitable for younger readers.  </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><I><B>***</B></I></FONT><I><B>1/2 stars.</B></I></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#4--Published August 1969</B></div> <div> <I><B><U>The Silver Stallion: A Comedy of Redemption</U></B></I></div> <div> <I><B>James Branch Cabell</B></I></div> <div> <I><B><IMG SRC="19c67b000.jpg" border=0 width="635" height="512" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover art by Bob Pepper</B></I></div> <bR> <div> <I><B>     </B></I><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><B>Reading this novel is reminiscent of stories from The Decameron, The Canterbury Tales, and even The Arabian Nights, though it's major influence is obviously from Don Juan.  The chuckles are a little more rib-tickling, however, and the morals a little more absurd.  Cabell has created a stunning masterpiece that completely dissects religion and blasts it full of holes, then quietly builds it back up and informs us as to why we need such comfort in our lives.  The novel goes well beyond blasphemy, something that would have gone over well in the late 1960s.  Fifty years later it is just as much of a "must" read, as people in the know realize that times do not really change, and that religious beliefs continue to cause more misunderstanding, death and destruction in the world than any other single thing.  It always has and it probably always will, at least if Cabell is right.  The volume is divided into ten "books", each a self-contained adventure, though loosely connected overall.  Manuel is a great and fearless leader of men who has recently departed this earth.  His many loyal disciples refuse to accept his death, and all prepare for his second coming, or else go in search of him.  Meanwhile, a legend of his life springs up in his home province of Poictesme, and it isn't long before the real Manuel (a nearly useless man and only a leader by chance) is competely forgotten for the god-like figure that emerges from peoples' hearts and false memories of him.  The ten short books--each with several short chapters--mostly tell of the hilarious adventures of the followers of Manuel, and they relate a most satisfying story well within the reaches of this fantasy series.  Lin Carter has put forward his best discovery with the four Cabell books published within the series!  </B></FONT></div> <div> <B>     This book is so good that I want to reread it already!  One of the very funny scenarios that recur is that of the husband and wife relationship.  This is not as one-sided or male-dominated as one might first suppose.  Besides the humour, a lot of truth is brought to the fore about married couples, though certainly in a cartoon-like manner.  Is Cabell really dissing the wives as much as first seems?  Hardly, though he does keep us laughing as he makes his point.  And what of Manuel?  Did turning him into a god do any harm?  Only to the Truth, which, as we know from vast historical experience, is somewhat bendable.</B></div> <div> <B>     It is not an easy book to read.  It requires some concentration, especially at the beginning.  Once Cabell's prose and humour has been figured out, the reader is in for a superb treat, and perhaps even a well-prepared lecture or two.  Not recommended for young readers due to somewhat difficult prose and adult themes.</B></div> <div> <B>****</B><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><B>stars.</B></FONT></div> <div> <B>       </B></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#5--Published September, 1969</B></div> <div> <I><B><U>Lilith</U></B></I></div> <div> <I><B>George MacDonald</B></I></div> <div> <I><B><IMG SRC="19c785000.jpg" border=0 width="645" height="512" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover art by Gervasio Gallardo</B></I></div> <bR> <div> <FONT SIZE="3" COLOR="#006699" FACE="Arial" ><I><B>     </B></I></FONT><B>Two of the strangest works of fiction I have ever read are by George MacDonald.  "At the Back of the North Wind" and "Lilith", though both marred by overt Christian content, still manage to engage the imagination in ways unique to literature.  What better place to become aquainted with a work such as "Lilith" than here in the adult fantasy series.  Both books I've read by MacDonald have a strong hallucinatory quality to them, and if not directly induced by drugs, then they certainly came from a mind that could somehow evoke such a state naturally.  Influenced to a high degree by Dante's "Inferno", the story is also affected by the medieval legends surrounding Adam's first wife.  Goethe's "Faust" also influenced many people in the 19th C., with its overt descriptions of Lilith and her evil ways.  As she is barely mentioned in the Bible, it seems strange to focus on only her Christian links, since her legend originated in Sumer in 4000 BC (as did much of the Bible, for that matter).  So while the 4th quarter of the book is a bit heavy on the Christian theme (so is "Dracula", for that matter, one of the best horror/fantasy novels ever written), this is still a highly readable fairy tale.  Up to that point it is a pagan romp through an amazing and unforgettable alternate world, perhaps closer to dream than even the author intended.  MacDonald's imaginative writing is unparalleled for its rich description, creepy atmosphere, bizarre storyline, otherworldy characters and unexpected plot twists, and other dream-like effects.  The book is hard to categorize, and seems to sit in a unique place on a shelf of its own.  It took me a long time to read the book.  It is long, and the edition has small printing, but I felt better about taking my time walking through this landscape than if I had hurried.  The book could be read by a mature child, but is probably going to leave more of an impact on an adult reader who loves fairy tales with a difference.  Strange and disarming, this is one of the better books of the series.  Recommended.  </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><B>***</B></FONT><B>1/2 stars.</B></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#6--Published October 1969</B></div> <div> <I><B><U>The Young Magicians</U></B></I></div> <div> <I><B>edited by Lin Carter</B></I></div> <div> <I><B><IMG SRC="15092bf50.jpg" border=0 width="299" height="501" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <bR> <div> <I><B>     </B></I><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><B>The only real magician here is Lin Carter himself.  With this anthology he has pulled off a literary fantasy coup, including 18 short stories and poems by fourteen different authors, most of them big names in the field.  They are arranged more or less chronologically, beginning with William Morris and ending with Lin Carter himself.  Some of these had never been published in paperback before.  Not all entries are equally strong, but the good ones are very good and the bad ones not so very bad (one exception, Lin Carter's own piece at the very end of the book--I found it unreadable).  Finding this volume for 95 cents in 1969 would have seemed quite a bargain!  I will treat each entry individually and briefly.</B></FONT></div> <div> <B>     William Morris, </B><B><U>Rapunzel</U></B><B>:  12 pages of this poetry is not a good introduction to Morris' genius as a fantasy writer, but it is a good way to begin this volume.  This is one of the least memorable entries to "Young Magicians", but it is fun to read, and might be especially appealing if read aloud by a good story teller.  Morris' masterpiece in fantasy literature is "Well at the World's End", a must read if one is interested in Adult Fantasy by the original masters and creators of the genre. </B></div> <div> <B>     Lord Dunsany, </B><B><U>The Sword of Welleran</U></B><B>:  Highly readable and entertaining tale of how the ghosts of heroes past both protect their city eons after their human forms have long departed this earth, and how they inspired the populace to rise up against the thieves and bandits that had hoped to ransack it.  </B></div> <div> <B>     E.R. Eddison, </B><B><U>In Valhalla</U></B><B>:  My favourite writer of all time gets a short, somewhat uncharacteristic brief passage from his supposed Nordic masterpiece "Styrbiorn The Strong."  This is a work I will have to seek out.  Carter rates it higher than H. Rider Haggard's "Eric Brighteyes", the best fiction novel I have ever read about the Vikings.  The present scene is a short fantasy one from a novel not strictly in that genre.  While it is not a good introduction to Eddison for non-fans, for us aficianados it has opened a doorway we long thought closed--a fifth novel by the master!</B></div> <div> <B>     James Branch Cabell, </B><B><U>The Way of Echen</U></B><B>:  Easily the strangest of the selections, this one is worth more than one reading.  Excerpted from a novel of Cabell's middle period, it tells of the dreamwalk of the hero into the very heart of where Gods dwell.  Priceless and worth seeking out the book just for this.  Cabell is swiftly becoming a favourite writer of this reviewer.</B></div> <div> <B>     H.P. Lovecraft, </B><B><U>The Quest of Iranon</U></B><B>: A short tale of a fruitless search for a dreamed city.  Hardly one of Lovecraft's true gems, it is nonetheless good Lovecraft, and thus great fantasy.  </B><B><U>The Cats of Ulthar</U></B><B>:  I remember having read this short tale in my teen years and being very influenced by it!  Suitable for younger readers (teens) and a better introduction to Lovecraft's fantasy writing than Quest.</B></div> <div> <B>     Clark Ashton Smith, </B><B><U>The Maze of Maal Dweb</U></B><B>:  This story has been my introduction to Smith's work.  A real gem of a narrative, dark and grim with an ending to relish!  Truly great writing in a very tight short story.  A complete novel--indeed an entire series--could easily be drawn up based on the idea so expertly handled here.  If you have ever wondered how high the level of storytelling reached in American pulp fantasy and sci fi magazines of the Twenties and Thirties (often called The Golden Age of Pulp Fiction), wonder no more.  Brilliant stuff.</B></div> <div> <B>     Lin Carter, </B><B><U>The Whelming of Oom</U></B><B>:  Readable but certainly not memorable.  </B><B><U>Azlon</U></B><B>:   Carter should have left off with the Oom story.  This one I found to be simply unreadable, especially after some of the brilliant selections he dug up from other authors for this volume and the series.  He actually ends the volume with this one, an unfortunate choice for the final cadence.</B></div> <div> <B>     A. Merritt, </B><B><U>Through the Dragon Glass</U></B><B>:  Another odd, very original tale by a true master.  Perhaps the story is a bit of a cliche today, but it is still fun to read and think about.  Reeking with 1930s Orientalist atmosphere.</B></div> <div> <B>     Robert E. Howard, </B><B><U>The Valley of the Worm</U></B><B>:  A fantastic, heartstopping short tale by the author of Conan the Barbarian, this makes a perfect introduction into the type of story Howard unleashed upon the world.  One to savour!</B></div> <div> <B>     L Sprague de Camp, </B><B><U>Heldendammerung</U></B><B>:  A very short poem-story by a writer I have always known about but of whom I am mostly unfamiliar.  Score one for the dragon!  Highly recommended.  </B><B><U>Ka The Appalling</U></B><B>:  de Camp continues the humour element quite nicely with this tale of three conspiritors who invent the most fearful god of all time.  Very much in the spirit of Fritz Leiber.</B><B>  Again, this could be the beginning of an entire saga, rather than just a one-off story.</B></div> <div> <B>     Henry Kuttner, </B><B><U>Cursed Be the City</U></B><B>:  A short novella (long short story), great from first to last word.  This could be the basis for a movie and a grand computer adventure game.  Filled with unforgettable locations, rousing action and all-round flair for characters only minimally described but well understood nontheless.  Loads of fun to read.  My first Kuttner, but hopefully not my last.</B></div> <div> <B>     Jack Vance, </B><B><U>Turjan of Miir</U></B><B>:  Turjan the Wizard gets involved in the adventure of a lifetime, followed quickly by the learning opportunity of a lifetime.  Classic Vance, and superb storytelling.  This volume from the Adult Fantasy Series has so many stories of high quality that I was surprised to find yet another one.  Highly recommended.</B></div> <div> <B>     C.S. Lewis, </B><B><U>Narnian Suite</U></B><B>:  Feeling guilty about the embarassment of virtually unpublished riches he uncovered by American writers, Carter felt he had to include a bit more British content (it was the American pulp magazines that created so many wonderful American writers and gave them all a public voice).  But the Inklings could not totally be left out.  A minor poem by Lewis is included, at least giving the editor, in his introduction to it, a chance to steer unknowing readers toward Lewis' true masterpieces of fiction.</B></div> <div> <B>     J.R.R. Tolkien, </B><B><U>Once Upon a Time</U></B><B> and </B><B><U>The Dragon's Visit</U></B><B>:  Two petit bon bons by a true and familiar master of fantasy are included, both written specifically for this volume.  Like two tiny chocolates left on the hotel pillow, they are not really necessary, but add a nice touch.    </B></div> <div> <B>     Carter finishes off this indispensible collection with a very short bibliography of works by authors included in the publication.  My reading list has just been expanded yet again!</B><B>     </B></div> <div> <I><B> **** </B></I><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><B>Stars.</B></FONT></div> <div> <B> </B></div> <DIV ALIGN="LEFT"></DIV> <div> <B>#7--Published October 1969</B></div> <div> <B><U>Dragons, Elves and Heroes</U></B></div> <div> <B>ed. by Lin Carter</B></div> <div> <B><IMG SRC="151c33f90.jpg" border=0 width="307" height="505" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <bR> <div> <B>    </B><FONT SIZE="3" COLOR="#262626" FACE="Arial" ><B> Published simultaneously with the previous volume and designed as a set of two, this book takes fantasy/fairy stories from classic works of literature.  Excerpts from Beowulf, The Volsunga Saga, The Mabinogian, Le Morte d'Arthur, The Kalevala, The Fairie Queen, Shakespeare, Browning, Tennyson, Voltaire and others make great reading for a winter's afternoon and night.  With so many different excerpts (about twenty), it is not surprising that they don't all catch one's interest.  What is surprising is how many do!  The translation from Beowulf by Norma Lorre Goodrich is astoundingly good, and illustrates the great strength of this volume.  Carter has searched for the most readable translations, not necessarily the most scholarly or perfectly accurate.  His criteria was to find translators that knew how to tell a good story.  In this way, many of the tales told herein really come alive.  There are many omissions that are puzzling (nothing from the Odyssey, for example, or the Mahabarata), but there are so many wonderful discoveries to make that it hardly matters.  I will personally seek out some of these translations, especially Beowulf!  I have not read Malory's Le Morte d'Arthur, and I know it is well overdue.  This excerpt was a great reminder to get busy!  It came as a surprise to me that Voltaire wrote adult fantasy novellas, and the main work in this volume is called "The Pincess of Babylon".  This story is great fun to read, and one of the main highlights of the volume.  There is not much here for children, except perhaps some of the poetry.</B></FONT></div> <div> <I><B>****</B></I><FONT SIZE="3" COLOR="#262626" FACE="Arial" ><B>Stars</B></FONT></div> <div> <B> </B></div> <DIV ALIGN="LEFT"></DIV> <div> <B>#8--Published November 1969</B></div> <div> <I><B><U>Figures of Earth</U></B></I></div> <div> <B>James Branch Cabell</B></div> <div> <B><IMG SRC="19c881000.jpg" border=0 width="641" height="512" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <bR> <div> <FONT SIZE="3" COLOR="#006699" FACE="Arial" ><B>    </B></FONT><B> This has to be one of the finest fantasy novels ever penned.  The more I read of Cabell's works, the more I take away from them.  His language and somewhat tongue-in-cheek way of writing takes some time to appreciate and understand, but once grasped, he is simply one of the best there is.  He influenced writers like Blish and Heinlein, and no doubt many, many others.  He has to be one of the finest writers now dwelling in almost complete obscurity.   The story told so brilliantly here is that of the rise and fall of Dom Manuel.  We actually get to meet the hero and read first-hand of his adventures, so rapturously embroidered by his followers and worshippers in the previous volume (#4--also see that review).  What a great pair of books!!  It probably doesn't matter in which order they are read, just read them!  The relationship between husband and wife continues to be a major theme in this volume.  The great Dom Manuel literally cowers at his wife's feet, though also knows how to deal with matters like the </B><I><B>master</B></I><B> he is.  I must quote one passage to illustrate the humour and insight the book provides:  </B></div> <bR> <div> <B>         </B><FONT SIZE="2" COLOR="#111111" FACE="Arial" ><B> "I am used to her," Manuel replied forlornly, "and I suppose that if she were taken away from me again I would again be attempting to fetch her back.  And I do not like to hurt the poor foolish heart of her by going against her foolish notions.  Besides, I am a little afraid of her, because she is always able to make me uncomfortable.  And above all, of course, the hero of a famous love-affair, such as ours has become, with those damned poets everywhere making rhymes about my fidelity and devotion, has to preserve appearances.  So I get through each day, somehow, by never listening very attentively to the interminable things she tells me about.  But I often wonder, as I am sure all husbands wonder, why Heaven ever made a creature so tedious and so unreasonably dull of wit and so opinionated.  And when I think that for the rest of time this creature is to be my companion I usually go out and kill somebody.  Then I come back, because she knows the way I like my toast." </B></FONT></div> <bR> <div> <FONT SIZE="2" COLOR="#111111" FACE="Arial" ><B>    </B></FONT><B> Far from being sexist, the passage (and novel) skews men as much as women.  Cabell shows less mercy for religion.  </B><B>The fantasy element is rich and varied, from the stork that delivers Manuel's children, to the beautiful god that tries to seduce him away from his earthly existence, and the mysterious window that shows only one's emptiness and internal gloom.  Many gods and magicians are met and properly dealt with, as well as some beautiful and all-powerful goddesses, nearly all lamenting Niafer, Manuel's choice of partner for life.  There is not a single passage in either of these books that children would understand or appreciate, making me like the book even more.  If you have not made the acquaintance of this totally amazing writer, then find one of these books and get reading.  If you've tried reading Cabell before without success (as I had), then try again.  It's worth it!</B></div> <div> <I><B>****</B></I><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><I><B>stars</B></I></FONT></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#9--Published December 1969</B></div> <div> <I><B><U>The Sorcerer's Ship</U></B></I></div> <div> <I><B>Hannes Bok</B></I></div> <div> <I><IMG SRC="19c98d000.jpg" border=0 width="653" height="512" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></I></div> <div> <B>Cover art by Ray Cruz</B></div> <bR> <div> <B>     As the Ballantine Fantasy Series slowly emerged under the leadership of Lin Carter and began to attract notice and a loyal following of readers, the monthly publications were undoubtedly anticipated with great enthusiasm and expectation by fans.  Imagine a book being published every month that had the potential to rival Tolkien or Eddison!  Holding a new copy of Bok's novel, with it's remarkable cover art and promise of a magical voyage, must have seemed a dream come true to aficionados of the genre.  While the novel, which can be read very quickly, likely did not disappoint, it probably didn't really inspire readers too much, either.  The narrative is straight-forward and uncomplicated, and suitable for young readers (not in the least being "adult").  Main characters are kept to a minimum, and there is no question as to who is good or who is bad.</B></div> <div> <B>     The first part takes place on board a ship and is handled quite well.  Bok can carry a story with the bare minimum of a setting, and we feel the confines of a long voyage by ship on every page.  Strangeness is only hinted at, as in the electric shimmering of the daytime sky and the stars at night.  The story leaps off the page when the ship finally reaches land, after being blown off course by a gale.  Bok's description of an abandoned city with temples so large they could not have been built by humans captures our imagination and grips us, forcing us to keep turning pages well after lights should be turned out.  And those little clay figures!  Yanuk, the only living human-like being living there, despite being so alien remains a puzzlingly un-engaging character (he is the “Sorcerer”).  We spend a lot of time hearing about his magic deeds, which are somewhat helpful to our heroes, but the main thing he actually does is introduce the princess (why is she so plain looking--a poke at fairy tale princesses perhaps?) to the God-like Orcher.  Here is a character so terrible and mighty that he would be a good stand-in for the Old Testament God.  His only way to stop the war between cities was to frighten the combatants so badly they would not wish to ever fight again.</B></div> <div> <B>     Bok's book is very much like an ancient sea voyage--long periods of relative calm punctuated by moments of absolute activity and life-threatening actions.  One of the best descriptions of a sword fight in literature of any form is given in the main battle aboard the ship, and remains a highlight of the novel.  The description of the abandoned city (echoes of D'Ni?!) is also unforgettable.  The author is not afraid to have important characters die, or even to destroy one of the main cities of the land and many of its citizens.  War is not glamourized.  However, why this story outranked others in the series in publication order is a bit mystifying.  What was Carter's rush to get this one published before some of the others?  While an enjoyable read, I don't feel it belongs in the same league as many of the other books in the series.  I would recommend it to young people getting started in fantasy, though there are no children depicted in the book.  Having said that, I would really enjoy reading a sequel in which the three main characters develop a bit more and undergo further adventures.  Here lies an opening, perhaps, for a fanfic devotee.  Recommended for young readers.</B></div> <div> <I><B>**</B></I><FONT SIZE="3" COLOR="#000000" FACE="Arial" ><I><B>1/2 stars</B></I></FONT></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#10--Published January, 1970</B></div> <div> <I><B><U>Land of Unreason</U></B></I></div> <div> <I><B>Fletcher Pratt and L. Sprague de Camp</B></I></div> <div> <I><B><IMG SRC="19cb90040.jpg" border=0 width="656" height="516" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <B>Cover Art by Donna Violetti</B></div> <bR> <div> <B>     This novel seems to fit the bill nicely, and once again Lin Carter has chosen an obscure but worthwhile little piece of adult fantasy fiction to revive.  Though it could be read by young adults, it requires a disciplined mind to stay with the story and connect all of the dots at the end.  I had some doubts in the middle, wondering exactly where this work was headed.  Let me make it clear that all will be revealed by the last page, and that the journey is eminently worthwhile.  There is something on the order of Jonathan Swift happening within these pages, though it would take a more skilled reader than this one to figure it out on first reading.  This is a novel I may come back to.  It is beguiling reading, and most unreasonable!  The hero, one Fred Barber, escapes England during a German bombing raid by falling through the cracks and into Fairyland.  He encounters Oberon and Titania, and is given a quest.  Most of the novel concerns the adventurous questings of our hero, and his encounters with strange and stranger beings and landscapes.  It is a simple narrative, but one that should be read with a painter's eye.  Landscapes and scenerios are described clearly and in detail, whether crossing a barren desert or swimming in the bottom of a nasty pond.  Foes and allies alike fill the pages with tenderness, violence and mystery.  The novel appears seamless, and it would not be easy to identify which author wrote which passages.  The book divides itself into four sections; the introduction, where Fred is transported to Fairyland and meets his hosts; his first adventure, which is to use his diplomacy skills to appease the Kobolds; the second adventure, which takes places within a pond (my personal favourite section), and the third adventure, where the hero finally discovers himself, and is able to get a grasp on what has been going on.  Though not recommended for children, parts of the novel would appeal to them, especially the final battle with the eagles and the ice men.  This would make a very good animated film!</B></div> <div> <I><B>***</B></I><FONT SIZE="3" COLOR="#000000" FACE="Arial" ><I><B> stars</B></I></FONT></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#11--Published February, 1970</B></div> <div> <I><B><U>The High Place</U></B></I></div> <div> <I><B>James Branch Cabell</B></I></div> <div> <B><IMG SRC="19cc9afc0.jpg" border=0 width="666" height="508" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <div> <B>Cover Art by Donna Violetti</B></div> <bR> <div> <B>      The more Cabell I read, the more I understand his writing.  He has become one of my very favourite authors.  This is yet another in a brilliant, loosely connected series of novels taking place in the imaginary medieval kingdom of Poictesme.  Our hero is Florian, who had a dream revelation when he was ten years old.  He happened upon a sleeping beauty in a castle, and the sight affected him for the rest of his life.  At age thirty-five, he sets out to find her at last and release her from her spell, promising his first-born son by her to the dark forces that aid him in his quest.  He soon has his heart's desire, the beautiful creature he had once seen in a dream, by the name of Melior.  Then the fun begins!  Melior talks.  She talks a lot.  Florian soon realizes that he would rather be with anyone else except his rescued Melior.  The feelings are soon mutual.</B></div> <div> <B>      Once again, Cabell has a field day lampooning marriage and sex, relationships and religion, philosophy and philology.  Florian tries to live by his father's motto: "Thy shall not offend against the notions of thy neighbour."  Instead, however, he uses historic precedent to legitimize every action that he performs (most of them morally questionable if not downright decadent and unsavoury).  Logic and precedent rule Florian's life to such a degree that there is nothing he can do wrong that cannot be excused by his philosophy, including slaying his brother and attempting to kill his first-born.</B></div> <div> <B>      This is, beyond being a very funny story, a truly great </B><I><B>good versus evil</B></I><B> discussion, and one certainly undertaken from a most unique angle.  Cabell's wit is non-stop, and even when the reader thinks he has nothing more of value to say on a topic, he will often return to it later with much more to say!  Cabell is someone who repays re-reading, as the last two books I have read by him require the first few chapters to be recalled to explain his unique endings.  Since discovering this master recently, one of his books shall never be far from my reading shelf!  Not suitable or of interest to children. </B><FONT SIZE="4" COLOR="#000000" FACE="Arial" ><B> </B><I><B>****</B></I></FONT><B> stars.</B></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#12--Published March, 1970</B></div> <div> <I><B><U>LUD-in-the-Mist</U></B></I></div> <div> <I><B>Hope Mirrlees</B></I></div> <div> <I><B><IMG SRC="19cda4fc0.jpg" border=0 width="676" height="508" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <B>Cover by Gervasio Gallardo</B></div> <bR> <div> <B>          LUD-in-the-Mist is one of those fantasy novels that loyal readers of the genre always hope to discover.  </B><A HREF="http://en.wikipedia.org/wiki/Hope_Mirrlees" TARGET="_top" TITLE="http://en.wikipedia.org/wiki/Hope_Mirrle"><U><B>Hope Mirrlees</B></U></A><B> was a relatively obscure and minor author, and her inclusion in the Ballantine Adult Fantasy series is a tribute to Lin Carter's superb taste in fantasy fiction.  The 1970 Ballantine edition was published without the author's permission, as she could not be located, dead or alive (she was alive).  The novel continues to be reprinted by other publishers, and along with a few other works by the author, her memory is now being kept alive.  And so it should.  This is one of the best stand-alone fantasy novels ever written.  Part detective story, part adventure, and part fairy tale, the story offers humour, drama, excitement and allows a superbly controlled imagination to tell a spell-binding story.  It would make a fabulous animated film, though I for one am glad it has never happened.  The city and the country have never been better depicted in fantasy fiction.  The hero of the story, Nathaniel Chanticleer, is not a young man, but he is a wise and curious one.  Living in a city where even the temptation of eating "fairy fruit" is forbidden (nor can the term be spoken in polite company!), we see a society that thrives on the business of daily living, and not much else.   In summer, there are parties and social visits where the same jokes are told and retold.  In winter, the people retreat to their hearths and do little.</B></div> <div> <B>          Fairy fruit is being smuggled into the city, however, and is being consumed by the lower classes.  When it makes its way into the local finishing school for young ladies, all hell breaks lose!  The story of how Nathaniel proceeds to rescue the young ladies from their fate, as well as rescue his own son, leads to an exciting and fitting climax where the entire town must be saved.  LUD is a city that lovers of fantasy will wish to visit.  Readers will also travel to the countryside and to the farms, encountering strange events there, also.  This is wonderful escapism with an underlying moral that supporters of the present-day "War on Drugs" will wish to avoid.  Though written in the 1920s, it could easily have been written in 1968.  Once again, a big Thank-You to Lin Carter and the publishers for rescuing this great little story, and to those who continue to publish it today.</B></div> <div> <B>          Though there is nothing in the novel from stopping children reading, it is an adult fairy tale with some complexity. </B><FONT SIZE="4" COLOR="#000000" FACE="Arial" ><I><B>****</B></I></FONT><I><B> stars</B></I></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <I><B>#13--Published March 1970</B></I></div> <div> <I><B><U>At The Edge of The World</U></B></I></div> <div> <I><B>Lord Dunsany</B></I></div> <div> <I><B><IMG SRC="19ce94f80.jpg" border=0 width="660" height="504" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <B>Cover by Ray Cruz</B></div> <bR> <div> <B>          The Ballantine Adult Fantasy series introduced me to the writings of Lord Dunsany, as well as many other of the best fantasy writers.  Even when I lost interest in the series for a number of years, I would still return to Dunsany from time to time.  Usually I would just pick out a story from a volume such as this, sit back and enjoy the wonderful experience.  Reaching #13 in the series brings us to the first collection of his short stories.  His novel was given #2 position in this series (see above), and one of his short stories made an appearance in #6 (see above).  However, in Volume 13 Lin Carter has outdone himself in assembling some of the finest short fantasy fiction ever penned.  This is a book to be treasured and kept by the bedside, reading a story or two at a time.  Hurrying through this book will do it a great diservice.  There are thirty stories here, enough for a month's reading.  Each one offers something special and unique.  Of course I have favourites.  Anything to do with the River Yahn is unparalled in the world of fantasy fiction.  Tales such as "The Hashish Man," "Carcassonne," and "A Shop in Go-by Street" give me the shivers from pure delight at the scope of Dunsany's imagination.  Other great feats include stories based on art by Sidney H. Sime (look him up!)  Dunsany wrote eight slim volumes of stories, and Carter has chosen carefully from each of them, serving us a wonderful treasure trove of pure delight.  Many of them would be suitable for children.  I will doubtless reread these stories until I die. </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><I><B>****</B></I></FONT><B> stars</B></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <I><B>#14--Published April 1970</B></I></div> <div> <I><B><U>Phantastes</U></B></I></div> <div> <I><B>George MacDonald</B></I></div> <div> <I><B><IMG SRC="19cf89000.jpg" border=0 width="649" height="512" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <B>Cover by Gervasio Gallardo</B></div> <bR> <div> <B>          This is a corker of a fairy tale, one of the finest entries in the entire Ballantine Adult Fantasy series.  This was my third encounter with MacDonald (see #5 above), and like "Lilith" there is a linear plot path to follow through a dream world.  As in that other novel, the unexpected twists and turns are very much in the style of actual dreams, in the way storylines and settings suddenly change.  Unlike "Lilith", this story does not have the Christianity element nearly as prevalent.  Rooted in Medievalism, it makes an interesting counterpart to Morris' "Well at the World's End."  MacDonald wrote before Morris, even though Morris is considered the father of adult fantasy fiction.  The reason the editor gives for this fact is that MacDonald's fantasy writing is obviously about dreaming and dream worlds, whereas Morris was the first create "real" other worlds, or at least worlds where most natural laws still hold sway.  Either way, both men are pioneers and well worth seeking out on their own merits, not even counting their historical importance to the genre.  It's true that a little of MacDonald can go a long way, and for this reason I read a chapter or two each day, rather than quickly digesting it.  There is a lot to think about in each chapter, as well as stories within stories (as in Morris).  The writing is colourful, lucid and of high quality throughout.  There are some truly bizarre elements (females with wings instead of arms, that go out and find babies at certain times of the year, to name just one), as well as visions of extraordinary beauty and unparalled imagination.  However, MacDonald always keeps firm control, and never allows his writing to become silly or over the top.  Like Lilith, it is certainly worth more than a single reading.  Highly recommended. Certain parts could be read to children, especially the short stories within the main story.</B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><B>**** </B></FONT><B>stars.</B></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#15--Published May, 1970</B></div> <div> <I><B><U>The Dream-Quest of Unknown Kadath</U></B></I></div> <div> <I><B>H.P. Lovecraft</B></I></div> <div> <IMG SRC="19d287f70.jpg" border=0 width="647" height="503" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></div> <div> <B>Cover by Gervasio Gallardo</B></div> <bR> <div> <B>     This is one of threewo volumes completely authored by Lovecraft in the Ballantine Fantasy Series, and the stories within this first one are very much in the tradition of Lord Dunsany.  The title novella and several of the short stories that follow trace the dreaming adventures of one Randolf Carter.  To quote Lin Carter from the introduction:</B></div> <bR> <div> <B>“…for herein we see Lovecraft as a master of singing and crystalline prose, richly studded with exotic and evocative names, and with little of the dark horrors of the later tales.”</B></div> <bR> <div> <B>     The narrative, sometimes difficult to keep in focus, wanders through many strange and fabulous cities, though the finest part begins during the second half when Carter enters Ngranek and the darker visions of dream.  Beyond lies Pnoth, possibly the darkest area of dream ever imagined, and one has to wonder how much opium might have affected Lovecraft, either self-induced or learned from other `travelers'.  Perhaps not as dark as some of his later horror tales, the blackness encountered in this little fantasy novella is wonderfully disturbing enough.  The reader must allow himself to be carried along, much as in a truly magnificent dream.  By surrendering oneself to the narrator, the journey will remain unforgettable.</B></div> <div> <B>     </B><B><U>The Silver Key</U></B><B>, </B><B>a short story connected to several of the others in this book</B><B>,</B><B> is Lovecraft's outspoken defense of dreaming and dreamers, and should be read once a year by most adults.  Recommended.</B></div> <div> <B>     The final story is </B><B><U>The Strange High House in the Mist </U></B><B>and </B><B>could very well be the finest short fantasy story ever written!  Read this one slowly, and savour every moment.  It certainly begs an illustration or two, but probably the best pictures will come from inside the reader's head, and will remain there long after the story is at an end.  This is a spectacular conclusion to a very worthwhile book, and proves that Lovecraft holds a very high place within the Fantasy genre.  Not recommended for young readers.</B></div> <div> <I><B>***</B></I><FONT SIZE="3" COLOR="#000000" FACE="Arial" ><I><B>1/2 stars</B></I></FONT></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#16--Published June 1970</B></div> <div> <B><U>Zothique</U></B></div> <div> <B>Clark Ashton Smith</B></div> <div> <B><IMG SRC="19d396f70.jpg" border=0 width="662" height="503" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <div> <B>Cover art by George Barr</B></div> <bR> <div> <B>          Zothique is not a novel, but a series of very loosely connected short stories originally published in Weird Magazine.  Each and every story is amazing in its own way, and though they often have similar themes, they are different enough to keep readers enthralled throughout all sixteen of them.  While I do not necessarily have favourites, there are a few that really stand out.  Zothique is the last surviving continent in a distant future dying earth.  On the mainland and among the surrounding islands, necromancy is rife and very powerful.  The encroaching desert has crowded civilization into fewer and fewer cities, and thus no man's land has expanded to include most of the remaining surface.  "Xeethra" makes a very good opening story, giving a good idea of how the continent is dying and what it had been once, a long time ago.  "Necromancy in Naat" will appeal to lovers of zombie stories, though this one is dark beyond most people's wildest dreams.  "Empire of the Necromancers" continues the zombie them, and here it is likely taken about as far as it could.  While all of these stories are dark beyond dark, some offer hope, and even happy endings, of a sort.  Likewise with "Master of the Crabs."  One can even imagine the cover illustration in Weird tales for each of these stories by Smith as they were published.  I will not continue on with describing the remainder of the stories, but think crypts, rotting bodies (some still alive, of sorts), evil sorcery, torture, and of course some truly marvellous adult fantasy.  "The Weaver in the Vault" spins a tale featuring two swordsmen and heroes that remind me very much of Fritz Leiber's Faffrd and Grey Mouser, though they don't last as long.  "The Black Abbot of Puthuum" once again shows two heroes, somewhat luckier than the earlier pair, who encounter an adventure that must have been inspiration for Leiber.  "The Isle of the Torturers" is outrageous in its premise, and certainly lives up to its title.  There is a lot of death and suffering in the "Zothique" volume, and you will read about things you wish you hadn't!  The final story, "The Voyage of Euvoran," is like a tale from Sinbad, and containings possibly the most frightening attack on a fleet of ships that I have ever read.  Watch out for the island with tall, black cliffs!  This is a fabulous volume, and I will be rereading it often!  Definitely not recommended for children.  </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><B>**** </B></FONT><B>stars.</B></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#17--Published July 1970</B></div> <div> <B><U>The Shaving of Shagpat</U></B></div> <div> <I><B>George Meredith</B></I></div> <div> <I><B><IMG SRC="19d490000.jpg" border=0 width="656" height="512" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover art by Ray Cruz</B></I></div> <bR> <div> <I><B>         </B></I><I><B> This is one fantastic book, in every sense of that word!  Actually, it's two books.  One is the strange and delightfully bizarre tale that the title describes, while the second consists of dozens of wise sayings interjected throughout the text and written in smaller print.  Examples of these delightful little poetic sayings are everywhere, but I will quote just a few:  </B></I><FONT SIZE="2" COLOR="#111111" FACE="Arial" ><I><B>"Every failure is a step advanced</B></I></FONT></div> <div> <I><B>                                                                                          To him who will consider how it chanced."</B></I></div> <bR> <div> <I><B>Another favourite:  </B></I><FONT SIZE="2" COLOR="#111111" FACE="Arial" ><I><B>"His weapon I'll study, my own conceal;</B></I></FONT></div> <div> <I><B>                                            So with two arms to his one shall I deal."</B></I></div> <bR> <div> <FONT SIZE="3" COLOR="#111111" FACE="Arial" ><I><B>          The story is one of purest fantasy, though it may take a few pages of reading until this is discovered.  Having already digested a good selection of "The Arabian Nights," this story fits in nicely among those original tales.  There are genies good and bad, magic weapons, sorceresses, spells, lands of magic and myth, as well as plenty of intrigue, plotting and carousing.  The archaic writing style is perfect for the tale, which is also filled with humour and wit and charm.  It may take some getting used to for readers of modern fantasy novels (and it's the same with the incomparable James Branch Cabell), but it is well worth reading this novel until the very last page.  Lin Carter puts it very succinctly in his introduction:  </B></I></FONT><I><B>"</B></I><I><B>The Shaving of Shagpat</B></I><I><B> </B></I><I><B>is told with such delicious irony and humor, in such bejeweled and polished prose, with so few concessions to the Ordinary Reader, that one might think it the production of the lectured, latter years of a successful and world-famous novelist.  Such, however, is not the case."</B></I></div> <div> <FONT SIZE="2" COLOR="#111111" FACE="Arial" ><I><B>          </B></I></FONT><I><B>Even as the 17th entry of this unique series, the novel still strikes us as original, wildly imaginative, worth multiple readings, and thus a perfect candidate for inclusion in the Ballantine canon.  As with several of the latter books in this series I collected, this one was difficult to find and thus one of the last into my collection.  It is now a treasure among treasures!  It might have appeal to younger ones if read aloud as an on-going bedtime story.  </B></I><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><I><B>****</B></I></FONT><I><B>stars.  </B></I></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#18--Published July 1970</B></div> <div> <B><U>The Island of the Mighty</U></B></div> <div> <B>Evangeline Walton</B></div> <div> <I><B><IMG SRC="19d587000.jpg" border=0 width="647" height="512" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover Art by Bob Pepper</B></I></div> <bR> <div> <I><B>          "The Island of the Mighty" (original title "The Virgin and The Swine") is the first of four novels the author wrote based on "The Mabinogian," tales from early Welsh mythology.  As this novel concerns itself with the fourth branch of those tales, chronologically it is last.  The stories concern Math and Gwydion, their conflict with Pryderi, as well as the birth of Gwydion's son Llew and his coming of age.  The volume is divided into three parts, the first dealing with the swine mentioned in the original title.  Gwydion, a bard (and thus a Druid and magician), tricks Pryderi into handing over his prized swine.  Once the trick is discovered, war results.  The first part is a "there and back again" adventure, with Gwydion's mission to capture the swine successful.  However, the entire host of the enemy follows closely at his heels, and once they have entered Gwydion's lands, a terrible war results.  </B></I></div> <div> <I><B>          I found the first section difficult to get into.  It could just be me, but the prose was thick, the names were long and unpronounceable, and the plot did not move along very much.  However, once the swine-stealers arrived at Pryderi's castle, things picked up quickly and the book became difficult to put down.  So hang in there for the first few chapters!</B></I></div> <div> <I><B>          The second section deals with the birth and childhood of Llew, son of  Gwydion and his sorceress sister Arianrhod (the virgin from the original title).  Don't even ask about the strange birth (she had twins), or the moral issues involved with striving to be known as a virgin, and having to disown, hate and curse her two male children.  This is the kind of woman you do </B></I><I><B><U>not</U></B></I><I><B> want to upset, even if she is your sister and best friend.  While Gwydion gets what he wants from her (a son), he pays the rest of his life for it.  Each time she puts a curse on Llew, Gwydion must try to outwit her and undo the curse.  Each time he succeeds Arianrhod grows more and more evil, until, in the third volume, she shows just how nasty she can be!</B></I></div> <div> <I><B>          In fact, women do not come off too well in this mythology.  Llew eventualy marries (a woman made from flowers by Gwydion and Math, using their wizardry).  She betrays Llew, has him killed, and takes up with another man.  This does not go unnoticed by Gwydion, Llew's ultra powerful dad.  He spends years in search of the boy's soul, in the hopes of bringing him back from the land of the dead.  Only after he has found him does he seek revenge on Llew's ex-wife.</B></I></div> <div> <I><B>          The stories are so bizarre, and the characters so alien to most fantasy readers, this novel may find it has detractors.  However, Ms. Walton's prose is so seductive and attractive, and she understands this world so perfectly, that I had difficulty putting the book down (after a slow start).  I am greatly looking forward to reading the other three books in the series she has written (two are in the Adult Fantasy series).  Recommended for adults, though a good storyteller could easily adapt and summarize the basics for a series of bedtime stories for children (ages 8 to 11).  </B></I><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><I><B>***</B></I></FONT><I><B>1/2 stars</B></I></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#19--Published August 1970</B></div> <div> <B><U>Dernyi Rising</U></B></div> <div> <I><B>Katherine Kurtz</B></I></div> <div> <I><B><IMG SRC="19a63a0d0.jpg" border=0 width="314" height="525" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover art by Bob Pepper</B></I></div> <bR> <div> <B>          The first volume in a new (at the time) multi-volume fantasy series excited me to no end when I first encountered it.  It was likely the first fantasy volume I'd ever read that was penned by a woman.  More than that, it promised new material from the publisher, instead of writing that was decades old.  This, in turn, meant that the series could go on in perpetuity, and someday I would own hundreds, if not thousands, of this type of book.  For the Ballantine Adult Fantasy series as a whole, it was the second volume in a row written by a woman, and must have been seen as something of a risk.  This feat no doubt helped open the world of fantasy writing to females, giving them hope of being published and taken seriously within the genre.  Science fiction publishing had not been so kind to females.  Ah, if it only had....</B></div> <div> <B>          The story, writing, characters and setting are gripping, to say the least.  This was my second reading, but I remembered virtualy nothing of my earlier attempt as a late teen.  There is no epic voyage in the story, no elves, hobbits or dragons.  There are some pretty impressive magicians, however (the Deryni), a gloomy and enormous castle, good guys and bad guys galore, intrigue upon intrigue and, as in Walton's book (see #18, above) two pretty nasty females.  It is doubtful if any man could have created the four heroines from this book and the previous title by Walton, in all their resplendent hatred, beauty and cold-heartedness.  Kudos for some truly imaginative female villains!</B></div> <div> <B>          Though the hero of our story is a boy of fourteen (never underestimate children in fantasy novels), it is doubtful if a teen would enjoy this book.  The plot at first appears static, like the location.  There are no epic battles fought by huge armies led by mad and merciless generals.  There are, however, stabbings in the dark, great plottings, poisoning, much discussion and even a fair amount of sleeping and resting.  However, the novel is so gripping that I found it hard to put down, even amidst a very busy time in my life.  This is classic adult fantasy (no sex, either; sorry) written by a person that knows how to fill a page and encourage the reader to turn to the next one.  Three of Ms. Kurtz's Dernyi novels were published in the Ballantine Adult Fantasy series, and I look forward to rereading all of them.  However, there are now some</B><A HREF="http://www.rhemuthcastle.com/wiki/pmwiki.php/Books/Deryni" TARGET="_top" TITLE="http://www.rhemuthcastle.com/wiki/pmwiki"><U><B> twenty novels in the series</B></U></A><B>!  Not sure I'll make it that far.  </B><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><B>****</B></FONT><B> stars</B></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#20--Published August 1970</B></div> <div> <B><U>The Well at The World's End, Volume One</U></B></div> <div> <I><B>William Morris</B></I></div> <div> <IMG SRC="19d7cff40.jpg" border=0 width="975" height="500" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></div> <div> <B>Cover art by Gervasio Gallardo</B></div> <div> <B>By combining the two novels, an amazing three-part cover emerges!</B></div> <bR> <div> <B>        William Morris was in the forefront of the Arts and Crafts Movement in England, and had his artistic hand in many pies in the 1800s.  Learning a bit about him and his environment (Red House in Bexley, London is a good place to begin) will go a long way in gaining an appreciation of his writing.  The biggest influence on his medieval fantasy fiction was the </B><A HREF="http://en.wikipedia.org/wiki/Pre-Raphaelite_Brotherhood" TARGET="_top" TITLE="http://en.wikipedia.org/wiki/Pre-Raphael"><U><B>Pre-Raphaelite painters</B></U></A><B>, best represented in the Tate Britain gallery in London and elsewhere.</B><B>   A glance at several of these masterpieces and Morris' novels will then suddenly come into sharper focus.  </B></div> <div> <B>        This is the book that got me hooked on the Ballantine Fantasy Series, and I first read it at about 17 or 18 years of age.  No doubt lured to the book by the astonishing wrap-around cover art (three panels when both Vol. 1 and 2 were combined) Ralph, the hero, was as much an inspiration to me as was Aragorn or Tarzan or Lessingham.  Rereading it nearly forty years later, what could I expect?  Would the book be just a teenager's inspiration, leaving an older, far more cynical adult unmoved?</B></div> <div> <B>       Morris is a magical story-teller of the first rank, and I rank him up there with Tolkien, who was apparently inspired greatly by the books of Morris, as was C.S. Lewis.  Being a lover of maps, I do long for a large colour map of Morris' wonderful world described so aptly here, but other than this oversight I can find no fault with Vol. 1.  There are two books within the volume (Tolkien again?), and the leisurely start to Book 1 again puts us in mind of The Fellowship of the Ring.  Once the journey is underway, the reader becomes seduced by the description of landscape, the cities and villages, the people and their deeds.  Unlike Tolkien, it is hard to determine for a long while who is on the side of good (besides Ralph, of course) and who is evil.  I greatly admire how Morris can tell stories within stories.  He will often take up several chapters having Ralph listen to a story from another character.  This goes some way to slowing the main narrative, but the weaving and interweaving of the additional stories make the tapestry that much richer and more colourful.  Besides, the reader is not in any hurry to get to the World's End as long as Morris seduces us with his medieval magic.</B></div> <div> <B>     The story is a long one, and the printing in both volumes is miniscule.  Undoubtedly it would have been better to publish the series as four books, the way Tolkien wanted his trilogy to be six.  The first volume leaves Ralph at the end of the known world, though not yet at World's End, having traveled to places of grreater and greater peril.  Having lost his first true love earlier in the story, he is now pursuing his second.</B></div> <div> <B>     Like a long journey, I prefer covering the novel in shorter sections, and usually read only two chapters each day.  This gives the work a grand epic feel, which I think it more than deserves.  My second reading is proving to be at least as captivating as the first, and I can't wait to begin Volume Two once more.  It's nice to know that at least in some ways I haven't changed very much, and that I still admire chivalry and genuine goodness in a person.  It should also be said that Morris' women are very strong heroines.  The novels would be tough going for young readers.</B></div> <div> <I><B>****</B></I><FONT SIZE="3" COLOR="#000000" FACE="Arial" ><I><B> stars</B></I></FONT></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#21--Published September 1970</B></div> <div> <I><B><U>The Well at the World's End, Volume Two</U></B></I></div> <div> <I><B>William Morris</B></I></div> <div> <I><B><IMG SRC="19d9ddff0.jpg" border=0 width="989" height="511" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <B>Cover art by Gervasio Gallardo</B></div> <div> <B>When Vol 1 and 2 are combined, a splendid three-part cover emerges!</B></div> <bR> <div> <B>      It takes Morris three quarters of the two-volume story to finally arrive at the Well, which occurs right at the end of Book 3.  I like this pacing; it feels right.  It also respects the Golden Mean rule, and allows plenty of time to get back home.  Tolkien was also impressed by this pacing, and was likely influenced enough to take time to write about the adventures that still awaited the Hobbits once they returned home at the end of Return of the King.  </B></div> <div> <B>      Book Three takes Ralph from his thralldom to the Lord of Utterbol, to the off-road adventure of a lifetime with Ursula, the maiden from Bourton-Abbas he met at the beginning of his journey.  This part of the novel is very much a travelogue of their adventures crossing mountains, plains, deserts and lava fields, until at last they arrive at the sea and discover what it was they came to find.  Before arriving, they spend an entire winter living in a cave in the Vale of Chestnuts.  Even more memorable than their visit to the sacred Well was their earlier discovery of the Dry Tree and the poisonous pool of water, depicted so imaginatively by Gallardo on the cover of both books.</B></div> <div> <B>     In Book Four the happy couple, now even more god-like than before drinking from the Well, make their return journey to Upmead.  They make it back as far as the abode of the Sage near Utterbol before winter arrives once again, and they tarry until spring.  From here they move towards Utterbol, and though a new and friendlier ruler now dwells there, we are still not destined to enter those walls, even as in Volume One.  However, Ralph does meet all his old allies here, and Morris does a remarkable job of tying up loose ends in this part of the world.   In fact, some serious and heroic work needs to be done by Ralph back in Upmeads, as the land is in the process of being invaded as the couple return (Tolkien).  Morris does a great job of keeping the interest level high to the very end of the series by having Ralph face this threat head on.  The book could have easily ended at the Well itself, or simply drifted into nothingness with a simple and brief return home.  Tolkien took notice of Morris' ending when he had Hobbiton overcome by invaders at the very end of Lord of the Rings, who were soon sent on their way by our Halfling heroes.</B></div> <div> <B>       In conclusion, Morris is a master storyteller who knows his way around characters, places and plot.  A second reading confirms what I knew when I was 17--this is one hell of a good read for lovers of medieval fantasy, and in fact was the actual origin for the genre!  Savour each chapter and each story within story.  I predict a third reading for me at some point.  The material is appropriate for younger readers, though the writing style likely won't appeal to them.  Recommended for mid-to-upper teens and adults.</B></div> <div> <I><B>****</B></I><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><I><B> stars</B></I></FONT></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#22--Published October 1970</B></div> <div> <I><B><U>GOLDEN CITIES, FAR</U></B></I></div> <div> <I><B>Lin Carter, ed.</B></I></div> <div> <I><B><IMG SRC="19ae370d0.jpg" border=0 width="311" height="525" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover art by Ralph Iwamoto and Kathleen Zimmerman</B></I></div> <bR> <div> <I><B>         Like the previous world tale collection in this series (see #7:  "Dragons, Elves and Heroes"), Lin Carter has put together a marvellous volume that can not only be enjoyed in its own right, but should lead the reader to many other sources as well.  Whetting the appetite for more is hardy praise for such a book.  This particular volume has been in my collection since my teens, and it always was graced by my favourite title of the entire series.  However, until now I had never read it!!  In additon to an introductory essay for the collection, Carter presents each of the thirteen tales with a proper introduction.  I would also like to say a word or two about each of the stories, by way of a review.</B></I></div> <div> <I><B>          </B></I><I><B><U>How Nefer-Ka-Ptah Found the Book of Thoth,</U></B></I><I><B> from an Egyptian papyri and retold by Brian Brown, tells a tale of a king's son, an avid reader, and his pursuit of the ultimate book.  How he achieves this marvellous feat, and at what cost, makes for a short  but sweet beginning to this volume.  If you like this opening story, as I did, then you will likely enjoy the rest of the book.</B></I></div> <div> <I><B>          </B></I><I><B><U>The Descent of Ishtar to the Netherworld</U></B></I><I><B> is a short poem (translated by Carter himself), and is a bit pedestrian by comparison.  However, it has all the ingredients</B></I><I><B> of a great fantasy epic, proving beyond a doubt that authors from any age are capable of unleashing their imagination in ways that can still be appreciated by readers distant in time and location.</B></I></div> <div> <I><B>          </B></I><I><B><U>Prince Ahmed and the Fairy Paribanou</U></B></I><I><B> is a tale from the Arabian Nights, though not one published by Burton.  Though loosely connected, it is in two distinct parts, and they each make good separate tales.  The second one is the better of the two, and really captures the spirit of these rich tales nicely.  I have not read any of the Arabian Nights tales now in many years, but will soon undertake some of them again.  A loyal son, distrusted and abused by his father the Sultan, goes well out of his way to make his unique way in the world.  This is one of the best stories in the present volume.</B></I></div> <div> <I><B>          Of course the Thousand and One Nights stories became hugely popular, ushering in an age of Orientalism in Europe that was to last over a century.  James Ridley wrote a volume of original tales entitled "The Persian Tales of the Genii," and Carter has selected </B></I><I><B><U>The Merchant Abudah's Adventure with the Ivory Box</U></B></I><I><B> for this volume.  Nearly as rich and captivating as the original Arabian Nights tale above, we follow Abudah's various bizarre adventures as he searches for the talisman of Oromanes, egged on by a tiny old hag that pops out of a tiny ivory box every night to torment him.  We follow our hero/merchant through four significant adventures, each one stranger and more fantastic than the previous one.  I enjoyed all of it right up until the final paragraph...</B></I></div> <div> <I><B>          </B></I><I><B><U>Wars of the Giants of Albion</U></B></I><I><B> is from the Welsh Historia Regum Britanniae by Geoffrey of Monmouth.  The tale told here describes how Britain came to be settled and ruled.  Though a lot of the material I have reviewed so far might sound a tad on the dry side, it is anything but.  Almost all of the stories, and this one in particular, are easy to read by the lover of fantasy writing.  If you are interested in writing fantasy, you will also learn a lot about storytelling from these wonderfully imagined tales!</B></I></div> <div> <I><B>          </B></I><I><B><U>Forty Singing Seaman</U></B></I><I><B> is a ballad on an old legend by Alfred Noyes, telling a fantastic tale that could be real or could be imagined. </B></I></div> <div> <I><B>          We move next into Carolingian literature.  Huon of Bordeaux is a medieval French romance translated by Sir John Bourchier and retold by Robert Steele.  If you like Arthurian romance or other tales of chivalry, this story will please greatly.  </B></I><I><B><U>The Shadowy Lord of Mommur</U></B></I><I><B> is the title of this excerpt.  I have not talked much about the humour in many of the stories.  This tale is a good example of that aspect, which many of the others also share.  The hero is given a cup and a horn by King Oberon, and their magic is interweaved throughout the story.  The cup will always be filled with wine for all who are thirsty.  The horn, if blown, will immediately summon King Oberon and his army to aid the hero.  He is not to use it unless circumstances are exceedingly dire, upon pain of death and much suffering.  Of course our hero must try it out to see if it really works...</B></I></div> <div> <I><B>          </B></I><I><B><U>Olivier's Brag</U></B></I><I><B> is a modern treatment of the Carolingian theme by Anatole France.  This one features Charlemagne himself, along with his twelve cohorts, as they are guests of a certain King.  Later that night, housed in their quarters, they take turns bragging (all in fun) about what exploits they might achieve next day, many of which are very hostile and unflattering to their host, including destroying his castle and making off with his daughter.  The King overhear's their brags, and next day forces each of them to fulfill his boast or die.  Very short and very amusing!</B></I></div> <div> <I><B>          </B></I><I><B><U>The White Bull</U></B></I><I><B> is the second tale by Voltaire to make it into this series (the other is in "Dragons, Elves and Heroes"), and is a highlight of the collection.  The tale concerns a princess whose lover has been turned into a great white bull, and her efforts to restore him to his former self.  Told in eleven short chapters, this is a "do not miss" part of the volume.  Highly recommended.</B></I></div> <div> <I><B>          </B></I><I><B><U>The Yellow Dwarf</U></B></I><I><B> is a French fairy tale.  Fairy tales these days are aimed mostly at children, but that was not their original intended audience.  Bellissima is the only surviving daughter of the Queen, and is sought after by every prince in the land.  At her tender age of fifteen, she has no immediate need of a husband, nor any plans of falling in love with any of the princes who have come to court her.  The mischievous dwarf (aren't they all?) has plans of his own, and entraps the mother, getting her to promise Bellissima to him.  He then traps the girl, making her promise to marry him before he releases her.  This is a witty tale that would no doubt be quite frightening to young children (therefore they would undoubtedly like it).  Happy endings were later additions to fairy tales by Disney.  Don't look for a happy ending here, though it is certainly a good ending.</B></I></div> <div> <I><B>          </B></I><I><B><U>Arcalaus the Enchanter</U></B></I><I><B> is thought of so highly by Lin Carter (as are the fantasy tales of Voltaire) that he had plans to publish entire volumes in the Adult Fantasy series for each of them.  I am now a firm believer that Arcalaus, from a Portugese epic entitled "Amadis of Gaul," is one of the most imaginative adventures I have ever read.  There is a fair amount of jousting, a visit to a very nasty dungeon, and an enchantment that holds our hero captive.  Great imagination is unleashed here.</B></I></div> <div> <I><B>          </B></I><I><B><U>The Isle of Wonders</U></B></I><I><B> is a second tale from "Amadis of Gaul," and is very much in the tradition of "The Sword in the Stone."  Only one person can claim the prize.  I plan on finding more of these delightful stories soon.</B></I></div> <div> <I><B>          </B></I><I><B><U>The Palace of Illusions</U></B></I><I><B>, from "Orlando Furioso" by Ariosto and translated by Richard Hodgens, was another masterwork that Lin Carter wanted to bring into the series.  He did manage to get one volume in, though he had plans for others, too.  This is easily the finest tale of the thirteen in "Golden Cities, Far," and I can't wait to read the volume published later under the sign of the unicorn.  Giants, a magic ring, a naked maiden chained to a rock, a hypogriff, a magic entrapment, a horn that when blown, terrifies anyone who hears it, and many other prime fantasy elements combine to make a great and highly entertaining tale!</B></I></div> <div> <I><B>          In conclusion, Lin Carter has outdone himself with this fabulous collection of tales from historical and modern sources.  One of the best in the whole series.</B></I></div> <div> <I><B>*****</B></I><FONT SIZE="3" COLOR="#111111" FACE="Arial" ><I><B> stars.</B></I></FONT></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#23--Published November 1970</B></div> <div> <I><B><U>BEYOND THE GOLDEN STAIR</U></B></I></div> <div> <I><B>Hannes Bok</B></I></div> <div> <I><B><IMG SRC="19af77050.jpg" border=0 width="631" height="517" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover art by Gervasio Gallardo</B></I></div> <bR> <div> <I><B>          This is the second complete novel by Bok in the Ballantine Adult Fantasy Series, following publication a year earlier of "The Sorcerer's Ship".  At the time, that novel did not make a great impression on me, but images from it keep coming back to me.  I will likely reread it.  The introduction to "Golden Stair" by Lin Carter is fascinating, as we get a good behind-the-scenes peek at a (at the time) living fantasy writer.  This may be a good time to introduce some thoughts on the series' cover art.  Just about every aspect of this cover is derived from an actual descriptive passage in the novel.  This has long been one of my favourite covers in the entire series.  At this point in my reviews, I have decided to go back and include both front and back covers of panoramic scenes such as this.  Watch for previously reviewed two-sided covers to begin appearing.  The covers of "Well at the World's End", along with that beautiful title, are what attracted me to the series as a teen, and I am just as fascinated now as I was then.</B></I></div> <div> <I><B>          The story divides into three parts.  Part 1 deals with events that lead our disfunctional group of lead characters to the stairway.  Part 2 deals with the actual climbing of the stairs, while Part 3 takes us to the magical and fantastic place that lies at the top of the stairs.  A short Coda at the very end brings us back down the stairs again.  </B></I></div> <div> <I><B>          Part 1 is quite amazing and fun to read, as three criminals on the lam escape into the Florida Everglades with a hostage in tow.  The three criminals, far from being portrayed in one dimension, are far more interesting that the Utopian folk we meet later on.  Frank, Carlotta and Burke never disappoint us with their greed, violence, and petty banter.  Our captured hero, Hibbert, is a WW11 vet with a bum leg, and is out of his league with this trio of low life, though he just barely manages to hold his own in most situations.</B></I></div> <div> <I><B>          Part 2 can be envisioned by looking at Gallardo's amazing cover art.  I think Bok would have been very pleased had he lived to see this publication.  The only real discrepancy between the written word and the visual art is that Bok stressed that the stairs were moss-covered.  We meet the blue flamingo, and without giving away any of the plot, it is not the same flamingo when we return to the blue pool at the end of the novel.</B></I></div> <div> <I><B>          Part 3 is a good example of the purest form of fantasy writing, a bit like the writing in "A Voyage to Arcturus."  I label this kind of writing as the "I had a fantastic dream last night and I'm going to tell you all about it!" syndrome.  If you think that listening to other people's dreams is the highest form of bliss, then you will love every sentence of Part 3.  If, however, like me, you begin to yawn within seconds of such events, then Part 3 may be a bit of hard going.  Bok's tale is somewhat saved by the three villanous characters of Scarlatti, Carlotta and Burke, as they are made to reveal the reasons behind why they turned out as they did.  Frank Scarlatti manages to keep his past to himself, no doubt much to our relief.  To see how criminal buffoons would react in Utopia is somewhat edgy writing.  We keep wishing that the intelligent, peaceful hosts would just put them out of their misery!  No such luck.  Like many a Star Trek episode, the Utopian dwellers (it's called "Khoire") do not interfere directly with the evil characters, which turn out to be Carlotta and Scarlatti.  They are left alone to destroy themselves, and it happens in a way that is once again reminiscent of a Star Trek episode.  Burke manages to save himself through great personal sacrifice, after committing a truly horrible deed.</B></I></div> <div> <I><B>          I enjoyed the novel, especially Parts 1 and 2.  Part 3 is well done and all, but to me it was anti-climactic.  Half the fun was staring at the cover and imagining what might be at the top of those stairs.  Bok's version is quite good, but so is mine! </B></I><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><I><B> </B></I></FONT><I><B>While the cover art would be of interest to children, it is doubtful if the story would.  Show them the cover and make up your own bedtime story about it.  They will certainly love</B></I><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><I><B> </B></I></FONT><I><B>that!  </B></I><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><I><B>***</B></I></FONT><I><B> stars.</B></I></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#24--Published January 1971</B></div> <div> <I><B><U>THE BROKEN SWORD</U></B></I></div> <div> <I><B>Poul Anderson</B></I></div> <div> <I><B><IMG SRC="19b888000.jpg" border=0 width="648" height="512" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover art by George Barr</B></I></div> <bR> <div> <I><B>          This novel is an amazingly good read!  The Ballantine Fantasy Series itself is one of the most amazing feats of fiction publishing ever undertaken, and it is books like this one that makes the whole undertaking worthwhile.  This is the first fantasy fiction I have read by Anderson, and it is an eye-opening experience.  It is closest in theme to the works of Tolkien and Walton (#18, above), though not very close to either of them.  Anderson knows his mythology as well as either of those authors, however, and possesses one of the greatest gifts of story-telling this writer has ever encountered.  There are gods, elves, dwarves, goblins, witches, trolls, giants and even some humans, but they are vastly different from such creatures encountered anywhere, except perhaps in the original Norse myths.  The Elven women are especially interesting, being vastly different from Tolkien's ladies. </B></I></div> <div> <I><B>          Broken swords are common in myths, though this is the most powerful one I have ever encountered.  Getting it reforged is possibly the most amazing part of the entire story, which tells of two "brothers" and their hatred for one another, and how their two stories intertwine and eventually, and fatefully, meet.  The reforging part of the tale brought back memories of "Worm Ouroboros."  The many fierce battles, the cold blooded murders, treachery, revenge and passion go far beyond that story, however, even beyond Tolkien.  Such evil deeds happen to such good people that it almost seems real.  The story moves along at a rapid pace, and once going it is hard to put the book down.  Though spring and summer feature in the book, it is the many wintry parts that I will long remember.  Snow, ice and bone-chilling cold feature prominently.  One of the finest and purest fantasy tales I have ever read. </B></I><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><I><B> </B></I></FONT><I><B>Not suitable for children. </B></I><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><I><B>****</B></I></FONT><I><B> stars.  </B></I></div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>#25--Published February 1971</B></div> <div> <I><B><U>THE BOATS OF THE GLEN CARRIG</U></B></I></div> <div> <I><B>William Hope Hodgson</B></I></div> <div> <I><B><IMG SRC="19da82000.jpg" border=0 width="642" height="512" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></I></div> <div> <I><B>Cover art by Robert LoGrippo</B></I></div> <bR> <div> <I><B>          I love sea adventure stories, and am a great fan of Joseph Conrad novels.  Hodgson knows as much or more about the sea and sailing, and has the power to put us in the boats with the stranded crew.  This is a spine-tingling adventure, containing one of my favourite opening chapters.  If, like me, you love Chapter One and what it promises, then you will love the rest of the book.  It is a short novel, easily read in a weekend, and indeed it is hard to put down once begun.  This was one of the first Ballantine Adult Fantasy novels to enter my collection, way back in my late teens.  It was read and enjoyed not just by me, but made the rounds of several appreciative friends, too.  Like many of the other stories in this series, it would undoubtedly make a great movie.  However, I find my own imagination quite adequate and up to the challenge.  Hodgson paints vivid pictures, especially night ones, and the reader has no trouble envisioning the setting, characters and mostly unseen horrors that plague the crew.  This is a fun book to read, and one can easily understand why Lovecraft had such great praise for it.  Jacket blurbs on books can't give  much higher recommendation than that!  </B></I><FONT SIZE="4" COLOR="#111111" FACE="Arial" ><I><B>***</B></I></FONT><I><B>1/2 stars.  Not suitable for young children (as indicated by the author in the final sentence of the novel).</B></I></div> <div> <I><B>          </B></I></div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <I><B>  <script type="text/javascript"> var sc_project=4981791; var sc_invisible=0; var sc_partition=57; var sc_click_stat=1; var sc_security="0f8f7595"; </script> <script type="text/javascript" src="http://www.statcounter.com/counter/counter.js"></script><noscript><div class="statcounter"><a title="myspace visitor counter" href="http://www.statcounter.com/myspace/" target="_blank"><img class="statcounter" src="http://c.statcounter.com/4981791/0/0f8f7595/0/" alt="myspace visitor counter" ></a></div></noscript>   </B></I></div> </td> </tr></table></body>