Tag Archives: Narnia

The Gods Of Fantasy – repost

Over the three days of November 17 -19, Amazon.com have decided to promote the 2013 Winner of the Eric Hoffer Book Award for YA – At The Walls Of Galbrieth. The novel will be offered FREE in ebook form.

This is a wonderful opportunity for me and I request that, to support my sales rank and me, you download the book and invites your friends to do the same. Feel free to gift it on (Thanksgiving and Hanukkah, anyone?).

To celebrate this and also the milestone of 100 blog posts on elfwriter.com, I wish to offer 10 of my favorite posts over the next three days. I hope you enjoy and, please, take a moment to download for FREE At The Walls Of Galbrieth and spread the word.

Thank you,

Alon

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Pass a summer evening in a quaint English pub, mid 20th century, perhaps in the old town of Oxford. Caress a pint and listening to a few graying professors discuss semantics, philosophy, and the ancient languages long forgotten outside the sheltered walls of academia. What else can one possibly ask for? 

imgres-1

Imagine these tweed-clad, pipe-smoking academics, hatching more than another challenging semester to try the greatest minds of this fair isle. Each is a king in the making or, more accurately, a kingmaker. For they direct more than the destiny of kings and noble houses. They raise kingdoms and conquer lands. They build great dynasties, bring whole species back from the mists of extinction, and set those of noble birth and principle to stand against evil.

Sip your beer, mull over the words, much of which you might not understand. Dwarves, elves, of course: but hobbits? Marsh-wiggles? Listen as the professors strategize great battles, masterfully marshalling unicorns, dragons, giants, minotaurs and proud ents.

You slowly realize that you sit among the Gods, the creators of Middle Earth and Narnia, who hold court on Tuesdays at midday in a local public house. Perhaps it is The Eagle and Child, or The Lamb and Flag across the street. They read each other’s work and offer critique as writer’s groups have for centuries and continue to do so today.

220px-Birdandbaby

I may never have understood much or been accepted into such an elite. They would have torn my work to shreds on grounds of philological shallowness (I had it checked – it’s not contagious), criticized me for imprudently suggesting that a 100,000 word novel can serve as more than merely an introduction.

They would have demanded richer world-building – take twenty pages to describe a forest, I dare you – unyielding heroes, and infallible plots. They would have challenged the age-old legends dressed up in fictional costumes, and raised an eyebrow at some of the language or innuendos.

Most likely, I would never have dared reveal my stories to the old professors of Oxford, to the most famous writing group in history. I would never have been more than a fly on the wall at a meeting of The Inklings, but would have returned week after week to sit at the feet of the Gods and hear their banter.

For here the Gods gave birth to great worlds and left them as a legacy to us and to our children, long after they departed this world. Every Wednesday night, I sit around a table in a coffee shop in Berkeley, sharing work with other aspiring authors and wonder: do the Gods look down upon us from Writers Heaven?

lewis-and-tolkien1

Do they tut and shake their heads at our adverb addiction, our unwillingness to kill our darlings? Or do they even now move pieces around the literary chessboard. Protect the king! Advance the knights! Who, I wonder, are the pawns?

As we write a new book, a new chapter, do we not imagine the Gods walk among us?  Do they peer over our shoulders at our swanky writing machines, judging every word we write, every world we build? 

The Gods once sat in an old English pub. Now they stand behind us in coffee shops and at kitchen tables, urging us on, watching us walk the path they forged, taking on the quest they started.

For the Gods still walk among us and inside of us. The stories have been told but must be told again in different ways to a different generation. We sign these books in our own names, but humbly acknowledge those who molded us in their image as storytellers.

And now they are the flies on the wall and we who pound the keyboards. Take a moment, draw another pint, and raise your glass:

To the Gods of Fantasy!

 =========================================

Alon Shalev is the author of the 2013 Eric Hoffer YA Book Award winner, At The Walls of Galbrieth, offered by Amazon.com  for FREE on November 17-19. The sequel, The First Decree, and Ashbar – Wycaan Master Book 3 are all released by Tourmaline Books. More at http://www.alonshalev.com and on  Twitter (@elfwriter). Hang out with Alon on Google+

Guest Post from Elwin Cotman – exciting young author.

Elwin read his previous collection, The Jack Daniels Sessions to our writers group. His new book – Hard Times – is out and his book launch is at Pegasus bookstore in Berkeley later this week. Elwin has a uniques way of writing, but his voice when reading is amazing. Well worth an evening.

Me3

Back to Reality

1To the bearer of the sandbag: slide back two steps for every one you gain, because the levee does not give ground easily.

2Leper steps, needles pricking his calves and thighs.

3His life measured in steps of ten, one after the other, then again.

4Behind the rifle aimed at his cheek: a hairy face plastered with three stripes of black hair and his

5Eyes like the heads of rusted nails, lips drawn back from broken teeth.

6The deputy kept as close to him as a brother, his curses swallowed by the storm.

7Or maybe he had lost his voice and moved his mouth in hateful habit.

finalcoverhardtimesblues1           

The above excerpt is from “The Revelation of John,” a story in my new collection Hard Times Blues. It deals with the Flood of ’27, when terrible storms devastated the Mississippi delta. Blacks along the Mississippi lost their crops, their livelihoods. They also lost their freedom: black men, like my protagonist, were forced to work the levee in a vain attempt to stop its breaking. Equally as terrifying was the aftermath, when the Army Corps of Engineers abused the blacks who survived. It is a tragic event in US history, and most people I’ve met have never heard of it.

But it is a part of our history. And my genre of choice—fantasy—is the perfect way to explore it.

I write fantasy because it is fun. The inclusion of dragons and elves automatically makes a story more engaging for me. However, my subject matter is often not fun. Even in entertainment, the tragedy of the black experience is inescapable. Nor should it be escaped. It should be dealt with head on so that the world does not forget. The events of Hurricane Katrina becomes especially egregious when people know the same thing happened almost 100 years ago. Past and present are one.

As a kid, I spent my days and nights in Prydain, Narnia, Redwall Abbey, and Krynn. I always felt left out because there were hardly any black characters in these stories. It was when I read Toni Morrison’s Beloved that I saw how fantasy could tell my American story. Here was a horror story, with all the dread and uncertainty that makes good horror. The horror itself stemmed from slavery. The ghost of the dead daughter served to make the story more realistic; a key to learning the degradation of black people.

In my work, I explore historical injustice, police brutality, gentrification. They stem from of a desire to bring these issues to light, but also because they reflect my experience. My world is a multicultural one, and my writing is my truth . . . filtered through dragons and zombies. I once asked Charles de Lint, who some consider the father of urban fantasy, if he ever ran into resistance from publishers for writing black and indigenous characters. His reply was that any publisher who had those reservations wasn’t worth his time.

De Lint is a wonderful fantasist, with stories of fairies and bards that would enchant you. More important, his work is compassionate, addressing the lives of the indigenous, the homeless, the survivors. His writing brings you back to reality.

That’s what fantasy does for me: it brings light to the real world. It also offers the perfect platform for tales of heroism. The Afro-American experience holds numerous stories of rebellion against overwhelming odds. Thanks to fantasy, I have the language to honor this history and heroism.

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Elwin  Michael Cotman is a writer of urban and folkloric fantasy. He blogs at www.lookmanoagent.blogspot.com. Hard Times Blues can be ordered on Amazon,com here.

The Gods of Fantasy

Pass a summer evening in a quaint English pub, mid 20th century, perhaps in the old town of Oxford. Caress a pint and listening to a few graying professors discuss semantics, philosophy, and the ancient languages long forgotten outside the sheltered walls of academia. What else can one possibly ask for? 

imgres-1Imagine these tweed-clad, pipe-smoking academics, hatching more than another challenging semester to try the greatest minds of this fair isle. Each is a king in the making or, more accurately, a kingmaker. For they direct more than the destiny of kings and noble houses. They raise kingdoms and conquer lands. They build great dynasties, bring whole species back from the mists of extinction, and set those of noble birth and principle to stand against evil.

Sip your beer, mull over the words, much of which you might not understand. Dwarves, elves, of course: but hobbits? Marsh-wiggles? Listen as the professors strategize great battles, masterfully marshalling unicorns, dragons, giants, minotaurs and proud ents. 

You slowly realize that you sit among the Gods, the creators of Middle Earth and Narnia, who hold court on Tuesdays at midday in a local public house. Perhaps it is The Eagle and Child, or The Lamb and Flag across the street. They read each other’s work and offer critique as writer’s groups have for centuries and continue to do so today.

220px-Birdandbaby 

I may never have understood much or been accepted into such an elite. They would have torn my work to shreds on grounds of philological shallowness (I had it checked – it’s not contagious), criticized me for imprudently suggesting that a 100,000 word novel can serve as more than merely an introduction.

They would have demanded richer world-building – take twenty pages to describe a forest, I dare you – unyielding heroes, and infallible plots. They would have challenged the age-old legends dressed up in fictional costumes, and raised an eyebrow at some of the language or innuendos.

Most likely, I would never have dared reveal my stories to the old professors of Oxford, to the most famous writing group in history. I would never have been more than a fly on the wall at a meeting of The Inklings, but would have returned week after week to sit at the feet of the Gods and hear their banter.

For here the Gods gave birth to great worlds and left them as a legacy to us and to our children, long after they departed this world. Every Wednesday night, I sit around a table in a coffee shop in Berkeley, sharing work with other aspiring authors and wonder: do the Gods look down upon us from Writers Heaven?

 lewis-and-tolkien1

Do they tut and shake their heads at our adverb addiction, our unwillingness to kill our darlings? Or do they even now move pieces around the literary chessboard. Protect the king! Advance the knights! Who, I wonder, are the pawns?

As we write a new book, a new chapter, do we not imagine the Gods walk among us?  Do they peer over our shoulders at our swanky writing machines, judging every word we write, every world we build? 

The Gods once sat in an old English pub. Now they stand behind us in coffee shops and at kitchen tables, urging us on, watching us walk the path they forged, taking on the quest they started.

For the Gods still walk among us and inside of us. The stories have been told but must be told again in different ways to a different generation. We sign these books in our own names, but humbly acknowledge those who molded us in their image as storytellers.

And now they are the flys on the wall and we who pound the keyboards. Take a moment, draw another pint, and raise your glass:

To the Gods of Fantasy!

—————————————————————————————————–

Alon Shalev writes social justice-themed novels and YA epic fantasy. He swears there is a connection. His latest books include: Unwanted Heroes and the 2013 Eric Hoffer Book Award for YA – At The Walls Of Galbrieth. Alon tweets at @alonshalevsf and @elfwriter.   For more about the author, check out his website.

 

Why Fantasy? Another Perspective

Last weekend, I shared some comments from adults explaining why they read fantasy. A friend sent me this article by Lev Grossman, author of “The Magicians” and the recently released “The Magician King.”

The Magicians - Lev Grossman

In the article, Grossman talks about the excitement generated by the release of George R.R. Martin’s “A Dance With Dragons.”

“The book has brought with it, along with the feverish excitement of fans like myself, a whiff of burning insulation. There’s a cultural short circuit happening somewhere in the system.”

What I believe is creating the stir is the fact that while Mr. Martin’s work is clearly fantasy, it does not adhere to the formulas of such leaders as J.R.R. Tolkien and C.S. Lewis. Martin includes a fair helping of blood and sex in his continent of Westeros than the Pevensie children ever saw in Narnia. Something has changed.

Grossman shares his frustration at the perception that fantasy is for children and adults who are in denial that they are adults and seeking some escapism. “I see it all the time. I’ll be at a dinner party, and the person next to me asks me what I do. I’m a novelist, I’ll say, and a little light of hopeful interest kindles in their eyes. What kind of novels do you write? the dinner guest asks. And I reply: fantasy novels. And just like that, the little light of hopeful interest dies away.”

This story really resonates with me. Every week at the Berkeley Writers Group, I meet new people and introduce myself as an author of political fiction. Then when I prepare to read my weekly offering, I apologetically explain that I wrote a fantasy novel with my eldest son. All true of course, but I am conscious that I feel the need to justify. Why is this?

Lev Grossman

Grossman goes on to say: “It hasn’t always been this way. There was a time when adults read fantasy with impunity. The classical literature of Greece and Rome is so fantastical that you can’t swing a cat without hitting a god or a witch or a centaur, and chances are the cat will turn out to be somebody’s long-lost son-in-law in transfigured form.”

Right on! Stephen Wenster backs him up by asking where “would Shakespeare have been without fantasy—his spirits, his ghosts and the witches three of Macbeth?”

Apparently fantasy, without being labeled as a genre was prominent throughout literature history: “Where would Spenser’s “Faerie Queene” be without fairies? Where would Shakespeare have been without fantasy—his spirits, his ghosts, and his proto-Orc Caliban, the misshapen villain of “The Tempest”? You can’t have Macbeth without the witches three. Apart from everything else, who would have handled all that crucial exposition of the play’s plot?”

Absolutely!

Grossman, who holds a PhD in Comparative Literature, claims the downfall began around the time of Samuel Johnson. Perhaps this was the time that the advent of science meant they actually began to believe that ghosts and magic really didn’t exist.

Again, Lev Grossman: “A fascination with the here and the now and the real set in. This was the moment when the novel arose in the West, and it was an ideal medium to satisfy that fascination. Novels were about the way we live now. There was no Caliban on Robinson Crusoe’s island, just the eminently human Friday.

“In 1750, Samuel Johnson wrote an influential essay in praise of fiction that was about “life in its true state, diversified only by accidents that daily happen in the world.” As far as he was concerned, a good novel “can neither employ giants to snatch away a lady from the nuptial rites, nor knights to bring her back from captivity; it can neither bewilder its personages in deserts, nor lodge them in imaginary castles.” Thus admonished, ghosts and witches went off to live in fairy tales and allegories and gothic novels and other disreputable places.”

So history is against us, perhaps because people really did once believe in magic and ghosts. But I believe that in accepting there is nothing factual in elves, dwarfs etc. we can focus on allowing values to play a prominent role because, as Grossman say: “If anything, it is realist literature that pretends to be real. Fantasy doesn’t pretend.”

Fantasy is one of the few literary genres left where it is still considered okay to explore questions of moral judgment. But that’s not a bad thing. When the powerless and good become empowered and are able to change the destiny of their world, there is something that resonates in a world where so many feel alienated and disenfranchised. When coming-of-age can happen at any age, why would an adult still hoping to leave his/her mark on the world not be attracted to such novels?

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Alon Shalev is the author of The Accidental Activist (now available on Kindle) and A Gardener’s Tale. He has written two fantasy novels and the first will enter the Amazon Breakthrough Novel Award in January 2012. More on Alon Shalev at http://www.alonshalev.com/and on Twitter (#elfwriter).