Norse mythology may be more popular than ever at the moment, in no small part due to the influence of the Marvel Cinematic Universe, but the versions of Thor and Loki we see in the movies are far from their historic portrayals. While we call it a mythology, on part with Greek or Japanese mythology, what we know of the religion of the Vikings was not written down until after Christianity had already converted the population. As opposed to the Greeks, who recorded their tales in the forms of poems or plays, the Norse only left behind a few glyphs or runic art pieces in their wake. But the two written sources we do have, the Prose Edda by Snorri Sturluson and the Poetic Edda by numerous anonymous authors, paint a picture of the gods unlike their modern counterparts. Like the gods of ancient Greece, the gods of the Norse were fallible. They were corrupt and vain and jealous, capable of great cruelty and constantly making mistakes. These cultures worshiped gods very similar to mortals, with all of their flaws, and they were not heroes.Continue reading “Death of the Gods: A Review of The Witch’s Heart, by Genevieve Gornichec”
Writing a sequel is always a unique problem for an author as it is usually a self-inflicted one. It is easy to approach a story with the idea that the complete tale will be told in one book, and most authors do choose to go this route. But there is something about the fantasy and science-fiction genres especially that draw writers towards creating more. Usually, this is a net win for the audience, as we want to spend as much time as possible in an author’s imagination if the first book draws us in. I have put down many books wishing that the story had not ended with the last page. But, sometimes, the sequel does not quite live up to the expectations set by the first entry. A sequel needs to both provide a continuation and a satisfying payoff to elements set up by the first book. A mystery or conflict may be enjoyable while it is ongoing, but if the resolution is not satisfying, then the entire whole can suffer.Continue reading “Outlaw to Sheriff: A Review of Spellmaker, by Charlie N. Holmberg”
Western fiction, English and American, possess an endless fascination with the Victorian era of England’s recent history. With a reign lasting from 1837 to 1901, Queen Victoria was the longest reigning English monarch until the current Queen Elizabeth II. During that time, the British Empire rose to what could be considered its height, with the East India Company conquering India and the empire subjugating people around the globe. Yet, this was also a transformative time for England and much of the world. Electrical power began to be harnessed, with lightbulbs becoming widespread by the end of the century. It was the beginning of modern medicine, when the United States finally threw of the evil shackles of slavery, and more. More than any other time period in England’s past, authors have enjoyed setting tales of science-fiction and fantasy in the Victorian era. Maybe it has something to do with the advent of such stories during this time, or it could just be fun to juxtapose the uptight era with the absurdity of magic. Whatever the case may be, Charlie N. Holmberg’s excellent Spellbreaker is the newest in Victorian fantasy.Continue reading “Victorian Robin Hood: A Review of Spellbreaker, by Charlie N. Holmberg”
We have all read the story before. A group of people join together from various walks of life and backgrounds to journey on a quest. They may have to traverse dangerous terrain, fight off bandits, or avoid pursuit by the forces of evil. The setting itself does not matter, only that this band of adventures embarks on a journey seeking something. But a quest does not just have to a physical matter. The Merriam-Webster dictionary defines a quest as an act or instance of seeking. It does not state that a quest is just about the travel or that what they seek is a physical object. Oftentimes, the point of the quest is not only to accomplish a mission, but to grow as well. While a character remains in one place, they are static. It is only through embarking on or joining the quest that they can change.
While this blog has been, and always will be, a great proponent of fantasy, most of the fantasy novels I have reviewed skew towards variations of high fantasy. Almost all take place in an alternate world; that is, not Earth in the present day or accurate history. For many authors, creating an entirely new world can actually be much easier than trying to base your fantasy in the real world. By creating your own world, you set the rules. Magic works, or does not work, as you see fit. However, even in these fantastical lands, authors are still able to talk about modern issues, usually through coded language and stand-ins. For example, the Na’vi in the film Avatar are used as a stand-in for the many indigenous tribes of North America around the time of European colonization. However, urban fantasy is a different beast altogether. By using the real, modern-day world, such subjects can be tackled head-on, without euphemism or substitution.
Fantasy is one of those genres of fiction that can be set in any world you can imagine. Authors can take as much, or as little, inspiration, from the real world as they like. The only boundary to the world in the book is the writer’s imagination. The setting and world can be as realistic as possible, adhering to real-world physics and the like. Or, an author can go completely wild and show us something with no resemblance to our world. So, why is it that so much fantasy just looks like medieval Europe with the addition of magic or strange creatures? Many, many books are written by cisgender, heterosexual, white men and feature cisgender, heterosexual, white protagonists. There are so many other voices out there, authors of diverse ethnicities, sexualities, and an entire spectrum of genders. Their books deserve to be read too.
As it says in the title, my review for Alina Boyden’s wonderful fantasy novel, “Stealing Thunder,” will be up tomorrow. It took me all month to get through this book, not because of the book itself or its length, but because of my own fatigue.
There is a lot of awfulness happening in the world, from an atrocious pandemic response to the constant police violence against Americans to J.K. Rowling revealing herself to be a raging transphobe. It’s a lot to take in, and it makes it difficult to enjoy the things I would normally enjoy, such as reading. Every time I picked up the book, I couldn’t help but ask, “Why am I reading when I should be doing something more?”
But it was important to me to finish “Stealing Thunder” and get the post up as soon as possible. This is a novel written by a trans woman author, about a trans woman heroine. Plus, it has some pretty cool fantasy aerial dogfights.
We need more books like this to go mainstream.
I already have the next two books on my list picked out, and I will try to get back on my schedule of reading/reviewing two to three books a month.
This blog believes that black lives matters and trans rights are human rights.
Once upon a time, there was a genre of fiction that took the world by storm. Following daring captains upon the high seas, engaging battles between warships, and fantastical hunts for white whales, nautical fiction was once the talk of every reader. From Moby Dick in 1851, to the Aubrey-Maturin series in the 20th century, nautical fiction brings the world’s oceans to the forefront of adventure. For most of human history, sailing was fraught with danger and the sea was little understood. Sailors knew enough to be cautious, and nautical fiction was an opportunity to take a look at their stories and show the kinds of adventures that could be found on the waves. While nautical fiction has declined in popularity, it has never disappeared. Occasionally, an author such as RJ Barker decides to take this fiction staple and inject it with something else. In this way, we get The Bone Ships, nautical fiction for a fantasy world.
Scandinavia can at times seem like a harsh and unforgiving land, but people have called it home for thousands upon thousands of years. Now broken up between Sweden, Norway, and Finland on the mainland, the Nordic people also settled into Iceland Svalbard, Jan Mayen, Greenland, and the Faroe Islands. This is a setting which as gripped popular culture for years, with many authors choosing to pull from its rich history. The origin of the Vikings, some of the fiercest raiders the world has ever known, they revered a uniquely flawed pantheon of gods and goddesses. Unlike pantheons around the world, the gods of the Norse could be killed. Their names have long since transcended folklore, appearing in everything from science-fiction anime to fantasy novels set in new worlds. Even existing franchises once known for other settings, such as the God of War series of video games, has moved into the north. And influence of the Norse is not diminishing.
Time travel is one of the best travelled staples of science-fiction, from books to television shows to movies, it is the ultimate form of exploration. The concept of time travel is almost as old as the history of writing, with the first known written example dating to around 400 BCE. In the Sanskrit epic, Mahabharata, King Raivata Kakudmi journeys to heaven to meet Brahma, the Hindu creator god. When he returns to the moral world, centuries have passed. Time travel in fiction, from this ancient epic to Stargate and Doctor Who, usually involves physically transporting one-self through time, bringing your body and memories with you. Threats include meeting your past self, or encountering the grandfather paradox, or making changes to the past which may affect the future. Very rarely do we get a novel in a similar vein to Kurt Vonnegut’s Slaughterhouse Five, where time travel is a person journey into your own memories.