Technology Meets Magic in Adrian Cole's Dream Lords: Rebellion


Dream Lords: Rebellion by Adrian Cole
Published by Pulp Hero Press (2021)
700 words

Dream Lords: Rebellion, first of a trilogy, is the new, retitled, and revised edition of Adrian Cole’s first novel, originally published in 1975 as Dream Lords Volume 1: A Plague of Nightmares by Zebra Press. Long out of print, it has now at last been republished as both paperback and ebook by Pulp Hero Press, a small press specialising in sword and sorcery and other pulp genres (and who will republish books two and three later this year, under the new subtitles Revolution and Retribution, respectively).

This new edition proclaims the novel is "interplanetary adventure in the tradition of Edgar Rice Burroughs and Leigh Brackett," which does a much better job of giving the story’s flavour, as opposed to the original Zebra Press tagline "in the tradition of Tolkien and Lovecraft!" Cole mentions in his introduction that he had yet to read Brackett (or Howard, Vance, or Lieber) when he originally penned the book.

This is a science-fantasy novel, one obviously informed by the "New Wave" of 60s and 70s SF, but also deeply rooted in the classic adventure and pulp planetary-romance genres. In the introduction, Cole talks of his inspiration by Tolkien, Burroughs, Frank Herbert and Dennis Wheatley. Dream Lords: Rebellion can best be described as "Dune as written by Edgar Rice Burroughs," though the idealism of Tolkien and occultism of Wheatley are also on display, making Dream Lords feel oddly prescient of Star Wars, which hit the big screen two years later.

In Dream Lords: Rebellion, we follow Galad Sarian in first person narration. He is the son and heir of a Dream Lord, one of a triumvirate who rule the Nine Worlds with their vast mental powers from their imperial seat on the planet Zurjah. Galad begins the story rather pampered and naïve, yet restive of the path planned out for him. An encounter with the mysterious and mistrusted figure of Chalremor reveals to Galad both a terrible plot against--and a sinister truth of--the Dream Lords’ rule. The insights focus on the barbaric planet of Ur, and they soon plunge Galad’s life into chaos.

Galad is a very likeable hero. Though he does fall into the genre cliché of being a wayward, angst-ridden, and naïve youth, who is yet also a master combatant, lover, and wielder of great mental power, he works for me: he is not overdone. His character, innate goodness, and drive easily carry the reader along. Here we have no morally grey mercenary nor brooding malcontent: Galad is a good man who wants to do the right thing, a proper pulp adventure hero. I was happy to root for him.

The world of the Dream Lords is a far future one, where technology appears as magic, and force of will can control planets (lending a hint of Philip K. Dick’s typical malleable reality, or even a hint of Hodgson’s House on the Borderland’s weird visions). Yet, though loosely science fictional, the setting tantalises us by hinting at a deep mysterious history. The fight scenes are largely hand to hand, and the story maintains a fantasy feel, putting it in the company of series such as Moorcock’s The History of the Runestaff, and making it appealing to fans of S&S.

Despite originally being written in the 1970s, the story feels fresh, helped by its diverse inspirations, and moves at a good pace. One may glimpse its 1970s origins in its largely actionless single female character, or the faint whiff of "evil effeminacy" (borrowed, no doubt, from Dune’s Harkonnens) but still, the modern reader can enjoy this book without caveat, a credit to the then young Cole. Really, the only true criticism is a few typos.

This book should appeal to any fan of science fiction, fantasy and/ or adventure. I am pleased that Pulp Hero Press has brought Cole’s story to a new generation of readers. I look forward to reading the next two volumes when they are released; in the meantime, any Cole fan can also enjoy his recent Nick Nightmare books and Elak of Atlantis pastiches, also published by Pulp Hero Press, as well as discover his many other novels and short stories scattered throughout publishers and magazines.

About the Reviewer: Hailing from the UK, George Jacobs is a railway industry worker by day and short story writer by night. He lives with his wife and pets, is a fan of all things adventurous and spooky, and enjoys spending his time in nature. His fiction can be found at: https://georgejacobsauthor.wordpress.com/

About Spiral Tower ReviewsThe authors who maintain the pulp genres of sword and sorcery and cosmic horror merit support. Financial support is key but there are other ways the cash-strapped can show support: engaged reading and thoughtful analysis. Literary movements emerge through the interactions of editors, authors, publishers, and amateur literary journalists. Learn more about contributing your review here. We are happy to work with first time reviewers.

The Eye of Sounnu and the North Star of Neo-Pulp


The Eye of Sounnu
by Schuyler Hernstrom
800 words

The Eye of Sounnu is a collection of new and reprinted stories by Schuyler Hernstrom. It was released in 2020 by DMR Books and is one of the finest books in their catalog. DMR specializes in reprinting old and publishing new sword and sorcery, weird fiction, as well as some science fiction and interplanetary romance.

I’ve never liked the term "speculative fiction." It always bothered me that the term lumped together science fiction and fantasy. These two genres feel fundamentally different to me. Fantasy is antiquarian, romantic, escapist, and has a magical way of seeing the world, whereas science fiction is more cerebral, analytical, and often browbeating in its intellectual ambition. Admittedly, these demarcations have subsided since I first heard the term in the 1990s.

This is why I find "weird fiction" so charming, and a genre category into which I’d place The Eye of Sounnu. Weird fiction captures the wonder of technology without the afterthought of realism. It gives us an unbridled imagination of the unreal with none of the constraints of real engineering, technology, and science. Hernstrom does this masterfully. His worlds are all the wonder of fantasy, mixed with youthful admiration of scientific gadgetry, but there’s nothing of the banality of the actual scientific process. Perhaps, I’d even give his works their own genre term: "science and sorcery."

The opening story, "The Gift of The Ob-Men," which features the titular Eye of Sounnu, captures this essence and sets the tone for the entire collection. The story is grim, even depressing, but the joy of discovery is there, and it offsets the doombringing tone, creating a mixture of darkness and light. (Consider listening to The Sorcerer's Sanctum (ep. 2), a ten-minute conversation about this great story).

The next story I want to highlight is "The Tragedy of Thurn." This story captures the spirit of Robert E. Howard's pulp sword and sorcery works in a way few others have achieved. One can read Howard for sheer escapism, but there was always a deeper subtext there, e.g. the Wheel of Civilization, the epic scope rise and fall of nations: bad times make strong men, strong men make good times, good times make weak men, and weak men make bad times. This story deals with the cycle of chaos and order, which one can see in Moorcock and Le Guin’s Taoist-influenced work. In "The Tragedy of Thurn," a great warlord has come who wants to break the cycle, ushering in true chaos and destruction. The weak men of the decadent age have no heroes who can oppose him. So, they must find a hero of the past who was one of the strong men made by bad times. I found this utterly sublime. Without being overtly political, this story reminded me that it feels like we’re at the bottom of that cycle for some of us. Maybe allegorical symbolism that gets people thinking can be more meaningful than overt political commentary, which often just generates unproductive debate? Anyway, I see myself in the wizards of this tale and my paternal grandfather--who fought in WII--as the hero of this story.

I briefly want to touch on "Image of the Goddess." Hernstrom is clearly influenced by Jack Vance. To be frank, I don’t like Vance's work very much. I found the Cugel the Clever saga just ugly and cruel. The nihilistic humor did not appeal to me. This story captures that humor, I think, though in a more positive way. Let’s just say what the image turns out to be is quite funny.

I’ll close with "Mortu and Kyuss in the White City." I genuinely think this is one of the best pulp stories I have ever read. The story takes place on a post-apocalyptic Earth. The two characters are a barbarian and a Christian monk trapped in a monkey's body. The two ride an alien motorcycle they call a stead. What could be more evocative to youthful imagination than that?

A key element of this story is its quasi-Tolkienesque fusion of Christian and Pagan virtues. Ever since the North American release of The Lord of the Rings in the late 1960s, there has been steady criticism of Tolkien. I find all these arguments unconvincing because Tolkien achieved something no one else has: he captured the best of Christianity and the best of Paganism’s virtues, and expressed them in a deeply human way. I dare say "Mortu and Kyuss in the White City" achieves the same balance. The pair has this witty banter between the Christian perspective of Kyuss and the Warrior Pagan views of Mortu. I’ll quote a couple abridge lines between the duo.

"Wanton slaughter is not the way! These people must face justice!"
"Justice is what I mean to dispense."
"Justice does not come from a blade’s edge."
"It most certainly does…You may talk of cities and Justice all you wish. Tonight, the pagan wins. My anger will be sated and these people brought to ruin."

What could be more sword and sorcery than this exchange?

As The Eye of Sounnu makes clear, Hernstom is a master of the craft. As someone also writing neo-pulp, I do not wish to copy his voice, but I do consider that voice the North Star, in whose direction I should aim.

About the ReviewerJ. Thomas Howard is an aspiring fantasist from the receding woodlands of Southeastern Pennsylvania. You can follow his works at his blog; https://jthowardpulp.wordpress.com. He also occasionally tweets at @J_skald.

About Spiral Tower Reviews: The authors who maintain the pulp genres of sword and sorcery and cosmic horror merit support. Financial support is key but there are other ways the cash-strapped can show support: engaged reading and thoughtful analysis. Literary movements emerge through the interactions of editors, authors, publishers, and amateur literary journalists. Learn more about contributing your review here. Note: We are specifically interested in working with amateur reviewers.

Narrator as Character in Melion Traverse's, "A Song for Sir Ava"

 

Swords and Sorcery Magazine (Banner for May 2021)

"A Song for Sir Ava" by Melion Traverse
630 words

As one of the oldest forms of human expression, storytelling has seen itself used for a variety of different purposes. To entertain; to provide a sense of history; to instill life lessons upon its listeners. For Velkin, the skald telling us his story in "A Song for Sir Ava" (Swords and Sorcery Magazine, May 2021), it is to maintain the memory of one who might otherwise have been forgotten.

Written by Melion Traverse, "A Song for Sir Ava" is a fantastic example of form being brought to the forefront in order to highlight and enhance the overall impact of a tale. Instead of having the story's point-of-view character simply be a "skald" (a reciter of heroic poems) and allowing the subsequent plot to play out in a strictly linear way, Traverse manages to weave Velkin’s profession into the very structure of the narrative, having him relate these events as if he were conducting himself as a teller of stories, with us, the reader, as his enraptured audience. We thereby gain access to all the artistic storytelling flare a poetically-inclined figure like Velkin the Skald would surely employ. 

By tying character together with narration, we are provided with insightful recollections that show how much of an impact this event has had on our storyteller. Even after what seems like many years has passed, it is clear that the events, which unfold through the plot, have left their mark. As we "hear" the story being told, we are consistently wondering how the end will tie back around to the beginning, and in what way the hook which drew us into the story (i.e. noticing an out-of-place ring worn by Velkin) will eventually tie itself in.

The contents and conflict of this story are fairly conventional: there is a monster that needs slaying, and the titular Sir Ava, a knight who acts as a kind of templar or vassal to a religious order, is on a quest to slay that monster. As is so often the case in sword and sorcery, it is not the actual details of the story that matter, but the mode of presentation. Traverse strikes a good balance between being energetic and brisk in pacing, while also having quiet moments where more introspective passages of character development can flourish. Velkin the Skald is a likeable protagonist, being unsure and in many ways naive to the wider world, but nevertheless eager to learn all the same. His interactions with Ava, whose stoic exterior contrasts nicely with Velkin’s exuberance, are both believable and engaging.

The secondary setting in which this tale exists provides enough of a backdrop to seem decently fleshed-out rather than just generic set dressing. From a cursory search of the author’s other works, it appears to be the same setting used in some of her other works of fiction. The world does seem to have a more high-fantasy, medieval flavor than the sword and sorcery otherworldliness found in Howard, Smith, or Moorcock. The monster around which the story’s first climax centers, however, very much falls into the weird fiction vein of imagery. It could easily be a creature found in “The Scarlet Citadel’s” Hall of Horror.

"A Song for Sir Ava" offers a great amount of richness as a story, and therefore comes highly recommend. The emotional depth and complexity Traverse is able to deploy with her characters, the themes she ties to them, and the actions they thereby take all work well together. How she ties it all together in a poignant, extremely satisfying way at the end is very impressive, and it definitely has me interested in checking out the other stories she has written as well.

About the Reviewer: Chase A. Folmar is an aspiring writer of speculative fiction and weird fantasy, with an avid interest in the craft of storytelling. He lives in Virginia with his wife and their horde of rescued pets. His writing and other collected thoughts can be found on his website, chaseafolmar.com

About Spiral Tower Reviews: The authors who maintain the pulp genres of sword and sorcery and cosmic horror merit support. Financial support is key but there are other ways the cash-strapped can show support: engaged reading and thoughtful analysis. Literary movements emerge through the interactions of editors, authors, publishers, and amateur literary journalists. Learn more about contributing your review here.

The Mythic and the Barbaric in Schuyler Hernstrom's Thune's Vision


Thune’s Vision: A Collection of Stories by Schuyler Hernstrom
570 words

Thune’s Vision: A Collection of Stories is the first book by Schuyler Hernstrom. Released in 2016, this slim volume includes four short stories and a novella. The opening piece, "The Challenger’s Garland," first appeared in Heroic Fantasy Quarterly 20 (2014); other stories included are original to the volume. The cover of this paperback, replete with pastel vista of a lizard-rider approaching a skull-domed hillock, as well as a Yr rune of the Younger Futhark accompanying the book title, signals to the reader what lays in wait.

Hernstrom’s rich prose situates the author in the best traditions of classic sword and sorcery (S&S) and Appendix N. In an interview at The Dacian, Hernstrom has cited Jack Vance as a strong influence on his writing; indeed the fatalism inherent to the Dying Earth stories is likewise present in Thune’s Vision. "Doomed" is perhaps the best singular term to describe the protagonists and worlds in Thune’s Vision. Even so, this book is not a dour read. Rather, Hernstrom’s protagonists have little time for self-pity, and his characters face their fate head on. Further, the author manages to imbue every story with a feeling of triumphant defiance. In that regard, Hernstrom’s literary voice is one of the most powerful and invigorating in the burgeoning contemporary wave of sword and sorcery.

As another constant, Hernstrom’s stories possess a mythic, mystical quality. Magic is deific, rarified, and unknowable in Thune’s Vision. Invisible threads connect the characters in Hernstrom’s worlds, and while his characters (and readers) may feel the presence of such connections, the why and how of the connections are tantalizingly unknowable. Prophecy guides the narratives of "The Challenger’s Garland" as well as "Athan and the Priestess," Foreshadowing in "The Saga of Adalwolf" is omnipresent. The lattermost story is a novella with a plot that unspools heartbreaking destiny reminiscent of Poul Anderson’s The Broken Sword. Given its length, "The Saga of Adalwolf" is the dominant narrative in the collection. Here, Hernstrom presents his own edda, blending of Germanic tribal culture and Norse myth. Lest the story be spoiled, it will suffice to state the seasons of Adalwolf’s life are truly epic; a longer narrative approach allows Hernstrom to better plumbs the depths of humanity and hubris.

As a final thematic line, the barbarous nature of Hernstrom’s protagonists lends verisimilitude to story settings--Hernstrom’s protagonists aren’t heroes. The Black Knight of "The Challenger’s Garland" serves dark forces, Athan of the eponymous "Athan and the Priestess" is a slave-owning warlord of the steppes, the alien race in "The Movements of the Ige" are blood-crazed zealots, the seemingly playful jabs between the faerie and wizard of "The Ecology of the Unicorn" bely deadly seriousness, and the aforementioned Adalwolf’s hubris telegraphs the story’s ending. Hernstrom’s characters and settings are not necessarily likeable, but they are relatable. This fact ensconces the characters of Thune’s Vision in the S&S tradition of those such as Karl Edward Wagner’s Kane.

Herntrom’s more recent The Eye of Sounnu was published by DMR Books in 2020 to much praise, and is readily available. While Thune’s Vision has been an affordable print-on-demand paperback from Amazon, it has recently become unavailable. Here’s to hoping a reprinting or second edition of this volume is forthcoming. While varied in plot and setting, the stories in Thune’s Vision share a masterful use of genre elements that establish Hernstrom as a force in the modern S&S resurgence.

About the Reviewer: Luke E. Dodd is a scientist, devourer of music, and collector of hobbies. He is one of the three hosts of The Cromcast, a podcast dedicated to the works of Robert E. Howard and other weird fiction. He lives in Kentucky with his wife and son.

About Spiral Tower Reviews: The authors who maintain the pulp genres of sword and sorcery and cosmic horror merit support. Financial support is key but there are other ways the cash-strapped can show support: engaged reading and thoughtful analysis. Literary movements emerge through the interactions of editors, authors, publishers, and amateur literary journalists. Learn more about contributing your review here.