Stratofanatic's Emporium

So! The other day, I picked up Swords of the Four Winds   (2013) by Diriel R. A. Quiogue (Kwee-o-ga), a book I discovered after reading an interview by the editor of New Edge Sword-and-sorcery , who praised Quiogue's work highly.  I'm always a bit skeptical of self-published work, but I have to say, this collection by Quiogue is Grade A sword-and-sorcery fantasy. The pacing is very Howardian. Quiogue proceeds from scene to scene with scarcely any pause, and although his characters occasionally engage in rapid infodumps or Grand Reveals to keep the pace from flagging, I tended to appreciate this technique rather than deplore it, as it seems so genre-appropriate. What's unusual or unique about  Four Winds ? Well, since this collection counts as "sword-and-silk" (i.e., Asia-centered S&S), I couldn't always -- as a Western reader -- pinpoint Quiogue's historical analogues. I'm guessing "Lord of the Brass Host" owes itself to the Terracotta Ar

So, I've reading lately about Charles R. Saunders, the black author of sword-and-sorcery fiction, and man .... poor guy. If there's been ever a case of someone being born about 30 years too soon, it's Saunders. Usually, when people mention about black S&S authors, they mean Samuel R. Delany. This makes sense. As a queer, Marxist deconstructionist, Delany established his street cred first by writing SF before wading into the "gutters" (ahem) of S&S fantasy. (Sidenote: are there any black fantasy writers except maybe Jemisin who didn't first establish their street cred by writing SF?). Although I personally never much cared for Delany's  writing style or Nevèrÿon books , which are basically what happens when someone who holds a subgenre in contempt decides to write in that subgenre, it is true that academic critics love Delany .... especially critics who hate S&S themselves. So if they mention Saunders at all, which is rare, it's usually jus

I earned a pretty hefty honor last Friday -- the SBS Outstanding Service award . As you might imagine, this is an award for service above and beyond the call of duty, and it's especially meaningful because it's college-wide, not departmental. Particularly with how nasty the last academic year has gone, with contentious in-fighting concerning such basic concepts as labor equity in teaching loads, sort of recognition from the university means a lot. Anyway, since I put excessive time and energy into crafting this self-nomination letter, I'm sharing with you all.

Thanks to Andoni Cossio scouring the University of Leeds's Tolkien-Gordon collection, we have now discovered a new alliterative poem by C. S. Lewis: "Mód Þrýþe Ne Wæg"! This is the problem with research: I just published a whole anthology containing  all of Lewis's known alliterative poems, and now another one has been found! Grump grump. It's a pretty interesting poem, though ... Andoni actually showed it to me prior to publication, and we talked about its dating. The title refers to Beowulf , in particular the evil queen Modthryth ( although this isn't a proper name in Old English; Lewis sees the word instead as "Mood of Thyrth"). Despite the title, this 12-line text was written as a thank-you note to Eric and Ida Gordon, two philologists at Leeds, after having stayed at their home for a few days. According to Andoni, a poem by Tolkien dated June 26, 1935 references Lewis's earlier stay, which therefore puts "Mód Þrýþe Ne Wæg" to earl

I n the opening paragraph of my metrical appendix to Speculative Poetry and the Modern Alliterative Revival , I raised a conundrum: how do revivalists today officially arrive at an alliterative meter? The question’s a good one. In every case known to me, at least in English, revivalists never “grow up” with alliterative poetics. They don’t – they cannot – know the meter on an intuitive cultural knowledge, not as medieval skalds or scopas did. In other words, the meter has been moribund for centuries, and if young poets today – those crazy kids – experiment with alliteration at all, it is only of the ornamental variety. That’s what tongue twisters teach you: the rum-ram-ruf of sounds jingle-jangling together. Accordingly, if revivalists know what they are doing at all, they deploy a poetic form learned only as an adult. Someday, though, I hope to eat those words – or at least chew them slowly. The parties responsible are author Zach Weinersmith and the artist Boulet, the creators of

When talking about original fan works of the Modern Revival, no discussion is complete without Paul Douglas Deane. If you’ve heard of him before, it’s no doubt thanks to his website founded in 1999, Forgotten Ground Regained – the largest and best collection of alliterative verse on the interwebz. Originally, Deane envisioned his site as a combination blog, fanzine, and content index, running things on that model for about a decade before life (as they say) intervened. But then Speculative Poetry and the Modern Alliterative Revival appeared, and this event motivated Deane to give his website a major overhaul. Now the layout is sleeker and snazzier than ever before, and Deane’s talent for finding new alliterative poets has been on full display. In the last few months alone, he’s discovered several new revivalists, and a few of them – Lancelot Schaubert, Amit Majmudar, Susan Edwards – have already been discussed in this series. The thing is, Forgotten Ground Regained – as important a