Posts tagged ‘Stephen R Donaldson’

Friday Fast Forward Rewind

Another Friday brings another batch of fantasy-related articles that you might enjoy.

I’m going to be away next Monday, so no Masterclass until the week after.

Monday Masterclass: trees in fantasy

Although rarely at the forefront of fantasy novels, trees, forests and tree-like beings are a feature of many works of the fantastic. This week’s Monday Masterclass will look at trees in particular (as distinct from forests), with some mention of creatures that have tree-like characteristics.

Introduction

Trees have been a feature of mythology for thousands of years. They are powerful symbols and represent life, strength, nature, endurance, wisdom, rebirth, protection; they symbolise the axis mundi, the link between heaven and earth.

The ancient Greeks imagined trees were inhabited by wood nymphs or dryads (which latter actually signifies ‘oak’). Norse mythology has Yggdrasil (‘Odin’s horse’) or world tree, an ash tree that supports the nine worlds (and with which the modern Christmas tree is identified). Trees of life such as Yggdrasil are common in many traditions. The tree of knowledge of good and evil is another famous mythological tree, the eating of the fruit of which caused Adam and Eve to be cast out of the garden of Eden.

Sacred groves feature in many religions, such as the grove of olive trees outside the Academy in Athens. India has thousands of sacred groves associated with Hindu gods. Celtic druids tended groves, called nemeton, and they were the site of religious rites such as animal sacrifices; some oak trees were thought to be oracular and could be consulted by druids.

Trees and forests have also been associated with mythical beings such as the Green Man and the woodwose, or wild man of the woods.

Middle Earth

In the history of Tolkien’s Middle Earth, the first sources of light were destroyed by Melkor, the evil Vala, another of the Valar, Yavanna, made the two trees of Valinor, silver Telperion and golden Laurelin. These trees shed light across the land until they too were destroyed by Melkor. A flower from Telperion and a fruit from Laurelin were saved and these became the moon and the sun. A reproduction of Telperion spawned the White Tree of Gondor.

One of the most well-liked characters in The Lord of the Rings is Treebeard, or Fangorn, who is an Ent. Ents are giant humanoid creatures that resemble trees (the word ‘ent’ comes from an Anglo-Saxon word meaning ‘giant’). Along with the passing of the elves from the world of Middle Earth and the final journey of Frodo and Bilbo to the western lands, the situation of the Ents forms part of the major theme of The Lord of the Rings: the end of an era and the rise of Men.

In the trilogy, the Ents are a doomed race. They are guardians of the forests, but they are entirely male. Their womenfolk, the Entwives, lived a different life and were the progenitors of agriculture. They have been lost for many years since being attacked by Sauron. Thus, in Frodo’s time, there are no more Entings, young Ents.

Ents were created at the behest of Yavanna to protect the forests from Dwarves and other dangers. They are extremely long-lived, but not immortal. Ents are subject to diminishing into treeishness – if they cease moving for long periods they grow roots and essentially revert back to being trees.

Ents are a popular feature of roleplaying and other games, where, for copyright reasons, they are often known as Treants or Treefolk.

The Land

In the world of Stephen R Donaldson’s The Chronicles of Thomas Covenant, trees also play an important role. Woodhelven are tree villages – villages housed in or on the branches of an enormous tree and occupied by woodhelvenin, who are skilled in lillianrill lore – wood magic. Here is a description of Soaring Woodhelven from Lord Foul’s Bane, the first book in the series:

Their approach gave Covenant a good view of the tree village from some distance away across a wide glade. He judged the tree to be nearly four hundred feet high, and a good thirty broad at the base. There were no branches on the trunk until forty or fifty feet above the ground, then abruptly huge limbs spread out horizontally from the stem, forming in outline a half-oval with a flattened tip. The whole tree was so thickly branched and leaved that most of the village was hidden; but Covenant could see a few ladders between the branches and along the trunk; and in some tight knots on the limbs he thought he could make out the shapes of dwellings. If any people were moving through the foliage, they were -so well camouflaged that he could not discern them.

The Land, the setting for much of the Chronicles used to have vast forests, which have dwindled over time (much like the forests in Middle Earth). These forests are protected by forestals, immortals who appear human and are capable of powerful magic.

In the Second Chronicles, the characters – having lost the Staff of Law – decide they must travel to the One Tree, from which the wood that made the original Staff was taken, to make a new Staff of Law. The One Tree grows on an island that is protected by a guardian. Once the characters arrive there, their efforts to secure a limb from the tree temporarily rouse the Worm of the World’s End, causing the island to sink into the sea.

Others

Robert Jordan’s The Wheel of Time features its own Tree of Life, also called Avendesora. Like the White Tree of Gondor, a sapling of the tree is cut down by a king, prompting a large war. In the first book, The Eye of the World, the heroes are helped by the Green Man, the last of the Nym, a giant humanoid made of vines, leaves and other tree elements. The Ogier live in Stedding, magical forests, and when they stay in cities prefer to live in Ogier groves.

Robert Holdstock’s Mythago Wood cycle is set in what appears to be a small area of woodland from the outside, but inside is a near infinite realm where mythical beings are real. In The Magician’s Nephew by C S Lewis, one of the main characters, Digory, must plant an apple in Narnia, which grows into a tree that protects Narnia from the White Witch. In Roger Zelazny’s Amber Chronicles, Ygg is a talking tree that guards the border between Order and Chaos. A Song of Ice and Fire by George R R Martin has weirwoods, trees with blood red leaves and sap that were once worshipped all over Westeros in godswoods, groves sacred to the religion of the old gods.

Conclusion

Magic trees are emblems of the reverence in which people hold nature in general, and forests and trees in particular. Many of the fantasy trees mentioned above are set in a melancholy context of the advance of civilisation bringing an end to an old order dominated by the natural world. Fantasy writers can draw on this trope to evoke great sympathy with a dying way of life; it seems to me, though, that no one has done this as well as J R R Tolkien.

While Ents are a favourite denizen of Middle Earth, it’s a little surprising that subsequent writers haven’t incorporated similar beings into their works in the same way that Elves, Dwarves, Orcs and Goblins have been embraced and adapted.

What are your favourite trees in fantasy fiction? What other magical trees do you know of? What other authors have used them in their work? I’d love to hear your thoughts.

Monday Masterclass: magic

(This week’s Monday Masterclass is a little bit late. Maybe I should call it Tuesday Taster Class.)

Last week I wrote an introduction to secondary worlds. That post quickly got longer and somehow less detailed than I had intended, so this week, I’m going to start exploring some of the various aspects of secondary world creation that fantasy writers must consider when starting a project.

Choose Your Magic

First and foremost is magic. Magic – whether in the form of a raw energy that can be utilised by people with special abilities, or in the form of magical creatures, objects, events or places – is the defining aspect of fantasy. A great deal of thought must be given to the rules of any system of magic in a good fantasy story.

Perhaps the most basic choice a writer has in designing the secondary world is high-magic or low-magic. A high-magic world is one that is, maybe not full of magic and things magical, but one where such things are not uncommon. A low-magic world is one where wizards and beings and artefacts of power are extremely rare.

Other things to consider are: Is the power to use magic innate or can it be learned? What can magic do and not do? What are its drawbacks and risks? What kind of energy is it? Does it come from within the magician or is it drawn from the environment in some way? Can it be harnessed as a raw energy or are special substances, objects etc required? Are there different types of magic? If so, how do they interact with each other?

The question of who can use magic is an interesting one – and one that can be interpreted politically. Many fantasy worlds require magic-users to have some innate magical propensity for their talent. There is a sense in which this is an elitist view – in other words, some people are just better (ie, more magical) than others. In other secondary worlds, there is a more democratic ethos – that is, anyone can learn magic as long as they put in sufficient effort.

High and Low

Robert Jordan’s The Wheel of Time is a good example of a high-magic world. The magic-users of this world are all part of a powerful organisation that, while based in one city state, has great influence across the continent in which the story takes place. Many of the main characters of the books can use magic; those that don’t often have quasi-magical abilities. The hero’s two best friends, for instance, aside from being affected by something called ta’veren, which twists fate in their presence, have between them unnatural luck, memories from past lifetimes, wolf-like senses and the ability to communicate with wolves, and access to the World of Dreams.

Although J K Rowlings’s Harry Potter books take place within the wider, non-magical world of muggles, magic and its use are so prevalent in the stories, that we can call the Britain of Hogwarts and the Ministry of Magic a high-magic secondary world.

The Gormenghast trilogy, by Mervyn Peake, on the other hand, is perhaps the very lowest of the low end of low-magic worlds. There isn’t really any magic in Titus Groan’s world (unless you count the high technology he encounters in Titus Alone – but that’s more sf territory). In the first two books, at least, there is an air of darkness and mystery, there are baroque ceremonies and a vast, labyrinthine castle, there are larger than life characters and strange events – but no definitively identifiable magic.

You’ll notice that I’ve contradicted myself by saying that magic is the defining aspect of fantasy and then introducing a fantasy story without any magic. Clearly, by this definition, the Gormenghast books are not fantasy – but they do take place within what appears to be a pure secondary world – one with no connection to our own.

Tolkien’s The Lord of the Rings is a low-magic world. In TLotR only certain beings can perform magical feats. The Valar, the gods of that world have long since left it to its own devices. Within Middle Earth there are still a few of the Maiar, powerful beings created in the early days of the world; Gandalf, Saruman and Sauron are all of this race. Apart from them, the elves are the only others who are capable of magic, and elven magic is less powerful, more territorial. The rest of the magic of Middle Earth is contained in objects like the Rings of Power and in beings like the Ents or Shelob.

Indeed, what gives Tolkien’s masterwork its elegaic beauty is the fact that much of this magic passes away at the end of the story – the One Ring is destroyed, which in turn destroys the other Rings, the elves sail west to the Undying Lands.

George R R Martin’s A Song of Ice and Fire is another well known low-magic world. In it there are dragons – but only three – wights – but they are rarely seen – and sorcery – but only performed by one or two characters and with indirect or vague results. Instead, A Song of Ice and Fire is a study of medieval conflict, brutality and politics.

Detail and Description

In some secondary worlds, magic is a mysterious force, the practicalities of the use of which are not explained. In others, magic-use is explained in great detail.

In The Lord of the Rings, the Maiar can use magic because of their divine heritage; others are able to use magic because of their great learning. But how either perform their specific works is not elaborated on – the reader just has to accept that the characters can do what they can do.

In The Wheel of Time on the other hand, magic and its use are described in great detail. Magic is called the One Power; this comes from something called the True Source. The One Power is divided into a male half (saidin) and a female half (saidar); it is further divided into five elemental Powers, Air, Water, Earth, Fire and Spirit. Channellers must have the innate ability to channel – which may be weak or strong – then they are trained for years, or they learn on their own, often unconsciously (these latter are called wilders).

Creating a magical spell, or weave, involves seizing hold of the appropriate half of the One Power (each of which has different, but fairly cosmetic qualities) and then creating strands of each element required. Creating a fire, obviously requires only Fire; if you wanted that fire to move through the air, as a fireball, you would need Fire and Air. Healing is the most complex form of channelling and requires all five elements woven together in intricate form.

Channelling is tiring – the more complex the weave and the more One Power used to create it, the more tiring it is. At the beginning of the story, only women are legally and practically able to channel – in a previous age, the male half of the One Power was tainted by the Dark One (the evil god) so that male channellers eventually go mad and start destroying everything around them. This twist and its ramifications is one of the more interesting aspects of the world Robert Jordan created.

Other Examples

In most fantasy stories, mages, wizards, sorcerers come into their power by come combination of innate ability and long training. In Stephen R Donaldson’s The Chronicles of Thomas Covenant, however, the main character (Thomas Covenant) comes into his powers by the simple coincidence of having a wedding ring of white gold – a material of extreme rarity in the world he finds himself in. In order to use this magic, he doesn’t need to go to a magical university – instead he needs to find his self-belief, an issue that is intimately tied up with his belief in the Land in which the story takes place.

Donaldson created another interesting take on magic in the Mordant’s Need series. In it, magic – called Imagery (which cleverly contains the word ‘mage’) – requires mirrors. The mirrors, correctly used, translate things from other worlds. The hero, Terisa Morgan is translated to the world of Mordant in this way. In one scene, two mirrors facing each other across a field of battle summon a chasm in the middle of the ground.

In Steven Erikson’s The Malazan Book of the Fallen magic comes from places called warrens with exotic names like Omtose Phellack and Kurald Galain. These warrens are not just sources of magical energy, but entire realms that can be entered physically. Omtose Phellack, for instance is a realm of ice and the special warren of an ancient race called the Jaghut.

Magical items are a staple of fantasy and often serve the function of emphasising a hero’s righteousness – Arthur’s Excalibur, for instance – or of thrusting a modest character into the midst of great events – Bilbo and Frodo’s Ring. Also, magical artefacts are simply the tools of the trade of a mage – such as Harry Potter’s wand. Sometimes they may be relatively simple and tractable tools; often, though, their use comes with inherent dangers: the wild magic generated by Thomas Covenant’s white gold ring always threatens to get out of control, and could even destroy the world; Michael Moorcock’s character Elric of Melniboné must contend with an evil sword that brings him strength but also misfortune to those around him.

Places can also be loci of magic. Lord Dunsany’s The King of Elfland’s Daughter has the mundane realm of Erl neighbouring the magical realm of Elfland, where magic is possible and time flows differently. Elfland or Faerie or similar ideas have been around in folk tales and fairy stories for hundreds of years. Magical locations can be more specific: the wizards’ school in Ursula Le Guin’s Earthsea stories has two special places where powerful magic is easier to perform. In Robert Holdstock’s Mythago Wood, Ryhope Wood seems to be a small English forest from the outside, but inside is a vast magical realm where archetypal beings come to life.

Times, too, can be magical. The full moon is the most obvious example – a time when werewolves transform and lunacy is rife (the word ‘lunatic’ comes from ‘luna‘ – ‘the moon’). In Ian Cameron Esslemont’s Malazan novel, Night of Knives, the action takes place over the once in a generation event called a Shadow Moon, when the warrens become permeable and eldritch powers vie for control.

Words and Language

In some secondary worlds, language is key to the use of magic. For the wizards of Earthsea, names are vital; to know something or someone’s true name is to have power over it or them. However, when a wizard travels to other lands, language changes, and if the wizard doesn’t know the new language, his power over things diminishes. The magic of Harry Potter requires the use of special short incantations, which form a kind of sham Latin. In R Scott Bakker’s The Second Apocalypse series, mages effect magic by simultaneously speaking words in one language and thinking words in another language.

This leads on to a further point – the terminology used to describe magic in a fantasy novel. I feel that words like ‘magic’, ‘mage’, ‘wizard’, ‘sorcerer’ are overused to the point of cliché and parody. A believable secondary world needs terms that are original but authentic. Robert Jordan used terms like ‘channel’, ‘weave’, ‘One Power’, as well as making up new names like ‘Aes Sedai’ (the female order of magic-users). Other writers, like Stephen R Donaldson, use obscure synonyms for magic, such as ‘puissance’ (‘power’), ‘thaumaturgy’ (‘miracle-working’), or ‘theurgy’ (‘divine intervention’).

Conclusion

There are many more types of magic used in secondary worlds than I can cover here: necromancy, telepathy, divine intervention, deals with devils and so on. Hopefully the above gives you some idea of all the considerations a writer must undertake before settling on a system of magic for his or her new secondary world. Personally, I’m planning a system that requires a kind of meditative state to alter reality, using an original set of of words that I’ve adapted from Latin roots.

What are your favourite kinds of magic from fantasy stories? Which ones are the most original? Which are the most believable? Post below with your comments and ideas.

The ‘Jewish Jane Austen’ wins Booker

Howard Jacobson just won the Man Booker Prize with his novel, The Finkler Question. The main talking point of this event is the fact that it’s the first comic novel to win the prize in its 42-year history.

When I think of comedy fiction, three writers come to mind – Robert Rankin, Terry Pratchett and Douglas Adams. For me the first two – and I love Robert Rankin, and am on the positive side of indifferent to Terry Pratchett (it’s just been announced that Pratchett is a World Fantasy Lifetime Achievement Award winner) – are fairly self-indulgent reads. People read Rankin and Pratchett because there’s something comforting about the worlds they’ve created and sustained in the five million novels they’ve written between them (five million is an approximate figure). They are full of wordplay, silliness and running gags. Douglas Adams, for me, is a much more serious writer. When I read the Hitchhiker books I get a sense of existential melancholy; that series explores the fundamental pointlessness of human existence. The answer to the question – the question, about life, the universe and things of that nature generally – is 42 – which is about as meaningful as any other answer people have come up with.

Jacobson’s thesis, from what I’ve read and heard in the past day, is that comic novels are not or should not be a minor sub-genre, but the totality of literature – all novels should make you laugh, he says.

Well, I would say that humour is a useful tool in any writer’s kit – any novel can have flashes of humour that arise from the characters or the situations. But comic writers also use a certain voice – an authorial voice that is itself humorous, witty, punning, observational – that doesn’t often sit well with literary quality. Of the three writers I mentioned, I would say Adams achieves it, but Rankin and Pratchett do not.

It would be nice to think that all writing and writers are published simply for their literary merits, but it seems like the reality is that many books are published because they fulfil(publishing companies’ perception of) market demand. Fantasy novels have to be about 8,000 pages long and tell the story of a young hero, or group of young heroes, in excrucating detail from childhood to confrontation with the ultimate evil that killed their parents. And comedy novels, clearly, can’t be serious literature – it would confuse people.

My favourite series of books is Stephen R Donaldson’s Gap series. It’s a gripping, brutal space opera – but it has one joke (if that’s the right word) that stood out for me. Introducing one character, Godsen Frik, the book says something along the lines of, ‘He had the fleshy smile of a pederast who’d just been made the head of a boys reform school.’ Appropriately dark, but in as much as it is funny (opinions may differ), it’s somehow out of keeping with the tone of the rest of the story.

I think, ultimately, that each book should just be good at was it does, whether it’s a comedy, a funny book with serious bits, a serious book with funny bits or a work of unleavened humourlessness.

I’ve never read any Howard Jacobson, although I’ve seen him in the media over the years and he’s always seemed plain-speaking and likeable. I should get a copy of one of his books at some point – maybe even The Finkler Question. You can read more about him and his shiny new 50,000 pound prize on the Independent website or over at the Telegraph – or any other news site (but you’ll have to search for them yourself).

Covers for the UK edition of Against All Things Ending

I asked Stephen R Donaldson this question:

You’ve answered a couple of questions lately about the cover art of the upcoming US edition of Against All Things Ending, but I was wondering what your thoughts on the UK edition were. It seems to me it’s not as mysterious as the previous two – it’s too clean – almost happy. But I do like the continuation of the elemental theme – forest, mountain, sea. And I much prefer the less representative, more oblique approach of the UK covers.

What do you think?

He answered:

In general, I prefer the UK approach rather than the US one. And in general, I don’t think that the UK “Against All Things Ending” is up to the standard of the previous two books. But have you seen the “revised” UK cover? I’m told that the unrevised version (before both my agent and I screamed) is still floating around on the web somewhere. It makes the book look like a box of laundry detergent. By *that* standard, the revised cover is a huge improvement.

I’d only seen one UK edition cover – the blue one:

I think the laundry detergent cover he referred to was this:

For comparison, the US edition looks like this: