CSFF Blog Tour: When Pop Culture and High Fantasy Collide

In my review of Realms Thereunder, I said that Ross Lawhead was like D. Barkley Briggs in rejecting the ideal Elves of Tolkien for the ambiguous fairies of folklore. There is another way in which they are similar: Both invoked pop culture in their fantasy novels.

I’ve been pondering this. Is it a bad idea for fantasy writers to mention things that belong so plainly – and so narrowly – to our own time and culture? Dr. Who and high fantasy just don’t mix – and much, much less do Whoppers and high fantasy.

But is that part of the point? Pop culture and fantasy are generally a rude collision, but so, usually, would be the children of pop culture and the worlds of fantasy. Doesn’t the one accentuate the other – two worlds rasping against each other?

Maybe. It could also be that such references tie a book too closely to its own time. Fantasy ought to reach for timelessness – or universality, which may be the same thing. Pop culture – well, most of it, and we’d be hard-pressed to guess the exceptions – is parochial and passing. Why date a story with such things? The Lion, the Witch, and the Wardrobe is dated by the plot device of using the German bombing raids to get the children into Professor Kirke’s house; at least it isn’t dated by the Pevensie children chatting about whatever BBC radio programs were popular seventy years ago.

To flip the coin again, you can’t lose sight of the present for the future. If you write a YA fantasy novel with pop references, it may help you connect with your present readers. It may also distance you from future ones. If you had to choose – which would you choose?

And does it make any difference if you mention things like Lord of the Rings and Wizard of Oz – which already have a measure of timelessness in their own right? Is it more excusable if, like Ross Lawhead, you turn the reference to a good joke?

I don’t know. I think this post shows I can see both points of view. There are, I believe, times when referencing pop culture is entirely acceptable. Yet my inclination is generally against it. I take the side of timelessness or, better yet, universality. And anyway, rasping can make for a pretty unpleasant sound.

CSFF Blog Tour: The Realms Thereunder

He’s a homeless man living on the streets of Oxford, trying to eat and yearning for the realms thereunder. She’s an Oxford student with a lifetime of lies and an abundance of compulsions – dreading every day the realms thereunder. It’s hard to say which of them has the bigger problem.

As children, Daniel and Freya were trapped in another world. As young adults, they live uneasily in this one. She’s running from the same thing he’s looking for, but as before, the question will be settled by other powers.

From Narnia on down we’ve read stories of people who pass from our humdrum world into a magical one. At first glance, The Realms Thereunder appears to be one of those stories. At second glance, it looks a little different. It reminds me of the old folk tales, where a miller could fall asleep in a cave and wake up to find himself in the fairies’ court. It’s new and dangerous territory, yet you know that it’s not a different world so much as a hidden part of our own. So too with the realms thereunder: It is, secretly, our world.

Ross Lawhead achieves this sense of unity largely by building his underground world with our history and our myths. The repeated – and historically accurate – allusions to King Alfred and the Danes form a strong connection. So, in a stranger way, do the legends Lawhead brings in and makes out to be part of our history –  a lost part, as the realms thereunder are a hidden part of our world.

There are other ways in which Ross Lawhead integrates old fairytales into his story. His Elves are less Tolkienesque, more traditional. In this he reminds me of D. Barkley Briggs, the last author we toured. Different as Briggs’ fairies are from Lawhead’s Elves, both are a definite break from Tolkien’s idealized Elves. Both are a return to the ambiguity of the old folk stories. Lawhead employs the old superstition about the Fair People fearing iron and – in an inspired moment – takes his readers to a fairy market.

The construction of Realms Thereunder is unusual in two ways that, I believe, bear mentioning. One is that the book is written from an omniscient viewpoint. The narrator, however, is reserved despite his omniscience; he slips through perspectives but rarely inserts his own. Secondly, the book alternates between telling a story in the present and a story in the past. Stories built like this are more difficult for writers to do well and readers to enjoy, but Lawhead manages it with smooth competence.

I will say that the book could have used a more robust editing process. There were a number of small substantive errors. Early in the book, a character kills an inhuman creature that attacks him, spilling its “black lifeblood”. Then our hero hastily cleans himself up, rubbing the thing’s blood off his skin until only a “thin red film” is left. Black blood leaves a red film?

Or the author simply forgot what he’d already written. My money’s on that one, because a few chapters later the creatures are said to have brown blood.

There were other little things that should have been caught, such as the moment when one character was “constantly rejecting the almost constant impulse”. It may have also been better not to use long or still twice in the same sentence.

In the larger things of the story, Lawhead acquits himself well. He lays a fascinating premise and carries it off satisfyingly. The worlds he creates are vivid – sometimes wonderful, sometimes terrible. Daniel and Freya, the protagonists, are realistic and sympathetic. They feel unfinished, but in a good way, one that left me wanting to see how the story will mold and make them. The Realms Thereunder is a good book – and, I trust, the beginning of a good series.


It’s that time again – time for links. As always, we have the author’s link and the book’s link, and also the links for the tour:

Gillian Adams
Red Bissell

Thomas Clayton Booher

Keanan Brand

Beckie Burnham
Melissa Carswell
Jeff Chapman
CSFF Blog Tour
Theresa Dunlap
Emmalyn Edwards
April Erwin
Victor Gentile
Tori Greene
Nikole Hahn
Ryan Heart
Bruce Hennigan
Timothy Hicks
Christopher Hopper
Jason Joyner
Carol Keen
Krystine Kercher
Janeen Ippolito
Rebekah Loper
Marzabeth
Rebecca LuElla Miller
Mirriam Neal
Eve Nielsen
Nissa

John W. Otte
Donita K. Paul
Joan Nienhuis
Crista Richey
Sarah Sawyer
Chawna Schroeder
Kathleen Smith
Donna Swanson
Rachel Starr Thomson
Steve Trower
Fred Warren

Dona Watson
Shane Werlinger
Nicole White
Rachel Wyant

In conjunction with the CSFF Blog Tour, I received a free copy of this book from the publisher.

CSFF Blog Tour: Tinkerbell vs. Elrond

Modern fantasy was weaned on J. R. R. Tolkien. Among the precedents he yielded to us is that of the tall, beautiful, wise Elf. This Elf’s principal rival in modern culture is the Fairy – the Pretty Butterfly Fairy, glittery and about fifteen inches tall. You would ask the Elf what to do with a powerful ring on which hangs the fate of the entire world, but you wouldn’t ask the Fairy for advice about dryer settings.

Elrond is generally taken as a truer heir of European fairy tales than Tinkerbell. Yet Tinkerbell, with her jealousy and almost lethal mischief, carries one of the strongest traits of the faeries. There are many fairy tales, and faeries of every description, but it’s safe to say that benevolence was never their strong suit.

“Everything about them,” Yeats once wrote of the faeries, “is capricious, including their size.” So they appear in so many of the old stories: mischievous, malicious, unpredictable, tricking, fooling, afflicting humans. The Butterfly Fairy is rather harmless, the Elf generally good, but no right-thinking mortal was ever off his guard around the faeries.

D. Barkley Briggs, in his series the Legends of Karac Tor, surprised me by rejecting the Tolkien model. His fairies are more like the ones in the folk tales – magical tricksters, dangerous neighbors, fixated on pleasure and light-hearted pastimes. Briggs resurrects the old superstition of the Good People fearing iron, and he even uses “elfin” instead of “Elven”.

Below I have posted a folk tale that shows a little the faeries’ troublesome and heedless treatment of mortals – a reigning characteristic of the Fey that Briggs replicated and Tolkien wholly excised. It shows a great deal more the wariness and fear humans harbored for faeries. That the farmer should see such high stakes in so simple a bargain proves just how leery people were of Fey Folk.

Also interesting is the question of whether faeries can be saved like “good Christians,” and their reaction to the priest. It’s a theme that recurs in European folk tradition, the meeting – usually, the collision – between Christianity and the world of faerie. It’s almost like Christian speculative fiction.


THE PRIEST’S SUPPER

T. Crofton Croker

Reproduced from Sacred Texts

It is said by those who ought to understand such things, that the good people, or the fairies, are some of the angels who were turned out of heaven, and who landed on their feet in this world, while the rest of their companions, who had more sin to sink them, went down farther to a worse place. Be this as it may, there was a merry troop of the fairies, dancing and playing all manner of wild pranks, on a bright moonlight evening towards the end of September. The scene of their merriment was not far distant from Inchegeela, in the west of the county Cork–a poor village, although it had a barrack for soldiers; but great mountains and barren rocks, like those round about it, are enough to strike poverty into any place: however as the fairies can have everything they want for wishing, poverty does not trouble them much, and all their care is to seek out unfrequented nooks and places where it is not likely any one will come to spoil their sport.

On a nice green sod by the river’s side were the little fellows dancing in a ring as gaily as may be, with their red caps wagging about at every bound in the moonshine, and so light were these bounds that the lobs of dew, although they trembled under their feet, were not disturbed by their capering. Thus did they carry on their gambols, spinning round and round, and twirling and bobbing and diving, and going through all manner of figures, until one of them chirped out,

“Cease, cease, with your drumming,
Here’s an end to our mumming;
By my smell
I can tell
A priest this way is coming!”

And away every one of the fairies scampered off as hard as they could, concealing themselves under the green leaves of the lusmore, where, if their little red caps should happen to peep out, they would only look like its crimson bells; and more hid themselves at the shady side of stones and brambles, and others under the bank of the river, and in holes and crannies of one kind or another.

The fairy speaker was not mistaken; for along the road, which was within view of the river, came Father Horrigan on his pony, thinking to himself that as it was so late he would make an end of his journey at the first cabin he came to. According to his determination, he stopped at the dwelling of Dermod Leary, lifted the latch, and entered with “My blessing on all here”.

I need not say that Father Harrigan was a welcome guest wherever he went, for no man was more pious or better beloved in the country. Now it was a great trouble to Dermod that he had nothing to offer his reverence for supper as a relish to the potatoes, which “the old woman”, for so Dermod called his wife, though she was not much past twenty, had down boiling in a pot over the fire; he thought of the net which he had set in the river, but as it had been there only a short time, the chances were against his finding a fish in it. “No matter,” thought Dermod, “there can be no harm in stepping down to try; and maybe, as I want fish for the priest’s supper, that one will be there before me.”

Down to the river-side went Dermod, and he found in the net as fine a salmon as ever jumped in the bright waters of “the spreading Lee”; but as he was going to take it out, the net was pulled from him, he could not tell how or by whom, and away got the salmon, and went swimming along with the current as gaily as if nothing had happened.

Dermod looked sorrowfully at the wake which the fish had left upon the water, shining like a line of silver in the moonlight, and then, with an angry motion of his right hand, and a stamp of his foot, gave vent to his feelings by muttering, “May bitter bad luck attend you night and day for a blackguard schemer of a salmon, wherever you go! You ought to be ashamed of yourself, if there’s any shame in you, to give me the slip after this fashion! And I’m clear in my own mind you’ll come to no good, for some kind of evil thing or other helped you—did I not feel it pull the net against me as strong as the devil himself?”

“That’s not true for you,” said one of the little fairies who had scampered off at the approach of the priest, coming up to Dermod Leary with a whole throng of companions at his heels; “there was only a dozen and a half of us pulling against you.”

Dermod gazed on the tiny speaker with wonder, who continued, “Make yourself noways uneasy about the priest’s supper; for if you will go back and ask him one question from us, there will be as fine a supper as ever was put on a table spread out before him in less than no time.”

“I’ll have nothing at all to do with you,” replied Dermod in a tone of determination; and after a pause he added, “I’m much obliged to you for your offer, sir, but I know better than to sell myself to you, or the like of you, for a supper; and more than that, I know Father Harrigan has more regard for my soul than to wish me to pledge it for ever, out of regard to anything you could put before him–so there’s an end of the matter.”

The little speaker, with a pertinacity not to be repulsed by Dermod’s manner, continued, “Will you ask the priest one civil question for us?”

Dermod considered for some time, and he was right in doing so, but he thought that no one could come to harm out of asking a civil question. “I see no objection to do that same, gentlemen,” said Dermod; “but I will have nothing in life to do with your supper–mind that.”

“Then,” said the little speaking fairy, whilst the rest came crowding after him from all parts, “go and ask Father Horrigan to tell us whether our souls will be saved at the last day, like the souls of good Christians; and if you wish us well, bring back word what he says without delay.”

Away went Dermod to his cabin, where he found the potatoes thrown out on the table, and his good woman handing the biggest of them all, a beautiful laughing red apple, smoking like a hard-ridden horse on a frosty night, over to Father Horrigan.

“Please your reverence,” said Dermod, after some hesitation, “may I make bold to ask your honour one question?”

“What may that be?” said Father Horrigan.

“Why, then, begging your reverence’s pardon for my freedom, it is, If the souls of the good people are to be saved at the last day?”

“Who bid you ask me that question, Leary?” said the priest, fixing his eyes upon him very sternly, which Dermod could not stand before at all.

“I tell no lies about the matter, and nothing in life but the truth,” said Dermod. “It was the good people themselves who sent me to ask the question, and there they are in thousands down on the bank of the river, waiting for me to go back with the answer.”

“Go back by all means,” said the priest, “and tell them, if they want to know, to come here to me themselves, and I’ll answer that or any other question they are pleased to ask with the greatest pleasure in life.”

Dermod accordingly returned to the fairies, who came swarming round about him to hear what the priest had said in reply; and Dermod spoke out among them like a bold man as he was: but when they heard that they must go to the priest, away they fled, some here and more there, and some this way and more that, whisking by poor Dermod so fast and in such numbers that he was quite bewildered.

When he came to himself, which was not for a long time, back he went to his cabin, and ate his dry potatoes along with Father Horrigan, who made quite light of the thing; but Dermod could not help thinking it a mighty hard case that his reverence, whose words had the power to banish the fairies at such a rate, should have no sort of relish to his supper, and that the fine salmon he had in the net should have been got away from him in such a manner.

CSFF Blog Tour: Aion, Aslan, and Balder

Many Christian fantasy worlds have, as their right religion, a simple monotheism. Characters will speak of, and pray to, the One God – the Maker, He is sometimes called, or the Creator. But holy books are elusive, the places and practices of worship are vague, and redemption is a belief rather than the finished work of God. Theologians would subsist on thin gruel in these worlds.

So I was struck, reading the Legends of Karac Tor, by the complexity of its religion. D. Barkley Briggs wrote in monks, abbeys, and bishops, written revelation and sacred stories; he created a Jesus-figure, a Satan-figure, and another Adam. (Adam ate forbidden fruit; Yhu, the First Man of Karac Tor, drank forbidden water.)

The mythology of Karac Tor is shaped foremost by Christianity. After that, there are three influences. The first is the Catholic Church. Somehow more telling than the bishops and monks are the little things Briggs borrowed – blessed water, and the sign of the circle, an alteration of the sign of the Cross for a world without the Cross.

Another, more vital influence is C. S. Lewis. Aion, son of Olfadr the Everking, closely follows the pattern of Aslan, son of the Emperor-over-the-Sea. Though no more divine than Olfadr, Aion is much more the focus of both the books and the characters. They surely believe in the mercy and way of Olfadr, but they generally talk of the mercy and way of Aion. Aion even dies and comes to life again. And I think I hear an echo of “Lion’s Mane!” in Sorge’s exclamation, “Beard of Aion!”

The third, most surprising influence is that of Norse mythology. In The Book of Names, readers encounter Kr’Nunos, “the deceiver of old. He was there at the Pillar of Reckoning; there, convincing Yhu Hoder, full of bitterness and shame, to pull the string and release the arrow. He watched as Hoder’s poisoned dart struck true, killing the great Aion.”

For many centuries the Scandinavians told a similar story, the story of Balder the beautiful. Balder, the son of Odin the All-Father, was the fairest of the gods and the most worthy of praise. When ominous dreams made the gods fear that some danger threatened Balder, Frigg extracted a vow from all things on earth that they would not hurt him.

All things except the mistletoe.

One day Loki – the mischief-maker, bent toward evil – disguised himself in the form of a woman and went to talk with Frigg. So he learned that the mistletoe, alone of all things, could harm Balder. He pulled up the mistletoe and persuaded the blind god Hoder to throw it at Balder. The dart pierced and killed Balder the beautiful.

It’s easy to conclude that Briggs based the story of Aion’s death off the story of Balder, particularly after he named Aion’s killer Hoder.

There are other parallels to the Norse gods. Odin had two ravens who were his special servants; so did Olfadr. Loki and Kr’Nunos share one significant trait, aside from their roles in divine murders and general evilness: Both are shape-shifters, taking the form of other creatures (including animals) in order to work their malice.

The Nine Worlds is another idea taken from Norse cosmology. Hel – the domain of Kr’Nunos in the Legends of Karac Tor – is the realm of the dead in the legends of the Norse. Isgurd, where Aion dwells and his followers go after death, may be an alteration of Asgard, the fabled home of the gods and of righteous men after they die.

If other Christian authors have a simple monotheism that is strictly orthodox as far as it goes, Briggs writes a complex monotheism made of Christianity, pagan myths, and one of C. S. Lewis’ best ideas. It’s interesting to read, and fun to untangle. But I haven’t given up on the simple, orthodox way.

CSFF Blog Tour: Corus the Champion

The sky was yellow with a strange storm. That was their first sign. Their second, less subtle sign was the messages the ravens dropped at their feet. “You have been chosen,” they read, “for a life of great purpose. Adventure awaits you in the Hidden Lands.”

Now the four Barlow brothers are in the Hidden Lands, experiencing adventure to the point of nearly losing their lives. In this, the second book of the Legends of Karac Tor, they are entangled ever deeper in that strange world. It’s a place of magic, and it’s riding the edge of apocalypse.

Perhaps the thing that stands out most about D. Barkley Briggs’ fantasy world is how old and tired it is. There is not a person who doesn’t seem worn out by life, or a nation that doesn’t seem worn out by history. The black strands are stretched over many years and woven depressingly over Karac Tor.

Its legends trace some of these strands. Briggs writes the old stories of Karac Tor well. They carry the flavor of real myths – the same mixture of small details with brief, enormous assertions, the same uncertain boundaries between fact and fable. Karac Tor being a fantasy world, its legends are true.

One of them is, in fact, a character. This, and his somewhat unusual, ah, form, give him real flair. This is one side of his character. The other is muahaha evil. All the characters of Corus the Champion are strong enough to carry their roles, but it’s the second-tier ones who show most of the color.

Briggs deals heavily in the folk traditions of our own world. Arthurian legends are central to his story. His fairies are drawn more purely after the pattern in European fairytales than I have ever seen, and I saw a surprising number of gleanings from the Norse. Briggs plumbed the old folk tales and came up with his hands full.

I ought to mention that the Legends of Karac Tor are written in an omniscient style. I have no complaint against this, but some may say (reasonably enough) that it creates distance between the readers and the characters. One recommendation I would make to Mr. Briggs regarding his writing style is that he use fewer sentence fragments. It’s not always bad to write in fragments. The brevity can create emphasis. Pack a punch. But it can be overdone. Become problematic. On occasion.

Minor errors aside, I did enjoy Corus the Champion. It’s a journey we’ve all seen before – discovering gifts, discovering destiny. Briggs enlivens it with sharply drawn characters, with interesting scenery, with living legends. The word he shows is complex and old, its magic deep. About the religion in the novel I hope to write tomorrow; today I will say only that it is present, strong, and satisfyingly integrated into the story. Corus the Champion is a book worth the read.


Per the custom, here are the links:

The book (Amazon)

The author (Hidden Lands)

And the blog tour:

Gillian Adams
Noah Arsenault
Beckie Burnham
Morgan L. Busse
CSFF Blog Tour

Carol Bruce Collett

Theresa Dunlap
April Erwin
Victor Gentile
Nikole Hahn
Ryan Heart
Bruce Hennigan

Christopher Hopper
Jason Joyner
Julie
Carol Keen

Krystine Kercher
Marzabeth

Rebecca LuElla Miller

Eve Nielsen
Sarah Sawyer
Kathleen Smith

Donna Swanson

Rachel Starr Thomson

Steve Trower
Fred Warren
Phyllis Wheeler

Nicole White
Rachel Wyant

In conjunction with the CSFF Blog Tour, I received a free copy of this book from the publisher.