It’s been a journey and a process. I may be slowly beginning to recognize names and references to Indian history, but I’m a long way from knowing it as well as European history.
The process of acquiring this knowledge has been challenging. While my stereotypes of European history make the general course of European history easier to remember, I only have a few points of reference for Indian history. For example, I have a stereotypical image of what Venice might have been like in the Renaissance, or Paris in the nineteenth century. But I can’t say the same for ancient Pataliputra or Taxila. The closest I get is Delhi and Agra under the Mughals.
While my unfamiliarity with Indian history has begun to change as my knowledge increases, sometimes I still feel like a clueless tourist, even though I’ve come to recognize names like Chandragupta Maurya and Muhammad of Ghor.
I’m still oblivious to
the unspoken associations between events, the episodes that give colour to dry
historical chronicles. I feel as if I’m missing out on some crucial context. But,
knowing that I’m a visitor to these lands, I try to take it all in stride.
City of the Shrieking Tomb by Patrick Rogers provides a bit of colour—even if those colours are dark, crimson, and rotten. This horror tale takes the reader to a tiny pocket of India that has generally not made it into the history books. Reading it made me feel as if I was seeing something that, as a tourist, I was not meant to see. In fact, it was as if I’d been expressly forbidden from seeing it.
There is a dearth of
information on the internet about the village of Humayunpur in Karnataka, the
setting of this atmospheric horror novel. Google searches for Humayanpur do not
turn it up (at least not that I could find), although there is a Humayunpur in the
Safdarjung Enclave in New Delhi. There is no Wikipedia page for Sultan Humayun
Karabakh either, the tyrant of the village whose tomb at night shrieks with the
cries of the doomed.
However, this lack of knowledge may not be surprising, considering the exceptionally forbidding atmosphere that clouds the village, and the villagers’ suspicion towards outsiders who might spread knowledge of the curse to the outside world.
City of the Shrieking Tomb follows the footsteps of Rick, a clumsy, dense westerner with a camera. He is, in fact, a professional photographer who finds himself stranded one day at a bus depot in Karnataka. Rick feels like the only foreigner in all the city of Gulbarga. Exhausted from the heat, desperate for a bus to Bihar, and wanting nothing more than to watch Hindi-dubbed SpongeBob SquarePants at his air conditioned hotel in Hyderabad, he is frustrated and tired, ready to give up his quest to take pictures of Islamic architecture for a photography book.
There’s a certain
bewildered clumsiness to the photographer that is both endearing and relatable
to anyone who has ever been a tourist. Although I’m only an armchair tourist in
India, I imagine, based on my experiences of travel in other countries, that I
would have shared something of his bewilderment and exhaustion. Being immersed
in a country with a culture and language that is not your own can be a
soon meets Awaz, a doctor who takes pity on him. He tells him he can reach Bihar
if he takes a rickety bus towards his village of Humayunpur. There, the bus breaks
down, and Awaz decides to host the photographer in his own home, to the mild
protests of his wife.
Humayunpur turns out to be a village situated in the midst of an ancient fort. Spectacular Mughal-era tombs and mosques mark the village as a picturesque destination—everything the photographer ever dreamed of. This includes the immense tomb of the sultan, the dome of which is broken in half, a casualty of a tumultuous battle.
That night, Rick first
hears the shrieks coming from the tomb. He slowly realizes—very, very slowly, I
might add—that there is more to Humayunpur than meets the eye. Determined to put
Humayunpur on the map, Rick resists Awaz’s repeated demands not to take any
pictures of the ruins. Little does Rick know that he is walking into a story more
ancient and terrible than he can conceive.
Rick’s stubbornness seems typical of western tourists, or at least typical of certain stereotypes. He is repeatedly described as “dense” by Narcissus, the village historian who never misses an opportunity to tease him about it. As the story develops, Rick’s greed for photographs brings him into conflict with the villagers, who resent his invasive presence. However, this does not stop Rick from wanting to visit the tomb of Sultan Humayun Karabakh himself—a decision that determines his ultimate, grizzly fate.
This novel’s strength
is in how it shines light on a little-known aspect of Indian history: the rebellion
of Yusuf Karabakh against Sultan Humayun Karabakh at the bequest of the Sultan’s
wife. It builds suspense and, although it can be difficult to judge these things,
it seems to me as if the author has had first-hand experience of India.
It was also enjoyable,
for me at least, to watch Rick fumble like an (albeit sympathetic) idiot, right
into the death trap that we expect him to stumble into all along. Horror readers
who read horror for the joy of it will find nothing amiss. I wanted to yell at
Rick to “get outta Dodge,” as Narcissus puts it, even though I knew full well
The novel’s main
weakness is that the characters are rather one-note. Rick is always the
stubborn, foreign photographer; Awaz is the helpful but worried local whose
refrain is “No photos!”; Narcissus dumps information about the historical
backstory of Sultan Humayun and the Black Flower Goddess and keeps reminding
Rick just how “dense” he really is.
It would have been
nice to see these characters adopting different roles in the story and
expressing themselves in different ways. As a result, the story tends to drag
on at times, even though it is quite short at only 120 pages. That being said,
if you are willing to put up with the one-notedness of the characters, you will
be satisfied by the knockout ending.
David Demchuk, who attended Montreal’s Blue Metropolis festival earlier this year, is the author of a Scotiabank Giller Prize-nominated collection of horror short stories, The Bone Mother. This was quite an accomplishment for a horror writer, especially since writers of horror fiction are so often excluded from the literary mainstream. The Bone Mother, set in the interwar period in Eastern Europe, is inspired by Slavic folklore and the stunning and slightly disquieting photographic archive of Romanian photographer Costică Ascinte.
I won’t say much else about it here except that the book itself seemed to dovetail nicely with my Master’s thesis, which investigated, in part, what the difference between magic realism and fantasy set in the primary world is, if there exists a difference at all. Demchuk’s novel does serve to blur the lines, but at the Blue Metropolis, he was adamant in insisting The Bone Mother is not magic realism but straight-up horror.
The Flaw in the Stone, Cynthea Masson’s second novel in her Alchemists’ Council trilogy, explores the occult origins of the Rebel Branch’s revolution against the Alchemists’ Council. In a world where manuscript scholarship is the key to harmonizing the universe’s dimensions, the balance of power is about to be thrown off kilter.
Genevre, an outside world scribe currently inhabiting Flaw dimension, unlocks a forbidden text that will give the rebels an advantage over Council dimension for the first time in thousands of years. Seizing the opportunity, the High Azoth of the Rebel Branch, Dracaen, plans to use the long-forgotten alchemical formula to destroy the Lapis, the source of the Alchemists’ Council’s power. However, when his obsession becomes tyrannical, Cedar and Saule form a risky plan to unite rebels and alchemists, while preserving both free will and interdimensional balance. In choosing to switch allegiances, however, they risk the destruction of both worlds.
The story takes place over hundreds of years and across multiple dimensions without losing its intrigue. It carries the reader from the dark caverns of Flaw dimension to the bright gardens of Council dimension, as well as the outside-world protectorates of Vienna, Qingdao, and Santa Fe. Some scribes aligned with the alchemists become rebels, while some rebels become alchemists.
The complex allegiances are complicated further because The Flaw in the Stone develops several protagonists instead of focusing on one, as the first novel of the series did. The downside to having so many characters is less focus. However, the ethically complex problem of free will brings unity to the novel, since it is explored in different ways. Since any changes made to the Lapis in Council dimension affect all dimensions, the alchemists essentially control humanity and the outside world. Dracaen conscripts Melia and Jinjing to assist him in his plan to overthrow the Council in the name of preserving humanity’s freedom. However, in doing so, he compels both women to undergo an emotionally devastating alchemical ritual that will give the Rebel branch the upper hand. This leads them to question whether their commitment to Dracaen’s rebellion was really worth the cost.
Dracaen forces Melia to conceive an alchemical child, an entity of such power that he believes it will help the rebels destroy the Lapis. Melia feels “like a mere vessel, like a human alembic whose sole purpose was to incubate and then deliver a miracle child” (146). Her anxiety reveals not only her fear of pregnancy but her anger at being objectified. The power dynamic inherent in Dracaen’s relationship with Melia recalls recent public discussions about consent. This forced incubation, committed in the name of freedom, ironically makes Dracaen as tyrannical as the most dogmatic Council-dimension alchemists.
Historical allusions add poignancy to the Rebel branch’s revolt. Since changes to the Lapis affect the outside world, the Rebel branch’s attempt to eliminate it in 1914 more or less causes the First World War. In one memorable scene, Saule, Genevre, and Jinjing hide out in the Qingdao protectorate as the Japanese bombard the city, an allusion to the 1914 Siege of Tsingtao (Qingdao). Other historical events are alluded to implicitly. One attempt to eliminate the Flaw is said to have been “responsible for the Mongol Conquests” (188). Also, it is no coincidence that the novel begins in 1848, when a wave of social uprisings swept across Europe. Though this historical allusion is not explicitly developed, the date adds poignancy to the rebels’ struggle–perhaps an ironic poignancy, given that outside world events are only reflections of the harmony within Council dimension. Does this reduce the free agency of the human beings who participated in these events?
Masson’s scholarly knowledge of alchemical manuscripts lends the world she has constructed a certain authenticity. For example, she bases Ilex and Melia’s mutual conjunction upon the alchemical concept of the Rebis, a man and woman combined into a single individual. Her training as a medievalist comes across in her writing style, which is formal and academic.
The Flaw in the Stone fills in many of the unanswered questions readers are left with at the end of The Alchemists’ Council. In a pleasant surprise, the novel’s timeline continues into the twenty-first century, bringing the action up to date with the end of the first book and setting up the final book of the trilogy.
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Steadily, I am reading through T.E. Lawrence’s military memoir Seven Pillars of Wisdom, and I had to ask myself, “What are these seven pillars of wisdom anyway?” Nowhere in the text does he ever mention these seven pillars. What were they and what could they possibly mean?
My quest lead me down an interesting path of discovery, into the Bible and the works of Robert Graves, whose nonfiction book The White Goddess will have interest to readers of fantasy literature, since it is a source text behind much of the druid and bardic lore that went into making classic Celtic fantasy, and, I imagine, still goes into more recent fantasy as well.
Seven Pillars of Wisdom is a detailed, factual account of Thomas Edward Lawrence’s stint as liaison officer between the British forces and the Arabs in the Eastern theatre of the First World War. Arab officers rebelled against their Turkish commanders in order to declare open revolt against the crumbling Ottoman Empire and win their national independence from their mismanaging provincial oppressors stationed in Damascus. Lawrence–better known as Lawrence of Arabia–fought a manoeuvre war with the Arab commanders, rallying disparate tribes of nomads to fight as a united nation.
In this memoir, poetic observations of the harsh, magnificent landscape accompany an account of the day-to-day marches across the land to outflank and outmanoeuvre the Turks. Lawrence instructs the rebels to lay charges and detonate explosive gel under the train tracks that ferry supplies to the Turkish garrisons and towns. Moments of still peace and contemplation of strategy accompany moments of sudden violence, all described with the highest literary sensibility. It reads like an epic fantasy novel in its length and description of Lawrence’s extensive journeys, but the content is cold, hard fact written in a masterful style.
The twenty-first century is an age that that has not only seen a revival of an independent, but brutally medieval caliphate, but also one that has seen the struggle of multiple Middle Eastern peoples for national independence, such as the Kurds, who continue to fight ISIL. Some Kurds even fight the Turks from whom they desire to wrest independence–much to their chagrin. Such struggles have diversified and grown infinitely more complicated since 1917, but the struggles happening today may be traced to that much-rued Paris treaty signed after the conclusion of the Great War.
But enough historical background. Down to business. The most well-known reference to the seven pillars of Wisdom is in the Bible:
Wisdom has built her house, / she has hewn her seven pillars. (Proverbs 9.1)
The purpose of the reference is to characterize the persona of Wisdom as a woman who has prepared a feast. Only the wise are invited to this banquet; the foolish are unworthy.
This reference makes sense in relation to the jewels of profundity spread throughout the Seven Pillars of Wisdom. Lawrence becomes immersed in the Arab viewpoint on the war, on religion, and on life itself, picking up on the wisdom of the Bedouin and Howeitat elders:
“Why are the Westerners always wanting all?” provokingly said Auda. “Behind our few stars we can see God, who is not behind your millions. […] If the end of wisdom is to add star to star our foolishness is pleasing.” (289)
While this captures something of the dynamic between Eastern and Western ways of thinking, what do seven pillars have to do with this wisdom?
Wikipedia makes clear that Seven Pillars of Wisdom was the title for a previous book Lawrence had been planning to publish before the war broke out. It was to be a scholarly work about the seven greatest cities of the Middle East: Cairo, Smyrna, Constantinople, Beyrout (Beirut), Aleppo, Damascus, and Medina. This manuscript never saw the light of publication. Lawrence destroyed it. To worsen matters, he would also lose his first manuscript of Seven Pillars of Wisdom in 1919, at Reading train station. Just in time for Christmas. It has never been recovered and would have been 250,000 words in length. And I thought losing a USB key was rough.
In the memoir that eventually saw publication–painfully rewritten by a shellshocked Lawrence overwhelmed by the demands of his own celebrity status as a war hero–the author makes reference to these seven cities, either in one way or another. Damascus, for instance, was the centre of Turkish control over the Arab Middle East and one of the Arab Revolt’s main targets. Even today, age-old Damascus is the capital of war-ravaged Syria and the headquarters of Bashar al-Assad. Owing to the new focus of his book, Lawrence skims over any further significance he may have attached to these seven cities.
Now, while I acknowledge the poetic value of calling the seven cities “pillars of wisdom,” the phrase does strike me as unconventional. Why was Lawrence so insistent on this title for his memoir? Did the seven pillars of Wisdom carry some other kind of meaning?
To provide an answer to this question–or the beginnings of an answer–it might be pointed out that the seven pillars of Wisdom are also mentioned in Robert Graves’s The White Goddess.
Graves was a renowned war poet, just as Lawrence was a wartime writer. Their connection and sharing of ideas deserves to be excavated deeply by scholars. Perhaps they already have written studies of which I’m unaware.
Graves reviewed Lawrence’s memoir and edited the poem that opens Seven Pillars of Wisdom. The poem is “To. S.A.” and may have been addressed to Selim Ahmad, a young Syrian boy. It is written in such a way that it could address the Arab nation as a whole:
I loved you, so I drew these tides of men into my hands
and wrote my will across the sky in stars
To earn you Freedom, the seven-pillared worthy house,
that your eyes might be shining for me […] (ln. 1-4)
Freedom is a word seven letters long. Each letter represents one pillar in Wisdom’s house. Thus, Freedom is a kind of wisdom, or perhaps it is wisdom that makes you free.
Although I am not certain how Robert Graves edited this poem, he may have left the mark of his own ideas upon it, either directly in the editing process or by influencing Lawrence in other ways, such as through their correspondence. Since Lawrence was a bookish man as well as a soldier, he might have read Graves’s poetry and nonfiction works himself. Whatever the case, Lawrence’s poetic use of the seven pillars motif and his correspondence with Graves cannot be entirely coincidental. Not when Chapter 15 of The White Goddess is entitled “The Seven Pillars.”
Any deeper connection between Seven Pillars of Wisdom and The White Goddess evades me. I’m going to call the connection suggestive and leave it at that. But in case you were curious about what Graves does say in “The Seven Pillars,” let us hear it:
the seven pillars of Wisdom are identified by Hebrew mystics with the seven days of the Creation, with the seven days of the week. (259)
But since this is a book about ancient druid rituals and Welsh bards, a miscellaneous trove of Celtic lore, Graves finds a correlation with Irish tree symbolism.
The seven sacred trees of the Irish grove are “birch, willow, holly, hazel, oak, apple and alder” (259). Each tree corresponds to a day of the week and a deity of the classical pantheon. Alder corresponds to Saturn (Saturday), apple to Venus (Friday), oak to Jupiter (Thursday), willow to the Moon, or Circe (Monday), holly to Mars (Tuesday), birch to the Sun (Sunday). The seventh tree, hazel, corresponds to Mercury and its day falls in the middle of the week, on Wednesday. Wednesday in English is named after Odin (Woden), the Norse god of wisdom, which means his sacred tree, the ash, may be substituted for Mercury’s hazel. Not accidentally, Mercury is also a god of wisdom. Hence, you have the seven pillars of wisdom. You might imagine each tree in Wisdom’s house being carved from one of each type of wood–provided Irish trees could grow in ancient Israel.
Is there any connection between these gods, the days of the week, the planets, the sacred trees, and the seven greatest cities of the Middle East? The numerical symbolism is certainly striking and suggestive. What it means is anyone’s guess.
To conclude, it is interesting to casually note that Graves provides a classical Latin message hidden within the acronym of the first letters of the sacred Irish trees. Perhaps this will give us our final hint about the connection of Graves to Lawrence of Arabia. “Benignissime, Solo Tibi Cordis Devotionem Quotidianam Facio.” In English, this reads, “Most Gracious One to Thee alone I make a daily devotion of my heart” (260).
A line that Lawrence could well have spoken to his dear Selim, as a message to the Arab people.
Thank you, llamaladysg, for providing T.E. Lawrence’s original poem:
Most of Robert Grave’s changes were in the third stanza. This is the original version as written by T. E. Lawrence. I much prefer this one.
I loved you, so I drew these tides of men into my hands
and wrote my will across the sky in stars
To gain you Freedom, the seven-pillared worthy house,
that your eyes might be shining for me
When I came.
Death was my servant on the road, till we were near
and saw you waiting:
When you smiled, and in sorrowful envy he outran me
and took you apart:
Into his quietness.
So our love’s earning was your cast-off body,
to be held one moment
Before earth’s soft hands would explore all your face
and the blind worms transmute
Your failing substance.
Men prayed me to set my work, the inviolate house,
In memory of you:
But for fit monument I shattered it unfinished, and now
the little things creep out to patch themselves hovels
In the marred shadow
Of your gift.
The third stanza in the version that Robert Graves edited runs as follows.
“Love, the way-weary, groped to your body, our brief wage
ours for the moment
Before earth’s soft hand explored your shape, and the blind
worms grew fat upon
While I agree that the first lines of the third stanza in Lawrence’s original poem flow more easily, I agree with Graves’s call to concretize Lawrence’s original verb, “transmuting,” into the more vivid verb clause, “grew fat upon.”
After a hiatus, weekly posts have returned on Saturdays. Today, I propose a modest theory about the Old Man of the Mountain, Hassan ibn Sabbah, the leader of the Nizari Ismai’lis, which are more infamously known (however unfairly) as the Assassins.
I have discussed the Old Man of the Mountain in the past in the context of the famous Assassin’s Creed franchise. In this post, I try to understand how exactly Middle English readers would have understood the reference to the Old Man of the Mountain in The Book of John Mandeville. I propose in fact that they would have interpreted this account as a moral allegory not dissimilar to certain fairy tales in which the seductions of fairy land tempt the victim away from aspiring to heaven by presenting the victim with a garden of earthly delights.
Before I begin, here is the entire reference to Catholonabeus, which is Mandeville’s name for Hassan ibn Sabbah. This is a free translation from the text edited by Kohanski and Benson. (Catholonabeus is a Latinized corruption of a Syrian word meaning ‘killer.’)
In this land was a rich men that men called Catholonabeus, and he had a fair, strong castle. And he had made a good, strong wall all around the hill. Within was a fair garden in which were many fair trees bearing all manner of fruit that he could find. And he planted all manner of herbs of good smell. And there were many fair wells, and nearby were built many fair halls and chambers endowed with gold and azure. And he made birds and beasts that turned around via an engine within a clock and they sang as if they were alive. And he had in his gardens maidens of 15 years of age, the fairest that he could find, and male children of the same age, and they were clothed in gold and he said that they were angels. And he had made a conduit under the earth so that when he wanted he could sometimes run milk, sometimes wine, sometimes honey. And this place is called Paradise. And when any young bachelor of that country, knight or squire, came to find solace, [Catholonabeus] led him into his Paradise and showed him many wonderful things and his maidens and his wells and he also sounded his musical instruments in a high tower that could not be seen and said that they were angels of God and that here was Paradise that God granted to those who believed when He said thus: “I shall give you a land flowing with milk and honey.”
Marco Polo’s account of Hassan ibn Sabbah develops this point to say that all those who the Old Man of the Mountain seduced with his pleasure garden he also persuaded to carry out political murders. Their reward was re-entry into Paradise and for that, they were willing to do anything.
My initial impression of this account is that it is an Orientalist wonder tale, a European projection of fears about the Islamic ‘Other.’ Certainly the myth of a false paradise implies a degree of alterity to the man who built it. He cannot be said to be an entirely orthodox man and certainly not a Christian one. However, nowhere in Mandeville is Catholonabeus called a Saracen or a Muslim. And nowhere is his Paradise ever explicitly condemned as a false heaven. If anything, it almost seems as though the author celebrates the human ingenuity that could produce such a marvel in this world. The mechanical birds and magnificent the clock (which reminds me of a certain water-clock the caliph Harun al-Rashid of One Thousand and One Nights fame gifted to none other than King Charlemagne) suggest a technological advancement far ahead of what was common in Europe at the time.
My second impression of this account is that it corresponds fairly closely the idea of a wainscot society in fantasy criticism. A “wainscot” refers to a society of fantastic beings that exists within the mundane world, although this society can only be accessed ‘through the cracks.’ For example, there might be fairies living in a house’s actual wood paneling, which is what a ‘wainscot’ is. Or, to return to Catholonabeus, a secret society of hedonistic pleasure seekers (and their servants) might exist concealed in the mountains and within a castle, as the artificial paradise appears to be. The fact that the servants are called ‘angels’ furthermore links them with the supernatural, although they may merely be false angels.
Angels are only a small step away from fairies. Now consider if this wainscot society situated in a wondrous garden of paradise formed a sort of Celtic Otherworld.
In Sir Orfeo, a Middle English verse romance, a knight ventures into a fairy Otherworld that resembles the New Jerusalem, for all the bright and precious stones that adorn the buildings. The New Jerusalem is “the proude court of Paradis” (376). It is an otherworldly, wondrous utopia like the artificial paradise, only Sir Orfeo’s is the real deal. Nonetheless, it might be said that a tradition of viewing Paradise as an Otherworld does exist in the medieval English literature. Why not an artificial paradise?
Celtic fairy lore mentions the perils of being caught dancing in fairy circles and the danger of losing oneself to the seductions of fairy land, the ‘perilous realm.’ Consider Catholonabeus as a kind of Oberon, only with the skill of La Belle Dame Sans Merci at seducing young men with the pleasures of his garden. The dangers a young man might face with the Old Man of the Mountain come remarkably close to the ones a knight might expect from a fairy.
Then recall the tradition of fairies as the puckish, arbitrary dispensers of harm or aid. Never anger a fairy, or there will be hell to pay. Keep giving them milk in a dish by the windowsill and they will be kind to you. But you just never know. A fairy might decide to play the trickster no matter what you try to do.
Although Mandeville strangely omits all mention of the Assassins from his account, if Catholonabeus controlled his Assassins rather like a fairy king, he would have been considered a dangerous man. Like a Mafia don, a fairy with the power to murder you should better be placated.
Although I let my fancy fly a little in my last paragraph, I believe there are nevertheless suggestive cues in the account of the Old Man of the Mountain to suggest that one kind of text that might have influenced how Middle English readers interpreted John Mandeville’s account is what I will loosely call the ‘fairy story’ or ‘fairy romance.’ Kings and squires venturing near a fairy mound had better pour wax in their ears not to hear the seductive siren music of the fairyland. In the same way, the same heroes might be well instructed to turn a deaf ear to anything Catholonabeus promises and to not be fooled by his hidden musical instruments that they are in the real Paradise.
But just in case anyone needs a convincer, think about this.
Fairy rings are known to grow bigger the deeper you enter them. Although they look small, as if they do not contain much space, once you enter one, they are bigger on the inside (rather like the inside of the Doctor’s TARDIS).
Hassan ibn Sabbah was lord of Alamut castle in Northern Iran. Unfortunately, this castle is much too small, narrow, and rocky to have housed a full scale garden of paradise. However, a certain vineyard does thrive on Alamut to this day. It was rumoured to have been planted by Hassan himself.
Although it is not much to look at, the vineyard is a slice of green life thriving in the otherwise spartan ruin of the Ismai’li castle.
Has anyone ever paused to see how big that vineyard is on the inside?
He spoke in a small presentation room called Broadway I in the Saratoga Hilton at Saratoga Springs, NY, introducing for the first time the central concept behind his new novel. It was Guy Gavriel Kay giving the origin story behind Children of the Earth and Sky, due for release this Spring, and I was among the privileged few to hear him read from his new novel–the most anyone has ever learned about his latest historical fantasy.
This was only one of the many highlights over the weekend, but it was the highlight to which I had most been looking forward. I may not own Guy Kay’s complete works, but I have read them all and that includes not just Fionavar Tapestry and all of his historical fantasies, but his poetry volume Beyond this Dark House as well.
Before going into the details of his new novel that were revealed during his reading, let me at first attempt to describe my experience of what went down during the first few days (Thursday and Friday) of the World Fantasy Convention. There were many panels and big-name, even venerable, authors of both fantasy and science fiction–as well as authors of horror and weird tales, and their editors, publishers, and even some literary agents.
I arrived late Thursday evening, but I was on time to attend three plays by Lord Dunsany. The tone of the these plays was British-mannered and satirical and included play where a thief gone to heaven strives to break the lock of the pearly gates–but finds only the stars of the firmament on the other side.
I was rooming at the convention with a celebrity, as I discovered, although to me he was just a normal guy I was able to connect with in order to share a room: Usman T. Malik is an author of weird fiction and very popular in Pakistan, the first from his country to win a Bram Stoker Award. His story “Resurrection Points” was published in Year’s Best Weird Fiction, Vol. II, which was one of the many books I bought at the convention.
Upon first entering the convention, we were handed canvas bags loaded with 4-5 free books. Already this was more books than I had anticipated bringing home, but then again, I had yet to learn the ways of World Fantasy. These books included an ARC (Advance Reading Copy) of soon-to-be-released novel The Alchemist’s Council by Cynthia Masson, which I will strive to write a review for before its release date.
The funky thing about this book is that it was published by ECW Publications, to which I have a connection. Robert Lecker, who was my professor throughout several classes on Canadian literature at McGill and for whom I am now employed as a research assistant, was an ex-editor at ECW when it was a magazine called Essays in Canadian Writing. Nowadays, although they kept the copyrighted acronym, the publishers changed the meaning of ECW to Entertainment Culture Writing and are now publishing fantasy and science fiction, among other genres including non-fiction and literary fiction. While I knew Lecker had been with ECW, I was not aware they were publishing in my genre and I was quite surprised to see them at Saratoga!
Thursday night I chilled at the Canadian SF party, listening to David Hartwell, editor of Tor’s Years Best anthologies, talk informally about how a lot of authors nowadays are being taught how to write publishable material, but rare is the writer who can write with voice and rise to greatness. Guy Kay was circulating about the room as I listened, but I missed my chance to speak with him right then. The next day, Friday, I had a better opportunity to do this.
Friday, I attended two panels before walking into Guy Kay’s reading and learning the long-kept secret of the subject of his latest novel.
One of these panels was “Ur-Fantasies: It all Started With…” and it was composed of Tod McCoy, a Seattle-area small press publisher, Roderick Killheffer, a reviewer and publisher for 25 years, Michael Dirda, a reviewer for the New York Review of Books and who was a medievalist in grad school, Rosemary Claire Smith, who was written for Analog using her experience as an archaeologist, and Barbara Chepaitis, a novelist and the panel’s moderator. What were the first, original fantasy texts? Do they stretch back to The Epic of Gilgamesh or even earlier? Michael Dirda talked about his discovery of the Icelandic sagas as a sort of Ur-fantasy; he called them and I paraphrase, “spaghetti westerns on ice.” Barbara Chepaitis called Scheherazade’s storytelling in The Arabian Nights “the first civil disobedience” since Scheherazade’s tales, designed to always end on a hook, keep interesting the king, thus delaying his plan to execute her in order to ensure her marital fidelity. Telling stories, she saves the kingdom from the murderous rampage of the king, who has already killed hundreds of previous wives. Chepaitis also provocatively mentioned the Iroquois Peacemaker’s Epic, which recounts the formation of the Iroquois Confederacy by chief Hiawatha, as a counterpoint to fantasy epics that tend to constantly revolve around warfare.
“Scale in Epic Fantasy–Tensions between the Epic and the Intimate” involved Chris Gerwel, Ilana C. Meyer, Suzy McKee Charnas, and Glen Cook, with Joshua Palmatier as moderator. How can one write an epic fantasy that also treats intimate moments of human relationships? How do you balance character interaction with the wider lens of a Risk board of military conquests? The market expectation, Palmatier opened, is for vast, sprawling epics. But readers relate to more intimate moments. Striking this balance, I must note, is something Guy Gavriel Kay is excellent in doing.
A good example of pace and scale failing was the example of the Peter Jackson Hobbit films, the panel proposed: Tolkien’s story is intensely focused on Bilbo’s psychology and relationship with the dwarves, while Jackson erred in making the 3-part film too epic in scope. Glen Cook told us that he knows pace more intuitively and that it is his habit to write his entire novel by hand, then type it on a computer and go through 2-3 drafts in that way. Ilana C. Meyer suggested the helpful screenwriter’s trick for writing any scene: “in late, out early.” Chris Girwell suggested that first person voice is an excellent way of filtering a wider, epic world through a single character’s perspective. The panel also seemed to agree that multiple third-person POVS can be useful for presenting the perspectives of diverse people positioned in all walks of life, enabling an author to present a wider sense of events than a single perspective can.
Following this panel, I made a dash to catch the beginning of Guy Gavriel Kay’s reading. The following is a paraphrase of the story Guy Kay told us.
The story behind the creation of Children of the Earth and Sky began eight or nine years ago when Kay was touring Croatia with an editor friend while heading for a librarian conference. They were making for the coast and the editor suggested he write about the Uskoks. Kay explained how upon hearing the name, he promptly asked his editor, “What?” in a “suave and urbane fashion,” he assured us. But he really had never yet heard of this culture of Dalmatian coastal pirates operative during the Renaissance. These Uskoks raided the borderlands of the Ottoman, Venetian and Holy Roman Empires in the Adriatic Sea. They regarded themselves as heroes, “warriors of the border.”
What this growing interest in the Uskoks produced is a novel set in the generation following the fall of Sarantium, which in terms of Kay’s ‘quarter-turn of the fantastic’ world-building corresponds to the fall of Constantinople to the Ottoman Turks in 1453. Which means we have a novel set in the Renaissance that contains a significant section set in a city state evocative of Venice, with other locales to be revealed in the Spring.
I was slightly disappointed that Kay wasn’t turning towards North America for his inspiration this time around, which was my grand theory, but I felt a growing excitement for his new concept. The cover, which contains an ocean, a backdrop of a map, and a fleur-de-lys, along with a title evocative of Plains Indian mythology, suggested a novel set in New France, however inconsistent that would be with the Plains Indians. Kay had employed Plains culture in Fionavar Tapestry. My theory may have been a long shot in retrospect, but it’s easy to get excited about the actual concept Kay has now chosen: pirates!
Emphatically–and this is interesting in relation to the earlier panel on scale in epic fantasy–Kay describes his new novel as not being about kings, emperors, and courtiers, but about people who are powerless, unimportant. Children of the Earth and Sky revolves around five protagonists from various milieus who struggle to cope with what history sends their way. Illuminating the lives of secondary characters is something Kay has almost always been interested in and which truly showed itself in his two latest Chinese novels, Under Heaven and River of Stars. However, Children of the Earth and Sky will be different in how it focuses on unimportant and disempowered characters.
I heard Kay read the tense opening scene of one of these characters’ stories. This involved a painter who produces a scandalous portrait of a countessa and lives to regret it. You could feel Kay’s strong love of art history expressed in how he weaved sexual tension into the drama of a artist’s struggle, providing insight into the secret behind this painter’s work, a canvas that depicts a woman’s knowing smile. Leonardo Da Vinci he is not, however: he soon finds himself in hot water. The dramatic pauses and practiced pacing of Kay’s reading combined to create a highly professional performance that promised only good things to come with the Spring release.
The epigraphs to the new novel are borrowed from poem No. XXX in Look, Stranger! by W.H. Auden (“We swayed forward on the dangerous flood of history…”) and from the poem “Parable” by Pulitzer-Prize winning poet Louise Glück.
I, for one, am going to try to apply to Penguin for an ARC and be among the first to review it. If I am successful, I will write a review informed by my knowledge of Kay’s entire oeuvre, having previously written a 50-page Honours thesis devoted to his works. As such, you can trust it will be a well-informed review.
Next week look out for an account of the second half of my experience at the World Fantasy Convention, in which I interview Charles de Lint!
Lately my blog posts have been slowing down because of the attention I’m giving to my research assistantship with Professor Robert Lecker at McGill University–we’re researching the history of literary agents and agencies in Canada. As such I have not had the occasion to post about my experience of MythCon 2015 as I did with MythCon 2014. The conference went well and perhaps in the coming months you will hear the whole story. Suffice it to say that my presentation on Charles de Lint’s multicultural utopia went smoothly and I even had a conversation with Brian Attebery about it.
Today, I’m going to be giving a brief sketch about an idea I might work on for another presentation adjacent to my main thesis. I may present the paper that this post might become, eventually, at the Northeast Modern Language Association conference (NeMLA), where a panel is being organized around the topic of war in science fiction and fantasy literature, especially as it pertains to utopian and dystopian fiction.
I was inspired to think up a topic for this panel because of a Mythopoeic Press publication, Baptism of Fire: The Birth of the Modern British Fantastic in World War I. In here is a treasure hoard of essays contextualizing and historicizing the work of the Inklings (including Tolkien, Lewis, and Barfield), along with G.K. Chesterton, Lord Dunsany, Sylvia Townsend Warner, E.R. Eddison, and T.H. White. These guys are fantasy’s T.S. Eliots, W.H. Audens, W.B. Yeatses, and Earnest Hemingways: authors who responded to the horror of World War that ushered in the age of modernity. However, Tolkien and crew approached literature in ways that were fundamentally different from their Modernist compatriots and–at times–associates: they were, generally speaking, more invested in preserving the heroic legacy of romance and adventure that fell out of favour in the literature after WWI. Plus they were less invested in realism, more invested in fantasy and mythopoeia.
I asked myself, in seeing the similarity between the essay collection’s theme and the topic up for discussion at NeMLA, how I might have contributed to Baptism of Fire, if I had been in a position to do so. It did not take me long to think of a topic.
The works of Kenneth Morris (1879-1937) have been neglected by critics for too long. Thankfully, Douglas A. Anderson has published a glorious volume of his collected short stories, republished for the first time in many, many years: a book called The Dragon Path. Part of the reason for this neglect stems from the fact Morris was for most of his life a Theosophist, publishing his poetry and short stories through Theosophical publications. In addition to this, his contemporaries thought his work too obscure to publish much of it in his own time–making him something of a fantasy writer hipster, writing parable-like works of historical fantasy way before Tolkien made the genre mainstream. He had a small but devoted audience.
His novel The Chalchiuhite Dragon: A Tale of Toltec Times went unpublished until long after his death, when Douglas A. Anderson sought to republish it in a new edition in the 1990s. I have already read and reviewed this novel here, but for those who want a recap, here’s the simple version of the plot:
The city of Huitznahuacan is a utopian enclave in the Mexican jungle during the pre-Colombian era. The residents participate in religious festivals and worship their gods as real, but they have never before heard of war as a practice among men. They believe that they alone are the only civilization on earth. But when the Toltecs arrive during a festival and encounter their culture, they appear as even stranger than the gods: the Huitznahuatecs are not alone! Soon, however, a religious hierarch of a foreign city, misled by anger and envy, plans to manipulate jungle savages to commit a series of murders that will deviously draw the peaceful civilization into armed conflict. The novel concludes with an anticipation of the arrival of Quetzalcoatl, the Prince of Peace, who gives the Toltecs a new law.
Given that Morris began writing his rather obscure third novel in the 1920s and finished writing it, at last, in 1935, it was written during a time Europe was recovering from the shock of World War I and the world was dealing with the Great Depression. Furthermore, the Spanish Civil War (1936-1939) and World War II (1939-1945) were just on the horizon. Had Morris been writing his novel through Britain’s negotiations with the Third Reich, it might have been possible to read a more or less direct correlation between Huitznahuacan’s failure of pacifism and the failure of Neville Chamberlain’s appeasement policy. In fact, Morris would die before the beginning of the Second World War.
Although my first thought about how to historicize The Chalchiuhite Dragon was shot by the simple fact of Morris’s death in 1937, it did not deter me from investigating deeper. On a second revision, it appeared to me that the novel was still very much about pacifism anyway. Especially when reading the significance of the utopian enclave in his novel, it occurred to me that Morris was writing, quite possibly, about Point Loma, itself a utopian enclave, and Theosophy in general. A resident of San Diego for a long part of his life, and born in Wales, Morris never served at the front–at least Douglas A. Anderson mentions no such engagement. Morris was too busy writing short stories and poetry for the Theosophists.
Here is where W. Michael Ashcraft’s book Dawn of the New Cycle: Point Loma Theosophists and American Culture comes into play. This study of the community to which Morris devoted his life–quite literally, since it was his busy lecture schedule that may have contributed to his declining health–describes Theosophical positions to war, pacifism, and patriotism. In a nutshell: the Theosophists of Point Loma were more actively pacifist than the German branches of their movement, while in the States they participated with “other Americans in condemning the war and called for peaceful solutions to international problems” (169). Being an international society with a vision for the common brotherhood of humanity, Theosophists served patriotically during WWI, but always under the reverence of a ‘higher patriotism’ towards humanity as a whole. Katherine Tingley, a leader of Point Loma who asked Morris to write a novel on a pre-Columbian subject, which lead to The Chalchiuhite Dragon, was active in organizing and sponsoring meetings that promoted pacifism. Given how Huitznahuacan resembles Point Loma in its devotion to peace and the sacred as well as its being closed off from the outside world, it is difficult not to see where Morris derived his inspiration for the novel.
The thesis that emerges from this evidence is that Morris was expressing a Point Loma style of pacifism in The Chalchiuhite Dragon, as way to respond to the desolation of World War I, which must have affected him in some way, even if he was far from the front lines in San Diego, and that he also did so as a response to the growing climate of unease leading up to World War II. Further evidence of Morris’s reaction to the First World War might be sought out in the short stories and poems he was writing between 1914 and 1918, including the years directly following the war.
Although this post only shows a sketch of my ideas, I think the idea is electrifying. I hope the post, at least, might bring more people to read Kenneth Morris, whose short works, like Guy Gavriel Kay’s novels, explore various historical civilizations that span diverse cultures, such as ancient China, India, medieval Spain, Scandinavia, and the worlds of Welsh myth. In fact, Anderson credits him with being the inventor of modern Welsh fantasy. His style is read-out-loudable and very musical–occasionally, literally inspired in their cadence and theme by composers like Beethoven. His works, which often thematize the universal spiritual brotherhood of mankind and the importance of knowledge through experience, are tales relevant to any era and particularly for today.
Last week’s post discussed the Indiana Jones series and the works of pulp fiction author A. Merritt, who may have partly influenced the movies. One modern (or postmodern) narrative continues the tradition of what I call archaeological adventure fiction: the video game series Uncharted.
Hero Nathan Drake is a professional thief, who believes he is a descendent of English explorer/pirate/privateer Sir Francis Drake, who is most famous for sailing around the world. Like Sir Francis, Nate travels to various exotic locales in search of treasure. And he has a crew: ex-Marine Victor Sullivan, who is nearly a father to him, Elaina Fischer, a reporter and love interest, Chloe Fraser, a competitive love interest, and Cutter, his Jason Statham look-alike London ally.
The Uncharted series breaks boundaries in the fluidity of its third-person gameplay and in the quality of its storytelling. It is possible to play the game straight through without consulting any level-select menus, for example, and the narrative is supported by many cut scenes that play out almost like a movie. The games offer the pleasure of imagining that there still might be uncharted locales around the globe in this age of satellite imagery and Google Earth. The world has been thoroughly mapped now, but Nate follows in the footsteps of those first explorers like Drake, Marco Polo, and more modern figures such as T.E. Lawrence. Spoilers lie ahead.
The first game, Drake’s Fortune, involves the classic search for Eldorado, which Francis Drake was supposed to have discovered shortly before his supposed death. It is both Nate and Sir Francis’ fortunes that are at stake. Nate discovers Drake’s journal in the explorer’s barnacled, but otherwise empty lead coffin off the coast of Panama, and is soon on the trail after the fabled city, which turns out not to be a golden city at all, but a large statue.
Picking up the trail from where a Nazi U-boat expedition failed horrendously–the crew mauled by some kind of animal–Nate ventures to an island in the Pacific with Elaina. An old forgotten Spanish colony, the island is where the conquistadors must have brought Eldorado. After their plane is shot down, it’s a race to find the statue before some old creditors of Victor Sullivan get their hands on it.
Evidence emerges that Eldorado is cursed somehow. A ledger reveals that the statue was the last shipment the colony received, before Sir Francis set gunpowder to the town and sank the fleet in the harbour. A precautionary measure to keep people out, or keep something in? Deep in the catacombs, they find Francis Drake’s skeleton, his true final resting place, and are soon swarmed by a race of naked zombies who crawl around on all fours like possessed things.
In the end, the bad guys get the statue, which the leader of the expedition opens, only to find a rotten mummy within. Immediately, he turns into one of the zombies, attacking his own second-in-command in pure instinctual rage before he gets shot through the eyes. It turns out the number-two knew about this strange effect all along and was only waiting for a moment to steal the statue and sell its dark properties to the highest bidder. Nate grabs onto the statue as a chopper hauls it away and later fights the villain on the deck of his ship. The final blow is one of poetic justice: Nate knocks the statue overboard so the rope holding it wraps around his enemy’s leg, dragging him into the ocean along with it. You want your treasure? There, you have it.
A classic move similar to some I might have seen in movies such as Indiana Jones and National Treasure. Evil punished for its lust for wealth, so that it gets just what it wants, only too much of it, so that it is beaten to death in a shower of gold like the villain in The Mask of Zorro. Why does this kind of ending prove, on wider inspection, to be such a key part of a good formula across so many narratives?
If you read Drake’s Fortune seriously enough, you discover that it dramatizes the problems associated with imperialism. In fact, I argue that the quasi-supernatural disease that underlies the golden idol of Eldorado is an expression of an anxiety about capitalism. Beneath the luxurious facade of the statue–the treasure par excellence that really did impel so many conquistadors to drive out the Aztecs and Inca and establish their own rule over South America–there lies the hidden reality of exploitation. This unfairness and its accompanying guilt is expressed not directly, but through the metaphors of disease and the zombie.
If capitalism finds a monstrous metaphor in the figure of the vampire–who sucks the blood of its subjects without producing any blood of its own, the same way the higher classes never work in production but exploit workers–then late capitalism, the socio-economic condition of our consumerist, postmodern society, finds an apt metaphor in the zombie, which is reduced to blind instinct and an appetite for brains. Brains are the very thing that make us human subjects and the zombie’s urge to consume becomes a metaphor for ‘the age of consumption.’ That such a potent symbol lies behind the gold facade of the statue that was supposedly Drake’s fortune, should be read as highly suggestive.
The Spanish colony being destroyed by the zombie virus further suggests how colonialism, and capitalism more generally, are not sustainable practices. The acquisitiveness of the Spanish–and Sir Francis Drake’s crew–results in their own undoing, their transformation into zombies. This sixteenth-century disaster finds a link to the modern-day phenomenon of neoimperialism in the arms dealer’s attempt to sell the statue in a black market auction. The zombie disease would have not only become a commodity, but a weapon. In a world where ‘Third World’ countries, frequently in turmoil, are exploited and impoverished by wealthier nations, Eldorado would have gone to the very mercenaries who maintain that instability through constant warfare.
On whether or not Drake’s Fortune is fantasy or at least scientifically plausible, it would all have to depend on whether the curse is scientifically explained. In fact, it is not given such an explanation in the game, although the various zombie films in recent years, such as I am Legend and World War Z, have provided now-famous scenarios of a rabies-like epidemics going rogue. Gamers are left, therefore, in an ambiguous state of mind in which science and the supernatural provide competing explanations. Whatever the case, the disease does make a certain moral point that makes such explanations unneeded.
Of course, to really decide on the extent of Drake’s Fortune‘s use of the fantastic, one would have to factor in awkward questions like whether ancient civilizations really had the technology and manpower to construct elaborate temples underground fitted with counterweights, rising platforms, and wall-climbing footholds simply for the purpose of constructing an enormous puzzle. Nate runs into these Legend of Zelda-style temples frequently in Tibet in Among Thieves and in the castles of Drake’sDeception. But the hidden question of who provided the labour to build these enormous buildings–slaves, perhaps?–is elided by the game’s need to make a complicated level.
Continuing on the thought of puzzles, it is worth noting that Uncharted, although filled with similarities to archaeological adventure fiction and the Indian Jones movies, is not so much about archaeology as treasure hunting and antiquities in general. The quests follow an ‘X marks the spot’ pattern rather than one of scientific excavation. All the temples are accessible above ground, even if they later lead to subterranean levels; there is nothing actually buried. In Raiders of the Lost Ark, Jones does dig up the chamber where the Ark of the Covenant is kept, but even the fabled city of Ubar, the Atlantis of the Sands in Drake’s Deception, is accessible by a front door shrouded in a vast sandstorm.
The ‘X marks the spot’ formula for an adventure story has a history. “The Gold-Bug” by Edgar Allan Poe tells how Mr. William Legrand, his black slave Jupiter, and his dog methodologically follow a trail of clues to the location of the buried treasure of Captain Kidd. Poe, while mostly known for his morbid first person narrations, is also credited as the inventor of the modern detective story, for example, in “Murder on the Rue Morgue” and “The Purloined Letter.” The same obsessive interest in signs and symbols that characterizes his detective stories leads Poe to develop the treasure-hunter story.
Legrand is bitten by a golden scarab beetle and might be going mad. He invites the narrator over so he can see his sketch of this scarab, but the narrator sees a human skull instead of a beetle. When the narrator returns some weeks later, Legrand leads him outside in search of buried treasure, and orders him to climb a tree, find a skull resting on a branch, and pass the scarab on a string through the skull’s eye. He uses the place where the scarab touches the ground as an indication of where to start digging. Legrand then elaborately begins to describe how he knew that treasure was buried there. In an extended retrospective speech, he describes how he heated the parchment with the sketch on it because he suspected the skull the narrator saw was a sign of a pirate’s treasure map. He discovers a code written on the parchment and deciphers it step-by-step in one of the first examples of a cryptogram in literature.
The resulting paragraph is still a cypher: “A good glass in the bishop’s hostel in the devil’s seat forty-one degrees and thirteen minutes northeast and by north main branch seven limb east side shoot from the left eye of the death’s-head a bee-line from the tree through the shot fifty feet out” (95). Upon close analysis, these words are separated into sentences, and then the locations and angles are deciphered.
In this kind of story, maps, cyphers, and old texts hold the signs needed to locate treasure. The quest traces a horizontal line towards a goal, rather than a vertical line into the earth. It is this paradigm of sign interpretation that forms the basis of Indiana Jones and Nathan Drake’s searches after lost cities. Usually a main text, such as a diary of an explorer who has gone before–whether Henry Jones’ Grail diary, or Sir Francis Drake’s lost journal–supplements a map and some kind of key, like the Tibetan ritual dagger in Uncharted 2: Among Thieves, which can unlock special secret doors. The interpretation of signs on these artefacts–scrawled symbols for example–add hints and clues to the location of the quester’s goals–but also enables the antagonist to steal the items needed to find the treasure. Such maps, journals, and keys almost become McGuffins–items around which the narrative revolves, with all the characters having their reasons for pursuing them. It is no surprise then that Uncharted and Indiana Jones contain not only a quest but a race.
This sense of competition runs strong in Among Thieves, in which Nate must discover Ximbala (aka Shangri-La), where the fabled and unspeakably powerful Cintimani Stone is kept, a legendary sapphire supposedly discovered by Marco Polo. Nate races against the sinister leader of a mercenary army–Zoren Lazarovich–who uses the instability caused by Tibet’s civil war to search for the powerful stone with brutality and impunity. The medieval past of Polo’s voyage becomes the path which Nate must follow through the chaotic world of modern urban warfare. Lazarovich wrecks a Tibetan city, slaughtering resistance fighters while searching for a certain temple that will lead to his goal. He later attacks a peaceful mountain village with a tank, in his extreme obsession to have what he wants.
“The quest for the Grail is not archaeology,” says Sean Connery, playing Henry Jones in The Last Crusade. “It’s a race against evil.” What begins as a simple quest to retrieve a valuable treasure becomes a race to prevent Lazarovich from becoming unstoppable. The Cintimani Stone lends whoever holds it the power to subdue all their enemies. An elderly German in the village, Carl Schaffer, tells Nate that Genghis Khan held a mere fragment of the stone and conquered all of Asia with it. The Nazis had been searching for it too, but Schaffer, seeing the power of the Stone, shot the SS who were trying to discover it. Lazarovich leaves a path of destruction in his wake, demolishing statues and flattening buildings–everything that stands in his way. Just when Nate feels like turning back from finding Ximbala, Schaffer, echoing Henry Jones, tells him he cannot simply walk away.
The archaeological themes fall away when the story becomes about good versus evil. Although Nate and his companions are thieves who work for various clients, they have no pretension of being archaeologists like Indiana Jones in the first place. They are not necessarily highly educated, although Nate does know Latin from his Catholic boarding school upbringing. This sidesteps the problem of representing archaeology as a romantic profession, while focusing on the explosive central conflict. The quests in Uncharted are therefore “Gold-Bug”-style treasure hunts with pistols, rifles, and RPGs that retain the Jones movies’ themes about evil’s lust for power, wealth, and dominance.
Whether Nazis, as in Raiders of the Lost Ark and The Last Crusade, Communists, as in The Kingdom of the Crystal Skulls, or the arms dealer in Drake’s Fortune, Lazarovich in Among Thieves, or the occult secret society in Drake’s Deception, evil represents the forces that seek too much power for themselves, who are willing to use objects considered sacred, cursed, powerful, or simply valuable for their own selfish and world-destroying ends.
There is a connection between antiquities and power expressed by these narratives. Something is being expressed about how society imagines history and the deep past–as a place of wonder and yet of danger. Cheering on Indy and Nate as they fight, we are hoping to preserve the past from those who would corrupt or destroy it. Archaeological adventure fictions symbolically resolve tensions about capitalism and imperialism, while imagining the defeat of the bugbears of history such as the Nazis, from ever claiming possession of the past.
In light of the recent advance of ISIS into Palmyra, the site of awe-inspiring Roman ruins, and their explosive demolition of the ancient cities of Babylon and Nimrod, I hope I am not alone in observing who the bugbears (the Nazis, the Commies, the Lazarovitches, the Genghis Khans) of today are. Their so-called ‘caliphate’ is a real-life force bent on destroying the past. They wish to obliterate all memory of pre-Islamic antiquity, and have, like Lazarovich, brought ageless statues to dust, although they do it for the additional reason of abolishing idolatry. If only there could be a hero, we might pray, who can come around to stop them.
“Archaeology is the search for fact. Not truth. […] So forget any ideas you’ve got about lost cities, exotic travel, and digging up the world. You do not follow maps to buried treasure and “X” never, ever, marks the spot. Seventy percent of all archaeology is done in the library. Research. Reading. We cannot afford to take mythology at face value.”
These words were rather hypocritically spoken by none other than Harrison Ford, in his role as Indiana Jones in The Last Crusade, to a classroom of eager archaeology students. The funny thing about this speech is that it accurately describes the real study of archaeology, which has nothing to do with chasing Nazi caravans through the desert or running away from massive, rolling boulders. Yet the Indiana Jones series pretends to be about archaeology and the discovery of the past.
The romanticized view of the archaeologist tends to reduce the real work associated with the profession–including excavation, survey, applying for funding, and all that library time–to what amounts to a treasure hunt. A certain set of clues leads Jones to a particular location, where the Grail or the Ark awaits discovery. Rather than reading soil samples, Jones reads his father’s diary and the inscription of a knight’s shield, which tells him exactly where he has to go.
What this does is speed things up to the pace suitable for an action movie. It also makes the plot more linear. It eliminates any scientific processes that would stretch out a long search for an ancient city over months and years. In short, it makes the archaeologist’s journey into a quest instead of a complicated search for evidence.
Archaeological quests imply something else than the analysis of dry data. Quests bring the archaeologist into the search for truth, and not just fact. The cities they discover become more than remains scattered in a certain area of land; their job ceases to be about conducting empirical analyses of whatever they might find. It becomes a journey towards a specific goal. In The Last Crusade, that goal is none other than the Grail, a modern-day medieval romance, heavy with incident.
The Indiana Jones movies belong to the genre of ‘archaeological adventure’ that finds precedents in literary works. Published in Masterpieces of Fantasy and Enchantment, an anthology that republished some long-unknown pieces of fiction, A. Merritt’s novella “The Moon Pool” involves a band of scientific adventurers who attempt to map the ruins of a fallen Pacific Islands civilization, only to be haunted by a mysterious, supernatural force that eliminates the members of the expedition one by one. Merritt wrote in the early part of the century. Several of his works were turned into films in the 1930s.
The editors, Hartwell and Cramer, confirm in their description of the novella that “this kind of pulp fantasy is the source of such contemporary off-shoots as the current  Indiana Jones movies” (540). The novella creates an “aggressive blend of what we now call science fiction with the fantasy, using scientists and professionals to heighten the contrast between the scientific present and the magical past, mysterious and wonderful and very dangerous” (540).
Although the Jones movies do not emphasize science so much, the ‘science versus magic’ dichotomy reflects the contrast between Jones’s rigorous attention to fact in the classroom and his experience of the healing power of the supernatural Grail at the end of the film. Jones’ inner journey is towards what his father, Henry Jones, played by Sean Connery, calls “illumination.” A new faith that facts are not all what’s important.
Dr. Throckmartin, Merritt’s protagonist, encounters what appears to be the supernatural, but always finds a way to rationalize it, at least until the very end of the tale. The fantastic in Merrit is more dangerous here, however. Madness waits for Throckmartin if his rational faculties fail, if he lets himself be taken in by illusions.
A giant door opens to an inner temple–triggered only by the light of the moon. The natives claim that the ani, or spirit, opened it. But Throckmartin says, “The assertion of the natives that the ani had greatest power at this time might be a far-flung reflection of knowledge which had found ways to use forces contained in the moonlight, as we have found ways to utilize forces in the sun’s rays” (567). A mysterious sleep befalls the adventurers. But this might “have been some emanation from plants or gaseous emanations from the island itself” (567). The adventurers seek out scientific causes of the effects they must endure. They enact the kind of demystification of nature that Sir Francis Bacon outlines in his treatise on the Great Instauration: the depersonalizing of nature and the reduction of forces to matter that acts on other matter. Everything explained, no mysteries, and above all, nothing beyond or above natural causes.
“The Moon Pool” also illustrates certain themes of imperialism. Throckmartin’s request for white men to join his team rather than natives might appear racist to modern audiences, but he justifies himself saying the white man is less superstitious. Scientific men who hold no irrational fears of haunted places make better workers. This dynamic of the archaeological adventure reflects the politics of imperialism, which accompanies enlightenment. The white man has science, while the natives are ignorant animists who believe in spirits and carry prehistorical or medieval beliefs. Yet, the white man is at a certain disadvantage: he is ignorant of the dangerous secrets the island stores for him, while the natives are more familiar with these dangers–and are wise for avoiding them. The result is an encounter of the white man with the unknown supernatural other, a conflict that threatens to undermine the certainty of empirical discovery and rational explanation.
I would like to speculate that the imperialism of “The Moon Pool” is reflected to some extent in the Indiana Jones movies, in which a highly educated Western archaeologist–American no less– ‘discovers’ the secrets of the East, while the East remains incapable of discovering its own treasures. To an extent, I find this dynamic replicated in certain of Lord Dunsany’s Orientalist fantasies in The Book of Wonder, in which the object of wonder is usually a valuable gem or other glistening item that becomes a target for thieves. When Jones steals the golden idol at the beginning of Raiders of the Lost Ark, no one asks if he has the right to steal what the natives clearly worship and value. It seems like an act of American imperialism in the name of increasing the collections of Western museums.
Returning to the dialectical tension between science and magic in “The Moon Pool,” it is interesting to note how this dynamic strongly reflects one definition of fantasy that Brian Attebery provides in his essay “The Politics (If Any) of Fantasy.” He suggests that fantasy might simply be the “meeting ground between empirical and traditional world views” (10). An older world (historical materialists would say, an earlier mode of production) meets the empirical, ‘rational,’ and capitalist present. The result is a conflict between the epistemologies and beliefs of ancient and modern societies, whose systems are thrown into conflicting simultaneity. The archaeologist does not unearth the past as a past, but encounters it in the present, where it can affect and change him.
The powers of the Grail and the Ark of the Covenant may not be explained away by Doctor Jones. But the continuity between the movies and this novella by Merritt is there, suggesting that there does exist an archaeological fiction genre, little named or acknowledged, that possesses a certain set of rules that distinguishes it from fantasy, historical fiction, and science fiction. The tension between conflicting epistemologies in this genre could make it a fascinating object to excavate and survey more deeply, as a way of discovering how they encode ideas about enlightenment and imperialism.
In the twenty-first century, there is one return to archaeological fiction that explores the dynamics of science and magic in popular culture: the Uncharted video game series. With its placing of importance on old diaries and maps, rather than on archaeological excavation, and given its obvious debt to the Jones movies, I would like to discuss aspects of this series next week. Also, I will speculate about how Edgar Allan Poe may have influenced this genre since its inception, in one of his short stories, “The Gold-Bug.”
Continued next week.
Attebery, Brian. “The Politics (If Any) of Fantasy.” Modes of the Fantastic. Ed. Robert A. Lantham and Robert A. Collins. Westport: Greenwood, 1995.
Hartwell, David and Kathryn Cramer. “The Moon Pool.” Masterpieces of Fantasy and Enchantment. New York: St. Martin’s, 1988.
Indiana Jones and the Last Crusade. Script. Courtesy: dailyscript.com.
If you arrived at a crossroads, would you take the right or the left fork? We are faced every day of our lives with choosing a path. Once our decision takes us onward, we cannot return. The past that once was–and the path we might have chosen instead–grows more and more distant with each ‘Y’ junction we pass.
The courses of history and personal lives divide at such moments. The Germans invaded Poland in 1939 on Y-Tag, or Y-Day, the same day that New York City’s World’s Fair expressed a utopian optimism. Barbarism or civilization: which path did history take at that moment, and where did it go after?
Endless Things by John Crowley is the final book in his Aegypt Cycle. It is the culmination of thirty years of thinking, research, and writing on the part of the author, and an ending to a series that is thematically preoccupied with endings. Endless Things is a completion without an ending per se. After all, the thousands of possible futures that might come into existence at any moment are as endless and infinite as the universe itself.
Pierce Moffet has left the Blackbury Jambs for Old Europe on what sounds like an epic quest–to find the Holy Grail, or the Philosopher’s Stone, in either case an artefact that can prove once and for all that the world has more than one history, that its laws are mutable. Alchemy, once briefly possible for John Dee and Edward Kelley, is in our modern world no long possible–at least, Fellowes Kraft’s last unpublished novel claims so, which Pierce is supposed to copy and rework into a book. He follows Kraft’s old notebook through cities such as Rome, Florence, and Prague, which was once the centre of European civilization and scientific experimentation, circa 1588.
The setting of Prague, Pierce’s destination, is a central setting of the Aegypt Cycle, given its historical relevance. Once long ago, two diplomatic officials were thrown out of a window in that city, an event that led to the Thirty Years’ War, which tore apart Europe and the metaphysical certainties that bound it. Catholic fought Protestant for control of the Holy Roman Empire. Like Y-Tag, this is another juncture in history, and it forever changes the face of religion, diminishing its epistemological importance while the scientific method becomes, gradually, the new paradigm for truth.
All this is preceded by an ideal royal wedding that for all its purity, becomes the reason for strife. Traveling players perform Shakespeare’s The Tempest to celebrate the union. At the play’s end the sorcerer Prospero vows to drown his books and end his magical career, just as magic has come to an end in the wider world.
Prague, now part of the Czech Republic, is behind the Iron Curtain when Pierce goes on his quest. The author’s bio at the back of the book shows John Crowley’s own passport that he used on a research trip to Prague earlier in his life (photo undated), suggesting a certain level of identification between the author and Pierce. Combined with the author’s metafictional reflections through the character of Kraft himself, this autobiographical suggestion makes Endless Things into a novel about writing novels–and about narratives, especially endings.
The story of Giordano Bruno’s martyrdom is one example of a tale that doesn’t end when history suggests it did. The heretic philosopher, who was the first to suggest that the universe was infinite and the earth not at its centre, was burned at the stake in Rome’s Campo dei Fiori for his crimes of belief–but at the last moment, his soul transferred, by metempsychosis, into the body of an Ass, a sacred donkey. This Ass, living as the metamorphosed Lucius does in Apuleius’ The Golden Ass, that is, as a human in a donkey’s body, in turn transforms into the mysterious originator of the Rosicrucians, Philip à Gabala, who claimed to possess the deepest secrets of the universe’s meaning, but who never revealed them.
There are many surprises in Endless Things, the story of which substantially departs, in its first half, from the familiar settings and characters that direct the first three books. My biggest shock was that in one scene, Pierce appears to hold conversation with Dame Frances Yates, whose study, Giordano Bruno and the Hermetic Tradition, is one of the central research texts that Crowley consulted when writing Aegypt. Crowley’s identification with Pierce, which is implicit throughout the cycle, was made here nearly explicit, though never untactful. If there was any doubt the Aegypt Cycles’s earlier books are postmodern metafictions, Endless Things puts those doubts to rest.
The final chapters of Endless Things move towards an ending with graceful meditation–and it is an ending in a changed world, yet a world that we can all recognize. We see the advent of computers and the fall of the Berlin Wall, so the it leaves off some time in the 1990s–connecting events that happened as far back as the sixteenth century to the years of my own childhood. Prague once again becomes the locus of a revolution–the Velvet Revolution–that quietly forges a new world. With the fall of Communism comes the beginning of an increasingly globalized and history-less Western society. And in the midst of this, Pierce, with his rocky romance with Rosie in his past, has, upon his return from Europe, one last chance to find true love.
Endless Things ends my first reading of Crowley’s Aegypt Cycle, but it will not likely end my involvement with it. I plan to include some kind of discussion of Crowley’s work in my MA thesis, if I can, and I could think of no worthier object of study.
Brian Attebery in his 1996 essay “Tolkien, Crowley, and Postmodernism” argues that Crowley’s previous novel Little, Big makes the “fantasy tradition descending from George MacDonald, William Morris, J. R. R. Tolkien, and C.S. Lewis … formally indistinguishable from postmodernist uses of the fantastic” (21). I would gladly extend Attebery’s observation to the entire Aegypt Cycle, although I note that Little, Big has much more to do with the tradition of Tolkien and MacDonald than Aegypt does. Gnostic allegory and Renaissance philosophy are closer to the real tradition behind Endless Things.
Bringing New Left theorist Fredric Jameson into the conversation, I would like to quote the introduction to his study Postmodernism: or, The Cultural Logic of Late Capitalism, in which he says that the postmodern “looks for breaks, for events rather than new worlds, for the telltale instance after which it is no longer the same” (ix). If fantasy is a genre in which new worlds are built, then the Aegypt Cycle looks, rather, for events, these breaks that alter history.
These are the Y-junctures that result in changes we cannot go back on, the decisive moments in a society that alter even our ontological perceptions. The change from medieval animism and superstition into Enlightened science comes as a result of just such a break. Crowley accomplishes a dramatization of exactly how the former metamorphoses into the latter, how the world became what it is today and why it is no longer what it once was, explicitly addressing that age-old question, “Why is the world the way it is and not some other way?”