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About ogresan

Richard Parks' stories have have appeared in Asimov's SF, Realms of Fantasy, Fantasy Magazine, Weird Tales, and numerous anthologies, including several Year's Bests. His first story collection, THE OGRE'S WIFE, was a finalist for the World Fantasy Award. He is the author of the Yamada Monogatari series from Prime Books.

In Which I Am Self-Indulgent and So Should You

Well, sort of. I can fool myself sometimes that this isn’t what I’m doing when I’m reading an unsold story of mine. Re-reading a story is an activity that at least resembles useful work, and I proceed on the theory that I’m doing a light edit. Yeah, that’s the ticket. A light edit. Making improvements. But the fact of the matter is that I’m simply re-reading a story. Specifically, one of mine. A story that hasn’t found a home yet.

I know writers who have great difficulty re-reading their own work. I understand that. After fifteen or so passes to get everything right, it’s natural that the bloom would be just a tad off the rose by then. Yet even time and perspective don’t seem to change their attitude. I’m a little different there, and it seems more than a bit egotistical, but the only time a re-read of one of my own stories causes psychic pain is when I, to be blunt, screwed up. A failed story is painful to read, always. A failed story that you simply do not know how to fix is even worse. Sometimes I eventually sort out what to do, sometimes not, but the process hurts, whatever the outcome.

This one is different. Continue reading

Series Seriousness

Series short story characters have a long history in sf/f. And you’ll note that I do say series characters rather than just “series” as such. Almost all story cycles are built on one or two recurring characters, not a recurring setting. Yes, there are exceptions (HPL, anyone?). There always are. But they needn’t concern us here. In general, the character is the key. Sometimes more than one, but always at least one: The Traveler in Black. Cugel the Clever. Lord D’Arcy. Sherlock Holmes and Dr. Watson. Fafhrd and the Grey Mouser. Readers like them for lots of reasons. Familiarity, the chance to plunge once more into another world and visit there. Sometimes they just wonder what the characters have been up to, the way you want to touch base with an old friend. Or maybe there’s a consistent tone and worldview within that the reader finds appealing. As I said, lots of reasons. Continue reading

Snippet Time – The Long Look

Sometimes excerpts are the sort of thing you put up when you can’t scrape a real post together, but I think there’s something to be said for them on their own merits. I don’t assume for a moment that everyone or even most people who happen across this site will have a clue as to the sort of thing I do or will have read any of it. Excerpts are a quick and easy way to remedy that. So this will be in addition to the “Story Time” link, but I promise not to do it too often.

Today’s snippet is from The Long Look, Chapter 1 – Fairy Tales:

Tymon the Black, demon of a thousand nightmares and master of none, came to a sudden understanding. “It’s raining,” he said. “And I’m cold.”

He sounded surprised.

The dwarf Seb was not surprised. The chilling rain had started the moment they reached the foothills of the White Mountains and continued all afternoon. Seb’s long fair hair hung limp about his face, and he peered out at the magician through a tangled mat like a runt wolf eyeing a lamb through a hedge. “At last he deigns to notice . . . I’ve been cold for hours! At the very least you could have been miserable with me.”

“Sorry,” Tymon said. “You know I have trouble with some things.”

Seb nodded. “‘Here’ and ‘now’ being two of them.” While day-to-day practical matters were Seb’s responsibility, there was some comfort in complaining. In his years with Tymon, Seb had learned to take comfort where he could.

Nothing else was said for a time, there being nothing to say. Seb, as usual, was the first to notice the failing light. “It’s getting late. We’d better find somewhere dry to camp, if there be such in this wretched place.”

It was beginning to look like a very wet night until Seb spotted a large overhang on a nearby ridge. It wasn’t a true cave, more a remnant of some long-ago earthquake, but it reached more than forty yards into the hillside and had a high ceiling and dry, level floor. It wasn’t the worst place they’d ever slept.
“I’ll build a fire,” the dwarf said, “if you will promise me not to look at it.”

Tymon didn’t promise, but Seb built the fire anyway after seeing to their mounts and the pack train. He found some almost-dry wood near the entrance and managed to collect enough rainwater for the horses and for a pot of tea. He unpacked the last of their dried beef and biscuit, studied the pitiful leavings and shook his head in disgust. Gold wasn’t a problem, but they hadn’t dared stop for supplies till well away from the scene of Tymon’s last escapade, and now what little food they’d had time to pack was almost gone.
Seb scrounged another pot and went to catch some more rain. When he had enough, he added the remnants of beef and started the pot simmering on the fire. The mixture might make a passable broth. If not, at least they could use it to soften the biscuit.

Tymon inched closer to the fire, glancing at Seb as he did so. The dwarf pretended not to notice. Tymon was soaked and neither of them had any dry clothing. Tymon catching cold or worse was the last thing Seb needed. As for the risk, well, when the inevitable happened it would happen, as it had so many times before.

“I never look for trouble, you know that,” Tymon said. It sounded like an apology.

“I know.” Seb handed him a bowl of the broth and a piece of hard biscuit, and that small gesture was as close to an acceptance of the apology as the occasion demanded. They ate in comfortable silence for a while, but as the silence went on and on and the meal didn’t, Seb began to feel definitely uncomfortable. He finally surrendered tact and leaned close.

“Bloody hell!”

It was the Long Look. Tymon’s eyes were glazed, almost like a blind man’s. They focused at once on the flames and on nothing. Tymon was seeing something far beyond the firelight, something hidden as much in time as distance. And there wasn’t a damn thing Seb could do about it. He thought of taking his horse and leaving his friend behind, saving himself. He swore silently that one day he would do just that. He had sworn before, and he meant it no less now. But not this time. Always, not this time. Seb dozed after a while, walking the edge of a dream of warmth and ease and just about to enter, when the sound of his name brought him back to the cold stone and firelight.

“Seb?”

Tymon was back, too, from whatever far place he’d gone, and he was shivering again. Seb poured the last of the tea into Tymon’s mug. “Well?”

“I’ve seen something,” Tymon said. He found a crust of biscuit in his lap and dipped it in his tea. He chewed thoughtfully.

“Tymon, is it your habit to inform me that the sun has risen? The obvious I can handle; I need help with the hidden things.”

“So do I,” Tymon said. “Or at least telling which is which. What do you think is hidden?”

“What you saw. What the Long Look has done to us this time.”

Tymon rubbed his eyes like the first hour of morning. “Oh, that. Tragedy, Seb. That’s what I saw in the fire. I didn’t mean to. I tried not to look.”

Seb threw the dregs of his own cup into the fire and it hissed in protest. “I rather doubt it matters. If it wasn’t the fire, it would be the pattern of sweat on your horse’s back, or the shine of a dewdrop.” The dwarf’s scowl suddenly cleared away, and he looked like a scholar who’d just solved a particularly vexing sum. “The Long Look is a curse, isn’t it? I should have realized that long ago. What did you do? Cut firewood in a sacred grove? Make water on the wrong patch of flowers? What?” Seb waited but Tymon didn’t answer. He didn’t seem to be listening. Seb shook his head sadly. “I’ll wager it was a goddess. Those capable of greatest kindness must also have the power for greatest cruelty. That’s balance.”

“That’s nonsense,” said Tymon, who was listening after all. “And a Hidden Thing, I see. So let me reveal it to you—there is one difference between the workings of a god and a goddess in our affairs. One only.”

“And that is?”

“Us. Being men, we take the disfavor of a female deity more personally.” Tymon yawned and reached for his saddle and blanket.

Seb seized the reference. “Disfavor. You admit it.”

Tymon shrugged. “If it gives you pleasure. The Powers know you’ve had precious little of that lately.” He moved his blanket away from a sharp rise in the stone and repositioned his saddle. “Where are we going?”

Seb tended the fire, looking sullen. “Morushe.”

“Good. I’m not known there—by sight, anyway.”

Seb nodded. “I was counting on that.”

“It will make things easier.”

Seb knew that Tymon was now speaking to himself, but he refused to be left out. “I know why we were heading toward Morushe—it was far away from Calyt. What business do we have there now?”

“We’re going to murder a prince.”

Seb closed his eyes. “Pity the fool who asked.”

“I never look for trouble. You know that.”

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Shakespeare’s Planet

Clifford D. Simak was an earlier writer in the sf/f field that I’d heard about for years but somehow managed to avoid reading at a time when I was reading just about everything I could get my hands on. I didn’t plan it that way, but somehow it happened, so I made a conscious effort to correct this oversight, starting with Shakespeare’s Planet.

The consensus is that this is not one of Clifford D. Simak’s better works. Good thing I decided to read it before I found out what the consensus was. The premise may have been a little fresher when the book was written, but probably not by a lot: humans go into space in disembodied human brain controlled, slower-than-light ships, with the crews kept in coldsleep while the ships themselves look for earth-like planets for potential colonizing. Naturally, with that long a mission time it turns out that earth finds quicker and easier paths to the stars, and by the time one particular ship finds a habitable planet, a thousand years have gone by and humanity is already scattered across the galaxy and the original ships’ mission is only remembered as a legend. And yes, it turns out that humanity has already reached this particular planet.

Carter Horton, the only surviving crewmember of the ship (coldsleep accident, the usual), finds the mortal remains of a half-crazed old man who called himself Shakespeare after the only book he had, and his long-time companion, a creature who calls himself Carnivore, because that’s what he is. It turns out Carnivore, like Shakespeare, was marooned on this planet. Most intelligent species now use a series of interstellar “tunnels” built by an ancient, unknown race to travel around the galaxy, the problem is, no one knows where any particular tunnel leads. They all lead to habitable planets, but when you leave, you have no idea where you’re going, so the tunnels are mostly used by the desperate and those who simply don’t care where they’re going, so long as it’s “somewhere else.” The tunnel to this particular planet has a quirk: you can arrive safely, but you can never leave. Nor is this a breakdown in the system—the tunnel controls were deliberately removed. Shakespeare’s Planet was designed to be a one-way trip. Why?

Horton, Carnivore, and the ship’s robot crewmember, Nicodemus, attempt to repair the tunnel with no success, hampered by the fact that none of them know how it works in the first place. They are soon joined by Elayne, a woman from one of the human colonies now scattered through the galaxy who is one of many on a mission to travel the tunnels and attempt to map their destinations, a work that may take many generations and many millions of years. Only now she, too, is marooned on Shakespeare’s planet.

Spoiler(Sort of) Alert: All this, you have realized by now, is the setup and basic situation. It says nothing about the plot. So here’s what happens: the three minds that control ship are trying to meld into one great consciousness. They discuss this at length, wondering why it is so difficult. Horton contemplates the irony of his situation and does some exploring. Nicodemus works on self-inprovement through a series of extra brains for specialized tasks. Carnivore fusses at everyone to hurry and fix the tunnel so he can leave this boring place. Elayne does pretty much the same things Horton does. They (sort of) discover the reason that the planet had been quarantined. Carnivore discovers his destiny. Events are triggered, apparently by accident, or an accident of timing, and now everyone is free to leave the planet by the methods they choose.

Sounds awful, doesn’t it? It really isn’t. Now, I completely agree with those who say the cast never comes together. It’s true, but then you realize that Simak isn’t making characters, he’s making points of view that will be used to express those views. They’re not so much characters as walking, talking narrative vehicles, and some of their responses–Horton’s reaction on first meeting Elayne, for example–don’t make sense to me at any level. And I really didn’t mind. Simak was obviously a bright guy, and it’s not the story, the characters, or even the situation that made this book interesting to me. It was the contemplation of that situation, the nature of humanity, and yes, even Shakespeare’s insightful and yet completely wacko speculations recorded in the margins of his future edition of the complete works of his namesake.

Shakespeare’s Planet isn’t a page turner. It’s a page digester. A page savorer. It’s either a fun book or the most boring thing you’re likely to not finish, even at a mere 151 pages. That all depends on the reader. It worked for me. I also find it interesting to recall that a sf/f book that was really just a long novella could get published by a mainline publisher in Simak’s time. You want to do that now, and you’re going straight to the ebook edition. And you’re probably doing it on your own. The field has changed, sure, but a story worth reading is still a story worth reading. Glad there was a venue then, just as there is now.