Nominees Named for 2012 Hugo Awards and John W. Campbell Award

Jo Walton's Among Others (book cover): nominated for a 2012 Hugo Award for Best NovelScience Fiction Fandom Speaks with the Hugo Awards: Latest George R. R. Martin Opus, Yet Another Zombie Novel Up for Best Novel

Again with the zombies — but then given the fact that the Hugo Awards are determined by fans, perhaps not surprising.

If you’re like me – middle-aged and cranky – you’re done with vampires and zombies. This is the most horrible aspect of aging, even more so than entropy gradually mucking up your chromosomes and causing your body to fall apart: it’s how everything in popular culture gets recycled. Again and again. And again — ad nauseum, ad infinitum.

And the thing of it is, each time there’s a new generation of people for whom it’s all new and wonderful. I remember when I was that guy, a few decades ago. But now I’m 43, and I’ve seen the vampire thing come and go and come around again. Ditto with the zombies; done with that trope.

Unless the author has come up with something startlingly original – or at least so rarely recycled that it’s original to me – I don’t want anything to do with vampires or zombies. And obviously, I’m in the minority when it comes to popular culture, including popular literary fiction. To wit: the Stoker Award and the Hugo Awards.

Among the five novels nominated in the Hugo Awards category for Best Novel is Mira Grant’s Deadline (see what she did there?), yet another zombie apocalypse novel (this one is part of a series, naturally). Now, before you get your knickers twisted, I’m not knocking it, as I haven’t read it – I’m just saying once more, I’m not interested in zombie and vampire novels anymore – aside from some old friends that I like to reread once in a while.

It’s one thing if you bring something original to the table, but based on the blurbs I’ve read for Grant’s Newsflesh series, it sounds like the same stereotypical zombie stuff. Engineered viruses mutate and just happen to raise the dead, who want to eat the living. Nope, no one’s ever used that idea before. There is some mildly interesting sounding stuff about the evolution of the media, the Internet and politics in the wake of the zombie apocalypse – I guess it’s only a partial apocalypse – but not enough to interest me in reading it.

Again, I’m not knocking Ms. Grant; she may be the authorial bees knees and I’m missing out. So be it; call me when she gets over the zombie thing.

George R. R. Martin's A Dance with Dragons (book cover): Nominated for a 2012 Hugo Award for Best NovelNo Surprise Here: A Dance with Dragons Among Hugo Awards Best Novel Nominations

The fifth book in George R. R. Martin’s A Song of Ice and Fire, his gritty fantasy magnum opus, titled A Dance with Dragons is also among the five novels nominated for the Hugo Awards. Released in July of 2011, it came out nearly six years since the previous book, A Feast for Crows. The lengthy interval became so onerous to some fanboys and girls that they resorted to browbeating Martin on the Internet, including on his own blog.

I guess they all forgave him, given the fact that fans nominate and subsequently chose the winners of Hugos.

While I have mixed feelings about Martin’s Song of Ice and Fire series, as expounded upon at length here on Barking Book Reviews, generally (and shortly) speaking, I like it – enough to keep reading, at any rate. I read A Dance With Dragons shortly after it came out – naturally it was a best seller the moment it was released – but that was right before I returned to Southeast Asia, and I consequently never wrote a follow-up review. But I will say that it shares the same strengths and weaknesses with the previous books, and that I’ll read the next one when it comes out.

The most interesting sounding novel on the list is Jo Walton’s Among Others, which has already garnered recognition: it was named one of School Library Journal’s Best Adult Books for Teens for 2011, as well as one of io9’s best Science Fiction and Fantasy books of the year for 2011. Walton has previously won a Prometheus Award in 2008 for the novel Ha’penny, and a 2010 Mythopoeic Award lifelode, among other accolades.

After perusing this excerpt of Among Others at publisher Tor’s site, methinks I’ll be adding that to my own shortlist of books to read and review.

The rest of the Hugo Awards list, along with the other major categories; you can find a more complete list of 2012 Hugo Award nominees over at Locus, from which I cadged this short list. Or you can go straight to the Hugo horse’s mouth. Also, again, if you are like me, you have perused that list and thought, “what the hell is a novelette? How does it differ from a novella? And why do we need further, arbitrary distinctions? Follow that link for an answer to the first two questions; as to the latter question, we’ll save that for another time.

On other interesting thing to note about the list for Best Novel: it includes British author China   Miéville’s Embassytown, which is also nominated for an Arthur C. Clarke Award. This Clarke Award nomination, among others, got fellow British science fiction author Christopher Priest’s panties in a bunch.

Wondering about Cambell Award? Scroll down, dear gentle reader.

BEST NOVEL
Leviathan Wakes, James S.A. Corey (Orbit US; Orbit UK)
Deadline, Mira Grant (Orbit US; Orbit UK)
A Dance with Dragons, George R.R. Martin (Bantam; Harper Voyager UK)
Embassytown, China Miéville (Del Rey; Macmillan)
Among Others, Jo Walton (Tor)

BEST NOVELLA
“The Ice Owl,” Carolyn Ives Gilman (F&SF 11-12/11)
“Countdown,” Mira Grant (Orbit Short Fiction)
“The Man Who Bridged the Mist,” Kij Johnson (Asimov’s 10-11/11)
“Kiss Me Twice”, Mary Robinette Kowal (Asimov’s 6/11)
“The Man Who Ended History: A Documentary,” Ken Liu (Panverse Three)
“Silently and Very Fast,” Catherynne M. Valente (WSFA)

BEST NOVELETTE
“Six Months, Three Days,” Charlie Jane Anders (Tor.com 6/8/11)
“The Copenhagen Interpretation,” Paul Cornell (Asimov’s 7/11)
“What We Found,” Geoff Ryman (F&SF 9-10/11)
“Fields of Gold,” Rachel Swirsky (Eclipse Four)
“Ray of Light,” Brad R. Torgersen (Analog 12/11)

BEST SHORT STORY
“Movement,” Nancy Fulda (Asimov’s 3/11)
“The Paper Menagerie,” Ken Liu (F&SF 3-4/11)
“The Homecoming,” Mike Resnick (Asimov’s 4-5/11)
“Shadow War of the Night Dragons, Book One: The Dead City (Prologue),” John Scalzi (Tor.com 4/1/11)
“The Cartographer Wasps and the Anarchist Bees,” E. Lily Yu (Clarkesworld 4/11)

BEST GRAPHIC STORY
The Unwritten, Vol. 2: Leviathan, Mike Carey, art by Peter Gross (Vertigo)
Locke & Key, Vol. 4: Keys To The Kingdom, Joe Hill, art by Gabriel Rodriguez (IDW Publishing)
Schlock Mercenary: Force Multiplication, Howard Tayler, colors by Travis Walton (www.schlockmercenary.com)
Digger, Ursula Vernon (www.diggercomic.com)
Fables, Vol. 15: Rose Red, Bill Willingham & Mark Buckingham (Vertigo)

BEST PROFESSIONAL EDITOR LONG FORM
Lou Anders
Liz Gorinsky
Anne Lesley Groell
Patrick Nielsen Hayden
Betsy Wollheim

BEST PROFESSIONAL EDITOR SHORT FORM
John Joseph Adams
Neil Clarke
Stanley Schmidt
Jonathan Strahan
Sheila Williams

BEST PROFESSIONAL ARTIST
Daniel Dos Santos
Bob Eggleton
Michael Komarck
Stephan Martiniere
John Picacio

Karen Lord's debut novel, Redemption in IndigoKaren Lord Among Authors Nominated for John W. Campbell Award

The John W. Campbell Memorial Award for the best science-fiction novel of the year honors the late editor of Astounding Science Fiction magazine, now named Analog. Many would say that he is the founding father of modern science fiction; if anyone can be said to be such a thing, it is Campbell. Writers Harry Harrison and Brian W. Aldiss established the award in Campbell’s name some decades ago..

Unlike the Hugos, it is a more traditional sort of award; you can read more about it at the University of Kansas’ Center for the Study of Science Fiction. This year’s nominees are:

Mur Lafferty
Stina Leicht
*Karen Lord
*Brad R. Torgersen
E. Lily Yu

*authors in their second year of eligibility.

Check out the Barking Book Review of Karen Lord’s excellent Redemption in Indigo here.

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A Song of Ice and Fire: Part the Second

George R. R. Martin’s Song of Ice and Fire:
The Long and the Longer of It

Seven Hells! Inconsistent prose and epic confusion

Editor’s Note: This is the second part — hence the title — of this review. To see the first part of the Ice and Fire review, go here.

The Wall -- the northern border of Westeros, in Martin's Ice and Fire, as portrayed in HBO's Game of Thrones.While its length allows Martin to delve deeply into some of his characters, others remain under developed or underutilized in the lengthy epic that is A Song of Ice and Fire.

Furthermore, this is only complicated by Martin choosing to narrate each chapter in a limited third-person point of view, from that of several specific characters for each book. In fact there are no less than 17 (!) characters who serve as narrators for multiple chapters, in addition to eight more who only get one chapter. I first read this on the Ice and Fire Wikipedia entry before I began reading the series a few months ago; I’m not sure I believed it. But now that I have the books in hand, I can verify that this is indeed the case. So it’s essentially impossible, or at least really difficult, to flesh out other important members of Ice and Fire’s considerable cast of characters.

The end result is that the characters you have come to know and appreciate in one book might not make an appearance in the next, or we only find out about their current fates in a tangential manner – one of the current book’s characters receives a report/rumor about another character’s adventures, accomplishments, or demise. It can be a little disconcerting for the reader, to say the least. In retrospect, I think Martin might have done well to utilize an omniscient third-person narrator; he still could have switched back and forth between the various plot threads and locations, ether from chapter to chapter or whole sections of a book.

Martin’s limited third person narrative is a further shame, too, because some of the most interesting characters are the minor ones that may only make occasional brief appearances in the story. While this is inevitable in a work of this scope, there are still several characters I’d like to know a bit more about.

Bronn the sellsword getting his fight on, as portrayed in HBO's Game of Thrones, based on the work of George R. R. Martin.Take Bronn, for example, Tyrion’s mercenary personal body guard who eventually gets elevated to the status of knight, gaining the appellation of “ser” in the lingo of Westeros (as opposed to “sir”) for his actions in defending a key holding in a battle for King’s Landing (the royal capitol). Ser Bronn’s not necessarily a sympathetic character, but he’s certainly an interesting one; alas we never get a chance to know what he’s thinking or what his motivations are. With an omniscient third person narrator Martin could have shed some light on these questions without necessarily adding significantly to the overall length of the story.

Littlefinger is another example. A major character introduced in the first novel, he plays a critical role in the third and fourth books. And yet, since he is never actually a chapter narrator; we never get inside his head. We only have a broad idea of his motivations from the recollections of others and his occasional dialog. And in case you are wondering, “Littlefinger” is a nickname based on the peninsula where his ancestral home lies.

On the other sword hand, this feudal cast of thousands is already difficult to keep track of, and that’s putting it mildly. There are often points, particularly in reading the latter works, where it is difficult to keep track of who is related to whom, and which knight did what or which lord or family is responsible for what domain. This gets even more complicated when we have many knights and lordlings and ladies with the same last name running hither and yon about Westeros on both sides of the game of thrones.

Martin provides lists of each family and characters in the back of the novels; they take up dozens and dozens of pages. I think some flow charts or family trees would also help. In fact there were times while deep into the third and fourth books of A Song of Ice and Fire that I consulted fan sites because I was confused about who Ser Dingleberry of the Long Pants was, and what it was he did or didn’t do in the various battles for the various thrones (at one point there are five declared kings in Westeros, if we include the deceased Robert – six if we include Daenerys and/or her brother, who is the heir to the throne prior to the revolution led by Robert nine years before the opening of the first book in the series).

And no, I’m indulging in a bit of hyperbolic parody; there is actually no Ser Dingleberry in Martin’s books (I think).

Sound confusing? It is.

But this is arguably an aspect of the genre; not even Tolkien is exempt – and I’m sorry Martin lovers, but Martin’s no Tolkien – as he can legitimately be criticized for the complexity of his elven and Numenorean family trees. I love and respect Tolkien so much that I read scholarly works and critiques of his oeuvre, but I’ll be damned if I even I can ever keep straight all of the various Fëanors, Finrods, Fingolfins, Finarfins, Fingleberries, Fimbulbs and Fiddlefarts, etc. and so forth, by the time I get to the end of Silmarillion. For the casual reader it’s difficult enough remembering that Pippin is a fool of a Took. So perhaps we can’t quite fault Martin for this, but casual readers of fantasy (those who’ve never been to a con, for example) should consider themselves warned.

The book’s length also contributes to unevenness across the span of the first four books in terms of the prose. I would guess that this has more to do with editing and publishing schedules than Martin’s technical writing prowess. Particularly in Game of Thrones and Clash of Kings, the first two books, there are delightful turns of phrase and vivid expository descriptions. To wit:

“Ned had known their faces as well as he knew his own once, but the years leech at a man’s memories, even those he has vowed never to forget. In the dream they were only shadows, gray wraiths on horses made of mist.”

This is, of course, describing a dream that Ned Stark tries to recall the next day, a dream about his youth.

Even in the later books, we are treated to passages such as this, told from the point of view of a direwolf possessed by a human in his dream – a warg:

“He could feel the high stone calling him. Up he went, loping easy at first, then faster and higher, his strong legs eating up the incline. Birds burst from the branches overhead as he raced by, clawing and flapping their way into the sky. He could hear the wind sighing up amongst the leaves, the squirrels chittering to one another, even the sound a pinecone made as it tumbled to the forest floor. The smells were a song around him, a song that filled the good green world.”

A lovely description, to be sure. But in the latter two books of the series the reader is at times subjected to unwieldy prose and metaphors that just don’t work; if I had to hazard a guess I would say these books were ushered quickly through production, as these are things any reasonably good editor would catch and fix, given time adequate to the task – that’s what a good editor does. Here’s my “favorite” example from Feast for Crows:

“Her face had been stone before he spoke; then it hardened.”

Er, what? I understand what Martin is trying to convey here, but it doesn’t quite work; what’s harder than stone? Diamonds, I suppose, but that would make for a silly metaphor. Rather, if we simply rearrange the sentence to read: her face had hardened even before he spoke; then it turned to stone, I think it works much better.

Another example from Storm of Swords:

“The tower stood upon an island, its twin reflected on the still blue waters. When the wind blew, ripples moved across the surface of the lake, chasing one another like boys at play.”

Um, er, boys at play are erratic. They run around in random, chaotic directions, like noodles in boiling water – not marching like neat, compact waves riding at specific, regular intervals across a lake. Perhaps if there were stiff winds switching and swirling back and forth, causing little white-capped waves to crash into one another like boys at play, that might work.

Now before any Martin fanboys get their panties in a bunch, let me add a caveat here: I think anytime you’re writing such a large work, there are always small (yet significant) problems like this. No, I’ve never written a 1,000 page novel (yet), but I’ve written pieces for print and online pubs that get into thousands of words. It is a problem even then, so I can imagine it is multiplied many times over when we’re talking about a series of interconnected novels.

I would say it just goes with the territory when you’re writing hundreds or even thousands of words a day, in a work that is some tens of thousands of words (or in Martin’s case, hundreds of thousands of words) in length; these kinds of nit-picky errors must be somewhat commonplace in the best writers’ work – in the first draft. Again, this isn’t so much a criticism of Martin’s writing as it is his editors and publishers; I think it’s obvious these last two texts in the series were a bit rushed, given the huge popularity of the first two.

Another editing nitpick I’ll throw out here, to both Martin and his editors: more (logical) paragraph breaks, please (at least in the ebook editions). There are some horrendous walls of text in Ice and Fire (I know, I know, pot and kettle, black, etc.).

Nitpicking the Expository Necessities

Another issue with the length of the series, complicated by the fact that it is ongoing for another planned three books (for a total of seven), is that while each is written more or less as a standalone novel, they are clearly written as part of a whole. Some subplots get tied up more or less neatly from book to book; others just seemingly taper or off or get left hanging, ostensibly to be picked up in an ensuing book.

Furthermore, while I’m sure Martin’s tale has grown with the telling, as Tolkien put it, clearly he’s had the main plot ideas in mind for Ice and Fire from the start. As a result, there is some repeated expository passages in the later books, here and there, to tie things together for readers who may not have read one of the previous books. I’m nitpicking here, to be sure; for someone who has already read the previous books, it’s a minor annoyance at best. But I think all readers would have been better served with a “story so far” synopsis at the beginning of each book following the first one – one that readers in it for the long haul could skip.

This would also better serve readers coming into the series in the middle; it would give them a chance to get to know the major characters better. It would surely be very difficult for someone who may have picked up the third or fourth book by chance to understand some of the characters and why they are doing what they do or are in the situations they are in, in the later books – Samwell Tarly and Arya Stark come to mind, for example.

But this last is a trifling matter, really, in the larger scope of this very large tome; most readers of this work will naturally start at the beginning – particularly now that Game of Thrones has become a series on HBO.

It’s Not (Splatter) Porn (But Sometimes It Seems Like It’s Trying)

Tyrion gets laid ad infinitum in George R. R. Martin's Song of Ice and Fire. Here he is portrayed in the HBO series Game of Thrones, based on Martin's work.Editor’s Note: There are some naught words ahead. If that’s a problem, stop reading — and if you’re that conservative in your sensibilities, A Song of Ice and Fire ain’t for you. Better had back to Narnia.

In the 1990s I remember picking up a magazine of questionable repute called Future Sex whenever I went to the tattoo parlor, piercing shop, or alterna-coffee shop — I know, big surprise, eh? A Song of Ice and Fire could be subtitled Feudal Sex.

Okay, that’s a bit of an exaggeration. But I could also suggest that the series ushers in a new fantasy subgenre called “sword and gore,” or “(flesh) sword and debauchery” (as opposed to sword and sorcery, for those that need it spelled out) and it wouldn’t be an exaggeration. There’s plenty of each in A Song of Ice and Fire. While it’s not as gratuitous as some critics might have you think, some of it, quite frankly is plainly gratuitous. If this is a problem for some readers, they would do well to avoid the series. But generally speaking, the sex does serve either plot or character development. Take the following for example:

“Tyrion put down the candle, took her hand in his, and pulled her gently to him. She bent to kiss him. Her mouth tasted of honey and cloves, and her fingers were deft and practiced as they found the fastenings of his clothes.

When he entered her, she welcomed him with whispered endearments and small, shuddering gasps of pleasure. Tyrion suspected her delight was feigned, but she did it so well that it did not matter. That much truth he did not crave.

He had needed her, Tyrion realized afterward, as she lay quietly in his arms. Her or someone like her. It had been nigh on a year since he’d lain with a woman, since before he had set out for Winterfell in company with his brother and King Robert. He could well die on the morrow or the day after, and if he did, he would sooner go to his grave thinking of Shae than of his lord father, Lysa Arryn, or the Lady Catelyn Stark.”

Here we learn some important things about Tyrion. At this point we already know that Tyrion is extremely intelligent and nobody’s fool. But here we learn that he’s not always the cold and calculating intellectual cynic; we learn that he can be a bit sensitive – as opposed to the ravishing whore monger he might have us believe otherwise. Not to mention the fact that he’s like anyone else; he craves the comfort of a warm body in his bed the night before a day that could be his last. And yet he’s intelligent enough not to fool himself, at least deep down, about the nature of a prostitute’s expostulations of love.

Indeed, it is through his sexual relationship with the camp follower Shae that we gradually come to learn about Tyrion’s childhood and one of the turning points early on in his adulthood. It is an event that comes back not only to haunt Tyrion, but his siblings and father as well. So arguably some of these sex scenes are necessary, and more interesting than just having a narrator tell us what’s going on in Tyrion’s head. This is one of the cardinal rules of creative writing, after all: show, don’t tell.

On the other hand, a few books later we have this scene between Tyrion and Shae:

“Tyrion turned to look. … The hidden doors are here somewhere, they have to be. That was as much as he had time to think, before Shae turned his head to kiss him. Her mouth was wet and hungry, and she did not even seem to see his scar, or the raw scab where his nose had been.

Her skin was warm silk beneath his fingers. When his thumb brushed against her left nipple, it hardened at once. ‘Hurry,’ she urged, between kisses, as his fingers went to his laces, ‘oh, hurry, hurry, I want you in me, in me, in me.’ He did not even have time to undress properly.

Shae pulled his cock out of his breeches, then pushed him down onto the floor and climbed atop him. She screamed as he pushed past her lips, and rode him wildly, moaning, ‘My giant, my giant, my giant,’ every time she slammed down on him. Tyrion was so eager that he exploded on the fifth stroke, but Shae did not seem to mind. She smiled wickedly when she felt him spurting, and leaned forward to kiss the sweat from his brow.

‘My giant of Lannister,’ she murmured. ‘Stay inside me, please. I like to feel you there.’ So Tyrion did not move, except to put his arms around her. It feels so good to hold her, and to be held, he thought. How can something this sweet be a crime worth hanging her for?

‘Shae,’ he said, ‘sweetling, this must be our last time together. The danger is too great. If my lord father should find you …’ ‘I like your scar.’ She traced it with her finger. ‘It makes you look very fierce and strong.’ He laughed. ‘Very ugly, you mean.’ ‘M’lord will never be ugly in my eyes.'”

At this point I think we could have skipped the sex and cut straight to the important dialog. The reader knows long before now that Tyrion’s father has forbidden him to bring Shae to King’s Landing, and yet he has. The reader also knows that the current plot line is coming to a head. Clearly here is an example of gratuitous sex; it’s certainly not the only one.

Besides, much as I really like the guy, I really don’t need Tyrion having sex in my mind’s eye for the upteenth time. That’s not a knock against dwarves per se; more a matter of aesthetics — I’m sure no one would want to see me having sex either, for that matter, myself included. Then again, if that turns your screw — noseless dwarves having sex with wanton young women in a eunuch spy master’s bed (no, really, it’s all in Ice and Fire), you’re in luck: popular fiction  is now catering to your desires. No longer must you hide in shame in the dark.

Anyway, as for violence, well, it’s an epic story about war; war inevitably involves killing – typically the removal of people’s blood and guts from their bodies, and occasionally limbs and heads as well. Like the sex, sometimes what we see as the reader is necessary for reasons of plot and characterization; at other times, it is arguably war porn, I suppose. At times as I read Ice and Fire I would catch myself thinking “Yes, yes, we’ve covered this. Battles with swords involves lots of gaping wounds, spilled guts,  chopped off limbs, caved-in skulls, etc. etc., and the smell of  blood and shit. Got it. Let’s move it along.”

But I wouldn’t say that Martin goes to extremes at every opportunity; in fact one of the best battle scenes in the book involves little to no gore, and is yet one of the most gripping and well written battle scenes in the whole series to date in A Storm of Swords.

Here John Snow, bastard of the Lord of Winterfell consigned to the Night’s Watch because of his illegitimate status, ends up commanding the remnants of the Night’s Watch as they defend Westeros’ northern border – dubbed The Wall for good reason – against a Wildling attack on the one open gate within the Wall. Here Martin takes us inside John’s head and let’s us experience every aspect of the battle, from the tension before it begins, to the constant rise and fall of adrenaline and exhaustion during the fighting, to the shell shocked yet emotionally intense and difficult aftermath; there’s nary a stringy bowel or spurting, severed limb or neck to be seen.

When Martin’s on his game, it’s good stuff.

And in Conclusion (Seven Hells, It’s About Time)

George R. R. Martin, author of A Song of Ice and Fire series, as captured by photographer David Shankbone.So, if you made it with me this far, you probably don’t need a summation. Nevertheless, here it is (this is the way they teach you in writing school). George R. R. Martin’s Song of Ice and Fire series is not without merit; quite the opposite, in fact. At times it is a ripping good example of the realistic or gritty fantasy subgenre – gut and bodice ripping, that is. But it is not without its weaknesses, although these generally don’t detract so much from the end result as to make it significantly less enjoyable – at least not to the point that you wouldn’t want to read it. But don’t expect the perfection of an epic life’s work.

Furthermore, one more warning: if you’re troubled by gratuitous sex, violence and ambiguous morality, Ice and Fire is not for you.

P.S. If you’ve seen the first two episodes of the Game of Thrones television series on HBO and are considering reading the books now, I think it’s safe to say if you like the show you will like the books well enough (assuming you like to read, that is). I think the show is more or less true to Martin’s work, at least so far (as of this posting, HBO has broadcast the first two episodes).

Like most literary works brought to the screen, I think it’s inferior to the written work – although it works much better as an ongoing series, rather than it would have as a movie or even a series of movies. Would that Lord of the Rings had been given that treatment; then perhaps Peter Jackson wouldn’t have butchered The Two Towers quite so badly. But that’s another wall of text for another time.

P.S. II, Electric Boogaloo: All of the photos in this post are from promotional/press materials from HBO to promote its series, Game of Thrones, which is based on Martin’s Ice and Fire books.  Except that is for the author’s photo above, which was cadged from Wikipedia courtesy of photographer and scribe David Shanbone.

P.P.P.S. I made it to the end before I made a joke/reference to Pat Benetar’s Fire and Ice. This opposed to Ice and Fire. Is that why Martin called it that?

P.S., The Reboot: I’ve already linked to the Wikipedia entry for A Song of Ice and Fire somewhere above or in the first part; here it is again. It’s a handy reference for both new readers and veterans of the series. Also an excellent fan site/invaluable resource is The Tower of the Hand, especially this awesome map of Westeros.

 

A Song of Ice and Fire

George R. R. Martin’s Song of Ice and Fire:
the Good, the Bad, the Debauchery

Grit, gore, grime and gams make for busy knights

The covers of the first five books in George R. R. Martin's A Song of Ice and Fire realistic fantasy series.What better way to inaugurate Barking Book Reviews than a review of George R. R. Martin’s Song of Ice and Fire series? It’s immensely popular within the fantasy/sword-and-sorcery genre among both readers and critics; the various books in the series have all been nominated for Locus, Hugo, Nebula and World Fantasy awards; the first in the series, A Game of Thrones, won a Locus award. The fourth book, A Feast for Crows, debuted at no. 1 on the New York Times bestseller list upon its initial publishing in 2005 – the first fantasy genre book to do so.

As if that weren’t enough, the fifth book in the series, A Dance with Dragons is already listed among the top 10 fantasy ebooks on Amazon.com; it was sitting at no. 10 as of this posting. The thing of it is, that’s just for preorders; it won’t be published until later this year in July.

Then there is the television series based on the first novel in Ice and Fire, Game of Thrones, that just debuted on HBO a few weeks ago. This is bringing Martin new fans judging by the appearance of the books in various book sales lists.

As for myself, I just finished the fourth and most recent book in the series, A Feast for Crows, and am looking forward to the erstwhile fifth book in the series, some six years in the making.

A confession: I’m a little skeptical of the gritty/realism movement in fantasy; if you can’t write well in the first place, trying to be gritty or modern isn’t going to help. Yet it seems many authors use this as a crutch, and manage to get published. But if I may indulge in a bit of grit myself: all the mayo in the world can’t turn chicken shit into chicken salad; would that it could. Plus … realistic fantasy – bit of an oxymoron, that. Furthermore, while I do not read a lot of fantasy and sword and sorcery, the authors I do read, I tend to read closely. In fact, I’m enough of a Tolkien nerd that I read scholarly critiques and annotated versions of his works.

But generally speaking, Martin does gritty better than others. At times over the course of the books (so far) he does get carried away with the grit – not so much in the first book, Game of Thrones, nor in the fourth one, Feast for Crows, both of which are fairly taught narratives. This is particularly true when they are compared to the middle works, A Clash of Kings and A Storm of Swords; in these two there is plenty of gratuitous sex and violence. Now I like sex and violence when it serves to move the plot or characterization along. And there’s nothing wrong with gratuitous sex even when it doesn’t do those things – if it’s well written and titillating. The sex in Martin’s works isn’t particularly titillating – he probably shouldn’t forsake fantasy and science fiction for erotica – so some of the gratuitous sex is a bit annoying and distracting, at times. More on this later.

A Song of Ice and Fire: the Short of It

Warning, a HUGE WALL OF TEXT ensues — in two parts, no less; an epic in which each part spans hundreds of pages perhaps deserves a critique of several thousand words. Plus there is a huge wall on the northern border of Westeros, so this is apropos.

Want to skip it? Let it suffice to say that perhaps Martin doesn’t always do gritty realism as well as it could be done (but at times he does), but it is a cut – a detailed, bloody one from groin to collarbone that causes bowels and other assorted entrails to fall out – above the standard bookshelf fare when it comes to quote-unquote realistic fantasy.

And if you like fantasy and sword-and-sorcery epics, and you’re okay with the aforementioned grittiness and gray ethical areas, Martin’s Song of Ice and Fire series is definitely worth a read. It’s not without its faults, some of them considerable and some potentially deal breakers for some readers. But on the whole this epic is an enjoyable diversion, reasonably well written (usually) and at times even thoughtful.

On the other hand, if you want your fantasy more traditional – beautiful and immortal elves, elderly but powerful wizards, magic spells and charms, shining white knights skilled at swordplay and damsel rescue, orcs, goblins, dark lords specializing in ultimate evil and world domination, etc. – with clear boundaries between good and bad – A Song of Ice and Fire is not for you. And that’s not to imply that modern fantasy with those elements can’t be good (just look at Tolkien, the author who started us down this road). Rather, you simply won’t find it in these books of Martin’s.

The Long of It: The Strengths of A Song of Ice and Fire

One of the things that recommends Martin’s series and makes its considerable length justified is its characterizations. One of the things that proponents of gritty, realistic fantasy often cite about this genre – I suppose it’s probably considered a full-fledged subgenre, at this point — is that, like real life, seemingly nothing is black and white; there is no ultimate good and no ultimate evil.

You will find no Aragorn, Gandalf or Frodo in Westeros, the small continent (or perhaps a portion of a larger one) in which the majority of Ice and Fire is set. For that matter, you won’t find Sauron, Nazgûl, orcs, goblins – nary a hobgoblin, even. There are giants riding mammoths, dragons and the seemingly implacably evil “Others” but they are largely in the background of these first four works – although Martin uses the Others, an ancient evil that hasn’t been seen in Westeros in thousands of years, to bring about several pivotal scenes/plot complications in the third book, A Storm of Swords – not to mention the prologue of the first.

Yes, magic is there in Westeros and the mysterious, exotic lands to the east across the Narrow Sea, but it is in the background. In the foreground we have several dynastic families at the pinnacle of a feudal system reminiscent of medieval Europe – lords, ladies, servants, knights, lusty wenches and washer women, learned men in robes – there’s even an analog to the early Catholic Church, as well as the Old Gods, which are clearly analogous to Druidic beliefs (although unlike their real-world counterparts, these two belief systems don’t seem to be troubled with one another). In fact, while Martin’s Song of Ice and Fire has been praised for being original in terms of fantasy, one could argue that in many ways it gives us a trite and stereotypical view of medieval Europe – but then, this isn’t a history lesson but popular fiction.

The cover of George R. R. Martin's A Clash of Kings.All of these families are warring for control of their various lands and ultimately, all of Westeros. Indeed, as many others have remarked, it reminds one who is familiar with British history of nothing so much as the War of the Roses and its aftermath; Henry the VIII would have been quite at home in Westeros – and probably would have fared much better than Martin’s King Robert, a fellow epicure. Certainly Henry would be quite at home with the heads that constantly roll from torsos in Ice and Fire.

Again, there are no elves to be found, and the dwarves are, well, really dwarves, as in people who fit the clinical, medical definition of a dwarf, as opposed to those of German mythology and Tolkien, et al. And unlike Tolkien’s dwarves, Martin’s Tyrion, a dwarf central to the ongoing plot of the entire series, can be valiant in battle, but only because he’s left little choice; it’s certainly not his idea of a pleasant way to pass an afternoon. As Tyrion himself says shortly after his first battle near the end of Game of Thrones:

“No, I’m done with fields of battle, thank you. I sit a chair better than a horse, and I’d sooner hold a wine goblet than a battle-ax. All that about thunder of the drums, sunlight flashing on armor, a magnificent destriers snorting and prancing? Well, the drums gave me headaches, the sunlight flashing on my armor cooked me up like a harvest day goose, and those magnificent destriers shit everywhere.”

Gimli he most certainly is not – although they largely seem to share the same opinions on horses.

Tyrion: Everyone’s Favorite Dwarf

Tyrion is one of the best examples of the in-depth characterization we find in Martin’s Ice and Fire. While in some respects the series’ length is a weakness, its length does lend itself to some in-depth character development. As for Tyrion, being a dwarf in a feudal society – even being the scion of House Lannister, one of the most powerful families in Westeros – is surely no easy thing.

He is a major character of the first three novels, and presumably will return in the fifth. When we first meet Tyrion he is seemingly drunk, debauched, cynical and more than a tad pompous, not to mention ugly, Martin tells us – he’s known even among his immediate family as The Imp – but we quickly learn in the span of a few chapters that there is more to Tyrion Lannister than his stature and cynicism might suggest. He realizes that as he has no means to be a champion of arms, like his brother Jamie – reputedly one of the best in the realm – his mind must be his weapon; it is his wits that he wields instead of a sword.

Over the course of the first three books we get to watch Tyrion wield his wits quite effectively as he navigates the politics inherent to the game of thrones, not to mention that of war and family; Martin also draws out Tyrion’s painful history in bits and pieces, as the debauched dwarf of the initial chapters becomes one of the most interesting and complex characters of the entire series. Indeed, many of the principal characters of the book remain one dimensional – granted, those characters tend not to last long, however, so I won’t name names – spoilers are the bane of a potboiler review, and at its core Ice and Fire is nothing if not a political potboiler. You’ll just have to take me at my word. But Tyrion becomes a fully fleshed character, and I confessed I missed his absence in the fourth book.

Fortunately, as relayed on on fan site Westeros.org, it seems Tyrion will be one of the character narrators when the fifth book, Dance With Dragons is published.

Jaime: One of Many Lannisters We Love to Hate

The cover of George R. R. Martin's A Storm of Swords.Serving as somewhat of a foil to Tyrion is his brother Jamie; he is everything Tyrion is not: literally a knight in shining armor that exhibits unparalleled prowess with sword and shield, and the object of many a maiden’s fantasy. He is the golden boy of House Lannister and the pride and seeming protege of its partriarch, Tywin Lannister (one of the aforementioned one-dimensional characters, he is almost a stock bad guy: intelligent, rich, cultured, manipulative, cold and evil; if Henry the VIII would feel at home in Westeros, Tywin Lannister would feel right at home in Tudor-era England, and probably in the offices of a modern-day global business conglomerate).

In fact, we quickly see that Jamie is despicable, and even evil. Again, details would only give away major parts of the entire story arc. Let it suffice to say that Martin establishes Jamie’s initial character quite early on in the first book.

And yet, over the course of the next three books, things happen to Jamie that change him – it’s not a dramatic change (although the events that drive these changes are) but a gradual one that Martin couples with glimpses into the recent past as well as the childhood that he shared with Tyrion and their sister, Cersei (the queen of Westeros at the time Game of Thrones begins, and really the spiritual heir of Tywin Lannister, as opposed to Jaime).

In fact, by the end of A Feast for Crows, Jamie, if not a sympathetic character, is at least not the one-dimensional, sick and despicable golden boy of A Game of Thrones; he becomes one of the more interesting and complex characters in the series. Furthermore – and this is a credit to Martin as a writer, in as much as his characterizations go – by the end of the fourth book it’s actually kind of hard not to like Jamie, at least a little bit, in spite of the awful things he does early on. We learn that he is not quite so single minded or as self centered as he seems and even displays a dry, self-deprecating humor in the face of diversity and life-threatening situations – again, I can’t say more without spoiling a major plot complication.

It is this humor, more than anything else, perhaps coupled with a sensitivity that one wouldn’t have thought he possessed – he’s almost downright philosophical by the end of book four – that makes Jamie likable, and even sympathetic (at least to me; I’m sure many others would disagree). With the house of power that Tywin Lannister built beginning to crumble – okay, bit of a spoiler, that, sorry – by the end of the fourth book, I found myself hoping that Jamie would escape the apparent worst of it to come in the books ahead – despite the fact that he undeniably deserves it.

There are other fully-realized characters as well. There is Arya, for example, the tomboy daughter of House Stark that serves as foil to her older sister, Sansa. Sansa ascribes to be a lady and dreams of being queen; she entertains fantasies of being courted by chivalrous knights and the magic of the royal court (at least she does in the beginning; later on she becomes … less than enamored, shall we say, with these ideas). Arya, by contrast, dreams of being a knight herself with sword in hand, dispatching her enemies with martial aplomb. Then there is Brienne, the warrior maid of Tarth; she could easily have been a stock hottie warrior maiden character and it’s to Martin’s credit that she is not.

The cover of George R. R. Martin's a Feast for Crows.Now I won’t presume to offer a feminist critique of A Song of Ice and Fire here, although that would certainly be interesting examination and discussion. Furthermore, I don’t think that anyone is going to mistake Martin’s writing for that of Joanna Russ, Marge Piercy or James Tiptree. But I would claim that there are more fully-realized female characters in this tome than one would perhaps expect, especially given all of the wenching, raping, pillaging – that gritty realism – and so forth.

In addition to its in-depth characterization, the series’ length lends itself to its political potboiler plot and subplots. Martin’s Song of Ice and Fire is arguably also an historical epic, albeit a fictional one. Needless to say it would be hard to squeeze into one standard novel-sized work all of these fully realized characters along with the sweeping milieu of warfare and politics that spans generations and sweeps back and forth across a continent – not to mention all the beheadings, bebowelings, hangings and raunchy medieval sex and rape. In this day and age when many readers seem to equate literary quality with quantity (sadly enough), Martin undeniably delivers on this score (each book in the series gives even the wordiest Leon Urises of the literary world a run for their word count) – and more or less reasonably competently.

Here ends the first part of the history of the War of the Ring Jeff’s review and criticism of George R. R. Martin’s Song of Ice and Fire. The second part is called The Two Towers the same thing, but with a Part II appellation; it looks at the not-so-good aspects of Ice and Fire.