Clock’s Watch Anthology by Michael Reyes Out Now (And Free Today)

One of our contributors, Michael Reyes, has a new anthology out. It features several stories about Clock, the invisible dwarf chaos sorcerer who guards Coney Island from all manner of extradimensional horrors. You might remember him from the title story, Clock’s Watch, in Cirsova #3.

The eBook of Clock’s Watch is free all day today, but soon, you’ll also be able to buy it in softcover and hardback.

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I think if you like Weird Occult pulp, this sort of thing would be right up your alley—I think that one thing that is strongly to Clock’s benefit is that rather than being a throwback in time, setting stories in the pulp era, Reyes takes the classic weird occult format and places it in the modern day. So rather than pastiche or homage, Clock feels more like a contemporary, new weird* (but not New Weird) occult adventure series.

Disclosure: While I didn’t edit these, I did do cover and interior layout and formatting (it’s not a service I advertise, because I don’t always have time to, but it never hurts to ask if you need it done), so when the physical copies are available be sure to check them out, too, and let us know how we did!

If you enjoy this book, the next story in the sequence, The Iynx, will be featured in the upcoming spring issue of Cirsova.

Clock’s Watch Available now at:

https://www.amazon.com/Clocks-Watch-Michael-Reyes-ebook/dp/B076TMMRVV

https://itunes.apple.com/us/book/clocks-watch/id1300775637?mt=11&ign-mpt=uo%3D4

https://m.barnesandnoble.com/w/clocks-watch-michael-reyes/1127289826ean=9781641863834

https://play.google.com/store/books/details/Michael_Reyes_Clock_s_Watch?id=2FY7DwAAQBAJ

https://store.kobobooks.com/ebook/clock-s-watch

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Spending the 80th Anniversary of the Hobbit Jotting Down More Notes on Yesterday’s Tolkien Thing

Okay, there have been lots of conversations going on that are conflating certain things and certain arguments as being one and the same, and this leads to a lot of goal-post moving, so I’m going to try to untangle stuff here.

  1. Dungeons & Dragons was not “Tolkien + a few other things”
  2. Dungeons & Dragons was “Lots of things, including some Tolkien”
  3. Elves in the Hobbit are substantially different from Elves in Lord of the Rings and later Tolkien Legendarium; they are not “Tolkienesque” in the way that the term is generally understood.
  4. “Dungeons & Dragons is a Tolkien/Middle Earth adventure game” is a false statement.
  5. Chainmail, however, does include significant elements from the Hobbit; saying that the fantasy portion of Chainmail is Tolkien-the Game, is not entirely ridiculous.
  6. The Hobbit was far more influential on Chainmail and Dungeons & Dragons than the Lord of the Rings proper.*
  7. Elves in Chainmail are not explicitly “Tolkien elves”; they bear little resemblance to Lord of the Rings elves, though they do resemble elves from the Hobbit or the Rankin & Bass cartoon.
    1. Do people consider the Rankin and Bass elves “Tolkienesque”?
    2. Chainmail elves are mechanically identical to Fairies and share an entry.
    3. Chainmail elves can turn invisible at will;
  8. Orcs in Chainmail ARE explicitly “Tolkien Orcs”; their tribes are described in terms of “Hand Orcs”, “Mordor Orcs”, etc.
  9. Elves as they appear in D&D are substantially different from Elves as they are depicted in either the Lord of the Rings or the Silmarillion. Though a case can be made that they bear similarities to the wood elves from The Hobbit, they bear a much stronger resemblance to humanoid fey races from Poul Anderson.
  10. PC Races in D&D do owe some to Tolkien, but only Halflings are explicitly Tolkienian
  11. Tolkien did not have a literary monopoly on stout and hardy dwarves who live in the mountains, mine for treasure, or craft fantastic weapons; it does not pass a reasonable-doubt check, but it’s not far-fetched to say they were, if they did not become, Tolkien dwarves.
  12. Shifts in D&D towards more Tolkienian/Tolkienesque/Tolkiengrotesque races and trappings are the result of Tolkien becoming the “Goto” name in fantasy from the late 70s on as Tolkien Clones and Branded Gaming Fiction began to dominate the market and public conscious and therefore the minds of the people playing and later the people developing the game; this was not by design.

Note that all of the above is completely separate from the original discussion that:

  1. I hypothesize that The Hobbit had little/no impact on the 1st and 2nd waves of 20th Century Fantasy, though I remain open to and will look for evidence to the contrary.
  2. The Lord of the Rings’ influence on fantasy in the 70s and beyond is undeniable; its influence on fantasy prior to the mid-60s highly suspect
  3. Questioning Tolkien’s influence on literature from periods immediately contemporary with him and the intervening years between the Hobbit and The Lord of the Rings or the latter’s eventual paperback release =/= dismissing Tolkien’s work or his subsequent influence or denigrating it ala Michael Moorcock.

Lastly, if I’d remembered that this was the 80th Anniversary of the Hobbit, I probably would’ve avoided the topic entirely.

*:This one definitely needs citation, and I am looking for it, but it came from an interview with Gary where he pretty much comes out and says something along these lines.

More Fafhrd & Gray Mouser Thoughts

I’m still enjoying the Fafhrd & Gray Mouser stories, but I think the “fix-up” nature of the volumes may be to their detriment.

I’m thinking I’d much rather read these as individual stories, each on their own and by their own merits, rather than shoe-horned into a continuity.

Unlike Howard’s Conan Stories which were hammered and shaped into some sort of continuity by those who anthologized them, Leiber was writing the novelizations and fix-ups with a mind for his continuity and doing his best to arc-weld stories that were sometimes written out of order into a continuous arc. And I think that the stories may suffer by it.

For one thing, it gives the impression of Fritz Leiber as being like the asshole DM who is always angling for a TPK and then, when he doesn’t get it, he has an NPC steal all of the players’ loot without even bothering to roll for it. Honestly, I prefer the “characters frittered away their wealth between stories” approach to “the spoils of the last adventure were promptly stolen” that Leiber uses. In Swords Against Wizardry, a short bridging story is used to explain why they would go on the Quarmall adventure right after their big Stardock score. Well, because they got conned and lost everything. On its own Two Best Thieves in Lankhmar isn’t bad, but it’s annoying because I feel as cheated as Fafhrd and Mouser – the grueling Stardock  adventure suddenly becomes for nothing (aside from a quick lay from a couple of weird invisible ladies).

I don’t really need to know why Fafhrd and Mouser go on their next adventure. Like I said, it’s easy enough to assume that they squander their wealth on drink and dumb largess without having to go into an explanation of how they kept losing their money after each heist.

At least in Quarmall it appears there may finally be some Wizards for our duo the bare their Swords Against (Swords Against Mountains just doesn’t pack the same punch, and I’m sure that even by 1960s standards Swords Against Lesbians might have been deemed less than appropriate).

While there were a couple really good 60s stories in Swords Against Death, I think that the few from the 40s were my favorites. They were great short adventures and each stood nicely on its own. Honestly, the weakest parts (despite the excellent writing) of Swords Against Death (itself a repackaging of the much earlier “Two Sought Adventure”, tweaked for continuity shoe-horning) were the bridging pieces that fit those earliest adventures into the canonical continuity that Leiber had been welding together in the 60s.

A Look at the Opening Chapter of Tarzan Triumphant

I started reading Tarzan Triumphant yesterday, and once again Burroughs has managed to blow me away. The setup is so entirely unexpected, especially given what one always hears about Burroughs and the pulps and the “toxic masculinity” of the era and eeeeeevil colonialism and all of that. But it’s exactly what I’ve come to expect from Burroughs.

Burroughs is always very deliberate in his writing. Nothing is wasted, and there’s meaning and purpose to his prose, so the order in which he establishes things is important. The stories he tells often are comprised of many threads that eventually weave together to tell a tale, and the suspense in a Burroughs story is when those threads threaten to become frayed or unwoven — what must come together seems to come apart until, at last, everything is tightly and neatly tied up where it should be. It is unsurprising he begins this tale with a prologue with the words “Time is the warp of the tapestry which is life,” and aims to pursue this analogy most directly in this work.

It is important when Burroughs chooses to first establish his story’s heroine, second establish his hero, thirdly bring in his villain, and finally Tarzan. Yes, the protagonist of Tarzan Triumphant is a woman, Lady Barbara Collis; her try-hard love interest shall be the young Lafayette Smith, who will clearly need to bootstrap his way up to being awesome enough; the villain shall be Leon Stabutch, the vile cats-paw of Stalin; and at last we know that Tarzan will at some point aid both Barbara and Lafayette while protecting Africa from filthy commies.

AS far as I know the first Earl of Whimsey has nothing to do with this story, and so we are not particularly interested in the fact that it was not so much the fine grade of whiskey that he manufactured that won him his earldom as the generous contribution he made to the Liberal party at the time that it was in power a number of years ago.

Being merely a simple historian and no prophet, I cannot say whether we shall see the Earl of Whimsey again or not. But if we do not find the Earl particularly interesting, I can assure you that the same may not be said of his fair daughter, Lady Barbara Collis.

The African sun, still an hour high, was hidden from the face of the earth by solid cloud banks that enveloped the loftier peaks of the mysterious, impenetrable fastnesses of the forbidding Ghenzi Mountain range that frowned perpetually upon a thousand valleys little known to man.

From far above this seeming solitude, out of the heart of the densely banked clouds, there came to whatever ears there might be to hear a strange and terrifying droning, suggesting the presence of a preposterous Gargantuan bumblebee circling far above the jagged peaks of Ghenzi. At times it grew in volume until it attained terrifying proportions; and then gradually it diminished until it was only a suggestion of a sound, only to grow once again in volume and to again retreat.

For a long time, invisible and mysterious, it had been describing its great circles deep in the concealing vapors that hid it from the earth and hid the earth from it.

Lady Barbara Collis was worried. Her petrol was running low. At the crucial moment her compass had failed her, and she had been flying blind through the clouds looking for an opening for what now seemed an eternity of hours to her.

She had known that she must cross a lofty range of mountains, and she had kept at a considerable altitude above the clouds for this purpose; but presently they had risen to such heights that she could not surmount them; and, foolishly, rather than turn back and give up her projected non-stop flight from Cairo to the Cape, she had risked all in one effort to penetrate them.

For an hour Lady Barbara had been indulging in considerable high powered thinking, intermingled with the regret that she had not started thinking a little more heavily before she had taken off, as she had, against the explicit command of her sire. To say that she was terrified in the sense that fear had impaired any of her faculties would not be true. However, she was a girl of keen intelligence, fully competent to understand the grave danger of her situation; and when there loomed suddenly close to the tip of her left wing a granite escarpment that was lost immediately above and below her in the all enveloping vapor, it is no reflection upon her courage that she involuntarily caught her breath in a quick gasp and simultaneously turned the nose of her ship upwards until her altimeter registered an altitude that she knew must be far higher than the loftiest peak that reared its head above any part of Africa.

Rising in a wide spiral, she was soon miles away from that terrifying menace that had seemingly leaped out of the clouds to seize her. Yet even so, her plight was still as utterly hopeless as it well could be. Her fuel was practically exhausted. To attempt to drop below the cloud banks, now that she knew positively that she was among lofty mountains, would be utter madness; and so she did the only thing that remained to her.

Alone in the cold wet clouds, far above an unknown country, Lady Barbara Collis breathed a little prayer as she bailed out. With the utmost meticulosity she counted ten before she jerked the rip cord of her chute.

We often hear about women being relegated to background roles, being there to prop up the big strong men, etc. etc.  Not so, here!

While one might argue that Burroughs starts with his protagonist’s father, his dismissal of him is very important. The prologue speaks of the far reaching importance of long ago events and individuals well known and obscure; in the opening of his first chapter, Burroughs is simply reminding us that it is Barbara who is important.

No damsel, but a true dame – smart, clever, capable… but in a bit of a scrape, else there’d be little drama to unfold. This budding Amelia Earhart has parachuted into danger and adventure, where the first person she meets and bonds with will not be a man but another clever woman who sees this lady-from-the-skies as an opportunity to get out from under the thumb of the zealous old codgers of her tribe, but I’m getting ahead.

At that same instant Fate was reaching out to gather other threads—far flung threads—for this tiny fragment of her tapestry.

Kabariga, chief of the Bangalo people of Bungalo, knelt before Tarzan of the Apes many weary marches to the south of the Ghenzi Mountain.

In Moscow, Leon Stabutch entered the office of Stalin, the dictator of Red Russia.

Ignorant of the very existence of Kabariga, the black chief, or of Leon Stabutch or Lady Barbara Collis, Lafayette Smith, A.M., Ph.D., Sc.D., professor of geology at the Phil Sheridan Military Academy, boarded a steamship in the harbor of New York.

Mr. Smith was a quiet, modest, scholarly looking young man with horn rimmed spectacles, which he wore not because of any defect of eyesight but in the belief that they added a certain dignity and semblance of age to his appearance. That his spectacles were fitted with plain glass was known only to himself and his optician.

Graduated from college at seventeen the young man had devoted four additional years to acquiring further degrees, during which time he optimistically expected the stamp of dignified maturity to make itself evident in his face and bearing; but, to his intense dismay, his appearance seemed quite as youthful at twenty-one as it had at seventeen.

Lafayette Smith’s great handicap to the immediate fulfillment of his ambition (to occupy the chair of geology in some university of standing) lay in his possession of the unusual combination of brilliant intellect and retentive memory with robust health and a splendid physique. Do what he might he could not look sufficiently mature and scholarly to impress any college board. He tried whiskers, but the result was humiliating; and then he conceived the idea of horn rimmed spectacles and pared his ambition down, temporarily, from a university to a prep school.

For a school year, now, he had been an instructor in an inconspicuous western military academy, and now he was about to achieve another of his cherished ambitions—he was going to Africa to study the great rift valleys of the Dark Continent, concerning the formation of which there are so many theories propounded and acclaimed by acknowledged authorities on the subject as to leave the layman with the impression that a fundamental requisite to success in the science of geology is identical to that required by weather forecasters.

But be that as it may, Lafayette Smith was on his way to Africa with the financial backing of a wealthy father and the wide experience that might be gained from a number of week-end field excursions into the back pastures of accommodating farmers, plus considerable ability as a tennis player and a swimmer.

We may leave him now, with his note books and seasickness, in the hands of Fate, who is leading him inexorably toward sinister situations from which no amount of geological knowledge nor swimming nor tennis ability may extricate him.

Now we are introduced to the man who will inevitably become the love interest. Here we have the “adorkable” male lead, the Milo from Atlantis, the Dr. Jackson from Stargate: a glasses wearing pointdexter whose peers and colleagues don’t give him what he feels is his due. He is smart, perhaps brilliant, and more fit than his fellow nerds, but Burroughs reminds us that smart and fit aren’t going to be enough on a jungle adventure. A veritable leitmotif of Burroughs’ Tarzan stories is “The Jungle Makes You A Badass Or You Die”. So we know Barbara is a cool customer who will become badass. And Smith is strong, smart dude who will eventually have to become badass enough to be worthy of Barbara over the course of his jungle adventure.

Now, on to our villain!

When it is two hours before noon in New York it is an hour before sunset in Moscow and so it was that as Lafayette Smith boarded the liner in the morning, Leon Stabutch, at the same moment, was closeted with Stalin late in the afternoon.

“That is all,” said Stalin; “you understand?”

“Perfectly,” replied Stabutch. “Peter Zveri shall be avenged, and the obstacle that thwarted our plans in Africa shall be removed.”

“The latter is most essential,” emphasized Stalin, “but do not belittle the abilities of your obstacle. He may be, as you have said, naught but an ape-man; but he utterly routed a well organized Red expedition that might have accomplished much in Abyssinia and Egypt but for his interference. And,” he added, “I may tell you, comrade, that we contemplate another attempt; but it will not be made until we have a report from you that—the obstacle has been removed.”

Stabutch swelled his great chest. “Have I ever failed?” he asked.

Stalin rose and laid a hand upon the other’s shoulder. “Red Russia does not look to the OGPU for failures,” he said. Only his lips smiled as he spoke.

Leon Stabutch needs little introduction. He is a commie. He is working for Stalin, the super evil commie grampa who plans on carrying out all sorts of evil commie plans in Africa to the detriment of the African people.

Tarzan is going to have to fight commies and you just know it’s going to be awesome. But he’s going to have a lot of other things to deal with first. You know he’s going to be tangled up with Barbara and Lafayette somehow. So, let’s see how!

That same night Leon Stabutch left Moscow. He thought that he left secretly and alone, but Fate was at his side in the compartment of the railway carriage.

As Lady Barbara Collis bailed out in the clouds above the Ghenzi range, and Lafayette Smith trod the gangplank leading aboard the liner, and Stabutch stood before Stalin, Tarzan, with knitted brows, looked down upon the black kneeling at his feet.

“Rise!” he commanded, and then; “Who are you and why have you sought Tarzan of the Apes?”

“I am Kabariga, O Great Bwana,” replied the black. “I am chief of the Bangalo people of Bungalo. I come to the Great Bwana because my people suffer much sorrow and great fear and our neighbors, who are related to the Gallas, have told us that you are the friend of those who suffer wrongs at the hands of bad men.”

“And what wrongs have your people suffered?” demanded Tarzan, “and at whose hands?”

“For long we lived at peace with all men,” explained Kabariga; “we did not make war upon our neighbors. We wished only to plant and harvest in security. But one day there came into our country from Abyssinia a band of shiftas who had been driven from their own country. They raided some of our villages, stealing our grain, our goats and our people, and these they sold into slavery in far countries.

“They do not take everything, they destroy nothing; but they do not go away out of our country. They remain in a village they have built in inaccessible mountains, and when they need more provisions or slaves they come again to other villages of my people.

“And so they permit us to live and plant and harvest that they may continue to take toll of us.”

“But why do you come to me?” demanded the ape-man. “I do not interfere among tribes beyond the boundaries of my own country, unless they commit some depredation against my own people.”

“I come to you, Great Bwana,” replied the black chief, “because you are a white man and these shiftas are led by a white man. It is known among all men that you are the enemy of bad white men.”

“That,” said Tarzan, “is different. I will return with you to your country.”

And thus Fate, enlisting the services of the black chief, Kabariga, led Tarzan of the Apes out of his own country, toward the north. Nor did many of his own people know whither he had gone nor why—not even little Nkima, the close friend and confidant of the ape-man.

After his early years, Tarzan has normally followed the prime directive when it comes to getting involved with native conflicts. There are tribes he works with, who are under his protection, and those tribes will often go to bat for him. Heck, the deus ex machina of Tarzan at the Earth’s Core was the crack-team of African riflemen showing up to save the day, because dinosaur-riding snakemen and stuck-in-the-16th-century-pirates are no match for 20-odd blacks with modern long-barrel rifles.

But Tarzan hates the colonial exploitation of the indigenous African peoples, so when he hears that it’s white folks who are causing problems for the Bangalo, he is ready to strip down to his loin-cloth and spring into action!

So, right in the first chapter, we have a lot of stuff we constantly hear about old works flipped on its head; the story starts with female lead, and after these introductions, continues with her; the “adorkable” male hero, often thought to be a much more recent modern trope, is described in his dorkiness and we are shown how he will grow through the listing of what he lacks; Tarzan is going to fight communists – this is 1931, and Papa Joe is shown to be a cold, calculating and evil man who needs to be stopped – this isn’t Cold War spooks, Burroughs knows Stalin’s a rotten dude; Tarzan is anti-colonial – we always hear about the colonialist attitudes of the pulps, or that the pulps failed to examine and address colonialism, but we’re straight up told that Tarzan doesn’t want white dudes exploiting and messing with the tribes in Africa.

Anyway, Tarzan Triumphant is available from Gutenberg Australia. I’m only a couple chapters in, but I can already tell this is gonna be at least as awesome as the other three Tarzan novels I’ve read.

What better way to celebrate Tarzan’s birthday week than with a story about Tarzan fighting to stop a Commie plot?

Guest Post by J. Comer: The World’s Desire, by H. Rider Haggard and Andrew Lang

The history of fantasy and adventure stories is a rich one, and Cirsova can barely scratch the surface of it  in reviews.  Nevertheless, no survey of fantasy novels and adventure tales is complete without mentioning H. Rider Haggard[1].  Best known for She and King Solomon’s Mines, the author actually wrote ten volumes of nonfiction, hundreds of newspaper articles and forty-six novels.  While his attitudes toward race and imperialism are badly dated, his works are still read and enjoyed today, and several have been adapted for movies and television.  His colleague and friend Andrew Lang is remembered primarily as a folklorist, having written hundreds of volumes about the legends and traditions of Scotland and other lands.  Lang was also a novelist, and in 1890 he and Haggard collaborated on a blockbuster adventure tale later reprinted by Lin Carter as part of Carter’s effort to bring older authors back into print. The story, titled The World’s Desire, is now available online at Gutenberg.

Lang helped with the first four chapters, while most of the rest of the book was Haggard’s work.  The story begins with Odysseus returning to Ithaca, after a voyage, and finding his family dead of plague.  He sees a vision of Helen of Troy and goes off in search of her.  Caught by wicked Phoenicians, he escapes and ends up in the Egypt of Merneptah.  What happens next may spoil the book, but it’s been out for a while.

The plot depends on two literary and historical conceits. One is that Helen was in Egypt, as Herodotus and Euripides both mention they had heard, and that Patroclus and Hector died for a phantom.  The other is that Merneptah was the Pharaoh of the Exodus (of the Hebrews, in the Bible).  The daring of this is breathtaking, whether the reader is religious or not.  I am perfectly aware that the historicity of the Exodus and of the Trojan War is dubious, but this story is too much fun.

The crazy daring of this plot, which mixes Homer, the Bible, real Egyptian history (the Sea Peoples!), sorcery, sex, and good old-fashioned swordplay, is a rip-roaring hoot.  While I consider the Bible to be true, I found nothing in this wild romp to which I could object.  Odysseus meets and befriends the wicked queen, the Hebrews flee the Nile Valley in the midst of chaos, arrows fly, and a ‘strange Hathor’ draws men to their doom….  The novel ends in sadness but not in tragedy, to quote Sandra Miesel, and in entire accordance with Greco-Roman mythology.  Note that the Egyptians of the novel are neither white people nor African blacks, but the reddish-brown folk depicted in the art of the Pharaonic period, and that Odysseus, a Bronze-Age Greek, regards their civilization as far more advanced than his own (as it indeed was).

I recommend The World’s Desire to lovers of ancient history, the Bible, Greek mythology and adventure.

[1] He was knighted as Sir Henry Rider Haggard in 1912, but never wrote using the honorific

Brian Niemeier is Saving Superversive + a Warning to the Pulp Revolution

Every once in a while, someone likes to meme the faux rivalry between the Superversive and PulpRev crowd. The latest has been the images of some white knight guy representing the former with a dread knight guy representing the latter, with implications ranging from the nature of each’s approach to storytelling to just that one is more badass than the other.

Brian Niemeier has written a bit of an analysis and response to the rivalry which can be read here in full. But he outlines a few points that his readers have brought up and some “actionable advice” to the Superversives.

  • The Superversives have more high profile authors.
  • The #PulpRev has a far bigger cultural footprint–due to their greater willingness to interact with the public on social media.
  • The Superversives lag behind in terms of marketing their ideas.
  • On the whole, the #PulpRev has the upper hand–though the two movements aren’t exactly in direct competition. There’s a high degree of overlap.
  1. Your membership is too private and insular. Discuss what’s going on in the movement out in the open more often. Conversations about upcoming projects, new members, superversive philosophy, etc. should be had in public to raise awareness and build interest.
  2. The Superversive Roundtables are too long. Try keeping the ordinary shows to one hour, tops. Your audience will give you a little longer for special events.
  3. Sci-Phi JournalForbidden Thoughts, and Astounding Frontiers are good. But there’s always room for improvement. Superversive magazines and anthologies should have a stronger editorial voice, and the story selections should show greater intentionality.

 

To me, the biggest difference between the two movements is that the Superversive movement is defined by its pursuit of the ideal of “superversive” while the Pulp Rev movement is (or was) defined by a pursuit of a certain approach to storytelling. The former is ideological while the latter is structuralist (if you don’t believe me, just see how often folks bandy about “Lester Dent’s Master Formula”).

I do see the Pulp Rev slipping towards where the Superversives are now, and I’ll explain why after I touch on Brian’s 3 points.

  1. The Superversive website requires users to sign up to comment, and that’s a barrier. Folks see the Superversive movement as more of a clique revolving around that website than a movement. Because the site has the name, the site is the movement. It’s a perception thing.
  2. Yes; shorter shows done more often with fewer people is generally better. Too many folks talking over each other combined with awful mics, tons of background noise, and ominous heavy breathing make the Superversive streams near unlistenable despite otherwise decent content. Despite not having any heavies of literary import, the Whippersnappers Superversive casts are generally better (even if they’re totally wrong about something!) because there are only a few of them instead of nearly a dozen.
  3. I can’t really judge these anthologies as I haven’t read any of them yet, but there’s the sense that they’re all coming from the same small group. Part of this is because not only is Superversive a movement and a website it is also a publisher. On the other hand, take Bryce Beattie’s Storyhack; some folks consider Cirsova one of the first Pulp Revolution publications, but Bryce has launched an impressive pub on his own completely independent from us. There’s no tie between Bryce and I other than that we’re looking for similar types of fiction. (We did ad-swap, but there hasn’t been any sort of collaboration between us as a means to ‘advance the movement’ or whatever.) As another example, I’ve published a couple stories from Misha Burnett, but he’s doing his 21st Century Thrilling Anthology (apologies if that’s not the exact name) completely independent from us or anyone else (though I think they may be approaching Superversive for possibly publishing it). I don’t know how many folks independent of the Superversive website crew are working on their own and saying “this is my contribution to the Superversive movement.”

Now I need to turn things to the Pulp Rev… Some folks worried about the Pulp Rev ossifying because I was gonna maybe go invite only in a year and a half from now. But I see it ossifying now for other reasons, moving towards having the same issues that Superversive has now. Ask yourself this: what growth has there been in the Pulp Rev community in the last three months? It may not have stalled out, but it looks like it’s plateaued.

Okay, now here’s a bit of a disclaimer before I go on; I don’t try to wrangle our authors into being a part of the Pulp Revolution – if they want to join in, they’re welcome to, but being published in Cirsova isn’t being drafted into a movement. Also, being involved in the Pulp Revolution does not improve your chances of being accepted and published by Cirsova.

  1. Because people are naturally ideological in general, there’s going to be a push towards defining a movement in ideological terms. As the Pulp Rev becomes more political and ideological in how it defines itself, it will face many of the same hurdles that the Superversives do – namely that the stories will be approached from an ideological rather than a structural lens.
  2. Having a Pulp Rev website signals cliquishness akin to what the Superversives suffer from. Outsiders will see a website and assume that the Pulp Rev is the website and the website is the Pulp Rev, and people not writing for the website are not part of the movement. It’s a perception thing. Just as a singular Superversive site dominates the Superversive movement and potentially stifles its growth, a PulpRev website could do the same.
  3. Branding the movement is a surefire way to kill it. You can be a movement or you can be a branded commodity, but you can’t be both. What killed the Sad Puppies was that the Mad Genius Club clique wanted to make Sad Puppies be a brand associated with them, and to ensure that, they had to stamp out independent actors who had believed that it was a movement. I don’t see that happening with the Pulp Rev, but so long as people see the Pulp Rev treated as a commodity (specifically tagging books as being “PulpRev”, selling “PulpRev” merch), it will have potential to kill its growth. The new wave in science fiction is about independence; who wants to be part of something that already has a website and is selling T-shirts with the name of the movement? Better to start your own new thing!

Honestly, the Pulp Revolution is far too small at this point for anyone to actually make money off trying to exploit the name, but people participate in movements, not brands – and if they think it’s a brand, they’re not going to participate. How does this tie into the issues Brian brings up? Because Superversive is seen as a brand rather than a movement. Fair or not, it’s seen as the Jason Rennie + John C. Wright & Friends’ brand. While Brian is trying to move the Superversives away from that, the Pulp Rev has been moving towards it. You can nip this in the bud, but it may have to be soon.

This is not meant to impugn anyone’s motives. I don’t think anyone who was caught up in the excitement of the Pulp Rev thought about exploiting or seeking to steer the movement or was even aware of the possible repercussions of putting together unofficial official sites or selling unofficial official merchandise. But at best, I think they will only serve to limit the movement’s growth at a point just before it could reach a critical mass.

One of the nicest things about Castalia House’s blog offering a platform for the Pulp Revolution is that while Castalia House is a brand, it has not imposed itself on movement. In fact, the commercial publishing wing of Castalia is almost wholly independent from the Pulp Revolution. Vox Day has never said “You’re on my site, so you’re going to talk about and promote the kind of science fiction I like and publish.” And Jeffro, the blog’s editor, has not put the clamps down or laid down the law or acted like he was the pope of the Pulp Rev despite having a tremendous amount of clout within the movement.

Remember – for a movement to grow and succeed, it can’t just be a vertical. Just as Superversive needs to branch out to thrive, the Pulp Rev needs to remain diffuse if it’s going to survive.