Wertzone Classics: Lyonesse - Suldrun's Garden by Jack Vance

A time of myth and magic, after the fall of Rome but before the rise of Camelot. The Elder Isles, located in what people would later call the Bay of Biscay, are riven by political intrigue. King Casmir of Lyonesse desires to unite the ten kingdoms of the islands under his rule, but his ambitions are contested by the naval power of Troicinet and the neighbouring kingdom of Dahaut, whilst the implacable Ska prowl along the coasts. Casmir seeks to make a match for his daughter Suldrun to bring him advantage, but Suldrun is unconcerned with politics, instead preferring the solace of her favourite garden. When a young man is washed ashore and is rescued by Suldrun, the fate of the Elder Isles is abruptly changed.

Discussions of Jack Vance tend to focus on his Dying Earth quartet, published irregularly between 1950 and 1984, which had a permanent and transformative effect on the entire genre of the fantastic, influencing everything from Dungeons and Dragons to Dune to The Broken Earth Trilogy. Although a grand work, the Dying Earth series suffers from an inconsistency of tone and quality and, as an older one, parts of it have not aged as well as others.

The Lyonesse Trilogy (Suldrun's Garden, The Green Pearl and Madouc) is lesser-known but more accomplished, as its World Fantasy Award attests. The trilogy was written much later in Vance's career (begun in his late sixties, concluded when he was 75), when he was still at the height of his powers, and unlike his other major series (Dying Earth and The Demon Princes) he did not let decades elapse between volumes, resulting in a much more focused, consistent and coherent story.

The setting is a fictional, large archipelago of islands off the south-western coast of Britain. It is here that the storied Ys, Avallon, Hybras (or Hy-Brasil) or Lyonesse of Arthurian legend may be found, although the events of Arthur are still several generations off. Instead, the Elder Isles are riven by multiple conflicts. In the temporal world, the islands are divided between ten kingdoms, all threatened by the invading Ska and Celts. In the religious, the islands' native, pagan beliefs are threatened by encroaching Christian missionaries. And in the magical, the islands' magicians, fairies and non-human creatures find their powers waning against the onset of mundane humankind.

As with most of Vance's work, the tone can be humorous but also melancholic and sometimes tragic. Vance wrote the trilogy in the knowledge that he was losing his sight (and, indeed, by the concluding volume was legally registered as blind) and a subplot in which a protagonist is cursed with blindness cannot help but resonate more strongly with this knowledge. But this fear did not daunt Vance: Suldrun's Garden sparks with his wit (sometimes mordant) and impeccable storytelling skills. With its courtly intrigue and manners (arch-rivals who despise one another nevertheless do so with politeness) and its sometimes fairy story tone, the book occasionally recalls Tolkien, although the characters are decidedly less moral.

It's this mixture of epic fantasy, fairy tale and moral fable, with high and courtly intrigue blended with merciless warfare, that makes Lyonesse feel unique. The magicians of the Elder Isles are extremely powerful, but are controlled by an edict that means they cannot make open war on one another (as to do so would destroy the islands). As a result they tend to work through proxies and stay within the confines of their laws, which results in some amusing scenes where the magicians' duels are as much legal arguments as they are dramatic confrontations. This is accentuated by the book's use of fairies, here presented much in the Irish mode of being capricious, whimsical and utterly uncaring of the fate of mortals, resulting in extremely tense negotiations between humans and the elder race, which are prone to unforeseen circumstances.

Characterisation is strong, with Princess Suldrun of Lyonesse presented as our main protagonist for much of the first third of the book, confined to her garden first by her preference and then by the orders of her father. Vance's portrayal of female characters earlier in his career was lacking, but is much-improved here, with Suldrun and several other women given prominence in the text. Unfortunately, the book's 1980s-ness can be deduced by several sequences where sexual violence is threatened (or intimated to have occurred off-page) against the female characters, a tiresome trope which is not over-indulged in (Vance is certainly no Goodkind) but also wearisome by its presence.

Narratively more regrettable is the odd choice where, by having established the less traditional heroine Suldrun as our protagonist for a good hundred pages, she is thrust aside in favour of Prince Aillas of Troicinet, an intelligent and resourceful young man who is brave, good with a sword, cunning when his back against the wall, etc. Aillas is an amiable and enjoyable, if far more traditional, character, but having him effectively storm in and take over the book halfway through from the character whom the novel is named for feels inelegant.

Once you move beyond these problems, Suldrun's Garden (****½) earns its reputation. The prose and razor-sharp dialogue is a delight, the worldbuilding which mixes political intrigue with magical menace is impressive and the fast-moving storyline (which packs more plot movement and characterisation into 400 pages than some authors manage in 4,000) is compelling. The novel is available now in the UK and USA.

A note on the text: the book is correctly entitled Suldrun's Garden, but on release it was often published under the title Lyonesse. This is corrected in more recent editions as Lyonesse: Suldrun's Garden. It is important when choosing an edition to read that you don't confuse the single-volume edition of the novel with the various omnibus editions of the trilogy, which are often also published as Lyonesse. The reason for the discrepancy - which recurred in 2006 with Brandon Sanderson's The Final Empire, frequently published under the series title Mistborn instead - is unclear.

A History of Epic Fantasy - Part 16

Despite being part of the genre of the fantastical and the weird, epic fantasy is often rooted in the real. It riffs off real history, real events and real people, sometimes to the point of being set in Europe with just a few names changed, a dragon dropping by and magic being used to blow up Versailles. Other fantasies employ mythologies from real-life sources as their main influences and inspirations
 

Lyonesse

Back in 1950 Jack Vance published The Dying Earth, creating the entire Dying Earth subgenre of fiction (which later gave us The Book of the New Sun and Mark Charan Newton's recent Legends of the Red Sun, amongst others) and the Dungeons and Dragons magic system in one fell swoop. For an encore he wrote many of the greatest science fiction and fantasy novels of all time, such as the Demon Princes series and Big Planet.

Despite both a prolific and greatly accomplished career, Vance had avoided the epic fantasy subgenre. He wasn't one for writing huge battle scenes, or massive doorstop novels, and his sometimes whimsical humour and astonishingly accomplished dialogue seemed better deployed in science fiction. But then he got a good idea for a fantasy series, and ran with it.

The Lyonesse Trilogy was published in three volumes: Suldrun's Garden (1982), The Green Pearl (1985) and Madouc (1990). They are among Vance's longer novels, but still short by modern standards and the entire trilogy is available in omnibus. The trilogy may represent, as a completed work, one of the most accomplished works of fantasy since The Lord of the Rings.

The trilogy is set in the Elder Isles, an archipelago located in what is now the Bay of Biscay, off the west coast of France, the north coast of Spain and the south coast of Ireland. Much of the action takes place on Hybras, the largest of the islands (about the size of Ireland itself), which is falling into war due to the hostile actions of Casmir, King of Lyonesse, who desires to rule the entire island. Casmir's imprisonment of Aillas, one of the heirs to the throne of Troicinet, sets in motion a sequence of events as the young, canny Aillas seeks revenge both for his own part and also to bring justice to the isles.

So far, so standard. But Vance layers in some interesting elements to the story. He disdains violence and instead prefers depicting his characters engaging in formidable battles of wits. He also mirrors the struggle between Casmir and Aillas with the battle between their respective wizardly allies, Tamurello and Shimrod, arbitrated by Murgen, who seeks to preserve the magical balance of power over the isles. The multiple kingdoms of the Elder Isles are depicted well, and in the Ska, violent raiders from the northern isles who consider themselves a breed apart, George R.R. Martin (a huge fan of Vance) may have found the inspiration for his ironborn.

The most notable thing about the series is its clash between the weird and whimsical (fairies, magic, erudite magicians battling with wits and cunning) and the mundane and ordinary (court politics, assassinations), a clash that epic fantasy is uniquely positioned to explore but rarely does so, and certainly not as entertainingly and intelligently as in this trilogy, one of fantasy's masterworks.

Daggerspell

Katharine Kerr began writing Daggerspell, which she envisaged as a short story, in 1982. She completed that same story in 2009 with the publication of the fifteenth novel in the series. The complete saga, The Deverry Cycle, tells the story of a group of people who are reincarnated again and again several times across centuries in the fictional kingdom of Deverry.

Whilst Deverry and its neighbours are fictional, Kerr deeply rooted the story in Celtic history and mythology: Deverry was in fact founded by refugees from our world trying to escape the Roman invasion of Gaul and were transported to the fantasy world by a sorcerer. Whilst the series proceeds in a different direction afterwards, the Celtic roots of the story remain prominent and explored in greater depth by Kerr, who was frustrated with any Western European-leaning fantasy being labelled "Celtic" even when it had nothing to do with that period of history or group of people.

The history of Deverry unfolded over four distinct sub-series: The Deverry Saga (1984-90), The Westlands Saga (1991-94), The Dragon Mage Trilogy (1997-2000) and The Silver Wyrm (2006-09). These moved backwards and forwards in time through the history of Deverry and its neighbours, but Kerr used the conceit of characters who are born and reborn in different bodies and times to explore events of historical interest, as well as the destinies of characters who interact with each other again and again as different people. Combined with some interesting uses of linguistics, these factors make the Deverry Cycle arguably the most significant work of modern epic fantasy to employ Celtic tropes and motifs.

The Lions of Al-Rassan

Guy Gavriel Kay's fantasy career got off to a pretty amazing start: in 1974 he was asked by Christopher Tolkien to assist in the editing of The Silmarillion for publication. In fact, Kay's writing skills were called upon to finesse a couple of chapters that J.R.R. Tolkien had not touched in decades, making him the only person other a Tolkien to work on an officially-published Middle-earth book in a writing capacity (if only of a very minor nature).

After that heady start, Kay worked on his first fantasy trilogy, The Fionavar Tapestry, which was published in 1984-86. This concerned a group of students from the University of Toronto who are drawn into Fionavar, the First of All Worlds, which is under threat from dark forces. The experiences they have there are profound and shape who they are, with ripples which extend into the quasi-sequel Ysabel (2007). Although rooted in mythology, the trilogy is more overtly an original fantasy creation.

With his next novel, Tigana (1990), Kay established what would be his more familiar writing style of taking a real location and place in history and writing a novel (not a long series) about how it is changed and influenced by the addition of fantastical elements. Tigana is heavily influenced by Italian history but the fantastical conceit is that the name, history and indeed soul of the country have been magically removed from the mind of its inhabitants. Only a band of rebels led by those who remember the country before its occupation by an enemy power can remember the Tigana that was, and therefore are fighting for the very existence of their nation in a more literal fashion than is normal in fantasy. Kay interlaces themes of love, redemption and tragedy into his story, disdaining (as he usually does) war and violence as the primary means of solving dilemmas.

These themes continued into A Song for Arbonne (1993), a novel which does a similar thing for Renaissance Provence. But it was his 1995 novel, The Lions of Al-Rassan, which solidified things. Kay's works now took place on a world pretty much identical to our own, with each novel mirroring real events more explicitly than previously. The Lions of Al-Rassan, perhaps Kay's greatest masterpiece, expertly combines the stories of El Cid, ibn Ammar and the Reconquista of medieval Spain. Two great warriors, their love for the same woman, their loyalties and their passion for the land of Al-Rassan (also called Esperana) vividly play out across a beautifully-described backdrop.

Kay would continue to explore similar themes in later works: the Sarantine Mosaic duology (1998-2000) is based on Byzantium under Justinian I; The Last Light of the Sun (2004) is centred on England at the time of King Alfred the Great; Under Heaven (2010) is based on the Tang Dynasty of China and its end in the bloody An Shi Rebellion; and River of Stars (2013) is based on Song Dynasty of several centuries later and its transformation in the Jin-Song Wars. His next novel, Children of Earth and Sky, will be published in 2016.

Kay is, arguably, the greatest fantasy writer at taking a real time and place, repurposing it for the purposes of fantasy and doing so whilst still saying something of importance.

The Roof of Voyaging

Published in 1996, The Roof of Voyaging is an unusual fantasy novel. It's the first volume of a trilogy, The Navigator Kings, but Garry Kilworth throws a lot of the normal epic fantasy rules out of the window and moves the action to the other side of the planet (culturally and literally). The action takes place in the Pacific Ocean, deeply rooted in Polynesian mythology and history. This is an epic fantasy which riffs off the legends and past of the myriad peoples of Polynesia, in many ways completely alien to European sensibilities, with scores of gods and a richly-described culture threatened by the invasion of Celts from the south: in a bizarre twist, New Zealand has been swapped out for Britain.

The result is an often barmy and irreverent fantasy trilogy which has huge amounts of fun in doing things completely different to the conventional and tells a hugely entertaining story whilst doing so.

Ash: A Secret History

Published in 2000, Ash: A Secret History is a colossal novel that is part historical novel, part fantasy, part science fiction, part modern thriller and completely bizarre. It's set in France in 1476 and starts off chronicling the misadventures of the Lion Azure, a mercenary company led by Ash. Ash is mired in a political attempt to remove her from command of the mercenaries (a female warrior captain setting uncomfortable precedents) but this is soon superseded when the armies of Carthage invade Europe en mass from the south. In another storyline set in the present, bemused historians are trying to decipher the text of Ash and are constantly bewildered about references to things that never happened.

The result is a novel deeply mired in the traditions of historical and epic fantasy - battles, sieges, political skullduggery - but which brings on board influences from science fiction, alternate history and weird fantasy in an unusual but highly compelling blend.

Kushiel's Dart

Published in 2001, Kushiel's Dart was the debut novel by Jacqueline Carey. It's an interesting blend of genres, mixing some epic fantasy tropes with different cultural groups and religions battling over a continent, with alternate history: the continent is Europe, although the country names and history are different. The books also employ a lot of eroticism, with politics and warfare often assisted (or negated) by seduction or desire on the part of the players involved.

There are nine books in the series (collectively called Kushiel's Legacy), divided into three trilogies (the Phedre, Imriel and Moirin series), spanning over a hundred years in the history of Terre D'Ange (a fantasised version of France) and its neighbours.

The Cardinal's Blades/His Majesty's Dragon

More recently, fantasy has played around with much more straightforward and dramatic variations to real-world history to create something interesting. Two prominent recent fantasy series used much more recent historical periods as their base setting, but with some dragons thrown in to spice things up.

French author Pierre Pevel's Les Lames du Cardinal (Cardinal's Blades) trilogy (2007-10) is set in 1633 Paris and sees an irregular group of soldiers and investigators re-constituted as an elite, deniable group working directly for the formidable Cardinal Richelieu of France. Historical events such as the Thirty Years' War play a role, but the series deviates from history due to the presence and existence of dragons, formidably dangerous (if rare) creatures. The books mix fantasy tropes deriving from the existence of the dragons with swashbuckling derring-do, sword fights in the back alleys of Paris and political intrigue between Richelieu and his enemies.

Far better known is Naomi Novik's Temeraire series, which spans nine novels (2006-16), starting with His Majesty's Dragon. The series has a fairly straightforward premise - it's the Napoleonic Wars "BUT WITH DRAGONS" - which the author initially seems to treat simplistically, but then engages with in more depth as the series continues. The books feature both Britain and France deploying dragon mounts as weapons of war and means of transportation during the war, but their mutual use of dragons creates a stalemate with the war more or less proceeding as it did in real life. Variations from established history occur when African dragons are used to end the slave trade (with devastating effects) and it is discovered that the Chinese employ dragons as equals and even superiors. The use of dragons in this setting is initially absorbed into the historical status quo but is later used to spin history off in different directions.

The use of real history and mythology in fantasy would continue, and one author would take those inspirations to create the longest and most successful, outright epic fantasy since J.R.R. Tolkien.

RIP Jack Vance

A giant of the genre has fallen. Jack Vance has died at the age of 96.

It is impossible to overstate Vance's contribution to the fields of both science fiction and fantasy. His impact is comparable to J.R.R. Tolkien and Robert E. Howard, although in Vance's case it was at a remove: Vance was a huge influence and inspiration to writers such as George R.R. Martin, Gene Wolfe, Gary Gygax, Neil Gaiman, Tad Williams and many more.

Vance (real name: John Holbrook Vance; Jack was his pen-name) was born  in California in 1916 and was raised in San Francisco and nearby Oakley. He studied engineering, physics, journalism and English at the University of California, Berkley. Vance was working an electrician at Pearl Harbour in Hawaii, returning to the mainland just a month before the Japanese attack. Vance initially failed to qualify for military service due to weak eyesight. He memorised an eye chart to get into the Merchant Marine and worked on cargo ships crossing the Pacific.

"The mark of good writing, in my opinion,is that the reader is not aware that the story has been written; as he reads, the ideas and images flow into his mind as if he were living them. The utmost accolade a writer can receive is that the reader is incognizant of his presence." - Jack Vance, This is Me, Jack Vance!

Vance's interest in science fiction and fantasy began at a young age; early attempts to write SF for his English classes drew disdain from the teachers. It was during free time serving in the Merchant Marine that Vance conceived of his most famous creation: a time in the dim and distant future when the sun is dying and about to go out, and the world has become populated by fantastical creatures and astonishing technology coexisting in the ruins of ancient cities. He wrote a series of linked short stories in this setting which was - eventually - published as The Dying Earth in 1950. The book was hugely influential on a generation of readers, including George R.R. Martin (who cites Vance as his favourite author and one of his primary influences) and Gary Gygax, who 'borrowed' both Vance's magic system and several of his spell names for the Dungeons and Dragons game Gygax published in 1974. Vance followed up The Dying Earth with a duology of novels following the adventures of the scoundrel and reprobate Cugel the Clever, The Eyes of the Overworld (1966) and Cugel's Saga (1983), before rounding off the series with a concluding set of linked short stories under the title Rhialto the Marvellous (1984).

"What are your fees?" inquired Guyal cautiously."I respond to three questions," stated the augur. "For twenty terces I phrase the answer in clear and actionable language; for ten I use the language of cant, which occasionally admits of ambiguity; for five, I speak a parable which you must interpret as you will; and for one terce, I babble in an unknown tongue." - The Dying Earth (1950)

In 1946 Vance met and married Norma Ingold (who sadly passed away in 2008). Norma helped Vance in his writing, typing up his longhand drafts into submittable manuscripts. In the late 1940s he began making money by selling short stories and writing scripts for the Captain Video TV series. Though writing did not become his sole occupation until the 1970s, Vance was able to fund frequent overseas trips with his income. He and his wife would spend months at a time living in places like Ireland, Kashmir and South Africa, with Vance pounding out more stories and novels on a keyboard whilst soaking up the local culture. Vance became close friends with several other SFF authors of the period, spending several months living near Frank Herbert on an extended trip to Mexico. Vance's sight began failing him in the 1980s after an operation to treat glaucoma went wrong, but he continued to write with the help of Norma and computer voice-recognition software.

Astonishingly, despite being completely blind when he wrote most of it, Vance was still able to write one of the greatest works of fantasy literature in the 1980s, the Lyonesse Trilogy. Set in a fictional archipelago in the Bay of Biscay that would later sink, this trilogy sees people (including humans, fairies and the fearsome Ska) and cultures clashing for control of the islands and their destiny. Vance's mastery of language was at its peak in this trilogy, consisting of Suldrun's Garden (1983), The Green Pearl (1986) and Madouc (1989). In its omnibus edition, this may be the finest one-volume work of fantasy of the 20th Century, matched only by The Book of the  New Sun (which itself can be seen as a literary rewrite of The Dying Earth), The Lord of the Rings and the Gormenghast omnibus.

"I have transcended that phase in my intellectual growth where I discover humour in simple freakishness. What exists is real; therefore it is tragic, since whatever lives must die. Only fantasy, the vapors rising from sheer nonsense, can now excite my laughter." - The Green Pearl (1986)

Vance also wrote many works of SF, including the Ports of Call duology, the Cadwal Chronicles trilogy, the Gaean Reach series and, most famously, the five-volume Demon Princes series (often cited, alongside Dying Earth and Lyonesse, as one of Vance's three masterpiece series). He also wrote the one-volume planetary adventure, Big Planet (1957), set on a planet considerably larger than Earth and again noted by George R.R. Martin as an inspiration for A Song of Ice and Fire (Martin spent some time planning to make Westeros's planet far larger than Earth as well, but seems to have backed off a bit from this idea).

Christopher Priest has penned a memorial to Jack Vance here. George R.R. Martin muses on Vance and his influence here. The Guardian is also collating various tributes to Vance here. The Encyclopedia of Science Fiction has a more detailed account of Vance's career here.

Jack Vance died on 26 May 2013 at the age of 96.