Astonishing Essay on Prince of Thorns

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People's definition of "fun" varies rather a lot. The simple fact of it being epic fantasy* is not in itself sufficient for some readers :)

* And even that genre definition is not accurate, as I understand it

I dont like epic fantasy or high fantasy or whatever you want to call it. Jorg is evil ******* in book 1 and not fun himself. But i enjoy dark,hard to like characters like that because they usually grow from that to better and they are fresher idea when they are well done. Lawrence, Abercrombie type i like for the dark protagonist,action,military oriented side. You read this kind of book for entertainment, for what comes today with this kind of fantasy.

I respect fully that others might not find this to be fun or enjoyable read. Im just saying dont limit the subgenre to too heroic, shining heroes protagonist. Also dont take it too seriously.
 
As well as religion, ethnicity/nationality, class, etc.

Personally, I find treatments of religious difference are often very poorly done in SF/F--sometimes because authors are generally hostile to religious people, but at others because they think it's okay to generalize about certain categories of religious people in ways they wouldn't dare to if these were racial, ethnic or gender categories.

We are talking fantasy/Scifi here, aren't we? Most of the books I've read have invented religions, sometimes with one God, and sometimes with many Gods. And sometimes with no God/s at all. Could you give me an example of an author being hostile to religious people in his work? Terry Goodkind has been roundly criticised for his supposed stance on religion, and because of the attitude of his fictional characters and I'd certainly include his stance on ethnic and gender categories as banal and stupid, even within the world he created. But influential? Give me a break...

I'm afraid I'm finding it a little hard to follow your argument, because you seem to be saying authors don't dare to generalize about racial, ethnic or gender categories, but do with religion. In a constructed, fictional world, that doesn't exist except in the imagination of the writer, are you saying they shouldn't go in any of those directions, to show their characters as bad/evil/perverted/stupid/angry/whatever is necesary to portray that character?

I Brian said this:
Instead I mean to challenge the normal assumptions a writer may make because of their cultural position and class, which makes it less natural to write well about people outside of these.

which you have expanded on, and this quote seems to be saying a writer can only make assumptions about their own classes and cultures, making it 'less natural' to write well about those outside it. If we follow that, then should we only write about our own class and culture? What part does imagination in Fantasy and SciFi play, if not to draw a picture that, whilst understanding one's own cultural and class and background, allows a good writer to construct a fictional religion/race/gender (even) that is impossible to criticise, because it's entirely imaginary? Saying a writer is displaying racial/religious/gender stereotypes may have some truth, and there have been appalling examples (usually by appalling writers) in the past, but I cannot understand where the reader's intelligence figures in this whole argument.

When I was a lot younger I read a lot of the Gor books, by John Norman. Religion, race and gender done to death in the most dire negative way, but guess what? It didn't alter my own religious, race or gender beliefs in any way. Why? Well, because I was reading fiction, and I knew it. If Goodkind, all these years later, is portraying gender and religious stereotypes negatively, then so what? Don't read the books, if you think they will affect you. But we shouldn't use arguments about what writers should or shouldn't write about.

You said you find treatments of religious difference are often very poorly done in SF/F at the beginning of the post. Why? because it's poorly written, or because you feel the constructed religions they are portraying are negatively affecting you? It's fiction you're reading, not fact. It's made up. Read the facts about what goes on in some of today's religions and you should be shocked, but I fail to see how fictional stories of fictional religions can be subjected to the same criteria, wherein the argument is trying to force writers to change their approach, because someone might be upset by it. You're heading towards censorship that way.

If you're going to be upset by fictional accounts of religion, race or gender, it's because you chose to do so, because you read it. Don't read 'Last Exit to Brooklyn' if you're upset by an appalling portrayal of violence and sexuality in a fictional setting. There's a bettter reason for not reading it: it's absolute garbage - badly written, sensationalist trash Or: it's a closely observed narrative of the poor and oppressed (sexually as well as financially) citizens of an American city. It's your choice to decide.

The Bible belt extremists of America burned Hary Potter books because they contain occult and satanic subtexts. No figures were available of how many innocent children were subverted by this dreadful piece of fiction and how many have turned to a life of magic to attain their ends...

The Lord of The Rings, one of the greatest fantasies that has influenced countless writers is a deeply religious work. Should we as non-catholics, find it disturbing? "The Lord of the Rings is of course a fundamentally religious and Catholic work; unconsciously so at first, but consciously in the revision. That is why I have not put in, or have cut out, practically all references to anything like 'religion', to cults or practices, in the imaginary world. For the religious element is absorbed into the story and the symbolism.*"

It's an imaginary world, see? You can find racial and gender issues in LOTR if you look hard enough. But it's fiction, and you alone choose to decide whether it upsets you, or not. It's entirely your choice. Personally, I didn't even know, nor was I interested in, the fact above. I just enjoyed the story, and knowing it now makes no difference to my enjoyment of reading it.

Whatever we write, someone, somewhere will be upset by it. It's their choice, and they enjoy the freedom of speech to express it in whatever terms they choose. Telling any writer that they should 'try to phrase their stories accordingly' to avoid institutional racism or sexism being portrayed is incomprehensible to me, when we're writing fiction. Some of the arguments that have appeared on this thread seem to blur between real life - where any prejudice should be abhorred - and fictional constructions found in SciFi and Fantasy. They may influence a reader. A reader who can be influenced by SciFi and fantasy is just as capabale of being influenced positively as negatively. No? For reasons unknown, this thread seems to suggest that it is only negative influence...

* Letter written by JRRTolkein

apols for any typos - my keyboard is acting weird, despite new batteries!
 
FYI Boneman: by "sometimes" and "at others" I mean "at times X and at at times Y, but not at times Z." If my wording was sloppy, then forgive me, but I'm not trying to make blanket statements here. Obviously there are some really interesting mediations on religion in SF/F. One of my favorite's is Richard Russo's Ship of Fools, which deals extensively with Catholicism in a generation starship context.
 
Shifting topic a bit, I thought I'd share my thoughts on violence in fantasy. The post was inspired by Edwards' essay, though it's not specifically about Prince of Thorns. So I'd like to go back to one of the original questions I posed in this thread, and re-pose it:

What's the limit of all the violence and cruelty in fantasy? When is it intellectually/artistically justified and when is it not? How much is too much? How do you feel about it?

My reply in your comments was:

Apologies if it interferes with your narrative, but I've not read Glen Cook, Steven Erickson, Joe Abercrombie or Richard Morgan. I've read one book by Scott Bakker but only after writing the trilogy that begins with Prince of Thorns. So the notion that I'm attempting to out do them at something is... misguided. I also feel that George Martin's work is significantly darker than my own.

Since I've not read Edward's essay I can't comment on it with any more clarity than you can comment on my book, but I can say the notion of a prose video game is wholly alien to me and that I'd be more on the side of the multiple reviewers that consider the book a character study.
 
My reply in your comments was:

Apologies if it interferes with your narrative, but I've not read Glen Cook, Steven Erickson, Joe Abercrombie or Richard Morgan. I've read one book by Scott Bakker but only after writing the trilogy that begins with Prince of Thorns. So the notion that I'm attempting to out do them at something is... misguided. I also feel that George Martin's work is significantly darker than my own.

Since I've not read Edward's essay I can't comment on it with any more clarity than you can comment on my book, but I can say the notion of a prose video game is wholly alien to me and that I'd be more on the side of the multiple reviewers that consider the book a character study.

Mark, did you ever imagine the controversy your book would create? or were you totally surprise by the public's reaction to it?
 
I said it in the previous post, but I'll say it again for the sake of clarity--my post was inspired by the review of PoT that I linked to at the beginning of this thread, but I am not trying to comment specifically on PoT or Mark Lawrence, but rather about general trends in fantasy fiction.
 
Only judging from the review (and I certainly intend to read the book now, it sounds good) I have to say that I think the reviewer misses the point. Avatar Jorg doesn't mention a lot of homosexual rape because he's not homosexual. There could have been a whole group of his company that was off buggering little boys before killing them gruesomely as well. The same thing applies to blacks and women, his group would probably not even notice what race or even sex anyone was as long as they were good at helping him kill people, take their stuff and rape women. He doesn't mention them because, like as not, he wouldn't even notice they WERE women, or blacks, or homosexuals, just so long as they were good fighters and helped him to kill people, take their stuff and rape their women (or struggled amusingly as they were victims of same)

Being a psychopath or a victim are your only two real choices in an utterly lawless era and they're both inherently equal opportunity professions. It's unrealistic to the point of silliness to see it any other way.
 
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Being a psychopath or a victim are your only two real choices in an utterly lawless era and they're both inherently equal opportunity professions. It's unrealistic to the point of silliness to see it any other way.


I love that!!:)

It has been pointed out to me, and feel free to check it out for yourselves* that the terrible rape scenes that have upset so many people, and generated so much garbage, sorry, verbiage that I felt, even though this is a family site, that I should reproduce those two scenes here. Please look away now, if you are of a nervous disposition:

Scene 1. I saw what they did to Mother and how long it took.

Scene 2. The fat girl had a lot to say like her father. Screeched like a barn owl: hurt my ears with it. I liked the older one better. She was quiet enough. So quiet you'd give a twist here or there just to check she hadn't died of fright.

*http://mark---lawrence.blogspot.co.uk/2011/11/that-book-with-all-rape.html
 
This is not about the so called asthonished essay that is pretty silly imo or The Prince of Thorns itself but i thought like this when i read books like it:

"There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.” Oscar Wilde, The Picture of Dorian Gray.

Im not interested in moral or immoral character, was the book good enough to read or was it pointless story,characters. I found Martin's Game of Thrones to be pointless grimness because of lack interesting characters and uninteresting world.
 
Shifting topic a bit, I thought I'd share my thoughts on violence in fantasy. The post was inspired by Edwards' essay, though it's not specifically about Prince of Thorns. So I'd like to go back to one of the original questions I posed in this thread, and re-pose it:

What's the limit of all the violence and cruelty in fantasy? When is it intellectually/artistically justified and when is it not? How much is too much? How do you feel about it?

A good drawing together of a lot of key pointers.

I think the entire "grimdark" argument is a red herring.

The Abercrombie charge is an excellent example of misdirection. The First Law trilogy opens with a torturer character, who remains central to the story. Then after 2500 pages that torturer character whispers something threatening to a woman - and RH shrilly declares makes Abercrombie a grimdark rapey misogynist on that basis. It begs the question as to which part of being a torturer made RH think Glotka a nice guy for the first 2499 pages.

I think Abercrombie felt wrong-footed precisely because he'd never stopped to think of the sociological aspects of women in his fiction, or considered to apply the Bechdel test or similar. However, I don't think most authors do.

That's why I find the original essay so valuable - it's not a deconstruction of Prince of Thorns, or the fantasy genre, but of fiction writing in general.

I think many of us look at other fiction - books, film, TV - and think we can write better. But if we write, shouldn't we also look at how we can write better?

There is an argument to be had that a white male heterosexual is ordinarily going to introduce accidental bias - only black characters will have skin colour described, because everyone else is presumed to be white; female characters will be defined by their relationship to men because that's how the male author relates to women, resulting in stereotypes; the normality of heterosexuality will be considered so obvious that any sexual relations will barely need to be mentioned.

But then the whole "grimdark" argument seems to claim that fantasy has become corrupted - it's rapey and violent. The rapeyness - well, I can't recall reading any rape scene in GRRM, Abercrombie, or Lynch. If my memory fails me then I stand to be corrected.

There is violence in their stories, but there has always been violence in fiction, not least in epic fantasy where good vs evil has been a standard.

Perhaps the difference now is that moral right cannot be presume for a protagonist. Some people may find this confusing or uncomfortable, because they would rather read simpler stories with basic clear morality.

Maybe that's why some of the biggest critics of modern fantasy - those who most loudly yell grimDARK, while declaring themselves "superior readers" - actually spend so much time these days criticising children's YA fiction.
 
But then the whole "grimdark" argument seems to claim that fantasy has become corrupted - it's rapey and violent. The rapeyness - well, I can't recall reading any rape scene in GRRM, Abercrombie, or Lynch. If my memory fails me then I stand to be corrected.

I'm not sure that there's any detailed, on-the-page rape in GRRM, but it's mentioned several times - and at least one is a brutal gang rape (of the virginal unmarried daughter of a noblewoman, in A Clash of Kings). There's also, in A Game of Thrones, Tyrion's account of the "gang bang" of his first love - who turns out to be a hired whore - by his father's soldiers. Not a rape, technically speaking, but pretty unpleasant, sex-as-humiliation stuff.

What stuck in this reader's mind was the matter-of-factness of the male characters recounting these incidents, not the graphicness of the scene. I think that's why PoT has a similar impact.

There's also an near-rape in Abercrombie's Before They Are Hanged, though it is very memorably interrupted by other characters (I cheered at that point!) :)
 
Okay, let me try again:

A lot of very interesting points made in that reply, Brian. I'll try to respond as best I can.

Grimdark

It started off as a reaction to overly romantic, morally-simplistic fantasy where young agrarian types become chosen ones, defeat a force of pure evil and become king. Its basic stance was that human nature and the medieval settings and mythologies most epic fantasies are based off of are/were both more ambiguous than that, with heroes whose goodness is/was questionable and villains who can also have redeeming qualities. (What I call category one grimdark.) I'm all for that.

But it can, and in many cases does, slide into "grimdark for grimdarknesses sake," where violence and cruelty are excessive, not terribly historical and human nature is presented in equally unrealistic and absurdly bleak terms. (What I call category two grimdark.) This is the kind of thing where rape and torture exist, intentionally or not, to titillate. I'm not a fan of this.

For me what's interesting about the RH/westeros.org/Abercrombie interaction is the way Abercrombie accepts the general premise of the critique and says he'd like to do a better job in the future. Implicitly, he's saying that it's "easy" to slide into this kind of category two grimdark (grimdark for grimdarknesses sake), even if you don't mean to.

In my blog post, I guess I was suggesting fantasy writers should take care when they interject grim darkness into their work, and ask: what is the actual point of this? What does it add, and what are the costs? Because while category one grimdark can be and often is compelling, category two grimdark strikes me as facile and adolescent.

Whether a specific work of fiction is category one or category two is a matter of perspective and a matter for discussion and argument.

Specifically Regarding RH and that Passage from Abercrombie

I think one or more of the following could explain her selection of that particular passage:

  • She was possibly okay with most of the grimdark in the series up to this moment, but it was the straw that broke the camel's back
  • She is focusing on this moment, rather than others, because of the way grimdark intersects with her perspective and causes (seeking better representation of non-whites, non-males and non-straight people in SF/F), not just because of the grimdark itself
  • She is reacting to fans of the series thinking Glokta is "badass" and "awesome"
  • She is reacting to a general "rapeyness" in grimdark fantasy, which she perceives and which seems, to her, particularly egregious in this case.

I don't pretend to know what she's thinking, but these all seem plausible.
 
This is the kind of thing where rape and torture exist, intentionally or not, to titillate. I'm not a fan of this.

Am quite agreed. GRRM I think puts in brutal backstory to try and reflect a sense of mediaeval brutality. Partly, though, I think it's because his characters can be quite extreme, so it's not a surprise Ser Gregor features in a lot of this.

However, I think Richard Morgan completely messed up with the Steel Remains. He only touches briefly on the internal conflict regarding sexuality, and this should have been the driver for conflict. Instead, he externalised it, and ended up with pulpy rubbish.

To this, I would add though that I think we've seen plenty of rape and torture in fantasy before - it's just that if it's written to sound ye olde worlde, it's seen as ye olde appropriate.

However, by using modern language, it forces the issues to be contemporaneous as well. Abercrombie and Lynch are good examples of this, and I see so many complaints from people who can't stand their use of modern language, and explicitly, swearing. When you add Mark Larence to the mix, you see the reader's unease is the closeness of the unpalatable. We can see far worse at the cinema, but there's a bigger emotional distance between subject and viewer there.


In my blog post, I guess I was suggesting fantasy writers should take care when they interject grim darkness into their work, and ask: what is the actual point of this? What does it add, and what are the costs?

I agree - and would add a couple of pointers:

1) realism is good, but we haven't found it yet. Some "grimdark" flirts between being cartoony or plain pulpy, rather than realistic;

2) a best practice would be for authors to contemplate the reasons for use of everything they are writing about, and look for blind spots.


PS: CTRL + A, then CTRL + C before you post. Anything. Online. Ever. :)
 
Okay, let me try again:

A lot of very interesting points made in that reply, Brian. I'll try to respond as best I can.

Grimdark

It started off as a reaction to overly romantic, morally-simplistic fantasy where young agrarian types become chosen ones, defeat a force of pure evil and become king. Its basic stance was that human nature and the medieval settings and mythologies most epic fantasies are based off of are/were both more ambiguous than that, with heroes whose goodness is/was questionable and villains who can also have redeeming qualities. (What I call category one grimdark.) I'm all for that.

But it can, and in many cases does, slide into "grimdark for grimdarknesses sake," where violence and cruelty are excessive, not terribly historical and human nature is presented in equally unrealistic and absurdly bleak terms. (What I call category two grimdark.) This is the kind of thing where rape and torture exist, intentionally or not, to titillate. I'm not a fan of this.

For me what's interesting about the RH/westeros.org/Abercrombie interaction is the way Abercrombie accepts the general premise of the critique and says he'd like to do a better job in the future. Implicitly, he's saying that it's "easy" to slide into this kind of category two grimdark (grimdark for grimdarknesses sake), even if you don't mean to.

In my blog post, I guess I was suggesting fantasy writers should take care when they interject grim darkness into their work, and ask: what is the actual point of this? What does it add, and what are the costs? Because while category one grimdark can be and often is compelling, category two grimdark strikes me as facile and adolescent.

Whether a specific work of fiction is category one or category two is a matter of perspective and a matter for discussion and argument.

Specifically Regarding RH and that Passage from Abercrombie

I think one or more of the following could explain her selection of that particular passage:

  • She was possibly okay with most of the grimdark in the series up to this moment, but it was the straw that broke the camel's back
  • She is focusing on this moment, rather than others, because of the way grimdark intersects with her perspective and causes (seeking better representation of non-whites, non-males and non-straight people in SF/F), not just because of the grimdark itself
  • She is reacting to fans of the series thinking Glokta is "badass" and "awesome"
  • She is reacting to a general "rapeyness" in grimdark fantasy, which she perceives and which seems, to her, particularly egregious in this case.
I don't pretend to know what she's thinking, but these all seem plausible.

At present , AFAIK, the most popular subgenre of Fantasy, (with even it's own top ten TV show), consist of tales where the vast majority of humanity are dead and have now become reanimated corpses bent on consuming the few pitiful remnants who have what appears to be no chance of survival whatsoever and can do nothing more than wait for an inevitable and rather horrible death

I don't know about you, but I can't help but think the possibility of rape would indicate a rather positive change in one's prospects if the alternative was to have one's brains eaten by shambling corpses in various stages of decompostion.

In other words, the most popular fantasy going is one where zombies have taken over the world and we have just spent 4 pages bemoaning the fact that fantasies are finally beginning to recognise that rapes occur in wartime.

Puritanism, truly, is not dead.
 
JoanDrake,

With all due respect, that's a false equivalence.

When was the last time someone was threatened by zombies? Sure there was that crazy dude in Miami last year, but for the most part it's not something people face in the course of their actual lives. Rape, however, is something that as many as 1 in 5 women will face in their lives. It stands to reason, then, that depictions of zombie brain eating by nature can't be triggery in the way depictions of rape can. I just don't see how zombie brain eating is a meaningful point of comparison.

Also, FYI: my problem is specifically with "explicit, gratuitous and artistically/intellectually pointless" rape scenes. I then state:

Rape happens, and it shouldn't be off-limits for authors, but it shouldn't be treated as a go-to way to wow the readership with your "edginess."

Also see Joe Abercrombie:

So in conclusion I’d say rape shouldn’t be off limits, lesbians shouldn’t be off limits, but shitty, lazy, ham-fisted writing is never a good idea. Especially in dealing with a rightly sensitive issue like rape. You might think the avoiding of shitty writing should be an obvious lesson for a writer. All I can say is, you’d be surprised how difficult it is in practice…

As I stated before in the post you quoted, I like a lot of grimdark, but it has to do something meaningful, not just stomp around yelling "here is my grimdarkness!"
 
I'm hoping that Joan Drake's tongue is firmly in her cheek and possibly wearing a hole in her decomposing flesh :)

Personally I've never read any zombie UF - maybe I'm just not hip with the kids, but it seems to be very much its own phenomenon, with little impact on the rest of SFF, at least in books. On TV and in films, sure - but then it's a pretty cheap form of SFX. All you need are a few good makeup artists and a shedload of latex...
 
Its really easy for us to decide personally whats good read and believable and whats too much grimdarkness because of lazy,weak writing.

You cant talk about someone whose novel is grim,bleak by synopsis before you know if the writing is for you and you believe the story for what it is suppose to be. Why i have tried all these authors and giving up on all but two of them.

The debate in this thread has been too much comparing content and too little rating of the authors ability to tell these kind of stories.
 
Mark, did you ever imagine the controversy your book would create? or were you totally surprise by the public's reaction to it?

The answer to that is several-fold but short.

i) As I was writing it I didn't believe for a moment that the story would be published. I wasn't writing for publication - it was not an ambition of mine.

ii) I wasn't surprised by the public's reaction nor do I think there is any controversy at all about the book in the larger readership. Forums give an extremely distorted view of public opinion.
 
Okay, let me try again:

This is the kind of thing where rape and torture exist, intentionally or not, to titillate. I'm not a fan of this.

Item 1:

Wow. You know, even Liz Bourke said "Prince of Thorns has some damn good writing."

I can assure you with hand on heart that if I wanted to titillate I could do a _hell_ of a lot better job than:


Scene 1. I saw what they did to Mother and how long it took.

Scene 2. The fat girl had a lot to say like her father. Screeched like a barn owl: hurt my ears with it. I liked the older one better. She was quiet enough. So quiet you'd give a twist here or there just to check she hadn't died of fright.

Which is the sum total of rape in Prince of Thorns.



Item 2:

It also seems nonsensical to claim a motivation/intention as intentional or not.

It was done to titillate ... intentionally or not...

Um.

If it's not done intentionally ... how can you say why it's done? You can say how it's received - 'I was titillated by this' or you can speculate how others received it 'I think Joe Blogs was titillated by this' but if it wasn't the author's intention you can't say it was done to titillate... because then that would be the author's intention...
 
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