I recently started reading a book entitled The Lions of Al-Rassan by Guy Gavriel Kay. It is historical fiction, immaculately detailed, with three excellent protagonists surrounded by a band of almost as admirable allies navigating a middle-era Spain in which three powerful politico-religious factions are vying for greater power. The Lions is endlessly beautiful both for Kay’s writing and the stories he has decided to narrate as much as those he won’t. The time in which the book’s tales are set was no stranger to casual brutality, but The Lions rises above it by what women and men striving constantly to be their best selves are capable of even in the presence of profound injustice, and of course the price they must inevitably pay. But even so, The Lions makes for superb reading.

A happy Lord of the Rings Day to you. 🙂 As I’ve written in many past editions of posts marking this occasion, Steven Erikson’s Malazan Book of the Fallen series surpassed JRR Tolkien’s novels and stories of Middle Earth — which was until then the high-water mark of epic fantasy to my mind — when I started reading the former. However, the Malazan series also surpassed, in some cases by distances I’d never imagined possible, all other works of fantasy I’d read until then. I finished reading it just as I completed my engineering studies and shortly after began a career as a journalist. And just a couple more years on, I had a sobering epiphany: I seemed to have lost my book-reading habit. Of course I regularly read shorter written material, from brief news reports to extended essays, but somehow I wasn’t been able to bring myself to read books of fiction — even of epic fantasy fiction, a genre I love very much.

The Lions broke this spell. I’d recently visited a close friend’s home and asked him to recommend a good book of fiction. I half-expected to be told there was nothing left to read or, should my friend somehow be able to recommend a book, fully expected to not read it all. After rapidly going through a list of books he’d liked and which I’d already read, he dove into his bookshelf for a minute and returned with The Lions. Both he and another close friend recommended it highly, which was something special because these two people have high standards of fiction — as they should — as well as are ravenous consumers of creative work produced by others and published authors themselves. So I decided I’d give The Lions more of a shot than I’d given other books of late, and boy was I glad.

I don’t like the city of New Delhi in and of itself. But I have some great friends there and experiencing the city with them simply transforms the place. The world of The Lions is just like that: riven with the kind of cruelty and hardship that only small-minded, parochial power is capable of inflicting on those it deems lesser than themselves, yet brightened and enlivened by the story’s protagonists, the physician Jehane bet Ishak, the military leader Rodrigo Belmonte, and the counsellor of kings Ammar ibn Khairan. When I turn into a page that opens with even one of them, I become [gasp] hopeful. What a luxury!

Whereas The Lord of the Rings is constantly pitching forward, The Lions allows the reader to rest and dwell every now and then — which is remarkable considering The Lions moves faster than the trilogy of books every does. Swept along, I started to wonder just as I crossed the book’s midpoint if I was beginning to recover my reading habit after more than a decade. As The Lions gently but surely built up to its crescendo, I even asked myself if the habit really went away or if I’d just been picking the ‘wrong’ books to read all this time. But just as I got within 150 pages of the book’s finish, I was brought to a crashing halt: I found myself having an increasingly tough time keeping on. I discovered a mind within my mind intent on keeping me from accessing my interest in reading the book. Its purpose seemed to be to have me stop reading right now, so that the people in The Lions could continue to remain where they were in the narrative without being consumed by the impending climax, where at least war — and the attendant prospect of death — lay, and still lies, in wait. But I know I must keep trying: Jehane, Rodrigo, and Ammar have already lived their lives and they would have continued to do so on their own exacting terms. If I am to claim to know them, I must not be afraid of following their lives to the end.

Either it’s only a matter of time before fantasy fiction writers start featuring among the laureates of highfalutin literary awards or the literary world’s irrational prejudice towards stories of lived lives will continue to be laid bare for what it is. If only to me, The Lord of the Rings, the Malazan series, and The Lions of Al-Rassan are of a piece with any and all fiction, whether in prose or verse, in terms of humans or aliens, located somewhere or nowhere. There are differences, of course, but that is also a tautological statement. Differences abound between The Lions and The Lord of the Rings as much as they do between, say, Half of a Yellow Sun and Objects of Desire. Yet they all play on the same borderless field.

Even magic needn’t make a difference. I used to think that it did when I first read The Lord of the Rings and realised how much better it was than anything else I’d read until then. But I’ve learnt that they’re not all that different, whether in kind or degree. Magic, if you’ve read the Malazan series but also if you’ve dabbled in the Elden Ring lore or played a Dungeons & Dragons campaign or two, can be found to be a thing of the world, this material world, occupying the space between you and me as surely as sunlight and birdsong. This is ultimately why I keep returning to The Lord of the Rings at least once a year, and why I find echoes of stories imagined much later by authors from different worlds in its old, familiar pages. Casting a spell to harm someone is no different from hitting them with a stick or bullying them when they’re helpless. Just as well, choosing not to do any of these things even when the incentive presents itself is equally virtuous.

The Lord of the Rings first brought me to this borderless field: even if I’m not frolicking yet, I’m not going to leave either. Now, back to The Lions…

Previous editions: 2024, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2014.

War is on all our minds these days. There is a war happening in Ukraine and something barely resembling a war (because it’s a genocide) in Gaza. Governments have been fond of casting our collective responses – such as they are – to climate change, antimicrobial resistance, and water crises as wars. In every nationalist country, and there are more of them every year, the states have claimed they’re at war against “anti-national” forces within and without. War is everywhere. At this time, where does fantasy fiction stand, what can it do?

First, the genre itself is often centred around military action as a means to challenge protagonists and resolve conflicts. In the Lord of the Rings trilogy, the skirmish on Weathertop showcases Aragorn’s leadership; the Battle of Helm’s Deep is where Théoden truly returns as the king of Rohan; the Battle of the Pelennor Fields is the stage on which Denethor fails, Faramir rises in his stead, Rohan’s crown effectively passes to Éowyn, and Aragorn does something only Gondor’s ruler can; the Battle of the Morannon is a test of every protagonist’s mettle as they distract Sauron and his armies in a doomed stand long enough for Sam, Frodo, and Gollum to destroy the ring; and the Battles of Isengard and Bywater are where the ents and hobbits, respectively, retake their lands from Saruman’s rule, unto the powerful wizard’s political and then mortal demise. Even outside the trilogy, war is never short of a great contest between good and evil.

There have been many flights of fancy that bear little resemblance to JRR Tolkien’s epic and its style, yet it’s just as true that every English attempt at epic fantasy since the trilogy has either basked in its shadow or tried to escape from it. Another way in which Tolkien foreshadowed the genre is in terms of its authors: predominantly cis-male and white. Despite the variety of factors at play that could influence who becomes an author of epic fantasy fiction, this is no coincidence, at least insofar as it determines who becomes a ‘successful’ author – and just as well, it’s not a coincidence that so much of modern fantasy is concerned with similar depictions of war.

Bret Devereaux wrote in his popular blog that Amazon Primevideo’s Rings of Power fell so flat even though it had borrowed heavily as well as branched off from Lord of the Rings because, among other things, it failed to “maintain a believable sense of realism grounded in historical societies and technologies (something the Lord of the Rings, books and films, did very well)”, rendering it “impossible to invest in the stakes and consequences of a world that appears not to obey any perceptible rules”. Yet even with the ‘rules’, Tolkien’s narrative arcs within his books were modeled perceptibly on the Arthurian legends. A similar complaint can be foisted on other (esp. white male) works of epic fantasy fiction, which have been concerned on a metaphysical level at least with recasting the past in a different light, unto different ends.

I admit I haven’t read enough of epic fantasy – all of Tolkien, a smattering of Guy Gavriel Kay (Tigana), Mervyn Peake (Gormenghast), Peter David (Sir Apropos of Nothing), some of M. John Harrison’s short stories, Brandon Sanderson, Marlon James (BLRW), and George R.R. Martin – to be able to write with any kind of authority about the genre, but for this I blame partly myself and the rest Steven Erikson, whose Malazan Book of the Fallen series spoiled me for anything else. My own tendency to read the work of the cis-white men of fantasy is also to blame.

However, Erikson, unlike any of the other writers I’d read until then, both within and beyond the genre, is also a white man yet his Malazan series treats war differently: its tragic toll is always in view thanks to Erikson’s decision to train the narrator’s focus on its smallest players, the soldiers, rather than on its kings and queens. This is how, for its well-earned reputation as a military epic bar none, the series itself recounts a tale of compassion.

And having read and re-read the Malazan series for more than a decade (to the uninitiated: it’s possible to do this without getting bored because of its rich detailing and layered story-telling), war – including ones of annihilation, which can apparently be fought these days without the use of terrible weapons – is if nothing else the ultimate examination of purpose. It is brutal on people, the land, the cultures, and the planet for much longer after it ends, and it magnifies through these effects and the methods by which they are achieved the moral character of those conducting this violence.

Like others I’m sure, I feel completely powerless against and often dispirited by Israel’s genocide against the people of Gaza, Russia’s wanton destruction in Ukraine, and the systemic violence the Indian state continues to inflict on its poorest and most marginalised sections. The best tools of opposition available at my disposal are my words, my ideas, my morality, and, if a situation demands it, some spine – and all four good fantasy fiction can inspire in abundance.

I remember reading a Roger Ebert review of a film sometime back (can’t remember its name now) in which he said good story-telling can inspire us to become our best versions of ourselves, that even should the film flop on other counts, it will have succeeded if it can do this. These words are applied easily to any form and mode of story-telling, including epic fantasy. Lord of the Rings is a tale of good versus evil but it’s also a tale of friendships and their survival through untold hardships, and while some may disagree it was good story-telling. In the end, whether or not it succeeded and also setting aside the moralities of the time in which it was written, it strove to inspire goodness.

The Malazan series strives similarly (present-tense because Erikson is still building out its lore) and, to be fair, does it much better, directing its empathy at almost everyone who appears in the books (excluding – spoiler alert – the truly vile). In our present time of seemingly incessant conflict, it helps me look beyond the propaganda both noisy and subtle at the people who are suffering, and with its stories refill senses constantly on the verge of depletion. If we just let it, fantasy can step up where reality has failed us, alerting us to the infinite possibility of worlds within worlds, new and necessary forms of justice, and of course how and where we can begin to cope together.

A happy Lord of the Rings Day to you. 😄

Previous editions: 2014, 2016, 2017, 2018, 2019, 2020, 2021, 2022, 2023.