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The next Darkover book, The Children of Kings, was released on Tuesday, March 5, from DAW Books. Here and in the following weeks, I'll also talk about how I met Marion Zimmer Bradley, how we came to work together, and a few thoughts on "playing in her sandbox."
I frequently am asked how I came to work with Marion and to continue her Darkover series after her death. Here's a bit of my own journey into this marvelous world.
Marion Zimmer Bradley had published several novels set on the world of The Bloody Sun when I first discovered Darkover with The World Wreckers (1971). The Planet Savers and The Sword of Aldones had come out in 1962, followed by The Bloody Sun (1964, revised in 1979) the YA Star of Danger (1965) and an Ace Double, The Winds of Darkover (1970). The early Darkover novels were action-adventures, solidly written but also well within the fantasy genre. The World Wreckers (1971) pushed the boundaries of acceptable topics. Although a secondary plot, the evocative love story between a Terran man and a hemaphroditic chieri brought up issues of sexuality and gender in ways I had never before read. I believe it was Marion's first "breakthrough" in the Darkover series, and it firmly established me as an avid fan.
The next two Darkover novels added depth and complexity to my experience of Marion's special world, and I admired Marion tremendously for not shrinking from presenting provocative questions. In Darkover Landfall (1972), she confronted a shipload of marooned colonists not only with a strange world and their deepest fears, but the necessities of survival. To the outrage of many in the burgeoning feminist movement, Marion depicted a situation in which, for the human colony to have a future, every woman of child-bearing age must contribute to the gene pool. She went on to ask what kind of cultural mores -- towards monogamy, towards intergenerational sexual relations -- would then evolve. The Spell Sword (1974) continued the idea of telepathic intimacy and non-exclusivity.( Read more... )
The next Darkover book, The Children of Kings, will be released on Tuesday, March 5, from DAW Books. In answer to questions asked by many readers, I'd like to share some background on the book. In the following weeks, I'll also talk about how I met Marion, how we came to work together, and a few thoughts on "playing in her sandbox."
Marion's original concept for Darkover centered on the clash of cultures, so for this next book, I wanted to bring the Terran Federation back into the picture, but not in a nice sedate and friendly way, but in an OMG-terrible-crisis-about-to-descend-
Writing in the Darkover universe is very much like writing historical fiction. Marion explored so much of this world and its history that I can't "make it all up as I go along." One of the frustrating and yet exhilarating aspects of tackling a Darkover story is that Marion never let things like geography interfere with telling a good story. Although a number of fans produced maps of Darkover, she refused to endorse them, saying that she never knew when she might need to move things around. She also appreciated that Darkover had evolved as she herself had matured as a writer. In the Note From The Author for Sharra's Exile, she says,
One result of writing novels as they occurred to me, instead of following strict chronological order, was that I began with an attempt to solve the final problems of the society; each novel then suggested one laid in an earlier time, in an attempt to explain how the society had reached that point. Unfortunately, that meant that relatively mature novels, early in the chronology of Darkover, were followed by books written when I was much younger and relatively less skilled at storytelling.
For this tale set mostly in the Dry Towns, I used as background not only The Shattered Chain but a very early (1961) “proto-Darkover” novel, The Door Through Space. The Door Through Space contained many elements familiar to Darkover readers, from jaco and the Ghost Wind to the names of people and places (Shainsa, Rakhal, Dry-towns). Marion was exploring a world in which Terrans are the visitors, and adventure lurks in the shadows of ancient alien cities. She drew upon and further developed this material in The Shattered Chain (1976).
These books reflected the growth of Marion’s vision, but each of them was also part of the times in which it was written. 1960s science fiction novels were often tightly-plotted, fast-paced, and short by today’s standards. Most, although by no means all, protagonists were male, and female characters were often viewed from that perspective, what today we call “the male gaze.” By the middle of the next decade, publishers were interested in longer, more complex works. Not only that, the women’s movement and the issues it raised influenced genre as well as mainstream fiction, opening the way for strong female characters who defined themselves in their own terms. If Marion had written The Shattered Chain a decade and a half earlier, I doubt it have found the receptive, enthusiastic audience it did. Her timing (as with The Mists of Avalon or The Heritage of Hastur) brilliantly reflected the emerging sensibilities of the times.
Now we live in a different world. This is not to say that the previous struggles have been resolved, but that much has changed in the social consciousness from 1976 to today. In writing The Children of Kings, I considered how Marion’s ideas about the Dry Towns (and any patriarchal desert culture) might have changed over the last three decades. The Shattered Chain, with its examination of the roles of women and the choice (or lack of choices) facing them, focused on only a few aspects of the Dry Towns culture. What if we went deeper, seeing it as complex, with admirable aspects as well as those we find abhorrent? With customs that we cannot truly comprehend but must respect, as well as those that resonate with our own? With men of compassion and women of power?
As the Dry Towns developed in my mind, I turned also to the theme that had characterized the early Darkover novels—the conflict between a space-faring technological race and the marvelously rich and romantic Domains, with their tradition of the Compact and the laran-Gifted Comyn. And now, I add to that mix the ancient, kihar-based Dry Towns.
I hope you find this book as rich and rewarding to read as it was to write.