Posts Tagged ‘books’
What impact did the Blackfyre Rebellion have on the characters of A Song of Ice and Fire’s view of bastards? What impact might the Blackfyre Rebellion have had on our understanding of those views, had these civil wars of succession been introduced earlier in the series? What role will they play now that they’ve entered the story in a relatively big way, via “Young Griff” and Varys,The World of Ice and Fire, and A Knight of the Seven Kingdoms? They’re good questions – so good, in fact, that we didn’t think them up ourselves at all. This episode, we’re tackling a topic specifically chosen for us by Rosie Gleeson of Dublin, Ireland, our first Patreon subscriber to donate at the $50 a month level. This earns her an episode of her own choosing, and so at her request we’ll be delving into the Blackfyres, bastardry, and both the in-story and meta reasons for Martin’s treatment of both. Thank you so much for your generosity, Rosie! And if any of you other listeners would like that kind of clout – or would care to pitch it at any level at all – our Patreon page is still accepting donations to make this a better podcast. Thanks for listening, and for supporting us any way you choose! (Moral support counts.)
We’re going back to the future with part two of our all-predictions podcast series on The Winds of Winter! This time around we’re traveling to Essos to speculate as to what Volume Six of A Song of Ice and Fire has in store for our old friends, from Braavos to Meereen. What fate will befall the five POV characters currently located east of Westeros—Arya, Barristan, Victarion, Tyrion, and Daenerys? What about supporting players like Jorah Mormont, Moqorro, and Marwyn the Mage? (Forgot about him, didn’t you?) Then, of course, there’s the matter of the dragons to consider, and consider them we do. It winds up being a wide-ranging discussion of lands near and far, futures immediate and distant. Guess along with us!
This episode also features an update on our fundraisers, both our emergency PayPal fund to help fix Sean’s broken laptop and our Patreon drive, where your monthly subscription/donation can help guarantee more episodes, better sound quality, topics of your choosing, and more. We greatly appreciate all our donors and patrons so far, and if you think the podcast’s worth a few bucks a month, we’d be so grateful for you to join their ranks!
If fools rush in where angels fear to tread, then we’re about to pull a Patchface: We’re foolishly forecasting the events of The Winds of Winter in our new episode! The start of a series, this installment sees us attempting to predict what’s in store for the North in volume six of A Song of Ice and Fire. What fate awaits our POV characters—Bran, Davos, Melisandre, Asha, Theon, and of course Jon Snow? How will things shake out for supporting characters like Rickon, Osha, Hodor, Tormund Giantsbane, Wyman Manderly, the Reeds, and the Boltons? What will happen at Hardhome, Winterfell, the Wall? Like everyone who isn’t George R.R. Martin, we have no freaking idea, but it’s fun to guess, and our best guesses await! (NOTE: We do refer on occasion to the TWoW preview chapters Martin has published or read aloud, so be warned!)
But wait, there’s more! This episode also includes the formal announcement of two new fundraising drives for the podcast. The first is our new Patreon page, where you can pledge to pitch in a few dollars a month to help keep the podcast running. The podcast will always be free, but even a little money per month will make it easier for us to record more frequently and with better equipment. There are also some cool goals and rewards, so please check it out!
Our second fundraiser involves a more urgent concern: Sean’s laptop screen was recently shattered in a mishap involving his kids’ Wii controllers, and replacing it is an expensive proposition on a fulltime-freelancer’s salary. So we’re opening the coffers at our PayPal donation page. A one-time donation of any amount will help Sean revive the computer he uses to work and record—a real necessity. Again, any amount helps. Thank you so much for your generosity, and enjoy the episode!
Hi all! Before we upload this week’s episode, which we think you’ll like, an announcement: We have set up a Patreon page for the podcast, to help raise funds for new equipment and make it easier for the two of us (Sean especially) to commit to recording more episodes without it coming at a cost to our financial health. Please pledge any amount you want–every bit helps!
Also, on a more urgent note, Sean is in dire need of laptop repair after a mishap with his kids’ toys broke his screen. This is very expensive, especially on a full-time freelancer’s salary. So if you like, you can donate to the BLAH paypal page to help raise funds to replace the laptop and make recording (and working!) possible. Thanks again!
Like the Spanish Inquisition before him, George R.R. Martin’s chief weapon is surprise. The author of the A Song of Ice and Fire series has packed his epic-fantasy novels with unpredictable plot twists — and for every shocking revelation, there’s an equally tantalizing secret that stays hidden, riddle that remains unsolved, or prophecy that has yet to be properly decoded. Game of Thrones, the show based on the books, has largely stayed away from Martin’s mix of hints, clues, visions, and red herrings, which is probably wise; no one wants a repeat of Lost, where fans went so berserk trying to figure out what was going to happen in advance that the show itself became an afterthought.
But readers have had almost two decades to pore over and ponder every line in Martin’s novels, beginning with the first volume, 1996’s A Game of Thrones. From Tumblr to Reddit to major ASOIAF fansites likewesteros.organd Tower of the Hand — as well as my and my co-author’s own sites All Leather Must Be Boiled and the Nerdstream Era, and our podcast, “The Boiled Leather Audio Hour” — self-taught experts and avid fans have advanced literally hundreds of theories about the past and future of the story, from slam-dunk analysis that’s been all but accepted as fact to tinfoil-hat crackpottery that makes the Kennedy assassination look as clear-cut as an episode of Murder, She Wrote. The sensation of stumbling across this incredibly vast trove of deep-cut knowledge for the first time is a memory many readers share: “Holy shit — Ned Stark isn’t Jon Snow’s dad?”
Below, you’ll find 50 of the most popular, compelling, convincing, and/or crazy theories out there. Consider it early prep for Game of Thrones’ sixth season, out in April. Dig in, but be warned: The Song will not remain the same.
With an editorial assist by our own Stefan Sasse, I wrote 10,000 words on 50 ASoIaF/GoT theories. This is the least sane thing I’ve ever been paid to do.
Exciting news from the world of ASoIaF podcasts: Stefan and I are the special guests on this week’s edition of A Podcast of Ice and Fire. Join us and host Amin Javadi as we celebrate the 100th installment of Stefan & Amin’s Supreme Court of Westeros Q&A feature (which I all too infrequently remember to post here at boiledleather.com) by tackling a host of reader-generated questions about the series’ biggest mysteries, theories, and themes. Consider it the Boiled Leather Audio Hour Episode 42.5!
We’re traveling from Westeros to Nazi Germany in this unusual—and, to us, urgent—episode of the Boiled Leather Audio Hour. Why are we venturing so far afield from our usual topics of discussion and debate? Because we’ve always believed that A Song of Ice and Fire, like life itself, is best viewed through an unsparing ethical and historical lens. Lately, however, that lens has been clouded. In recent weeks, numerous right-wing politicians—most notably Republican presidential candidate Ben Carson and his supporters in the United States—have distorted and repurposed the rise of Adolf Hitler and the roots of the Holocaust to suit their preexisting positions. Astonishingly, in the day since this podcast was recorded, Israeli Prime Minister Benjamin Netanyahu followed suit. We believe this to be an act of tremendous disrespect for the dead, one that also does a grave disservice to the living. Given our personal and professional interests in this pivotal epoch in history, which have shaped our interaction with ASoIaF in ways large and small, we decided to explore the era’s real lessons as best we could.
What role did privately held weaponry and paramilitary organizations actually play both in the Nazi Party’s ascent to power and the resistance against it? How should we view Europe’s failure to act in the face of Hitler’s belligerence, and Germany’s failure to capitulate in the face of certain defeat? What parallels can be drawn between the forces that fueled the war Hitler ignited and those at play in Westeros and Essos? What makes World War II different enough from other conflicts for the likes of Vietnam-era conscientious objector George R.R. Martin to say it was worth fighting? Is there such a thing as a “good war” at all? In this experiment of an episode, we try to answer those questions.
Two notes before we proceed:
2) On a much lighter note, this episode (hopefully—with iTunes, god only knows) marks the debut of our brand new logo, created by Sean’s partner, Julia Gfrörer. We are in her debt.
The Walking Dead in Westeros
We’re comparing two of the biggest shows on television in this episode of the Boiled Leather Audio Hour. One of them is an adaptation of a popular staple of nerd culture—a genre work that had only appeared in print before—which has translated its bleak themes, wide scope, and controversial use of violence into a modern-day ratings blockbuster. The other is Game of Thrones.
That’s right—the BLAH Boys are taking on The Walking Dead, and its current spinoff Fear the Walking Dead, by contrasting the shows and their source material to Game of Thrones and A Song of Ice and Fire. How does their treatment of violence in an unforgiving world of real and supernatural menace differ? What do the relationships between the original works by George R.R. Martin, Robert Kirkman, Tony Moore, and Charlie Adlard and their adaptations by David Benioff, D.B. Weiss, and AMC’s land of a thousand showrunners reveal about their respective ideas, ideals, aesthetics, and ethics? Which shows really deserve our moral outrage, and why? We’ll be examining all these questions and more. And one of us, at least, will be getting really freaking worked up. Enjoy!
It was funny: I haven’t talked to the real person that [Monroe] was based on in a long, long time, but then I saw he was on Facebook. I wrote to him and I asked him if he’d read the book, and he hadn’t, so I sent him a copy. He said he read five pages and couldn’t read any more because it was “too intense.” Then he kept saying he’s going to read it, but he can’t. But when he found out there was a movie, I sent him the trailer, and he was really excited. He showed the trailer to some friend at a bar—I don’t think he’d said that it was supposed to be based on him—and that person said, “Wow, that relationship is really screwed up. Why are you showing me this?” The guy said “What do you mean, ‘screwed up’? That’s a real man!” You know? “He’s a real man! He’s going for it!” You can see that that particular person, that character…I mean, if I treated him correctly, he’s not the type of person who’s able to reflect on any of that. Which contributes to Minnie’s loneliness. It takes her a while to realize that, because she’s thinking she’s in love with him. What do you do when you’re “raped,” in quotes, by someone who’s thoughtless and unaware? There’s no way to have a discussion about that with him because he’s not on the ball enough to even grasp the situation. I don’t know what people think. You could argue rape or not—I mean, I don’t fucking know. It’s a complicated situation.
For my A.V. Club debut, I interviewed Phoebe Gloeckner, my hero, about The Diary Of A Teenage Girl. I first interviewed Phoebe 12 years ago, and she’s been my hero ever since.
The number one question people ask me about the series is whether I think everyone will lose—whether it will end in some horrible apocalypse. I know you can’t speak to that specifically, but as a revisionist of epic fantasy—
I haven’t written the ending yet, so I don’t know, but no. That’s certainly not my intent. I’ve said before that the tone of the ending that I’m going for is bittersweet. I mean, it’s no secret that Tolkien has been a huge influence on me, and I love the way he ended Lord of the Rings. It ends with victory, but it’s a bittersweet victory. Frodo is never whole again, and he goes away to the Undying Lands, and the other people live their lives. And the scouring of the Shire—brilliant piece of work, which I didn’t understand when I was 13 years old: “Why is this here? The story’s over?” But every time I read it I understand the brilliance of that segment more and more. All I can say is that’s the kind of tone I will be aiming for. Whether I achieve it or not, that will be up to people like you and my readers to judge.
Women of Westeros, Part V: Arya, Lyanna, the Sand Snakes, Arianne, & Ygritte
It’s ladies’ night once again for the Boiled Leather Audio Hour! We’re resuming our irregular series on the women of Westeros after over two years for an episode on a bunch of characters who break the world of Ice and Fire’s gender mold: Arya Stark, Lyanna Stark, the Sand Snakes, Arianne Martell, and Ygritte. Our topics of discussion are as diverse and varied as the women themselves: why Arya is too complex for the hero, victim, or monster labels; how Lyanna’s larger-than-life reputation suits her potential prophetic destiny; the Sand Snakes as Dorne’s answer to the #CarefreeBlackGirls movement-cum-meme; what Arianne has in common with another rebellious scion of a dynasty, Jaime Lannister; how seeing Ygritte exclusively through the eyes of the man who loves her shapes our experience; the true meaning of “strong female character”; and much more. Drop your Needle on that mp3 and tune in!
What was it like going from live action—film, TV, live shows—to a book? How did you translate what you do?
Heidecker: It’s sort of this mixed blessing with Adult Swim where whenever we make stuff for them, it’s their property. Whenever we do something outside of that world, we have to start fresh again. You can’t just recycle stuff. A lot of people would put out a guide to Awesome Show Cinco products or something.
Wareheim: Yeah, we could easily have done a chapter on Business Hugs.
Heidecker: So this was a challenge. You have to start clean and make stuff up from scratch, which is ultimately more satisfying. There was a period where we thought it could be a hybrid of a real story about us that then it turns into this thing, but it just felt more fun to keep it wide open. Zone Theory is so general that you can cram any idea in there and make it work.
Wareheim: It was definitely a new learning experience, but at the core of it, it’s a somewhat similar process, creatively. One of the greatest parts of this is Tim and I getting together and having lunch, laughing about how we were gonna structure this thing. It’s sort of like doing a Bedtime Stories or a movie: “Here’s what we have to do to get enlightened, here are all the steps,” and then we’d go off on our own and write a little bit.
Heidecker: It was a blank slate: ”You guys wanna write a book? Let us know what you wanna write about. It could be anything.” It could have been the history of Tim and Eric, or our guide to being a dad. That was the hard part: focusing what we wanted to do, then populating it with enough jokes and ideas that it felt like something you could sit with for more than ten minutes. Making sure it went somewhere, had a point of view, that it was its own universe and not just total nonsense.
Wareheim: We knew we wanted to have a visual style that’s similar to some of the TV or video elements. We knew we wanted to work with the same designer [Duke Aber] who’s done all of our DVDs and posters. His design is like a character in the book. It really stands out.
You can also show a giant two-page spread of a penis in a book, which you can’t do on a TV show. I got to that part and thought “I’m so happy for these guys! They can take it as far as they want!”
Wareheim: [Laughs] Besides the penis thing, it’s not that much further.
The penis kind of stands out.
Wareheim: Absolutely. We were hoping for that. With that particular thing, I talked to our graphic artist about it. We can’t legally take a penis off the internet, and he didn’t want to photograph one, so he molded that penis out of all these other penises so that it can legally exist. Just that we made some poor guy do that is great.
Heidecker: It also was meant for to you open up the book to that page and go “Gahhhh—they did it again, those assholes!”
Now I get to feel all the nervous anticipation, stomach-churning dread, and jaw-on-the-floor shock everyone else does each Sunday at nine—or that I did, for that matter, every time I sat down to watch new episodes of Breaking Bad or Mad Men or The Sopranos or any other seminal New Golden Age drama you’d care to name. Much has been made of the excesses of spoiler culture, and complaints about the constant demand that not so much as a peep about the plot be uttered in advance of a viewer’s initial encounter with it are thick on the critical ground. But deciding what to reveal and when to reveal it is a core component of narrative fiction, every bit as deliberate and valid an aesthetic choice as the casting or cinematography or score — doubly so for a show that derives as much of its artistic heat from spectacle and shock as Game of Thrones does. Only now that the TV version has jettisoned its rocket-booster books and truly taken off, in other words, are book readers like myself genuinely seeing the show the way it was meant to be seen.
In practical terms, this is nerve-wracking as all hell. I greeted the ominous avalanche that signaled the arrival of the army of the dead with the same what-fresh-hell-is-this bewilderment as Lord Snow. I watched the White Wedding of Sansa and Ramsay with a mounting mix of queasy repulsion and vain hope that the coming catastrophe could be avoided. And by the time poor Princess Shireen took her long walk to a tall stake in the snow after an episode full of foreshadowing and fakeouts, I felt like I was being marched to the flames along with her. On the flipside, I got to witness the big When-Dany-Met-Tyrion moment with its full holy-shit power preserved. This is a show that’s all bass and treble — as Cersei put it, “you win or you die; there is no middle ground” — and I feel like I’m hearing it for the first time.
“Meanwhile, other wars are breaking out on other fronts, centered around the last few episodes of GAME OF THRONES. It is not my intention to get involved in those, nor to allow them to take over my blog and website, so please stop emailing me about them, or posting off-topic comments here on my Not A Blog. Wage those battles on Westeros, or Tower of the Hand, or Boiled Leather, or Winter Is Coming, or Watchers on the Walls. Anyplace that isn’t here, actually.”
I interviewed the great editor and publisher Tom Devlin in this beautiful book about Drawn and Quarterly, one of the best and most important comics publishers of all time. It’s out today, and it’s filled with comics by wonderful cartoonists. Check it out!
One thing you don’t realize until you have a child is that stories about redemptive, heroic violence are omnipresent. Once a child is past toddlerhood and demands narrative media of greater complexity, violent conflict becomes an inescapable requisite. Having a daughter adds a layer of complicity: Boys are fed this stuff automatically, but with a girl you so often deliberately expose her to violent stories that would not reach her otherwise for the sake of egalitarianism. To send the message to your kid that the boy/girl binary is false you’re stuck showing her “boy stuff,” invariably involving punching or lasers, or “girl versions” of “boy stuff,” which port over those values as a cost of increased dynamism on the part of the female protagonist.
Every story I love from childhood involves solving problems with heroic violence. How can I share that love with my kid without imparting that view? It took me three decades to shake loose of it myself. Even when I thought I was out, I was in, as people who knew me ten, twelve years ago know. I’m sure smarter, better parents of daughters than I have figured it out, but I’m fucking stumped.
I’ve been playing The Legend of Zelda with my daughter, age four. She is viscerally thrilled by the scope and the mystery, and it’s a joy to behold. She wants to know why the monsters are mean. I don’t know what to tell her.
That’s overdramatic, of course. As my dear friends Julia Gfrörer and Stefan Sasse pointed out to me, monsters are a vital embodiment of several crucial ideas — the beasts of nature, harmful everyday things you can’t negotiate, meanness itself. And it is delightful to have raised a child of such industrious empathy, a child so perturbed by meanness and rudeness as her tiny conception of cruelty that it’s the lens through which she views evil itself. But still: the guilt I feel when she chooses the sword.
You’ve been so unequivocal and public that this book is about the death of Pinhead — full stop, no spoiler warning. Why?
Why not? If I’d been sly about this and not even mentioned the fact that Pinhead — excuse me, the Hell Priest — was going to die, that would have seemed really dumb. It’s actually a really important element of the book, the element of the book which will draw the most attention. He will not be coming back, by the way. That I promise you. There will be no return, no posthumous Frank Sinatra concerts from him.
In reading, I couldn’t help but think about your own life. You’ve been working on this book for years—
Yes, I have been working on this book for years. But I also had a coma, and lost my mother, my father, and the young man who was almost my son, and a lot of other terrible things in the meantime. Even though it might seem that I’ve been diddly-daddling instead of actually writing, a lot of that daddling has been because I was unconscious. I, uh … I take the Fifth. [Laughs.] I’m making a joke of it, but there have been some pretty damn horrible times of late. I’m only just now, after some many years, priming to leave the house. I’ve only been out of the house five times in the last few years. I am now well enough to, actually, finally leave the house. [Sardonically.] Hey, what about that!
In the midst of all this, you revealed that you supported your writing career in the early days by working as a hustler.
Was that really such a revelation? I was surprised. Maybe I hadn’t talked about it in the past, but I didn’t think I’d hidden it too much.
I got the sense that that was a painful time in your life to revisit.
It was, and yet it wasn’t. It was humiliating many times. It was stultifyingly boring much of the time. And it’s bad sex, mainly. [Laughs.] But you can’t have everything. It kept me in bread and cheese through a bad time in my life, fiscally. But do I want to go back to hustling anytime soon? Nope.
For my Grantland debut I spoke with Hellraiser director Clive Barker about his life, his health, and the death of Pinhead. His new book The Scarlet Gospels, which contains exactly that, is in stores today, and it is furious and empathetic and takes no prisoners.
The Alayne Game: Discussing the New “The Winds of Winter” Sample Chapter and the Start of “Game of Thrones” Season Five
BLAH is back with two, count ‘em, two topics! This go-round, Stefan & Sean tackle the new “Alayne” sample chapter from The Winds of Winter and the first two episodes of Game of Thrones Season Five. What’s in store for Sansa in book six? What’s our read on GoTs05e01-02′s plotlines and performances? Listen and learn, ladies and gents! And while you do, you’ll discover some very happy news from House Sasse, as well as musical surprise or two. Enjoy!