Lin Carter has a multi-faceted reputation in the world of fantastic fiction. As an editor and critic, he is virtually indispensable, most notably for his role in editing the landmark Ballantine Adult Fantasy series (BAFS), as well as the subsequent Flashing Swords!, The Year’s Best Fantasy, and Weird Tales anthologies. Carter’s legacy as a writer is considerably more muddied by his “posthumous collaborations” with Robert E. Howard and Clark Ashton Smith, which often consisted of creating entirely new stories from unfinished drafts and story fragments. These stories were presented as newly rediscovered works, with Carter carrying the torch for Howard and Smith. Lin Carter was hardly alone in his “posthumous collaborations” however, as he was following a precedent set in the 1950s by August Derleth and L. Sprague de Camp. It can be argued that this practice is distasteful or outright literary defacement, but it could equally well be seen as a precursor to today’s “remix” culture.
What about Lin Carter’s solo fiction then? His breakthrough Thongor series, starting with The Wizard of Lemuria (Ace Books, 1965) has been characterized as heavily influenced by Robert E. Howard and Edgar Rice Burroughs. Carter was incredibly prolific over the next four years, knocking out roughly 25 more books along with his editorial work and scripting episodes of the Spider-Man animated series. Carter’s work on the BAF series starting in 1969 may have re-awakened his interest in the denser, more allusive prose styles of the likes of Lord Dunsany, Clark Ashton Smith, and William Morris. This interest would come to the fore in Carter’s Giant of World’s End (Belmont Books, 1969), set 700 million years in the future in The Eon of the Falling Moon. In the far future Earth of Giant of World’s End, the continents have drifted back together into the supercontinent of Gondwane and the Moon has fallen in its orbit to the point where it will soon collide with and destroy the world. The warrior construct Ganelon Silvermane and his companions Zelobion the Magician and Arzeela the War Maid must traverse this vast continent in an attempt to find a “counter-lunary agent” that will prevent the Moon’s fall and the end of the world.
In Carter’s introduction to Giant of World’s End he considers his book in the same End of Time tradition as Clark Ashton Smith’s “Zothique” cycle and A.E. van Vogt’s The Book of Ptath (1947), but curiously he omits any mention of Jack Vance’s “Dying Earth” books. Smith and van Vogt’s works were far enough in the past to be safely acknowledged, but it’s likely that Vance’s The Dying Earth (Lancer Books reissue, 1962) and The Eyes of the Overworld (Ace Books, 1965) were too recent to cite comfortably as open influences. In any case, Giant of World’s End is undeniably Vancian, from the odd customs of the various cultures that the protagonists encounter, to the strangely petty ancient powers of the world such as The Seven Brains of Karchoy. The attempts at quirky humor and deliberately formal dialogue also owe a lot to Vance, but can seem a bit forced.
Another perhaps less obvious influence on Giant at World’s End is The Wonderful Wizard of Oz, with Ganelon Silvermane’s amnesia and inability to love echoing the Scarecrow’s missing brain and Tin Woodman’s missing heart respectively. Also the band of adventurers’ disappointment at the reveal of the senile Last Technarch of Vandalex calls back to Dorothy’s peek behind the screen at the “humbug” Wizard of Oz. Carter’s nods to the Oz books are less surprising when you consider that he wrote five Oz novels that were published posthumously as The Tired Tailor of Oz (2001) and the collection The Merry Mountaineer of Oz (2004).
Nothing in the text of Giant of World’s End indicates that it was originally intended to be part of a series, especially considering its downbeat ending. Nevertheless, Lin Carter must have felt that the supercontinent of Gondwane remained rife with story possibilities as a prequel, Warrior of World’s End was published in 1974 by DAW Books. Four more books in the “Gondwane Epic” would appear through 1978. Supposedly there were to have been nine books in the Gondwane Epic, bringing the story around full circle to Giant of World’s End but the series was cancelled because of low sales. It’s interesting to note that the five prequels were reissued by Wildside Press in the early 2000s, but that Giant of World’s End has never been reprinted aside from a U.K. paperback edition in 1972–perhaps the reissues did poorly too or there’s an obscure publishing rights issue involved.
Giant of World’s End features a Jeffrey Catherine Jones cover that doesn’t depict any scene in the text, but may be conveying Arzeela’s despair over her unrequited love for Ganelon Silvermane. It’s a literal “brown study”:
Out of Lin Carter’s quite large body of work, only the “World’s End” books are cited by Gary Gygax as influences on the creation of Dungeons & Dragons. Many of the works in Appendix N are superior on their literary merits, but Giant of World’s End doesn’t lack for memorable creations such as the Talking Ship Mannanan MacLear, the Myriapod at the arena of the Piomazians, Zelobion’s magical system of Phonemic Thaumaturgy, and the ruined city of Grand Phesion. The somewhat cobbled together nature of Carter’s book makes it easier pull out the eminently gameable bits that would be harder to extract from more original, dramatically unified works. And gamers, from Gary Gygax down to present day DIYers are nothing if not tinkerers….
If you are in Brooklyn and want to join the IRL book club, then come over here.
The list of books we will discuss are outlined within this link.
And finally, the in-print omnibus, anthology, and online resources are living over here.