Interview with R. Scott Bakker

Are you surprised by what little support you receive from the Canadian media? You and Steven Erikson rank among the best fantasy authors out there, yet both of you Canucks appear to get very little recognition in your own country.

SB: Don’t get me started. It all comes back to the pigeonhole. We have a brain you can fit into a shoebox in a universe so big it defeats the speed of light. As a result, we constantly simplify things by using evaluative tags - things that identify, interpret, and dismiss all at once. ‘Epic fantasy,’ unfortunately, is one of those tags. And despite my early hopes and considerable literary hubris, my work has not managed to shine through.

Thanks to Penguin, I have received some attention here and there, and I sometimes wish I could pull it together enough to manage what Rob Sawyer has accomplished in terms of homegrown media exposure. Part of the problem, I sometimes think, is that here in Canada the literary culture has a powerful nationalistic subtext - not surprising when you consider overwhelming influence of American mass culture - which has led to an almost academic inwardness. The only way to get onto the conveyor belt is to write about Canada, which I have yet to do.

If I ever become commercially successful, I imagine things will change. Canadians love Canadians who manage to beat the Americans at their own game. Failing that, I suppose I could try breast implants or talking out of my butt. Worked for Pamela Anderson and Jim Carey.

Having read The Thousandfold Thought, I've been telling everyone who will listen to me that it just might be the best fantasy novel that will see the light in 2006. For the benefit of those who have not read it, and without revealing too much, what would you like to tell your fans about it?

SB: I thank you for that, Pat. Word of mouth has been the primary engine for The Prince of Nothing from the start. All I can tell you is what I hoped to accomplish. I wanted to create a world as deep and as consistent as Middle-earth, but as unsentimental and as gritty as the real thing. I wanted to write something that was truly epic and truly fantastic, something religiously faithful to the genre, and yet utterly unlike anything fans have read before. I wanted to tell a story that, when completed, left readers of all stripes feeling as though they had climbed something, even if the full dimensions of the structure escaped them.

The Thousandfold Thought is the summit.

Some readers have commented on the fact that there is an inordinate amount of semen in the series. Is there a reason for that?

SB: I read somewhere that the average man produces enough ejaculate to fill a bath-tub over the course of his lifetime. By my own estimates, the books contain a small fraction of that - a quart or so at most. So those readers are quite mistaken...

Semen was magical to our ancestors, though it has become quite taboo for us. Think of the Old Testament, which certainly spills a lot of ink about ‘seed.’ The word itself comes to us via old French from the Latin word for seed. Suggestively, the ancient Greek word, s‘ma, meant sign or token or signal. It belongs to a nexus of meanings that are conceptually crucial, I think. But most importantly, it is the visible link between generations, the rope that binds each of us both to the generations that have come before and to our shared animality. When you think of this in the context of Esmenet, who is the perspectival focal point for most of the references, I think you’ll quickly see that my use of the word is far from gratuitous.

Throughout the trilogy, you have shown your desire to take your tale on the path less traveled. The Mideastern setting, as well as the religious and philosophical aspects, are great examples of how you took epic fantasy on a different path. Was it something that you truly wanted to work on, or did it just happen that way?

SB: I think it just happened that way. I wanted something literate and cosmopolitan, so the Hellenistic Eastern Mediterranean just became the associative quarry where I cut most of my stone.

Were you surprised that Penguin Books Canada, a publisher not particularly known for producing much works in the fantasy genre, gave you your first opportunity?

SB: I certainly never expected it, but when you consider that they first published Guy Kay’s Fionavar Tapestry it makes sense. They’re actually something of a powerhouse when it comes to Canadian SF&F.