oday writers Tad Williams and Deborah Beale confirmed rumors that The Witchwood Crown has again been delayed, this time until June 2017. According to their latest newsletter:
Note from Deborah: We’re less than a week from publication, US and UK territories, for ‘The Heart of What Was Lost’. I truly hope you enjoy it, and see what I see, which is that it’s one from the heart (as well as see all the things you see, of course).
We’ve just heard that publication of ‘The Witchwood Crown’ has been delayed two months to June. We’re not entirely clear on all the details. Partly it’s this: it’s a big book, the copy-editing was complex and took a gargantuan amount of time, and other aspects of the book’s production were affected too; and partly it’s because sales and marketing want more time to more effectively sell the book. We don’t know anything more than that at the moment, but will tweet or facebook when we do.
This confirms earlier rumors that the date for The Witchwood Crown had been pushed back. (We at Treacherous Paths have been involved in the review process, and are glad for the extra time to gear up.)
The Heart of What Was Lost is set shortly after Williams’ last Osten Ard novel, 1993’s To Green Angel Tower. According to press releases (and without too many spoilers for the new books), this is the plot summary of the new novel:
Ineluki’s loyal minions, the Norns, retreat north to Nakkiga, an ancient citadel which holds a priceless artefact known as The Heart of What Was Lost. They are pursued by the army of Duke Isgrimnur who is determined to wipe out the Norns for all time.
Meanwhile, enjoy this rendition of Marya’s River Song (the song Marya sings as she, Binabik, Simon, and Qantaqa sail down the River Aelfwent in The Dragonbone Chair) by Osten Ard fan Sebastian Barwinek:
Here are the lyrics to the song:
“…Now those who sail the Big Pond
Will tell you of its mystery
They’ll brag of all those battles
And all that bloody history
But talk to any river-dog
Who sails upon the Gleniwent
He’ll say God made the oceans
But the River’s what he really meant
Oh, the Ocean is a question
But the River is an answer
With her rollicking and frolicking
As fine as any dancer
So let Hell take the shirkers
For this old boat won’t carry ’em
And if we lose some crew or two
We’ll drink to ’em at Meremund…
Now some men go away to sea
And they’re never seen again
But every night we river-dogs
Are found down at the inn
And some may say we drink a bit
And punch it up a mite
But if the river is your lady
That’s just how you rest at night
Oh, the Ocean is a question
But the River is an answer
With her rollicking and frolicking
As fine as any dancer
So let Hell take the shirkers
For this old boat won’t carry ’em
And if we lose some crew or two
We’ll drink to ’em at Meremund…
In Meremund! In Meremund!
We’ll drink to ’em in Meremund
If we don’t spy ’em floating by
It’ll save the penny to bury ’em… !”
he first review is in for The Heart of What Was Lost, the new novel by fantasy author Tad Williams, and it is very good. Set in the Osten Ard universe, the novel continues the story told in Williams’ now-classic “Memory, Sorrow, Thorn” series, one of the inspirations for George R.R. Martin’s A Song of Ice and Fire books.
Douglas Croft from YouTube channel Geek In has reviewed The Heart of What Was Lost, calling it “a fantastic book”; he reveals that the story centers around the Norns, the embittered immortals of the far north, after the end of To Green Angel Tower. Croft states that readers who are curious about the ancient Norn society will finally have some of their questions answered, after an excruciatingly long 23-year wait, and that the novel “adds a whole layer of subtlety and meaning to what [readers] saw in the first three books.”
Mr. Croft also opines that The Heart of What Was Lost is likely setting up characters which will be important in upcoming Osten Ard novels The Witchwood Crown, Empire of Grass, and The Navigator’s Children. (The Witchwood Crown will be released in April 2017). The Witchwood Crown and The Heart of What Was Lost are both listed on Goodreads’ 2017 Highly Anticipated Epic Fantasy Novels list, near the top at #2 and #3, respectively.
The Heart of What Was Lost is scheduled for a January 2017 release, and the novel is now available for pre-order from Barnes and Noble, Amazon, and other retailers. Doug Croft received an Advance Review Copy (ARC) of the novel.
Doug’s full video review, with major spoilers for “Memory, Sorrow and Thorn”, and some mild spoilers for The Heart of What was Lost, is below:
(Bonus points for Douglas Croft correctly pronouncing Jao e-Tinukai’i).
oday the cover art for Tad Williams’ new long-awaited novel set in the Osten Ard universe, The Heart of What Was Lost, has been revealed. The art features a witchwood sword with a white rose hilt. The foreground shows a snow-covered landscape, with ominous, dark mountains in the background. The novel is a sequel to the original, now-classic “Memory, Sorrow and Thorn” series; the new book will be published in January 2017, followed closely by four additional Osten Ard novels, titled The Witchwood Crown (release date: April 2017), Empire of Grass, The Navigator’s Children, and The Shadow of Things to Come.
Williams describes the plot of The Heart of What Was Lost as: “[The novel] takes place in the half-year after the end of [To Green Angel Tower], and tells of the attempt by [Duke] Isgrimnur and a force largely made up of Rimmersgard soldiers to destroy the remaining Norns as they flee back to their homeland and their mountain. Of course, it gets a bit more complicated than that. It also answers some questions about what actually happened in the immediate aftermath of the fall of Green Angel Tower.”
The main characters in the new novel will be the returning Rimmersmen characters Isgrimnur and Sludig; Isgrimnur is the Duke of Rimmergard in “Memory, Sorrow and Thorn”, a point-of-view character. Sludig was his lieutenant, and a dynamic and important character in the original trilogy; it is he who accompanies Simon, Binabik and Qantaqa north from Naglimund Castle, skirting around the western and northern sides of Aldheorte Forest in their long, cold quest to retrieve the Great Sword Thorn from the “Rhymer’s Greate Tree”. He then travels south with Binabik and Qantaqa around the eastern edge of Aldheorte to the Stone of Farewell, where he becomes Prince Josua’s Man Friday, accompanying the prince south to Nabban and then back north to Hayholt Castle.
According to Williams’ announcement, The Heart of What Was Lost will continue almost directly from the ending of To Green Angel Tower, though it’s unclear what this exactly means for the story. The fall of Green Angel Tower happens one year before the ending of the classic series, as the Afterword, after Chapter 60, takes place one year after the fall of the tower.
The Heart of What Was Lost is now available for pre-order from Amazon, Barnes and Noble, and other retailers worldwide.
ots of interesting news this week, as DAW Books issues a newly-revised trade paperback edition of Tad Williams’ classic fantasy novel The Dragonbone Chair, book one of “Memory, Sorrow, and Thorn”, the same week that they release the book in audiobook format.
U.S. readers have been denied the audiobook for many years, but at long last the audiobook, read by Andrew Wincott, is available to an American audience. The audiobook runs 33 hours and 19 minutes and is available for purchase right now on Amazon.com. A sample file clip is available here.
The new trade paperback features beautiful new cover art by legendary artist Michael Whelan, who also created the original cover art for The Dragonbone Chair 28 years ago, upon the book’s original 1988 publication.
The new edition runs 652 pages and measures 6 x 9 x 1.5 inches. The cover features a blurb by George R. R. Martin: “Inspired me to write my own seven-book trilogy… it’s one of my favorite fantasy series.” The back cover features quotes praising The Dragonbone Chair written by popular fantasy authors Patrick Rothfuss and Christopher Paolini.
Inside, the the book is largely the same as in previous editions. However, there are a few new extras, one being a new introduction by Williams’ longtime editor, Betsy Wollheim, titled “How Tad Came to Write The Dragonbone Chair”, and a new acknowledgement page at the end of the book. (We at Treacherous Paths are extremely pleased to have been included in the acknowledgements).
The book is definitely worth picking up just for the new cover art, which features one of the Great Swords mentioned in The Dragonbone Chair. Sequel novels Stone of Farewell and To Green Angel Tower will be re-released later this year, and in audiobook format for the US as well.
Also new this week are a few snippets from Tad Williams’ official message board, where the internationally bestselling author discussed three of his upcoming Osten Ard novels, set in the same world as The Dragonbone Chair. Williams discussed his on-going work writing/revising The Heart of What Was Lost, which will be published in January 2017. He wrote:
As I’ve been going through the copyedited manuscript of HoWWL [The Heart of What Was Lost] this afternoon, I’m realizing I’m going to have to write a Tolkien-ish “On Norns and the Sithi” piece as well as a complete index of characters, because otherwise it will just be too confusing for new readers. My poor copyeditor is asking about what the differences are with Hikeda’ya/Zida’ya/Norns/Sithi/White Foxes/Keida’ya (a term that will be new to the new books, meaning the race before they split up) and various others, as well as if Rimmersmen are Northmen and if mortals only means them or others…and so on.
I always worried about the fine line between not boring the readers who already knew Osten Ard and those new to the place.
Long-time readers of Williams’ novels will remember that in Williams’ world of Osten Ard, the Gardenborn, the elder elf-like race who came to Osten Ard from the east on eight great ships, were divided into several tribes. These tribes included the proud Sithi (also called “peaceful ones”, Zida’ya, or Dawn Children), as well as the embittered Norns (“white foxes”, Hikeda’ya, or Cloud Children) and the pacifistic Dwarrows and Niskies (variously called “dvernings”, Tinukeda’ya, or Ocean Children).
The Keida’ya is a term not mentioned in the original series. Williams states that the term is new, and refers to (some of?) the Gardenborn before they split into factions.
Williams also wrote about the progress of the novels:
I finished the final draft of HoWWL a while back, but this is the copyedited manuscript, which has comments on it from the copy editor (and others — everybody likes to get in on the Exciting Tad Action). Then I’ll have one more pass at the proofs stage, which is mostly about looking for mistakes in typesetting, but is also my last chance to kill an infelicitous phrase, or at least bury it in disguising prose.
On a few hundred pages at most it’s not such a big deal, but I’ll be really sick of Osten Ard by the time I’ve been through all the different versions of TWC [The Witchwood Crown]. I’ll also be writing EoG [Empire of Grass] at the same time, so I’ll be doubly or even trebly sick.
Thank God I’m used to this kind of getting-sick-of-my-own-book.
The Witchwood Crown, the first novel in the upcoming “The Last King of Osten Ard” series, is scheduled for publication in April of 2017, with sequel novels Empire of Grass and The Navigator’s Children following sometime thereafter.
ig news today, as Amazon has added Tad Williams’ The Heart of What Was Lost to its website as an item which may now be pre-ordered from Amazon. The new novel, a sequel to the original classic “Memory, Sorrow and Thorn” books, takes place sometime shortly after the events of the original series.
Amazon gives the length of the novel as 368 pages in hardcover, with a publication date of January 3rd, 2017. Amazon also lists the Kindle edition as available for pre-order. Williams, the international bestselling author of more than twenty speculative fiction novels, including The War of the Flowers, Caliban’s Hour, and the “Otherland”, “Shadowmarch”, and “Bobby Dollar” series, talked a bit about some of the plot details of the new novel, including a few spoilers:
[R]eturning characters from MS&T are Isgrimnur and Sludig […] There are also a few others such as Akhenabi (a Norn magician) who had brief appearances in MS&T.
So two of the characters will be the returning Rimmersmen Isgrimnur and Sludig; readers of the original series will recall Isgrimnur, the aging Duke of Rimmergard in “Memory, Sorrow and Thorn”, a major point-of-view character who throws his lot in with the rebel Prince Josua Lackhand of Erkynland in their quest to remove Josua’s brother, the treacherous King Elias, from the Dragonbone Chair.
Sludig was Isgrimnur’s lieutenant, and he was a dynamic and important character in the original trilogy. It is Sludig who accompanies Simon, Binabik and Binabik’s wolf companion Qantaqa north from Naglimund Castle, skirting around the western and northern sides of Aldheorte Forest in a desperate, cold attempt to retrieve the lost sword Thorn from the “Rhymer’s Greate Tree.” Sludig and Binabik eventually return to Prince Josua with the Great Sword Thorn, but it is Simon who is knighted by the prince.
The Heart of What Was Lost is Williams’ first new Osten Ard novel since 1993’s bestselling To Green Angel Tower, and this first new novel will be followed by four additional novels. The second novel, The Witchwood Crown, is already scheduled for an April 2017 release.
Williams is now releasing some early, provisional sketches that he created during the writing of The Witchwood Crown, which his wife and business partner Deborah Beale kindly shared with us, and which we are now sharing with all readers.
The first sketch is a map (right, clickable) of Sturmrspeik, the great mountain of ill repute inhabited by the Norns, embittered relatives of the immortal Sithi. Beneath the great mountain lies the ancient city of Nakkiga, home to Utuk’ku Seyt-Hamahka, Queen of the Norns and Eldest of all living beings in Osten Ard. Williams’ rough map shows the location of the mountain itself, with the great Nakkiga Gate guarding the pass. Around these landmarks are the white waste of the Himilfell Mountains, which stretch both eastward and westward from the area. The second map sketch (left, clickable) is also of Sturmrspeik and Nakkiga, showing the locations of several well-known Norn landmarks as well as some which are entirely new. The Queen’s throne room appeared in the classic series, and makes a reappearance in the new map. Among the new landmarks are a Black Garden and a White Garden, as well as a subterranean lake, and an area marked as Great Processional. A bridge over the moat connects Nakkiga’s tunnels with the Queen’s Bridge.
We have more maps and diagrams, and will share more soon.
his week, acclaimed Science Fiction and Fantasy author Tad Williams, author of the Memory, Sorrow and Thorn;Otherland; and Shadowmarch series, announced via his official newsletter that he is in rewrite mode on two of his new novels, The Heart of What Was Lost and The Witchwood Crown, both due for publication by DAW Books in 2017. Both novels are set in Osten Ard, in the same universe as his classic Memory, Sorrow and Thorn books. Williams wrote:
I am deep, deep, DEEP in Osten Ard history at the moment. Having finished the first drafts of both THE WITCHWOOD CROWN and THE HEART OF WHAT WAS LOST — in the first case, most of a year ago — I’m in rewrite mode on both to finalize the stuff I left vague in the first drafts.
Williams has communicated that the writing process for the new Osten Ard novels has been unusual in that although he normally writes very detailed drafts, in this case, he has spent much more time on the worldbuilding, because returning readers already know this world:
I know so much more about my own imaginary environment than I did a year ago, despite the fact that I think it was already one of the more catalogued invented worlds. I know the name of all the original Scrollbearers (the learned folks who make up the League of the Scroll) when King Ealhstan began it, two hundred years or so before Simon and company. I know the history of the two great families of immortals, the Hamakha and Sa’onserei, all the way back to the garden, in far more detail than anyone else needs to know. I know the order in which the Eight Ships came to Osten Ard, and I know what happened to Seni Ohjisá, mentioned only in a song in the first set of books. I know the names of people’s horses when even the names of the people who ride those horses will remain essentially meaningless trivium in the final story, if they even show up.
Stone of Farewell (1990) discusses the Hamakha-Sa’onserei feud and the eight ships of the Garden
Williams’ mention of the families Sa’onserei and Hamakha refers to the ruling dynasties of the Sithi and the Norns, two of the immortal (and ever-feuding) races in the classic Osten Ard novels, with Queen Amerasu no’e-Sa’onserei presiding over the mortal-hating Sithi, and Queen Utuk’ku seyt-Hamakha ruling over the even-more-mortal-hating Norns.The two families’ bitter, centuries-long feud is a central plotline in Memory, Sorrow and Thorn, and lies at the heart of the conflict in the series.
Williams’ reference to the “Eight Ships [that] came to Osten Ard” harkens back to the legendarium of the Gardenborn, the immortal clans exiled from the Lost Garden, which the author only briefly hinted at in passages of the classic Osten Ard novels, written in the 1980s and 1990s. Stone of Farewell (1990) mentions the eight ships, as the protagonists Simon and Aditu enter the Gardenborn city of Jao e-Tinukai’i, and pass by the woven cord art at the edge of the city:
They crossed a bridge over one of the river-forks, then turned and followed the watercourse down a long corridor of willows. A ribbon of white cloth wound in and out among the trees on their left, wrapped about trunks and looped over branches. As they passed farther down the row of willow sentries, the initial ribbon was joined by another. These two snaked in and out, crossing behind and before each other as though engaged in a kind of static dance.
Soon more white ribbons of different widths began to appear, woven into the growing pattern in knots of fantastic intricacy. These weavings at first made up only simple forms, but soon Simon and Aditu began to pass increasingly complex pictures that hung in the spaces framed by the willow trunks: blazing suns, cloudy skies overhanging oceans covered with jagged waves, leaping animals, figures in flowing robes or filigreed armor, all formed by interlaced knots. As the first plain pictures became entire tapestries of tangled light and shadow, Simon understood that he watched an unfolding story. The ever-growing tapestry of knotted fabric portrayed people who loved and fought in a gardenlike land of incredible strangeness, a place where plants and creatures thrived whose forms seemed obscure even though precisely rendered by the unknown weaver’s masterful, magical hands.
Then, as the tapestry eloquently showed, something began to go wrong. Only ribbons of white were used, but still Simon could almost see the dark stain that began to spread through the people’s lives and hearts, the way it sickened them. Brother fought brother, and what had been a place of unmatched beauty was blighted beyond hope. Some of the people began building ships…
“Here,” Aditu said, startling him. The tapestry had led them to a whirlpool swirl of pale fabric, an inward-leading spiral that appeared to lead up a gentle hill. On the right, beside this odd door, the tapestry leaped away across the river, trembling in the bright air like a bridge of silk. Where the taut ribbons of the tapestry vaulted the splashing stream, the knots portrayed eight magnificent ships at sea, cresting woven waves. The tapestry touched the willows on the far side and turned, winding back up the watercourse in the direction from which Simon and Aditu had come, stretching away from tree to tree until it could no longer be seen.
Williams then writes about the editing happening on both of the new novels, writing that he has received (hopefully useful) feedback from early readers of the manuscripts:
And I’ve also been getting the first feedback from readers of the new manuscripts in the last half-year, so I’m trying to let that wash over me as well, influencing the rewrites in a good way without overwhelming my own natural trust in what I’m doing.
That last part is particularly important, because I chose to let my first readers see a much rougher first draft (at least of TWC) than usual, so of course everyone pointed out the stuff that I would most liked to have fixed first before releasing, like “So-and-so has no personality”. I mean, it’s true — So-and-so is definitely a stiff at this point, but part of that is because when I was writing it I wasn’t exactly sure how old So-and-so was, or what he or she had experienced in life, or what was going to happen to him or her later on, and which of the character’s traits and what part of his or her life history would be useful and necessary to deepen the character, and so on.
The balance point here, as in any worldbuilding, is knowing how much material you need to know to feel comfortable writing in that world — which will always be less than you’ll actually use. Even though my worlds are generally long on history and convoluted recitations thereof, I obviously won’t cram everything I’ve figured out into the books themselves (although I am getting more resigned to having to do an Osten Ard Companion someday, with Silmarillion-like tellings of all this background material. A good project for my old age, shortly before all the dog hair I breathe and cat scratches I suffer from every day finally kill me).
If such a project takes place, the Osten Ard Companion would become the tenth or eleventh Osten Ard book, after The Burning Man, The Dragonbone Chair, Stone of Farewell, To Green Angel Tower (parts one and two), The Heart of What Was Lost, The Witchwood Crown, Empire of Grass, The Navigator’s Children, and The Shadow of Things to Come, the last three of which are expected sometime after the publication of The Witchwood Crown.
The current manuscript is over 1,000 pages, comprised of 54 chapters. (Williams is no stranger to very long manuscripts, many of his novels clocking in at around the same size. The third “Memory, Sorrow and Thorn” book, To Green Angel Tower, is one of the longest novels in the English language.)
Here are my much-delayed revised chapter titles. These are still subject to change, but they all have something to do with their chapters now. (Often I will start a chapter with a title, but decide to deal with something different instead of my original plan for that chapter, then forget to change the title.)
Anyway, make of them what you will. It will be a while until I have a good cast list to share.
THE WITCHWOOD CROWN
Volume One of THE LAST KING OF OSTEN ARD
PART ONE: WIDOWS
Ch. 1 – The Glorious
Ch. 2 – Conversation with a Corpse-Giant
Ch. 3 – Brother Monarchs
Ch. 4 – Island of Bones
Ch. 5 – An Aversion to Widows
Ch. 6 – The Finest Tent on the Frostmarch
Ch. 7 – Audience with the Ever-Living
Ch. 8 – A Meeting On Lantern Bridge
Ch. 9 – Heart of the Kynswood
Ch. 10 – The Third Duke
Ch. 11 – Ghosts of the Garden
Ch. 12 – Baroness Alva’s Tale
Ch. 13 – Hymns of the Lightless
Ch. 14 – At the Top of the Holy Tree
Ch. 15 – A Passage of Arms
Ch. 16 – A Hand In The Snow
Ch. 17 – No Shadow
Ch. 18 – A Bad Book
Ch. 19 – Unnatural Birth
Ch. 20 – His Bright Gem
Ch. 21 – Crossroad
Ch. 22 – Death Songs
Ch. 23 – Testament of the White Hand
PART TWO: ORPHANS
Ch. 24 – Terrible Flame
Ch. 25 – Example of a Dead Hedgehog
Ch. 26 – The Small Council
Ch. 27 – Noontide At The Quarely Maid
Ch. 28 – Cradle Songs of Red Pig Lagoon
Ch. 29 – Bones and Black Statues
Ch. 30 – The Slow Game
Ch. 31 – A High, Dark Place
Ch. 32 – Rosewater and Balsam
Ch. 33 – Secrets and Promises
Ch. 34 – Feeding The Familiar
Ch. 35 – The Man with the Odd Smile
Ch. 36 – A Foolish Dream
Ch. 37 – Two Bedroom Conversations
Ch. 38 – The Factor’s Ship
Ch. 39 – A Grassland Wedding
Ch. 40 – Watching Like God
PART THREE: EXILES
Ch. 41 – Hern’s Horde
Ch. 42 – Forest Music
Ch. 43 – Into Deeper Shadows
Ch. 44 – Charms and Tokens
Ch. 45 – A Nighttime Sun
Ch. 46 – River Man
Ch. 47 – Hidden Chambers
Ch. 48 – The Little Boats
Ch. 49 – Blood As Black As Night
Ch. 50 – Stolen Scales
Ch. 51 – Several Matters of State
Ch. 52 – Homecoming
Ch. 53 – The Queen’s Pleasure
Ch. 54 – Voices Unheard, Faces Unseen
There are some inconsistencies with the chapter titles; for example, Chapter 27’s title, referring to the Quarely Maid, is not the name of the inn chosen by readers on the official message board last year. But of course, these chapter titles are subject to change or revision. The Witchwood Crown is expected to be released in Spring 2016, followed sometime thereafter by Empire of Grass and The Navigator’s Children.
Here is part 4 of “An Interview with Tad Williams”, translated into German by OstenArd.com contributor Olaf.
Genau wie Tad Williams, haben wir versucht mit drei Teilen auszukommen, aber es sind dann doch vier geworden. Im Anschluss ist Teil vier von OstenArd.coms Interview mit dem internationalen Bestseller Autor Tad Williams. Er ist Autor der „Chronik der großer Schwerter“, und der „Otherland“, „Shadowmarch“ und „Bobby Dollar“ Romane und hat kürzlich bekannt gegeben, dass er die erste Fassung von „The Witchwood Crown“, des ersten Bandes einer Nachfolgetrilogie zu seinem Klassiker „Chronik der großen Schwerter“, fertig gestellt hat. „The Witchwood Crown“ soll im Frühjahr 2016 erscheinen, aber ein genaues Datum steht noch nicht fest.
Die folgenden Fragen wurden von Lesern des Tad Williams Message Boards und Mitarbeitern von OstenArd.com gestellt. In diesem Teil des Interviews fragen wir Tad Willians nach Plänen für die Veröffentlichung der neuen Bücher und Hörbücher, ob es Neuausgaben der ersten drei Bände der „Chronik der großen Schwerter“ geben wird und was er als größte Herausforderung beim Schreiben eines wesentlich älteren Simons, einer Miriamele, eines Binabik und der ganzen anderen Charaktere empfand (wenn er es denn überhaupt als Herausforderung empfand).
OstenArd.com: Tad, die neue Reihe wird sicherlich ein großes Buch Event werden und die Verlage für die amerikanischen und britischen Ausgaben sind bereits angekündigt. Gibt es bereits weitere Verleger über die du sprechen kannst? Gibt es schon Pläne wie die neuen Bücher veröffentlicht und vermarktet werden sollen? Wird es Hörbücher zu den neuen Romanen geben?
Tad Williams: Ich bin ziemlich sicher, dass es Hörbücher auf Englisch und Deutsch geben wird, obwohl ich noch keine Details kenne. Zu all den anderen Fragen, kann ich wirklich nichts sagen. Deborah (Tads Ehefrau und Geschäftspartnerin Deborah Beale) weiß darüber wahrscheinlich mehr. Ich gebe nur mein Bestes um diese Bücher zu schreiben.
OstenArd.com: Wird es Neuausgaben der Original Trilogie geben? Als gebundene Ausgaben? Im Hörbuchformat? Irgendwelche Neuigkeiten dazu?
Tad Williams: Dazu die gleiche Antwort wie oben. Aber wir drängen auf eine Neuausgabe.
OstenArd.com: Im „Re-read der Chronik der großen Schwerter“ auf dem Tad Williams Message Board hatten wir großen Spaß dabei alle möglichen Verweise auf Mythologien, historische Ereignisse oder andere Bücher zu suchen. Können wir damit rechnen, dass auch der „Letzte König“ voll mit solchen Verweisen sein wird? Gibt es einen besonderen Verweis in der „Chronik“, den du besonders gemocht hast und den noch niemand gefunden hat? Gibt es also noch einen versteckten Verweis?
Tad Williams: Ich habe wirklich keine Ahnung, ob es noch irgendwelche versteckten Hinweise gibt, die den laserscharfen Augen des Tad Williams Boards entgangen sind. Beim nächsten Wiederlesen halte ich die Augen danach auf. Wahrscheinlich muss ich die Bücher noch einmal lesen bevor ich den ersten neuen Band abschließen kann, und falls ich noch etwas finde, dann lass ich es euch wissen. Aber es ist immer besser, wenn ihr solche Dinge selbst findet, denn selbst, wenn ich etwas nicht als Hinweis gemeint habe, kann ich weise gucken und nicken und sagen: „Aber ja, das. Das war sehr schlau von mir, nicht wahr?“
OstenArd.com: Gab es Aspekte beim Schreiben des 30 Jahre älteren Simon oder der 30 Jahre älteren Miriamel (oder irgendeines anderen Charakters der „Chronik“, die auch im „Letzten König“ wieder auftauchen), die du überraschend oder herausfordernd gefunden hast?
Tad Williams: Es ist wirklich noch zu früh das zu sagen, denn hier wird es nicht nur darum gehen wer diese Charaktere am Anfang sind, sondern wie sie sich im Laufe der Bücher verändern. Genau wie im Verlauf der „Chronik“. Aber das wir sie alle als junge Menschen kennen, ist alles eine Herausforderung. Der Unterschied zwischen einen Teenager und einen Erwachsenen ist so groß als hätte man es mit zwei verschiedenen Menschen zu tun. Aber ich denke, ich kann euch mehr darüber sagen, wenn ich tatsächlich mit dem ersten Band fertig bin (auch mit allen Überarbeitungen), denn dann kann ich „Die Hexenholz Krone“ als Roman lesen, der mir viel darüber sagen wird ob sich die älteren Simon und Miriamel richtig und angemessen anfühlen.
(Herausgeber: Dies schließt unser mehrteiliges Interview mit Tad Williams ab. Wir möchten kurz innehalten und uns bei Tad Williams und Deborah Beale für ihre Zeit bedanken. Außerdem vielen Dank an die Mitglieder des Tad Williams Message Boards, die viele tolle Fragen gestellt haben.)