A conversation at Worldcon 75

Today I queued for 90 minutes for the privilege to talk to GRRM for a few moments.

Me: “Did you already read Tad Williams’ new Osten Ard novels?”
GRRM: “No but I intend to. Are they as good as the old ones? I love the old ones.”
Me: “For me they are.”
GRRM: “Great to hear.”

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And that was totally worth the wait …

A glorious return to Osten Ard

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do not start this review the usual way with the book but with myself. I was one of the first human beings in the whole wide world who knew that Tad would return to Osten Ard. The thought that there would be more stories in my favourite parallel universe overwhelmed and excited me in a fashion I never thought news about fiction could.
Later I was one of the first readers of The Witchwood Crown, giving comprehensive feedback on each new version. Now I write a review on the ARC I got from the publishers. I still feel like in a dream – this is surreal.

All this shall make transparent where I come from. Expect a eulogy.

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So. The long awaited and highly anticipated sequel to Memory, Sorrow and Thorn. News from the vast world I keep going back to for 25 years now because I love it so much. It features a mind-swirling amount of characters: old and new, awesome and annoying, funny and frightening. And multiple places: familiar yet changed like the Hayholt. Others described in much more detail like Nabban. Those that never before had featured like Elvritshalla. And of course Nakkiga where the old enemy stirs again.

Tad masterfully manages to revive the old heroes although it took me a few chapters to feel close to them again. Simon and Miriamele, Eolair and Tiamak after all are not the same people I know – 33 years of story time have passed since I last met them.

A reunion scene brought tears of joy to my eyes, and from that moment on I was emotionally engaged with The Witchwood Crown as I am with Memory, Sorrow and Thorn.

The multiple plots burble along like mountain spring creeks: there are trade wars, unrest in the west, fights for power and territory in the South, the occasional bloody fight – all the stuff expected from a civilisation on the brink of enlightenment and it is a joy to see it unfold in Osten Ard. Plus fearsome monsters and fairies, demons and a hilarious troll. All this is wonderful to behold while the real mysteries are slowly growing in a few passing paragraphs and the occasional subclause. A beautifully composed set-up for a great story. I would have been perfectly happy with that book and would have praised Tad über den grünen Klee for it. And I did not notice that it did not truly accelerated my heart rate for page after fast turned page… until it did.

The last 200+ had me reading until dawn. Tad shifts gears and… major stuff starts happening. The thing is hitting the other thing. Like big time.

This showdown had me respectively gasping in surprise, shouting: Finally!, laughing with joy, holding my breath for two pages straight, slapping my head, shedding more tears and smiling woefully at the very end. An incredible rollercoaster ride that made me crave for more the moment I turned the very last page. I’ve said it elsewhere and I say it again: I have not read a final act that exciting and surprising since George R.R. Martin’s A Storm of Swords.

And I mean that literally.

A lot has been said about the similarities between MS&T and GRRM’s A Song of Ice and Fire. Martin himself names the former a major inspiration for his own epic.

While he was writing TWC in 2014 I talked to Tad about stories and tropes influencing each other in general and these two in particular and he said he “would like to keep the conversation going.” And darn, he fricking did. Iconic scenes from A Song of Ice and Fire are mirrored in The Witchwood Crown and I yayed every single one of them. This seesaw between two masters of story telling is an additional treat in this awesome book.

I am so much looking forward to reading the final version of The Witchwood Crown come June 27th. At last it will be a beautiful proper hardcover book with a shiny envelope. We’re all in for such a treat!

Dragonbone Chair Reissued; Tad Williams Talks About Upcoming Novels

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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-Dragonbone-ChairThe 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.

 

New Covers for “Memory, Sorrow and Thorn” revealed!

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oday, Random House website Suvudu.com revealed three brand-new re-issue covers for international bestselling author Tad Williams‘ classic “Memory, Sorrow and Thorn” dark fantasy series. The covers feature beautiful new cover art by legendary science fiction/fantasy artist Michael Whelan, who painted the original covers for “Memory, Sorrow and Thorn” almost thirty years ago.

The updated artwork is the first major revamp of the classic covers of The Dragonbone Chair, Stone of Farewell, and To Green Angel Tower since the books first went to print in the late 1980s/early 1990s, at least in America. Whelan, winner of fifteen Hugo Awards and three World Fantasy Awards for best artist, is known for his detailed and painstaking work, which often involves months of research and manuscript reading.

The new covers will appear on updated U.S. DAW Books trade paperback editions of the original trilogy, with a newly-revised edition of The Dragonbone Chair scheduled to appear in July 2016, followed by Stone of Farewell in September 2016, and To Green Angel Tower in November 2016. These volumes will be closely followed by two brand-new Osten Ard novels: The Heart of What Was Lost in January 2017 and The Witchwood Crown in April 2017. Three or four additional novels are planned, with The Witchwood Crown being the first volume in the highly-anticipated sequel series “The Last King of Osten Ard”.

The-Dragonbone-ChairFirst up is the new cover for The Dragonbone Chair, the cardinal volume, which features a blurb by George R. R. Martin, author of the bestselling A Game of Thrones: “Inspired me to write my own seven-book trilogy… It’s one of my favorite series.”

Whelan’s artwork accurately depicts the sword Minneyar, also known as “Year of Memory” or simply Memory, one of the Three Great Swords spoken of in the Mad Priest Nisses’ ancient prophecy:

“When frost doth grow on Claves’ bell
And shadows walk upon the road
When water blackens in the well
Three Swords must come again.

“When Bukken from the earth do creep
And Hunën from the heights descend
When Nightmare throttles peaceful sleep
Three Swords must come again.

“To turn the stride of treading Fate
To clear the fogging Mists of Time
If Early shall resist too Late
Three Swords must come again.”

Stone-of-FarewellScheduled for September, the new cover for Stone of Farewell features the Great Sword Sorrow, also known in the Sithi language as Jingizu. Whelan’s illustration accurately portrays the double-hilted sword, which is made of both iron and witchwood, two materials which were considered inimicable, perhaps because neither the iron nor the witchwood are native to the lands of Osten Ard: iron was brought from Ijsgard east to Osten Ard on King Elvrit’s longboat Sotfengsel, while witchwood was brought westward to Osten Ard by the undying Sithi on their eight great ships.

The great sword Sorrow is described in the text: “… in a sheath at [King Elias’] side was the sword with the strange crossed hilt […] there was something queer and unsettling about the blade… [It] had a strange double guard, the cross pieces making; with the hilt, a sort of five-pointed star. Somewhere, deep in Simon’s self, he recognized this last sword. Somewhere, in a memory black as night, deep as a cave, he had seen such a blade…”

The new cover contains a blurb from author Patrick Rothfuss (“The Kingkiller Chronicle”): “Groundbreaking… changed how people thought of the genre, and paved the way for so much modern fantasy. Including mine.”

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The third volume, To Green Angel Tower, is scheduled for a November 2016 re-release. The cover features Michael Whelan’s depiction of the Great Sword named Thorn.

The text describes the sword thusly: “it was a sword like no other he had ever seen: long as a man’s arms spread wide, fingertip to fingertip, and black. The purity of its blackness was unmarred by the colors that sparkled on its edge, as though the blade was so supernaturally sharp that it even sliced the dim light of the cavern into rainbows. Had it not been for the silver cord wrapped around the hilt as a handgrip— leaving the uncovered guard and pommel as pitchy as the rest of its length— it would have seemed to bear no relationship to mankind at all. Rather, despite its symmetry, it would have seemed some natural growth, some pure essence of nature’s blackness extruded by chance in the form of an exquisite sword.”

The cover features a blurb from author Christopher Paolini (Eragon): “Memory, Sorrow and Thorn is one of the great fantasy epics of all time.” We at Treacherous Paths can’t disagree.

We will keep readers up to date on more news as soon as we’re authorized to release it.

 

 

 

 

 

 

Tad Williams interviews Steven Erikson at Kepler’s Bookstore

Last month Tad Williams interviewed Steven Erikson (“Malazan Book of the Fallen”) at Kepler’s Bookstore in Menlo Park, California. Williams asked Erikson what led him to writing fantasy, what authors inspired him, and why Fantasy readers like big, thick books. They also talked about Stephen R. Donaldson’s early works, including Lord Foul’s Bane.

Below is the first part of the recorded interview:

More parts of the interview, along with musings about the Dothraki language constructed for Game of Thones, can be found at IvyNettle’s “Letters and Leaves” blog.