An Interview With Tad Williams

Legendary Fantasy and Science Fiction author Tad Williams talks about Empire of Grass and several additional Osten Ard novels

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e at Treacherous Paths are proud to bring readers another exclusive interview with storyteller Tad Williams, bestselling author of the “Memory, Sorrow, and Thorn” and “The Last King of Osten Ard” series of books. Tad’s publisher, DAW Books, has recently released Empire of Grass, volume two of “The Last King” series.empire of grass by tad williams

In this interview, we asked Williams about details of Empire of Grass, how his work on The Navigator’s Children is going, and asked for details about The Lady of the Woods, The Shadow of Things to Come, Brothers of the Sky, and The Veils of Heaven. The answers we received were often quite surprising!

Questions that have no spoilers for EoG:

Treacherous Paths: Tad, you’ve cited several authors (Tolkien, Zelazny, Peake, Moorcock, Baum, and many others) as well as world mythology and history as being influences on your writing. What other sources, such as film, television, or radio, have influenced the writing of your Osten Ard books?

Tad Williams: Hard to say, because so many of my written influences began early, and I only remember them all because I still have the books.

The Addams Family, New Yorker cartoons and then the television show, definitely had an effect on my lifestyle if not my writing. Get Smart as a reflection of the spy genre probably activated some of my absurdist tendencies, as did Monty Python and other English comedy later. I admired the early Universal monster movies, and I was scared to death by Godzilla when I was super-young.

IMG_3021 (1)Treacherous Paths: In 2017, The Witchwood Crown was nominated for a Goodreads Choice Award in the category Best Fantasy Novel, and in 2018 it was nominated for a Gemmell Award. This year, you’ll be the Writer Guest of Honor at the World Fantasy Convention in Los Angeles. Were you surprised to receive so much recognition in the States for The Witchwood Crown and your return to Osten Ard?

Tad Williams: Always surprised by ANY recognition, but it’s true that I was a bit startled to see all the kind words people showered on the original trilogy when I announced the new books. As I’ve said elsewhere, it also made me nervous about the project for the first time, because I realized if I screwed up I wouldn’t just be writing a bad book, I’d be souring people’s memory of a series they had enjoyed. Fortunately, that doesn’t seem to be the case and I finally stopped worrying about it after the second volume, Empire of Grass.

Treacherous Paths: You drop by the Tad Williams Message Board, which you founded in 2001 as part of your “Shadowmarch” project, from time to time to discuss your work with avid readers. What do you like (or dislike) about that interaction with your readers?

Tad Williams: I love any interaction with readers, but it’s sometimes difficult to discuss ongoing work because 1) the readers are usually a year or two behind what I’m actually doing, which makes me want to spill all the beans, and 2) whenever someone says anything even mildly critical, I begin weeping and cursing the heavens. So it’s best for me only to discuss things I’ve already written, because it’s too late (because they’re already published) for me to quit writing them in a huff because someone says a series I’m working on is “not as riveting” as the previous books, or that they “like his fantasy more than his science fiction” or whatever.

Treacherous Paths: You’re now writing The Navigator’s Children, the conclusion to “The Last King of Osten Ard”. How is the writing going? Do you still believe this series will be a trilogy? Long-time Tad readers are skeptical because it has never actually happened.

Tad Williams: Long-time readers better not get too snippy, because I’ve actually managed to hit my mark on all my books except Shadowmarch. Yes, the original Osten And volume three is…well, long. And Shadowmarch needed an extra book. But on the others, I’ve actually done what I said. Otherland was always a tetralogy, and the Bobby Dollar books were cites as three and finished in three. So there. Nyah, nyah, and I repeat, nyah.

Anyway, The Navigator’s Children will certainly be shorter than To Green Angel Tower, and I frankly don’t expect it to be too much longer than The Witchwood Crown. But talk is cheap, so we’ll have to check in again when it gets published.

Treacherous Paths: You’ve mentioned in several interviews a number of additional Osten Ard book projects, including The Shadow of Things to Come, and, in a Reddit interview, The Lady of the Wood. Can you tell us a little more about these two projects?

Tad Williams: I wrote The Lady of the Wood for an anthology that was to be edited by the late and very much missed Gardner Dozois, but his death meant that the story had no home. I haven’t published it yet because between the (already sold) other short novel to go with the current trilogy, I intend to write at least one other Osten-Ard-related short novel, and so I’m going to wait and discuss with my American publishers how they’d like to handle such a bundle of Osten-Ardia.

Treacherous Paths: Recently, your wife, fellow author Deborah Beale, shared with us a recording where you talk about another previously-unmentioned Osten Ard novel, called The Veils of Heaven. Can you tell us more about this project? (And will we finally discover why Initri has a beard?)

Tad Williams: The Veils of Heaven? I must have been half-asleep and dreaming when I told her, because I have no memory. The short story (Lady of the Wood) is a Camaris story. The original short-novel-that-goes-with-the-new-trilogy was going to be about the fall of Asu’a and Ineluki becoming the Storm King, but I think now I’m going to write that as a separate and slightly longer standalone book, leaving Brothers of the Sky —the tale of how Hakatri and Ineluki slew the dragon Hidohebhi and what happened because of it — as the other connected short novel.

Treacherous Paths: Any other Osten Ard books you’re considering writing? Why the change from not writing in the world for so many years, to suddenly writing, like, 20 new books? Not talking specifically about your conversation with Deborah about there not being any more story to tell, but how this evolved into you writing what seems to be three or four additional novels that aren’t part of the new series.

Tad Williams: The main thing that’s changed is that I found out I enjoy fleshing out Osten Ard. Before I was more worried about being seen to deliberately write long series, sequel after sequel. Also, I always had more ideas than time. But I realized while working on The Witchwood Crown that it felt just as exciting and engaging and genuine as writing a new story, so I thought, well, if more story ideas come, why not? And since I’ve been working in Osten Ard for like five years now, the ideas keep popping up for other tales.

Treacherous Paths: A number of fantasy authors have cited you as an influence on their works. Did you ever think, when you were writing “Memory, Sorrow, and Thorn” that you would influence the next generation of writers?

Tad Williams: I wanted to, yes. That was why there was a metafictional layer of criticism in it about the current state of epic fantasy, and a reflection on some differences between me (Tolkien lover but not, I hoped, Tolkien imitator) and a lot of other work going on at that time. But then nobody seemed to notice that part, treating it as just another (if better than some) “Tolkienesque big fantasy”. Apparently some did notice, they just didn’t write about it in reviews. So I’m pleased that in some ways it WAS influential, because I was a bit despairing at the time. To be frank, I wanted to write what Game of Thrones became — the next milestone in epic fantasy. Apparently it was closer to that than I knew, if still nowhere near as well-known as George’s epic.The-Dragonbone-Chair

Treacherous Paths: You’ve previously mentioned that when you were first writing The Dragonbone Chair, Sir Camaris was called Casimir, Simon was called Martin, Cadrach was a one-off character who you didn’t plan to continue, and the series was to be called “The Sons of Presbyter John”. What other changes or alterations did you make which avid readers might be interested to know?

Tad Williams: The problem with questions about the origins of Osten Ard is that it feels like it was another lifetime ago. I never take that many notes — you and another friend/reader have seen the only notebook I retain from back then — and so I have to rely on my memory. I remember Hernystir was originally called “Hernegyn”, that Binabik was “Bilabil”. “Elias” as a name goes back to the caption on a drawing I made when I was about fifteen — some dramatic fantasy-looking villain character called “Black Elias” — and the reason Prester John was Prester John was because the story was going to take place in “the real world” — our own world, but in some imaginary version of the past where magic worked.

Questions that have spoilers, or potential spoilers, for Empire of Grass:

Treacherous Paths: In Empire of Grass, some characters visit the ancient Sithi city of Da’ai Chikiza, allowing you as a writer to return to one of the most beloved lost cities in fiction. What surprised you the writer, if anything, about returning to this site specifically?

Tad Williams: The surprising thing is how little I actually described in the first books, and having to kind of start from scratch imagining its layout and its history. This means a great deal of freedom but also a great deal more work than if I had actually made it a bit more concrete. (In the adjectival rather than the nominative sense.)

Treacherous Paths: What was the most difficult element of writing Empire of Grass?

Tad Williams: The difficulty in any middle book of a trilogy or tetralogy is keeping it all relevant and exciting when the reader knows it’s not going to have a real beginning or a real ending. You sort of admit at the start that nothing’s going to change so much that the story will end soon, so you have to give the reader other things instead. The characters must begin changing, the mysteries deepen, and new but interesting factors must come into play. As far as EoG in particular, just having to make certain the new characters and situations are truly engaging and not merely new is probably the most difficult bit. Also giving the readers a sense of some of what will happen at the end of the whole story without spoiling it, since you want to build momentum.

Treacherous Paths: Which characters have been your favorites to write in these new books? Or does an author not allow himself favorites? Would it be like choosing a favorite child?

Tad Williams: Sometimes, yes. But in these books, my favorites really change depending on their situation. Sometimes it’s great fun writing Snenneq. Other times I’ve enjoyed the interactions between Jarnulf and Nezeru, or the backgrounding of the Norn civilization. But it’s also been fun to see my young characters from MS&T grown — middle-aged, in fact, like me — and still being the same people, only more so. Watching Miri kick ass, for instance, or Simon baffled by politics because common sense never seems to come into it. And it’s always fun to write villains, and I have a few good ones (I think) in these books.

Treacherous Paths: During the writing of The Witchwood Crown, you mentioned all the research you were doing for the novel. What topics of research have you been doing for The Navigator’s Children?

Tad Williams: These books, dating back to Dragonbone Chair, have always been research-intensive. I like to write pseudo-medieval worlds that actually feel like they existed before the story and will exist after it as well, places where most people are NOT part of the story but going about their lives, where the economies actually work and the things that are different from the “real world” fit in and make sense. So as usual I’m up to my bra-straps (okay, not really — I’m a go-natural dude) in medieval life and history, in the folklore of dozens of other cultures, in books about geology and botany and ecology, and a dozen other things. Actually, that’s the fun part. Making it into a story is work, but learning things is fun.

Treacherous Paths: In Empire of Grass, you have a Sitha character, Tanahaya, try to warn other Sithi of imminent danger, using a Witness. The communication breaks down, and the masked face of the gloating, evil Norn Akhenabi appears, mocking Tanahaya. The city is then attacked by Norns. This scene is quite reminiscent of a similar scene in Stone of Farewell, where the Sitha woman Amerasu uses the Mist Lamp, a Master Witness, to warn other Sithi of the danger of the Norns. The communication is intercepted by the evil Norn Queen Utuk’ku, who mocks Amerasu and then has her assassinated. I guess this was an intentional shout-out to the scene written 30 years earlier?

Tad Williams: Never assume with me that something is just a shout-out. Sometimes it’s a trick. Of course, in order to trick people effectively, I have to sometimes do things that are exactly what they look like. I guess you have to make your own suppositions on this. Or wait until the last volume.

Treacherous Paths: Book Three of the new series is called The Navigator’s Children. Based on that title, we’ll learn more about Ruyan Ve’s people, the Tinukeda’ya or Vao. In the previous four volumes, the Tinukeda’ya were quite literally tertiary figures: the third group of non-mortals that nobody ever talked about. What made you decide the story of the Vao was central to the story of “The Last King of Osten Ard”?

Tad Williams: A number of things, but primarily that I had hinted at the painful history between them and the Sithi and Norns in the first books, and so it was a fertile area to explore. I knew, for instance, that many of the “monsters” and other strange creatures of Osten Ard had Tinukeda’ya blood — to use the ancient word: we’d probably call it DNA — since way back in MS&T, but never discussed it. (I may have hinted in a few places, but I’d have to go back and look for specific instances.) Also, the debt owed to exploited peoples is kind of a current topic, so it seemed like useful subject matter. And it all fitted in with various things about the history of Osten Ard and the Garden that I wanted to expand.

ReeRee a Chikri of Osten Ard

Ree Ree, a Chikri; one of the new creatures seen in Osten Ard. Drawing by Tad Williams.

Treacherous Paths: In this volume, we see a faction of Sithi called The Pure, and a group of Vao, or part-Vao creatures, called The Hidden. We also see creatures called Pengi, Qallipuk, Chikri, etc. When you were writing “MS&T”, did you have an inkling that these groups existed, or was this something that took many years to develop in your writerly brain?

Tad Williams: As mentioned above, I knew from early on in the MS&T days that many of these creatures were related by connection to the Vao and the Garden, and that there were probably others not mentioned in the first series. The Qallipuk are new to this series, but I’ve been thinking of a river-equivalent of kilpa for a while, and when I saw some programs about Welsh catfish and the Indian goonch, I knew what I wanted to use as the basis for the new critter. But, yes, I always knew that there were creatures in Osten Ard that were more human — or at least humanoid — than they first appeared, and that the reason was a crossover of the Garden into various Osten Ard biomes (to use a science-word as a shortcut). Almost all my monsters and non-human creatures in my fiction, from the Sithi to the dragons and unicorns in Ordinary Farm, start out as me trying to figure out how such a monster or unusual animal would survive and how it would actually function in a “real” world.

The trick, of course, is to make it fit into a fantasy setting and feel like a fantasy trope, not science-fiction.

If the trick fails, then the next trick is to leave town before the readers can get online to denounce you.

[End of interview. We’d like to thank Tad and Deborah, as always, for their time.]

How will “Game of Thrones” end? “Memory, Sorrow, and Thorn” tells us…

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his month marks the conclusion to HBO’s fantasy series Game of Thrones, based on the A Song of Ice and Fire series of novels by George R. R. Martin, which themselves take many elements from Tad Williams’ classic fantasy series “Memory, Sorrow, and Thorn”. “MS&T”, written in the mid-1980s to early 1990s, tells the tale of a fantasy world beset by political intrigue, while in the frozen north, supernatural creatures plot to destroy mankind.

Martin weaves much of his own tale into A Song of Ice and Fire, but many of his story elements are closely based on Memory, Sorrow, and Thorn; particularly the Stark children and their fates.

The following contains spoilers for both series of books.

The characters of Bran Stark and Jon Snow seem to have been based on Simon Snowlock from Memory, Sorrow, and Thorn: like Bran, Simon spends many hours climbing castle walls, and later, after a devastating injury (Simon’s from being burned by dragon blood, Bran’s from being pushed from a tower), both acquire spooky, prophetic visions. Simon dreams of spinning wheels, of titanic trees, and of birds, while Bran dreams of titanic trees and birds.

Simon and Miriamele gained a throne thirty years ago... How have their experiences changed them over the decades?

“You know nothing, Simon Snow!”

Similarly, Jon Snow shares many plot elements with Simon Snowlock: his parents are dead, and he’s been raised as an orphan, but he secretly (but unwittingly) has a claim to the throne of the realm. Unknowing of his heritage, he journeys to the north to fight against the otherworldly creatures, befriending wolves, facing dragons, and bandying words with a dwarfish companion (in both series, the dwarfish companion is later put on trial and his own lover testifies against him).

Martin’s female characters, Arya and Sansa Stark, seem to have been borrowed from Marya in Memory, Sorrow, and Thorn. Marya is split into two Stark girls: the tomboyish, cross-dressing Arya, and the more regal Sansa. In MS&T, the noble girl Marya disguises herself as a boy, learns to fight with swords and bows, and begins traveling with a wolf companion. One slight difference is that Marya’s uncle’s sword, Needle, in ASOIAF becomes Arya’s sword, also named Needle.

Marya’s adventures are also clearly mirrored by those of Sansa Stark: seduced by a handsome young nobleman, she is raped, and goes from one gilded cage to another: Marya goes from being imprisoned by Count Streawe to being imprisoned by Earl Aspitis Preves. Likewise, Sansa Stark becomes the plaything of Lords Littlefinger and Bolton.

The April 28th episode of Game of Thrones yet again solidified the parallels between the two series; in the episode, Arya kills the supernatural Night King, the leader of the northern creatures, by plunging a sharp object into his chest. This perfectly mirrors MS&T, in which Marya kills the supernatural Storm King, leader of the northern creatures, by plunging a sharp object into his chest. In both series, the single blow is enough to destroy the magicks of the Storm/Night King entirely.

With just two episodes left, it is likely, just like in MS&T, that Jon Snow will take the throne, deposing Cercei Lannister; Cercei (if she follows MS&T’s Duchess Nessalanta), will take poison rather than admit defeat. The hound-helmed Hound (aka Jegger the Queen’s Huntsman) will die, but not before proving himself with one last kill.

In Memory, Sorrow, and Thorn, prophecies are tricky prospects, and this clearly influenced A Song of Ice and Fire, as described in this video:

Williams’ latest novel, Empire of Grass, was published just this week, to rave reviews. It remains to be seen, however, how much inspiration George R.R. Martin will derive from the new volume. It is clear, though, that Martin owes a great deal of debt to an earlier author.

The 30th Anniversary of the Classic “Memory, Sorrow, & Thorn” Novels

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his month marks the 30th anniversary of The Dragonbone Chair, first volume in the immensely influential “Memory, Sorrow, and Thorn” fantasy series written by Tad Williams. The first volume was published on October 25th, 1988, and it soon became a national bestseller, inspiring fantasy authors George R. R. Martin, Patrick Rothfuss, and Christopher Paolini to write their own hugely successful series, and in the process changing the landscape of fantasy fiction.

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Cover of The Dragonbone Chair, the first volume of “Memory, Sorrow and Thorn”.

Writing for Barnes and Noble, Aidan Moher states, “Williams’ trilogy is quietly one of the most influential fantasies of the past 30 years, and is, in large part, responsible for the resurgence in the mainstream popularity of fantasy via HBO’s Game of Thrones, the television adaptation of  Martin’s hugely popular A Song of Ice and Fire novels—after all, Martin credits Williams’ books as a primary inspiration.

“On the surface, Memory, Sorrow and Thorn sounds like a paint-by-numbers secondary world fantasy: there’s an ancient evil threatening the medieval-flavored land of Osten Ard, a boy with a mysterious past, a scrappy princess, an evil prince, a dying king, and more magic swords, dragons, elves and dwarfs than you can shake a wand at (even if they’re referred to by different names.) It never eschews these tropes—though at the time they were less tiresome, as fantasy-readers reveled in the post-Brooks/Donaldson revitalization of secondary world fantasy. Instead, Williams’ trilogy feels like a surgically-precise dissection of those tropes.”

The Dragonbone Chair was followed by sequels Stone of Farewell (1990) and To Green Angel Tower (1993), and nearly three decades later by The Heart of What Was Lost (2017), The Witchwood Crown (2017), and the forthcoming Empire of Grass, The Navigator’s Children, The Shadow of Things to Come, as well as a few stand-alone stories, each set in Williams’ world of Osten Ard. Williams will be honored as the Writer Guest of Honor at the 2019 World Fantasy Convention.

sleeping_queen_by_kiraathu_webAs a way of celebrating the 30th anniversary of this seminal series, artist Jessica Steinke has created a beautiful illustration from The Witchwood Crown, showing the sleeping Queen of the Sithi, Likimeya y-Briseyu no’e-Sa’onserei. (The full resolution version of the piece is available on DeviantArt).

Steinke writes, “Since I read MS&T 20 years ago for the first time, the aesthetic concept of the Sithi have been a constant factor in my art and a most rewarding motiv. So I wanted to contribute something for the 30th anniversary of Osten Ard that could be shared with all fans out there. I’m looking forward to all future Osten Ard tales and many more Sithi to sketch.”

We at Treacherous Paths are honored to showcase Steinke’s beautiful art work as the fantasy world celebrates 30 years of Williams’ Osten Ard novels.

 

 

 

Tad Williams, George R.R. Martin, Deborah Beale, Nina Kiriki Hoffman, others appear at WorldCon 2018

Today legendary speculative fiction authors Tad Williams (“Memory, Sorrow and Thorn”), George R. R. Martin (“A Song of Ice and Fire”), Deborah Beale (The Dragons of Ordinary Farm), Nina Kiriki Hoffman (A Fistful of Sky), Peter S. Beagle (The Last Unicorn), and many others appeared at WorldCon 2018 in San Jose, California. Here are some photos of the event, some taken at the Tachyon Publications kiosk:

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Deborah Beale, Nina Kiriki Hoffman, Tad Williams.

 

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George R. R. Martin, Tad Williams. Photo credit: Deborah Beale.

 

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Tad Williams, Peter S. Beagle. Photo credit: Deborah Beale.

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 …

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.”

To-Green-Angel-Tower

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.