By C. J. Cherryh
Deep in an deserted, shattered citadel, an outdated guy of the previous Magic muttered nearly forgotten phrases. His goal -- to create out of the insubstance of the air, from a shimmering of sunshine and a fluttering of shadows. that the majority wonderous of spells, a Shaping. A Shaping within the type of a, younger guy who should be despatched east at the street the outdated used to be to outdated to go back and forth. To correct the wrongs of a long-forgotten wizard warfare, and phone new wars into being. this is the long-awaited significant new novel from one of many brightest stars within the delusion and technology fiction firmament.C.J.Cherryh's haunting tale of the wizard Mauryl, kingmaker for 1000 years of fellows, and Tristen, fated to sow mistrust among a prince and his father being. A story as deep as legend and a intimate as love, it tells of a conflict past Time, during which all future activates the wheel of an previous man's ambition, a tender man's innocence, and the unkept promised of a king to come.
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Extra resources for Fortress in the Eye of Time (Fortress, Book 1)
R. R. R. R. R. TOLKIEN COPYRIGHT PAGE ABOUT THE PUBLISHER FOREWORD The Silmarillion, now published four years after the death of its author, is an account of the Elder Days, or the First Age of the World. In The Lord of the Rings were narrated the great events at the end of the Third Age; but the tales of The Silmarillion are legends deriving from a much deeper past, when Morgoth, the first Dark Lord, dwelt in Middle-earth, and the High Elves made war upon him for the recovery of the Silmarils.
These tales are ‘new’, they are not directly derived from other myths and legends, but they must inevitably contain a large measure of ancient wide-spread motives or elements. After all, I believe that legends and myths are largely made of ‘truth’, and indeed present aspects of it that can only be received in this mode; and long ago certain truths and modes of this kind were discovered and must always reappear. There cannot be any ‘story’ without a fall – all stories are ultimately about the fall – at least not for human minds as we know them and have them.
For reasons which I will not elaborate, that seems to me fatal. Myth and fairy-story must, as all art, reflect and contain in solution elements of moral and religious truth (or error), but not explicit, not in the known form of the primary ‘real’ world. (I am speaking, of course, of our present situation, not of ancient pagan, pre-Christian days. ) Do not laugh! But once upon a time (my crest has long since fallen) I had a mind to make a body of more or less connected legend, ranging from the large and cosmogonic, to the level of romantic fairy-story – the larger founded on the lesser in contact with the earth, the lesser drawing splendour from the vast backcloths – which I could dedicate simply to: to England; to my country.