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Elric Swords and Roses [Paperback]

Michael Moorcock , Tad Williams , John Picacio

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Book Description

Dec 28 2010 Chronicles of the Last Emperor of Melnibone (Book 6)
Foreword by Tad Williams

Feared by enemies and friends alike, Elric of Melniboné walks a lonely path among the worlds of the Multiverse. The destroyer of his cruel and ancient race, as well as its final ruler, Elric is the bearer of a destiny as dark and cursed as the vampiric sword he carries—the sentient black blade known as Stormbringer.

Del Rey is proud to present the sixth and concluding installment of its definitive omnibus editions featuring fantasy Grand Master Michael Moorcock’s most famous—or infamous—creation. Here is the full text of the novel The Revenge of the Rose, a screenplay for the novel Stormbringer, the novella Black Petals, the conclusion to Moorcock’s influential “Aspects of Fantasy” essay series and other nonfiction, and an indispensable reader’s guide by John Davey.

Sumptuously illustrated by John Picacio, with a Foreword by Tad Williams, Elric: Swords and Roses is a fitting tribute to the most unique fantasy hero of all time.

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“MICHAEL MOORCOCK IS MY RELIGION.”—from the Foreword by Tad Williams
 
“The most significant UK author of sword and sorcery, a form he has both borrowed from and transformed.”—The Encyclopedia of Fantasy

“The greatest writer of post-Tolkien British fantasy.”—Michael Chabon

Excerpt. © Reprinted by permission. All rights reserved.

Chapter One

Of Love, Death, Battle & Exile; The White Wolf Encounters a Not Entirely Unwelcome Echo of the Past.

FROM THE UNLIKELY peace of Tanelorn, out of Bas’lk and Nish-valni-Oss, from Valederia, ever eastward runs the White Wolf of Melniboné, howling his red and hideous song, to relish the sweetness of a bloodletting . . .

. . . It is over. The albino prince sits bowed upon his horse, as if beneath the weight of his own exaggerated battle-lust; as if ashamed to look upon such profoundly unholy butchery.

Of the mighty Haghan’iin Host not a single soul survived an hour beyond the certain victory they had earlier celebrated. (How could they not win, when Lord Elric’s army was a fragment of their own strength?)

Elric feels no further malice towards them, but he knows little pity, either. In their puissant arrogance, their blindness to the wealth of sorcery Elric commanded, they had been unimaginative. They had guffawed at his warnings. They had jeered at their former prisoner for a weakling freak of nature. Such violent, silly creatures deserved only the general grief reserved for all misshaped souls.

Now the White Wolf stretches his lean body, his pale arms. He pushes up his black helm. He rests, panting, in his great painted war-saddle, then takes the murmuring hellblade he carries and sheathes the sated iron into the softness of its velvet scabbard. There is a sound at his back. He turns brooding crimson eyes upon the face of the woman who reins up her horse beside him. Both woman and stallion have the same unruly pride, both seem excited by their unlooked-for victory; both are beautiful.

The albino reaches to take her ungloved hand and kiss it. “We share honours this day, Countess Guyë.”

And his smile is a thing to fear and to adore.

“Indeed, Lord Elric!” She draws on her gauntlet and takes her prancing mount in check. “But for the fecundity of thy sorcery and the courage of my soldiery, we’d both be Chaos-meat tonight —and unlucky if still alive!”

He answers with a sigh and an affirmative gesture. She speaks with deep satisfaction.

“The host shall waste no other lands, and its women in their home-trees shall bear no more brutes to bloody the world.” Throwing back her heavy cloak, she slings her slender shield behind her. Her long hair catches the evening light, deep vermilion, restless as the ocean as she laughs, while her blue eyes weep; for she had begun the day in the fullest expectation that the best she could hope for was sudden death. “We are deeply in your debt, sir. We are obligated, all of us. You shall be known throughout Anakhazhan as a hero.”

Elric’s smile is ungrateful. “We came together for mutual needs, madam. I was but settling a small debt with my captors.”

“There are other means of settling such debts, sir. We are still obliged.”

“I would not take credit,” he insists, “for altruism that is no part of my nature.” He looks away into the horizon where a purple scar washed with red disguises the falling of the sun.

“I have a different sense of it.” She speaks softly, for a hush is coming to the field, and a light breeze tugs at matted hair, bits of bloody fabric, torn skin. There are precious weapons and metals and jewels to be seen, especially where the Haghan’iin nobles had tried to make their escape, but not one of Countess Guyë’s sworders, mercenary or free Anakhazhani, will approach the booty. There is a general tendency amongst these weary soldiers to drop back as far as possible from the field. Their captains neither question them on this nor do they try to stop them. “I have the sense, sir, that you serve some Cause or Principle, nonetheless.”

He is quick to shake his head, his posture in the saddle one of growing impatience. “I am for no master nor moral persuasion. I am for myself. What your yearning soul, madam, might mistake for loyalty to person or Purpose is merely a firm and, aye, principled determination to accept responsibility only for myself and my own actions.”

She offers him a quick, girlish look of puzzled disbelief, then turns away with a dawning, woman’s grin. “There’ll be no rain tonight,” she observes, holding a dark, golden hand against the evening. “This mess’ll be stinking and spreading fever in hours. We’d best move on, ahead of the flies.” She hears the flapping even as he does and they both look back and watch the first gleeful ravens settling on flesh that has melted into one mile-wide mass of bloody meat, limbs and organs scattered at random, to hop upon and peck at half-destroyed faces still screaming for the mercy laughingly denied them as Elric’s patron Duke of Hell, Lord Arioch, gave aid to his favourite son.

These were in the times when Elric left his friend Moonglum in Tanelorn and ranged the whole world to find a land which seemed enough like his own that he might wish to settle there, but no such land as Melniboné could be a tenth its rival in any place the new mortals might dwell. And all these lands were mortal now.

He had begun to learn that he had earned a loss which could never be assuaged and in losing the woman he loved, the nation he had betrayed, and the only kind of honour he had known he had also lost part of his own identity, some sense of his own purpose and reason upon the Earth.

Ironically, it was these very losses, these very dilemmas, which made him so unlike his Melnibonéan folk, for his people were cruel and embraced power for its own sake, which was how they had come to give up any softer virtues they might once have possessed, in their need to control not only their physical world but the supernatural world. They would have ruled the multiverse, had they any clear understanding how this might be achieved; but even a Melnibonéan is not a god. There are some would argue they had not produced so much as a demigod. Their glory in earthly power had brought them to decadent ruin, as it brought down all empires who gloried in gold or conquest or those other ambitions which can never be satisfied but must forever be fed.

Yet even now Melniboné might, in her senility, live, had she not been betrayed by her own exiled emperor.

And no matter how often Elric reminds himself that the Bright Empire was foredoomed to her unhappy end, he knows in his bones that it was his fierce need for vengeance, his deep love for Cymoril (his captive cousin); his own needs, in other words, which had brought down the towers of Imrryr and scattered her folk as hated wanderers upon the surface of the world they had once ruled.

It is part of his burden that Melniboné did not fall to a principle but to blind passion . . .

As Elric made to bid farewell to his temporary ally, he was attracted to something in the countess’s wicked eye, and he bowed in assent as she asked him to ride with her for a while; and then she suggested he might care to take wine with her in her tent.

“I would talk more of philosophy,” she said. “I have longed so for the company of an intellectual equal.”

And go with her he did, for that night and for many to come. These would be days he remembered as the days of laughter and green hills broken by lines of gentle cypress and poplar, on the estates of Guyë, in the Western Province of Anakhazhan in the lovely years of her hard-won peace.

Yet when they had both rested and both began to look to satisfy their unsleeping intelligences, it became clear that the countess and Lord Elric had very different needs and so Elric said his goodbyes to the countess and their friends at Guyë and took a good, well-furnished riding horse and two sturdy pack animals and rode on towards Elwher and the Unmapped East where he still hoped to find the peace of an untarnished familiarity.

He longed for the towers, sweet lullabies in stone, which stretched like guarding fingers into Imrryr’s blazing skies; he missed the sharp wit and laughing ferocity of his kinfolk, the ready understanding and the casual cruelty that to him had seemed so ordinary in the time before he became a man.

No matter that his spirit had rebelled and made him question the Bright Empire’s every assumption of its rights to rule over the demibrutes, the human creatures, who had spread so thoroughly across the great land masses of the North and West that were called now “the Young Kingdoms” and dared, even with their puny wizardries and unskilled battlers, to challenge the power of the Sorcerer Emperors, of whom he was the last in direct line.

No matter that he had hated so much of his people’s arrogance and unseemly pride, their easy resort to every unjust tyranny to maintain their power.

No matter that he had known shame —a new emotion to one of his kind. Still his blood yearned for home and all the things he had loved or, indeed, hated, for he had this in common with the humans amongst whom he now lived and traveled: he would sometimes rather hold close to what was familiar and encumbering than give it up for something new, though it offered freedom from the chains of heritage which bound him and must eventually destroy him.

And with this longing in him growing with his fresh loneliness, Elric took himself in charge and increased his pace and left Guyë far behind, a fading memory, while he pressed on in the general direction of unknown Elwher, his friend’s homeland, which he had never seen.

He had come in sight of a range of hills the local people dignified as The Teeth of Shenkh, a provincial demon-god, and was following a caravan track down to a collection of shacks surrounded by a mud-and-timber wall that had been described to him as the great city of Toomoo-Kag-Sanapet-of-the-Invincible-Temple, Capital of Iniquity and ...

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Amazon.com: 4.5 out of 5 stars  4 reviews
17 of 17 people found the following review helpful
4.0 out of 5 stars Great stuff, unfortunate sequencing Feb 1 2011
By Byron - Published on Amazon.com
Format:Paperback
This is all top-notch material from the great Michael Moorcock. My only regret is that the publishers, with the obvious blessing of Moorcock, have chosen to sequence the Elric stories in roughly the order they were written rather than following the internal chronological sequence. I much preferred the sequential ordering of the White Wolf editions of a few years ago. Elric's story has a definite beginning ('Elric of Melnibone') and end ('Stormbringer'). While Elric stories written since 1965 are, in fact, prequels since they must necessarily fall before the events in Stormbringer, they do have an internal sequence whether they were penned in 1967 or 1991. In the battle between Order and Entropy Moorcock seems to have opted for Chaos in this publishing cycle.

I guess it may be meant to reflect the nature of Moorcock's 'multiverse', everything that has happened is still happening or will happen again. It may be conventional of me, but I prefer to read the stories in the order that the character experienced them. These editions seem tailored for existing fans rather than new readers. I would suggest that a first-time Elric reader start with the White Wolf volumes Elric: Song of the Black Sword (Eternal Champion Series, Vol. 5) (1995) and Elric: Stealer of Souls (The Tale of the Eternal Champion, Vol 11) (1998) (not to be confused with the more recent 2008 Del Rey edition of the same name). They collect all of the essential Elric canon in two volumes. I'll admit it is sometimes a little jarring to go from prose written in 1991 back to stuff from 1964 but I think it's still the best way to go.

After that, the new editions are worthwhile if you want to pursue the supplemental materials (screenplays, essays, etc.) and the few Elric short stories he's written in the last ten years or so. Even that will still leave the supposedly final Elric appearances in 'The Dreamthief's Daughter' trilogy which just wrapped up, although these have more of the feel of the Von Bek novels than earlier Elric material.
2 of 2 people found the following review helpful
4.0 out of 5 stars Inconsistent Collection Featuring Legendary Fantasy Character Aug 30 2012
By Kevin M. Derby - Published on Amazon.com
Format:Paperback
While Michael Moorcock has written scores of novels over the years, only in the past decade has his work met with approval outside of fantasy and sci-fi circles. While this recognition is belated to say the least, it has to be admitted that Moorcock's talents have continued to blossom as time has gone by.

"Elric: Sword and Roses" is the sixth and final volume of Del Ray's series focusing on Moorcock's most popular character--the albino antihero Elric. There are two major works included here--"Revenge of the Rose" and the script for the "Stormbringer" screenplay written in the mid 1970s.

Moorock returned to the most famous character of his multiverse in the late 1980s and early 1990s as he brought back Elric, the aristocratic antihero who ranks as one of the most popular creations in the fantasy genre. The result were books like "The Fortress of the Pearl" (included in the fifth Del Ray volume) and "The Revenge of the Rose."

"The Revenge of the Rose" is a bit of an odd fit in the Elric books and fans of the earlier novels--some of which were penned almost three decades before this one--will find it to be quite different. Elric remains at the center of the story but Moorock is more willing to allow readers his view on society, such as a stinging look at contemporary capitalism and real estate in a strange nomadic city. It's different than some of the earlier books and Moorcock also goes deeper into his multiverse. There is an excellent foil for Elric in this book who would come back to haunt him in later novels--Gaynor the Damned, a fallen knight who was trying to preserve the balance between Law and Chaos. There are some fun action scenes and the book should hold the attention of most readers.

Still, there are some problems. Moorcock tries to leave the reader with a sense of time being disrupted by playing around between past and present tense. It simply did not work. Moorcock's attempts to bring humor to the story with a poet familiar with contemporary literature and Elric's reactions to them. This is inconsistent at best. Some of the supporting characters--including the Rose included in the title--are not fully fleshed out, something of a disappointment compared to other recent Moorcock works.

Still, while this does not rank among the best Elric books, "Revenge of the Rose" is a solid story that should appeal to most fans of Moorcock, Elric and the multiverse.

The screenplay for "Stormbringer" is much weaker. Elric does not appear in it nor does the script have anything to do with the novel of the same name. The black blade Strombringer does appear but it ends up in the hands of a man from our world who ends up as the fantasy hero Ulrick. Reading the screenplay, one can see why it was not made into a film. It simply is not that appealing of a story with a confusing plot and shallow characters.

The other works included here are superb. "Black Petals," a recent Elric story by Moorcock is excellent. The fourth part of Moorcock's seminal essay "Aspects of Fantasy" is republished here. There is also a charming forward by Tad Williams and an interesting introduction by Moorcock. There is also a very useful reader's guide to Elric by John Davey.

Readers of fantasy will enjoy this book and fans of Moorock--and Elric in particular--will find it indispensable. Still, the book is not as strong as it could be due to the screenplay's inclusion.
0 of 1 people found the following review helpful
5.0 out of 5 stars Imagination on steroids Sep 7 2012
By Joe Smuck - Published on Amazon.com
Amazon Verified Purchase
The author has a powerful imagination which is most helpful to all of us in this current world of blurred differences with abuse of so called rights which are gained by eroding and expropriating cultural ways and living standards of dominant civilizations. Michael Moorcock is unto something very big and threatening in our modern day world. There is a huge cultural war taking place and the first requirement from the civilizations being destroyed is "not to say anything about it as we do not want to offend". Michael bares the issues by using allegories and metaphors and draws from true life energies and conflicts to bring a powerful reality to what he has created and kicked into high speed breath taking action. Few writers have the multiverse scope of Michael's imagination.

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