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From Publishers Weekly
Crowley's eloquent and captivating conclusion to his Ægypt tetralogy finds scholar Pierce Moffet still searching for the mythical Ægypt, an alternate reality of magic and marvels that have been encoded in our own world's myths, legends and superstitions. Pierce first intuited the realm's existence from the work of cult novelist Fellowes Kraft. Using Kraft's unfinished final novel as his Baedeker, Pierce travels to Europe, where he spies tantalizing traces of Ægypt's mysteries in the Gnostic teachings of the Rosicrucians, the mysticism of John Dee, the progressive thoughts of heretical priest Giordano Bruno and the "chemical wedding" of two 17th-century monarchs in Prague. Like Pierce's travels, the final destination for this modern fantasy epic is almost incidental to its telling. With astonishing dexterity, Crowley (Lord Byron's Novel) parallels multiple story lines spread across centuries and unobtrusively deploys recurring symbols and motifs to convey a sense of organic wholeness. Even as Pierce's quest ends on a fulfilling personal note, this marvelous tale comes full circle to reinforce its timeless themes of transformation, re-creation and immortality. (May)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
There are three major plots and one minor one in the last of Crowley's four Aegypt novels, and developments regarding two secondary characters bulk so large that they almost become two more. Two of the major plots concern series protagonist Pierce Moffett. In one, 1990s Pierce is on a working retreat at a Trappist monastery; in the other, 1970s Pierce retraces historical novelist Fellowes Kraft's 1930s European journey researching the gnostic heretic Giordano Bruno (1548-1600). The third major plot is the tale of how Bruno's soul migrated from his about-to-be-burned-at-the-stake body into that of an ass and what transpired thereafter, a sort of Renaissance take on Apuleius' Golden Ass. That plotline is the one those unfamiliar with the other Aegypt books (The Solitudes, 1987; Love & Sleep, 1994; Daemonomania, 2000), uninterested in Pierce Moffett's woolgathering, and unimpressed by Crowley's anaphoric rhetorical flights will probably warm to most. Such Aegyptian neophytes may indeed be so bored by the rest of the book that they quit it before reaching its impressive and moving, homeyconclusion. Ray Olson
Copyright © American Library Association. All rights reserved
Copyright © American Library Association. All rights reserved
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