Paul Morris: Dear Stephen
Just thought of a way to" advertise" the forthcoming big literary event in my life. I will be sharing the following with my friends on FaceBook.
The return of Thomas Covenant
By Stephen R Donaldson in
Against all things ending.
Imagination: think Tolkein
Writing: think Conrad
Depth and symbolism: think the Odyssey
Entertainment: a real book: makes the Internet look like a distraction
For the first chapter click here
http://www.stephenrdonaldson.com/28167391AATEChapter1.pdf
For the trailer click here
http://www.stephenrdonaldson.com/flash_window3.htm
Thoroughly recommended.
Hope this is okay!
 |
Thank you! If more of my readers did things like this, it would be very helpful. "Getting the word out" is perhaps the most useful form of advertising. Unfortunately, publishers aren't very good at it. (11/02/2010) |
Guy Andrew Hall: First of all, hate your books. All of them. And when I think I might be mistaken, that I might actually like them, I have to re-read them to remind myself that I hate them. I have lost track of the number of times I have had to reread them. I figure I will hate the next one, but it will probably take a few readings as well.</snark>
Secondly (where I actually get to my question), do you play chess? Be warned - your answer will determine the fate of the world. Well, okay, that might be a bit melodramatic. How about the fate of my mood? Not quite so overwhelming? Oh shoot! That's a second question. Ignore it.
|
Your reaction is more common than you might think. I'm always amazed that people hate my books enough to read (and re-read) them all. I have no good explanation. But it's obvious that my books inspire strong emotional reactions--and that hate is *not* the opposite of love. I played chess at lot in my pre-college years. Came close to being school champion (the finals were never played, so I didn't get a chance to win). But I probably haven't played more than 10 games in the intervening 40+ years. (11/02/2010) |
Mark McDonald: Steve,
I read the first Covenant series while in high school and appreciated it very much. I enjoyed the Second Chronicles even more. I've read the first two books of the final Chronicles and while I enjoyed them, I have to admit that I had difficulty understanding some of the concepts. Maybe I need to go back and re-read them. You're an excellent author, and maybe I'm just not used to that. (grin)
My question (which I don't think has been asked in the GI) is why did you not make Lena one of Covenant's dead in the Second Chronicles? Is it because his feelings of guilt and shame were more
pronounced over her than they were over Elena because of the former's innocence? (at least more innocent than Elena). Is she not there because he wants to forget her more than he does Elena?
I look forward to the final volumes of Covenant's story. Thanks
|
The easy answer would be that Lena is not there because she wasn't Earthpowerful in life: her spirit has less of the requisite energy. Atiaran at least studied in the Loresraat, and Trell was a Gravelingas, but Lena had no special relationship with the "soul" of the Land. That answer is accurate enough--as far as it goes. However, it feels like a bit of a cop-out. It might be more useful to say that she didn't fit in with what I was trying to accomplish in "The Second Chronicles." I didn't want to reintroduce the themes she represents because I was hoping to move beyond them. To move, perhaps, from guilt to restitution or reconciliation (as expressed by Covenant's caamora for the dead Giants in Seareach), which is arguably the main thrust of "The Second Chronicles." (Incidentally, this also explains Elena's appearance as healthy and loving, despite the fact that she wears a very different aspect later. There, unlike "The Last Chronicles," the Dead are trying to bring Covenant what he needs--and he doesn't need reminders of his guilt. He's going to get plenty of that from Lord Foul via the soothtell.) So I wouldn't say that Lena isn't there because Covenant wants to forget her. I would say she isn't there because--brace yourself--the story doesn't need her. (Now where have you heard *that* before?) (11/03/2010) |
westend: first thankyou for your amazing tales they are very much appreciated
may i ask how do you rate aate in comparison to your previous work?
Secondly if you had the oppotunity to submit a question to any author in the same way that we can to you, who would you contact and what would you ask?
thankyou once again
|
"Against All Things Ending" pleases me. So far, I feel that I'm rising to the challenge of "The Last Chronicles"--which means, among other things, that each book is stronger than the one before (as it should be). Frankly, I've never really understood the Gradual Interview. If I had a chance to ask a question under comparable circumstances (circumstances which imply that I don't already know the author personally), I wouldn't. I don't want to know anything about work that disappoints me (except, perhaps, Why did you let this happen?--which is not a very useful question). And when work doesn't disappoint me, I figure that all of the answers I'll ever need are already in the text. (11/03/2010) |
Richard: Hello Steve,
I am reading Erikson - on your recommednation - and it occurs to me that often in fantasy there is a tendency to begin chapters with the use of invented song or poetry and why it is that this is the case?
I am not sure if there is other literary precendent that causes this or influence of other authors?
Or because it creates a certain verisimilitude for the world that is being created?
Or other?
In short, I am interested in your opinion.
Thank you.
|
I can't think of many writers, other than Erikson, who use this technique. My own imagination doesn't work that way. But I would guess--and it's only a guess--that Erikson does it a) to create "a certain verisimilitude," and b) to focus the themes he's exploring in that section of the story. Perhaps it's also a world-building technique, a way of implying other times and other dimensions in his story's "reality." (11/04/2010) |
Matt Finch: Hi Steve,
Way back in '79 you provided the cover quotations for Patricia Wrightson's gripping Australian fantasy, The Dark Bright Water.
I guess you've given many such quotations but just wondered what had brought that book to your attention and if you had any comments on the work of the late Ms. Wrightson.
|
I first encountered Wrightson during my one stint as a judge for the World Fantasy Awards. I enjoyed the book enormously, and tried to get my fellow judges to consider it for the "best novel" award (alas, without success). But her books were never widely available in the US, and I was unable to find more of them after her first (if memory serves) trilogy. (11/04/2010) |
Derek Gledhill: Dear Mr. Donaldson,
I have been a big fan of yours for many years and have read the chronicles both in german and french. I was just curious to hear your opinion on Philip K. Dick and if you had read any of his works.
Looking forward to Against All Things Ending!
Sincerely,
Derek Gledhill
|
Yes, I've read some Philip K. Dick. In general, I find his work too--what's the word I want?--disjointed, or oddly jointed, to be emotionally satisfying. Which is why I haven't read more than 2-3 novels and some short stories. But his work is certainly full of interesting and imaginative ideas. (11/04/2010) |
David G: Steve,
Love your work, and am looking forward to picking up the new volume in two weeks.
Just curious, do you feel nervous as the release date approaches, or is that all spent by the time you get to this stage in the process?
|
Sadly, I'm always nervous as the publication of a book approaches. Will it be well received? Won't it? After all, I have a lot at stake here. (11/04/2010) |
Michael Blue: Hello Mr. Donaldson.
I'm really looking forward to AATE in a few days. I see from your "appearances" link that you will be attanding the Buckeye Book Fair on November 6th. I am planning to visit the fair in hopes to meet you in person. I have never been to a book fair, so I'm looking forward to this one. I have a question about the book signing. I know that you will be signing newly purchased books being sold there. I would like to know if it's innapropriate to ask to sign a different book I have? I have a original Lord Foul's Bane HC, and I would like to have that signed instead. Thanks. MB(A fan since my friend Kevin gave me his Bane paperback in 1978)
|
Certainly it's OK to bring older books to events like the Buckeye Book Fair. The Fair won't make any money on a book bought previously (boo hoo). But the underlying purpose of such events is to encourage reading, not to make money, so you shouldn't be stepping on any toes. And even if you are, *I* am always happy to sign older books, regardless of what the people around me think. (11/04/2010) |
Casey: I am confused on something, and I am sure you've probably been asked this before. I've been re-reading Runes of the Earth in preparation for AATE, and one thing that confuses me is that it is estimated that the Falls have been around for approximately 90 to 100 years. Yet, apparently the Ur-Viles escaped into a Fall during the time of the Sunbane. Also, supposedly the Kresh have only been around for 90 to 100 years, and yet the Ramen claim to have a centuries old animosity towards them. Was this just a mistake you made, or is it part of something you're going to explain later? BTW, I think you are the greatest writer of all time:) Your books are far beyond anything I've ever read, and I've read probably several hundred books. My dad's a fan too, he wrote you a hand written letter I believe in the early 80's, and has a typed letter you sent back to him. That's a family heirloom to us, lol. Keep up the great work man. Don't get offended at the question, I'm not attempting to impugn your work or anything, I'm just curious about those questions.
|
Time distortion/travel stories are always rife with paradoxes and contradictions. I’ve done everything I can think of to minimize (or obfuscate) them, but they are inherent to what I’m doing. If you feel confused, I can’t blame you. First, let’s set aside the kresh. I never intended them to be regarded as time travelers. They were always around: they simply didn’t begin preying on Stonedownors until other perils left the villages vulnerable. The other issues are a matter of perspective; of *when* we look at the Falls. When the time of the Sunbane was the present, there were no Falls. The ur-viles did not escape Lord Foul’s wrath via a Fall: they hid in the Lost Deep. But everything changes when we look at the Falls from a different present. From the present perspective of “Runes,” when Linden arrives in the Land, Joan has already been unleashing Falls for about three months in her (Joan’s) life, 90 years in the Land. And those Falls reach *backward* in time, into the past (although the “current” of the Fall runs from the past to the future). So in Linden’s present there *are* Falls reaching backward: to the time of the Sunbane, and even earlier (to the time of the Demondim). Clearly this is a contradiction. But it isn’t a *fatal* paradox because both the ur-viles and the Demondim were removed from the distant past *after* they had ceased to play any role in the Land’s history. Similarly it is not a fatal paradox that the Demondim can draw on the Illearth Stone because they access the Stone *before* it begins to play a role in the Land’s history. By one kind of reasoning, all of this is nonsense. No wonder it’s confusing. But by another kind of reasoning, well, all I can do is shrug and say, Why not? I’m trying to play fair. I’ve devised a set of rules, and I’m applying them consistently. What more can we ask? (11/09/2010) |
Cambo Morrison: My question has to do with the subtle presence of a lot of Buddhist concepts in the Covenant books. The most obvious are Sanskrit words as character names like the samadhi, moksha, turiya and dukkha. By the way, I thought having inherently deceptive, body snatching creatures name themselves after words for unity, liberation and pure mind was a nice ironic touch.
But when I start mining for Buddhist interpretations, they keep on coming. The caamoora can be read in relation to certain Zen meditations that use pain as a catalyst, and the importance of purity and victory through surrender in the Second Chronicles fit well with Buddhist philosophy. The use of paradox is also very similar.
Are these correlations intentional on your part? Were the themes of Thomas Covenant influenced by Buddhism in any major way, or was it just a minor element that gave us some cool character names?
|
After a long hiatus, I find myself once again retreating to the assertion that I’m not a polemicist. I don’t write stories to promote--or even to explore--religious, philosophical, or spiritual insights. To the best of my ability, I ask religious, philosophical, and spiritual questions in an attempt to discover everything contained within a story I’ve been given to write. Sure, I’m sensitive to the points you raise. And in one sense, their relevance is intentional: in the sense that I’m trying to find everything I’m capable of finding in my story. But in another sense, that relevance is definitely *not* intentional (I mean “intentional” in the sense of espousing my own beliefs). So: “influenced by Buddhism in any major way”? Hard to say. Anything that influences me influences my work. But I don’t use my work to explore or promote those influences. That probably doesn’t answer your question; but I don’t know what else to say. (11/09/2010) |
Casey: Why is it even still called the chronicles of Thomas covenant? I mean isn't it really about linden now? It was practically about linden on the second chronicles too. I just don't get it. Is it because if you change the name of the chronicles it will attract less readers? Not too many like linden the way they like covenant.
|
Hmm. It’s all in how you look at it. Do you really think that Linden’s story is *not* about Covenant? But if that doesn’t make sense to you--and my previous work hasn’t earned your trust--then all I can say is, RAFO. (11/09/2010) |
Paul Meier: Hi Mr. Donaldson.
You, by far, are my favorite author. Thank you for your writings; you have been truly blessed with enormous talent. Now my question. In the first chapter of AATE. You bring to Andelain the four ancient high lords plus Elana. Did you purposely leave out the others like Prothall and Mhoram because they were not "needed" in your story line at that particular time? I guess I really like the character of Mhoram as well as his relationship with TC. 2nd Question: Will chapter 2 be released so we can read it too????
|
By now, it’s obvious that chapter 2 will *not* be posted on my site. So this seems like a good time to reiterate that I’m never less than two months behind on the Gradual Interview. A question asked in, say, September doesn’t usually reach me until November at the earliest. On the one hand, this is less than ideal. On the other, the lag has been much longer at various times in recent years. You could say that I left Lords like Prothall and Mhoram out because I didn’t need them. But from my perspective, it would be more accurate to say that I left them out because they didn’t *fit*. I love them both, especially Mhoram. But the issue is one of *stature* in The Grand Scheme Of Things. Turn by turn, Berek, Damelon, Loric, and Kevin *shaped* the world of my story. (For their part, Elena and Caer-Caveral *shaped* the conditions for Covenant’s return.) Prothall and Mhoram (merely) defended it. Does this count as a spoiler? I’m not sure. (11/09/2010) |
Dominic: Hi Steve, I have a love/hate relationship with your work i.e. reading your novels is such a frustratingly beautiful experience that I can't put them down no matter how much it hurts!
My question relates to new work.
You've mentioned in the past that inspiration for new work comes to you sporadically however in the afterword to the Real Story, you explain that your original inspiration came from a relatively simple concept.
As a composer, I have found I suffer from the same uninspired condition so I try setting abstract parameters and restrict specific instruments to disfunctional scales in the hope that the harsh musical canvas will force cooperation & cohesion and perhaps even something beautiful.
The Gap Cycle, Mordant's Need & The Chronicles of Thomas Covenant have all included characters who have had to contend with such abstract parameters and unlike my compositions, you've managed to create something beautiful from the chaos.
Now for the question:
Rather than waiting for inspiration, would you consider taking the above concept and applying it without any specific purpose and let the story write itself?
P.S. I was recently discussing my relationship with your work with a friend that runs a bookstore and you may be interested to know that it's a common complaint among her customers.
P.P.S If all else fails, I've always liked the idea of a story based on a chess match with the narrative developed around the actual moves of the character pieces. It could be set in any place, time etc. Feel free to pinch it as I lack the literary skills to write what I've imagined.
|
I can't imagine working in the ways you describe. It is absolutely essential to me that stories evolve organically from their own sources (whatever those happen to be). I'm more likely to write in pig Latin than to use an abstract (and arbitrary) "concept" as the basis for a story. (11/17/2010) |
Russell Smith: Against All Things Ending will be published in less than a month. At this stage of the process I imagine that its your publisher(s) that have all the work to do. Is there anything that you do, or you have to do on the day of publication? Maybe to ask the question a different way, is the day of publication more or less important to you than the finishing of the manuscript, or final delivery and acceptance?
I am very much looking forward to continuing my journey with Covenant, Linden, and the rest, very shortly. Thanks as always the great stories, and taking time to answer questions in the GI.
|
Publication day is always a High Anxiety time for me (as are the 10 or so days that follow). Despite my best efforts to concentrate on other things, I find that I care a great deal (too much, really) about sales. On one level, this is reasonable. Sales affect my income, which in turn affects my ability to support my family. And of course I have as much ego as anyone else. <sigh> Nonetheless it involves a profound perceptual fallacy: sales are not now, and have never been, a meaningful measure of quality. For my own peace of mind, I wish that I could make a more effective distinction between what I've done and how it's received. (11/17/2010) |
Robert Murnick: Michael Cunningham, the author of this article:
http://www.nytimes.com/2010/10/03/opinion/03cunningham.html
contends that prose has a "music"; "The sentences should have rhythm and cadence, they should engage and delight the inner ear." His article concerns the translation of style into other languages. But I guess I've always been more enthused by plot than by the rhthym of the words that transmit it to me. What's your take on the issue of the necessity of style beneath the story and how much of this (writing in the SRD style) is intentional for you?
|
First, let me say that I don't think there is an "SRD style." (Of course, there *is*, but it's more deeply buried beneath the surface of the prose than you might think.) As anyone who has read my short stories can attest, I deploy a variety of styles; and they're all consciously (intentionally) chosen to suit the particular story I'm telling. Certainly there is a "Covenant" style, but it is different in many respects from the "Mordant's Need" style--which in turn is not the same as the "GAP" style. And none of them emulate "The Man Who" style. Style is the means by which the plot and the characters are communicated. And since the means determine the nature of the experience for the reader, it follows that different stories absolutely require different means. But to your first question. For me (and perhaps only for me--although apparently some other readers feel as I do), it's axiomatic that all good prose has "rhythm and cadence," and that outstanding prose positively *sings*. (Certainly I strive to "engage and delight the inner ear.") Elmore Leonard is an interesting example. No one works harder at writing lean, "minimalist" prose than he does: he writes at the opposite end of the spectrum from the "Covenant" style. And yet his sentences *flow*. For his purposes, their timing is pretty much perfect. They fit together like the finely tooled pieces of an exquisite mechanism. In fact, I might go so far as to argue that he creates the entire reality of his story and characters through rhythm and cadence (and diction: word choice is obviously crucial). By comparison, Patricia McKillip's prose *sings*. It engages and delights the inner ear. I can almost feel it in my bones when I read. (Do I need to add that she writes very different stories than Leonard does? Her prose can't do what his does--and his can't do what hers does. Nor should it.) Don't get me wrong. None of this implies that being "enthused by plot" is somehow less important or valuable than caring about style or music. You are who you are: you read for reasons that please you. That's as it should be. Nonetheless I maintain that your experience of what you read would be changed if the style were changed. However, I should add that many writers don't agree with me. They strive for pure "functionality," nothing more. They say that they want to write prose like glass: it lets the story through so clearly you forget the glass is even there. Yet my experience as a reader doesn't match their stated intentions. (Of course, I believe that the glass *always* affects what shows through it; but that's beside the point.) Either their prose enhances the story for me (as Leonard's does), or it flattens the story, making the plot and characters less effective than they could have been. That's *my* reality. It has no inherent relevance to yours--or to anyone else's. All I can say in conclusion is that I live by what I believe. As most writers do. (11/17/2010) |