- Taschenbuch: 448 Seiten
- Verlag: Gollancz (14. März 2002)
- Sprache: Englisch
- ISBN-10: 0575073748
- ISBN-13: 978-0575073746
- Größe und/oder Gewicht: 18,8 x 13 x 3,2 cm
- Durchschnittliche Kundenbewertung: 2.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
- Amazon Bestseller-Rang: Nr. 796.230 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Lyonesse: The Green Pearl
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Produktinformation |
Produktbeschreibungen
Kurzbeschreibung
A }Fantasy Masterworks{ fiction title.
Synopsis
The Elder Isles, located in what is now the Bay of Biscay off the the coast of Old Gaul, are made up of ten contending kingdoms, all vying with each other for control. At the centre of much of the intrigue is Casmir, the ruthless and ambitious king of Lyonnesse. His beautiful but otherworldly daughter, Suldrun, is part of his plans. He intends to cement an alliance or two by marrying her well. But Suldrun is as determined as he and defies him. Casmir coldly confines her to the overgrown garden that she loves to frequent, and it is here that meets her love and her tragedy unfolds. Political intrigue, magic, war, adventure and romance are interwoven in a rich and sweeping tale set in a brilliantly realized fabled land.
In diesem Buch
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Einleitungssatz
ON A DREARY WINTER'S DAY, with rain sweeping across Lyonesse Town, Queen Sollace went into labor. Lesen Sie die erste Seite
Buchdeckel | Copyright | Auszug | Rückseite
ON A DREARY WINTER'S DAY, with rain sweeping across Lyonesse Town, Queen Sollace went into labor. Lesen Sie die erste Seite
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Die hilfreichsten Kundenrezensionen
1 von 9 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch
Paradoxerweise merkt man "Lyonesse" die Jahrzehnte die das Buch auf dem Buckel hat esentlich deutlicher an als den Science Fiction Titeln vom selben Autor (Dying Earth etc.).
Die Story um eine Prinzessin, die der Zwangsverheiratung amit verschiedenen Mitteln zu entkommen versucht, dem strengen König, der sich um Land und Leute kümmert aber dabei als Privatmensch versagt und dem obligatorischen Krieg drumherum könnte aus dem "Handbuch für Standardplots für 08/15-Fantasy" abgeschrieben sein.
Charaktere und besonders Motivationen erscheinen vom heutigen Standpunkt aus viel zu simpel gestrickt, zu keinem Zeitpunkt schafft es die Geschichte den Leser wirklich hineinzuziehen.
Vielleicht hat LYonesse ja den Platz in den "Fantasy Masterworks" verdient, weil es seinerzeit recht erfolgreich war, mit etwas modernerer Fantasy in der selben Tradition, z.B. von Gemmel, Goodkind oder auch Hobb kann es sich aber nicht messen.
Die Story um eine Prinzessin, die der Zwangsverheiratung amit verschiedenen Mitteln zu entkommen versucht, dem strengen König, der sich um Land und Leute kümmert aber dabei als Privatmensch versagt und dem obligatorischen Krieg drumherum könnte aus dem "Handbuch für Standardplots für 08/15-Fantasy" abgeschrieben sein.
Charaktere und besonders Motivationen erscheinen vom heutigen Standpunkt aus viel zu simpel gestrickt, zu keinem Zeitpunkt schafft es die Geschichte den Leser wirklich hineinzuziehen.
Vielleicht hat LYonesse ja den Platz in den "Fantasy Masterworks" verdient, weil es seinerzeit recht erfolgreich war, mit etwas modernerer Fantasy in der selben Tradition, z.B. von Gemmel, Goodkind oder auch Hobb kann es sich aber nicht messen.
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com:
9 Rezensionen
7 von 8 Kunden fanden die folgende Rezension hilfreich
Vance's masterpiece trilogy of fantasy
10. Juli 2007
Format:Taschenbuch
Curious, there are 3 possible Lyonesse/Suldrun's Garden books to review, with different reviews on each one. Perhaps Amazon might consider addressing this.
This is without a doubt Jack Vance's most serious, mature work. He creates a fantasy setting of islands between Ireland and France set in the dark ages (post-roman), and offers a wandering, detailed and vivid story.
Some spoilers are in this review. Strongly consider whether to continue reading, as major plot threads may be discussed or deflated.
Initially the story mainly concerns itself with Suldrun, but before too long, she is gone and we gain other main protagonists, Shimrod, Dhrun and Aillas. Aillas' effort to find his son greatly resemble some of his other rambling adventure stories, with the protagonist moving from one setting to another. The journey of Dhrun and Gwyneth is similar, with Shimrod eventually joining them.
Antagonists are competent and developed as well, with Casimir being entirely too competent and ruthless for comfort, while Faude Carhiliot (sp) comes across more as a brilliant opportunist rather than a competent strategist.
I would need to check dates but it is possible this is the first time Vance developed complex and rational female characters in his story, particularly Suldrun. I have read this criticism of his work and in some cases it does appear justified (whether relevant or not is another matter), but I see no such issue in this series.
A major difference in Lyonesse compared to Vance's other works is that Vance's trademark humor, often deadpan or delivered in flatline the most outrageous or self-evident comments, is present but very subdued, and never does one feel oneself to be in a more normal vance story, where such humor can be a central feature. Lyonesse feels much more serious, and there is some doubt as to how things might work out for the major characters, particularly given that he kills his initial protagonist off so easily.
A fabulous story; I could nitpick but it is hard to find fault here.
Edit (9/26/07) Having recently reread the rest of this trilogy, I would say that this series is Vance's best. This is compared to Tschai, the Demon Princes, the Cadwal Chronicles, the Anome trilogy, and Ports of Call/Lurulu, plus whatever else I have forgotten. A major storyline is developed incrementally, numerous characters develop and many are discarded/killed in the course of the story, and a viable, and fairly complete, ending is provided.
This is without a doubt Jack Vance's most serious, mature work. He creates a fantasy setting of islands between Ireland and France set in the dark ages (post-roman), and offers a wandering, detailed and vivid story.
Some spoilers are in this review. Strongly consider whether to continue reading, as major plot threads may be discussed or deflated.
Initially the story mainly concerns itself with Suldrun, but before too long, she is gone and we gain other main protagonists, Shimrod, Dhrun and Aillas. Aillas' effort to find his son greatly resemble some of his other rambling adventure stories, with the protagonist moving from one setting to another. The journey of Dhrun and Gwyneth is similar, with Shimrod eventually joining them.
Antagonists are competent and developed as well, with Casimir being entirely too competent and ruthless for comfort, while Faude Carhiliot (sp) comes across more as a brilliant opportunist rather than a competent strategist.
I would need to check dates but it is possible this is the first time Vance developed complex and rational female characters in his story, particularly Suldrun. I have read this criticism of his work and in some cases it does appear justified (whether relevant or not is another matter), but I see no such issue in this series.
A major difference in Lyonesse compared to Vance's other works is that Vance's trademark humor, often deadpan or delivered in flatline the most outrageous or self-evident comments, is present but very subdued, and never does one feel oneself to be in a more normal vance story, where such humor can be a central feature. Lyonesse feels much more serious, and there is some doubt as to how things might work out for the major characters, particularly given that he kills his initial protagonist off so easily.
A fabulous story; I could nitpick but it is hard to find fault here.
Edit (9/26/07) Having recently reread the rest of this trilogy, I would say that this series is Vance's best. This is compared to Tschai, the Demon Princes, the Cadwal Chronicles, the Anome trilogy, and Ports of Call/Lurulu, plus whatever else I have forgotten. A major storyline is developed incrementally, numerous characters develop and many are discarded/killed in the course of the story, and a viable, and fairly complete, ending is provided.
4 von 4 Kunden fanden die folgende Rezension hilfreich
Lyonesse...per chance to dream
2. November 2009
Format:Taschenbuch
I read this on publication, many years ago. The memory of it was so precious to me that I kept it on the shelf as a prized possession while many other books came and went, championing it to all who were interested (and some who were not) as the greatest high fantasy ever conceived. But I couldn't bring myself to read it again. What if I had been wrong? What if I was disappointed and it didn't belong on the pedestal after all? About a year ago, I finally read it again in a breathless rush, in the space of 24 hours. I needn't have worried. It was as though I was meeting an old friend, and it had gained in resonance and majesty. The romance, the tragedy, the humour, the dreamlike prose and above all the storytelling. The is indeed the greatest of high fantasy and I have found nothing to compare with it in the genre.
9 von 12 Kunden fanden die folgende Rezension hilfreich
Forgotten early 80s epic fantasy by a SF grandmaster; dated yet still surprisingly modern.
29. Januar 2007
Format:Taschenbuch
Jack Vance was a thirty-year veteran of science fiction, a Nebula and multiple Hugo Award winner, when _Lyonesse: Suldrun's Garden_ was published in 1983. His assured authorial hand sets this novel apart from the huge majority of fantasy sagas, which are written by debut writers. Combined with vivid detail, including a seemingly endless variety of medieval foods, Vance's prose paints entrancing images of a fantasy world based on the lost continent of Lyonesse from the old Arthurian legends.
His shifting omniscient point-of-view may feel jarring to modern readers. Although this technique of "head-hopping" through multiple characters' thoughts in the same scene has largely been superceded in modern fiction, it was the default in Vance's era. It can leave the reader feeling distant from the characters, especially when the narrative gives large overviews of family or national history. Yet Vance's prose still places the reader as deeply inside the characters' emotions as any modern limited point-of-view, through the skill of his vivid and lyrical prose.
The organization of the book also shows the narrative fashion of a bygone era. Modern novels seize the reader by shoving many characters on-stage and immediately placing them in peril. In contrast, _Lyonesse: Suldrun's Garden_ starts with the birth of the title character and spends chapters summarizing her youth. The main character doesn't show up for almost a hundred pages, and several chapters in the middle of the book follow tangential plots. Yet all the plot threads coalesce in the end, along with the seeds of conflict for the rest of the trilogy.
Despite these antiquated narrative quirks, _Lyonesse: Suldrun's Garden_ still feels strikingly modern in several respects. The first is Vance's array of character conflicts based on the viciousness of realistic humans. There is no evil overlord, as became cliché soon afterwards from overuse by less talented writers. Yet Vance's human characters will do far more chilling things to each other than any overlord could. The second is the uncompromising strife that his characters face. The protagonists in _Lyonesse: Suldrun's Garden_ are constantly beset by torments from both enemies and friends. No good deed goes unpunished, and quests wander hopelessly. This is the same no-holds-barred style that many modern epic fantasists have adopted, for the astute reason that a brave character in peril compels readers to keep reading. This gritty or brutal modern style of epic fantasy originated with Jack Vance.
_Lyonesse: Suldrun's Garden_ stands like no other work of early 80s epic fantasy--brilliantly rendered, harshly realistic, and dated yet still anachronistically modern.
His shifting omniscient point-of-view may feel jarring to modern readers. Although this technique of "head-hopping" through multiple characters' thoughts in the same scene has largely been superceded in modern fiction, it was the default in Vance's era. It can leave the reader feeling distant from the characters, especially when the narrative gives large overviews of family or national history. Yet Vance's prose still places the reader as deeply inside the characters' emotions as any modern limited point-of-view, through the skill of his vivid and lyrical prose.
The organization of the book also shows the narrative fashion of a bygone era. Modern novels seize the reader by shoving many characters on-stage and immediately placing them in peril. In contrast, _Lyonesse: Suldrun's Garden_ starts with the birth of the title character and spends chapters summarizing her youth. The main character doesn't show up for almost a hundred pages, and several chapters in the middle of the book follow tangential plots. Yet all the plot threads coalesce in the end, along with the seeds of conflict for the rest of the trilogy.
Despite these antiquated narrative quirks, _Lyonesse: Suldrun's Garden_ still feels strikingly modern in several respects. The first is Vance's array of character conflicts based on the viciousness of realistic humans. There is no evil overlord, as became cliché soon afterwards from overuse by less talented writers. Yet Vance's human characters will do far more chilling things to each other than any overlord could. The second is the uncompromising strife that his characters face. The protagonists in _Lyonesse: Suldrun's Garden_ are constantly beset by torments from both enemies and friends. No good deed goes unpunished, and quests wander hopelessly. This is the same no-holds-barred style that many modern epic fantasists have adopted, for the astute reason that a brave character in peril compels readers to keep reading. This gritty or brutal modern style of epic fantasy originated with Jack Vance.
_Lyonesse: Suldrun's Garden_ stands like no other work of early 80s epic fantasy--brilliantly rendered, harshly realistic, and dated yet still anachronistically modern.
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