Weaveworld. Клайв Баркер
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That is not to say my attitude to the work does not continue to change. In the past ten years I’ve gone through periods when I was thoroughly out of sorts with the novel, even on occasion irritated that it found such favour with readers when other stories seemed more worthy. And in the troughs of my discomfort, I made what with hindsight seems to be dubious judgments about fantastic fiction as a whole. I have been, I think, altogether disparaging about the ‘escapist’ elements of the genre, emphasizing its powers to address social, moral and even philosophical issues at the expense of celebrating its dreamier virtues. I took this position out of a genuine desire to defend a fictional form I love from accusations of triviality and triteness, but my zeal led me astray. Yes, fantastic fiction can be intricately woven into the texture of our daily lives, addressing important issues in fabulist form. But it also serves to release us for a time from the definitions that confine our daily selves; to unplug us from a world that wounds and disappoints us, allowing us to venture into places of magic and transformation. Though of late my writing has concerned itself more and more with detailing that wounded, disappointing reality, as a reader I have rediscovered the pleasures of unrepentant escapism: the short fiction of Lord Dunsany, early Yeats poems, the paintings of Samuel Palmer and Ernst Fuchs.
The author who wrote Weaveworld has, however, disappeared. I’ve not lost faith with the enchantments of fantasy, but there is a kind of easy sweetness in this book that would not, at least presently, come readily from my pen. We go through seasons perhaps; and Weaveworld was written in a balmier time. Perhaps there’ll be another. But its tender inventions seem very remote from the man writing these words.
Maybe that’s why, when I sat down to work this morning, I thought of that sill in North Wales, and the orchard and the wall and the meadow. They too are remote, yet – like the copy of Weaveworld that sits beside me on the desk – they are here with me still; part of my past, and yet present.
That which is imagined need never be lost, runs the epigram in the book of faery-tales Mimi Laschenski leaves in her granddaughter’s keeping. The book will become a repository, before the story of Weaveworld is told; a place where vulnerable enchantments can take refuge. So inner and outer books, tales of Faerie and of Fugue, collapse into a single idea, the same precious idea that brings readers to bookstores with battered copies to be signed, and me, back to memories of a sill and an orchard to set before you. It’s such a simple idea, but it still seems to me miraculous: that in words we may preserve ideas and images precious to us. Not only preserve them, but pass them on. To dream in isolation can be properly splendid to be sure; but to dream in company seems to me infinitely preferable.
C.B.
‘I for one, know of no sweeter sight for a man’s eyes than his own country …’
Homer
The Odyssey
1
There is no first moment; no single word or place from which this or any other story springs.
The threads can always be traced back to some earlier tale, and to the tales that preceded that; though as the narrator’s voice recedes the connections will seem to grow more tenuous, for each age will want the tale told as if it were of its own making.
Thus the pagan will be sanctified, the tragic become laughable; great lovers will stoop to sentiment, and demons dwindle to clockwork toys.
Nothing is fixed. In and out the shuttle goes, fact and fiction, mind and matter, woven into patterns that may have only this in common: that hidden amongst them is a filigree which will with time become a world.
It must be arbitrary then, the place at which we choose to embark.
Somewhere between a past half forgotten and a future as yet only glimpsed.
This place, for instance.
This garden, untended since the death of its protector three months ago, and now running riot beneath a blindingly bright late August sky; its fruits hanging unharvested, its herbaceous borders coaxed to mutiny by a summer of torrential rain and sudden, sweltering days.
This house, identical to the hundreds of others in this street alone, built with its back so close to the railway track that the passage of the slow train from Liverpool to Crewe rocks the china dogs on the dining-room sill.
And with this young man, who now steps out of the back door and makes his way down the beleaguered path to a ramshackle hut from which there rises a welcoming chorus of coos and flutterings.
His name is Calhoun Mooney, but he’s universally known as Cal. He is twenty-six, and has worked for five years at an insurance firm in the city centre. It’s a job he takes no pleasure in, but escape from the city he’s lived in all his life seems more unlikely than ever since the death of his mother, all of which may account for the weary expression on his well-made face.
He approaches the door of the pigeon loft, opens it, and at that moment – for want of a better – this story takes wing.
2
Cal had told his father several times that the wood at the bottom of the loft door was deteriorating. It could only be a matter of time before the planks rotted completely, giving the rats who lived and grew gross along the railway line access to the pigeons. But Brendan Mooney had shown little or no interest in his racing birds since Eileen’s death. This despite, or perhaps because, the birds had been his abiding passion during her life. How often had Cal heard his mother complain that Brendan spent more time with his precious pigeons than he did inside the house?
She would not have had that complaint to make now; now Cal’s father sat most of every day at the back window, staring out into the garden and watching the wilderness steadily take charge of his wife’s handiwork, as if he might find in the spectacle of dissolution some clue as to how his grief might СКАЧАТЬ