By L. E. Modesitt Jr.
The most important fable from L. E. Modesitt, Jr. to date, shades of Chaos is the tale of the White Chaos wizard Cerryl: his schooling in lifestyles and love, and his upward push to strength within the magicians guild of Fairhaven. this can be the direct sequel to The White Order, which advised of Cerryl's boyhood and adolescence, and happens whilst the occasions in Modesitt's previous novel, The Magic Engineer. but it stands on my own, the longest Recluce novel, a portrayal of the expansion and alter of personality and of the strengths and weaknesses of an age-old civilization held jointly by means of the facility of magic.
Ceryl, now a whole mage within the White Order, needs to end up himself indispensible to Jeslek, the excessive Wizard. even if via assassination, potent gorvernance of occupied territory or the fearless and shrewdpermanent path of troops in conflict, Ceryl faces many harrowing hindrances, now not the least of that's Anya, the plotting seductress who's the genuine strength behind the curtain of the white wizards. together with his wits, his integrity, and the help of his love, the Black healer Leyladin, he needs to live to tell the tale lengthy adequate to assert his rightful spot in the ruling heirarchy of the White Order.
This is a must-read for fans of the Saga of Recluce, providing a different, sympathetic standpoint of the White Chaos wizards-the forces that all through heritage have antagonistic the magicians of Recluce.
Colors of Chaos is the 9th ebook within the saga of Recluce.
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Additional info for Colors of Chaos (Saga of Recluce, Book 9)
Psychic ambivalence, as Angus Fletcher reminded us in his superb, path-breaking book, Allegory, does not mean mixed feelings but rather a mixture of diametrically opposed feelings, usually related to a concept of taboo. If the extreme degree of ambivalence is, as Fletcher said, irony or allegory, we need to remember that for Freud the masterpiece of psychic ambivalence was the Oedipal conflict. This conflict emerged for Freud most vividly both in the taboo and in the psychoanalytical transference, but I think that Freud always repressed his rather shady basing of the structure of the transference upon the structure of the taboo.
Yet I will assert for it a greatness that few contemporary critics might grant, and part of that greatness is the book's near-perfection in a particular kind of romance invention, as once it would have been called, that kind we have agreed to call fantasy. I am moved by Eric Rabkin's insight when, in his recent anthology of fantasy, he places A Voyage to Arcturus together with Alice in Wonderland in his range (10) category of fantasy, meaning the outer limit of the mode, after which I suppose we would pass into a strange new Scripture, a revelation like that of the Gnostic Valentinus or of Joachim of Flora.
I invoke Carlyle deliberately, because he is the tutelary spirit who Page 2 informs Lindsay's frightening romance, which is a direct descendant of Sartor Resartus. Indeed Carlyle himself, I take it, is the perhaps unconscious model for the god or demi-god Krag, just as Walter Pater and his disciple Oscar Wilde served Lindsay as repressed models for Krag's adversary, Crystalman or Shaping. But I will postpone an account of the Carlyle-Pater agon in A Voyage to Arcturus until I have explored some opening aspects of my clinamen or ironic swerve into a beginning for a theory of fantasy.
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