By Katharine Kerr
At the same time a tender woman, Jill was once a favourite of the paranormal, mysterious Wildfolk, who seemed to her from their invisible realm. Little did she be aware of her awesome acquaintances represented yet a glimpse of a forgotten earlier and a fateful destiny. 400 years-and many lifetimes-ago, one egocentric younger lord prompted the demise of 2 blameless fanatics. Then and there he vowed by no means to leisure until eventually he'd righted that wrong-and laid the basis for the lives of Jill and all these whom she might carry pricey: her father, the mercenary soldier Cullyn; the exiled berserker Rhodry Maelwaedd; and the traditional and strong herbman Nevyn, all sure in a fight opposed to darkness. . . and a quest to satisfy the destinies made up our minds centuries in the past. the following during this newly revised variation comes the great novel that all started one of many best-loved myth seers in fresh years--a story of daring experience and undying love, perilous conflict and natural magic. For long-standing fanatics of Deverry and those that haven't begun to adventure this interesting sequence, Daggerspell is an extraordinary and precise deal with.
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Additional info for Daggerspell (Deverry, Book 1)
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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