Jonathan Strahan - Swords & Dark Magic - The New Sword and Sorcery

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Swords & Dark Magic: The New Sword and Sorcery: краткое содержание, описание и аннотация

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A truly breathtaking new anthology edited by Jonathan Strahan and Lou Anders,
offers stunning new tales of sword and sorcery action, romance, and dark adventure written by some of the most respected, bestselling fantasy writers working today—from Joe Abercrombie to Gene Wolfe. An all-new Elric novella from the legendary Michael Moorcock and a new visit to Majipoor courtesy of the inimitable Robert Silverberg are just two of the treasures offered in
—a fantasy lover’s dream.
Elric…the Black Company…Majipoor. For years, these have been some of the names that have captured the hearts of generations of readers and embodied the sword and sorcery genre. And now some of the most beloved and bestselling fantasy writers working today deliver stunning all-new sword and sorcery stories in an anthology of small stakes but high action, grim humor mixed with gritty violence, fierce monsters and fabulous treasures, and, of course, swordplay. Don’t miss the adventure of the decade!
Swords & Dark Magic
New York Times
Cover illustration © by Benjamin Carré
Seventeen original tales of sword and sorcery penned by masters old and new

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I looked at the boy, and I could remember the theory perfectly, every last detail, every last lecture note. His eyes were closed; he had a stupid face, fat girly lips, fat cheeks. If he lived, he’d grow up tall, solid, double-chinned, gormless; the son of the farm. Pork fat and home-brewed beer; he’d be spherical by the time he was forty, strong enough to wrestle a bullock to its knees, slow and tireless, infuriatingly calm, a man of few words; respected at the market, shrewd and fat, his bald patch hidden under a hat that would never come off, probably not even in bed. A solid, productive life, which it was my duty to save. Lucky me.

Theory; theory is your lifeline, they used to tell me, your driftwood in a shipwreck. I reminded myself of the basic propositions.

To recover a lost mind, first make an entrance. This is usually done by visualizing yourself as a penetrating object: a drill bit, a woodpecker’s beak, a maggot. The drill bit works for me, though for some reason I tend to be a carpenter’s auger, wound in with a brace. I go in through the spiral flakes of waste bone thrown clear by the wide grooves of the cutter. I assume it’s from some childhood memory, watching Grandad at work in the barn. You’re not really supposed to use personal memories, but it’s easier, for someone with my limited imagination.

Once you’re in, first ward, immediately, because you never know what might be waiting for you in there. I raised first ward as soon as I felt myself go through. I use scutum fidei , visualize a shield. Mine’s round, with a hole in it at twelve o’clock so I can see what’s going on.

I peered through the hole. No nasty creatures with dripping fangs crouched to pounce, which was nice. Count to ten and lower the shield slowly.

I looked around. This is the crucial bit, and you mustn’t rush. How long it takes depends on the strength of your gift, so naturally I take ages. The light gradually increases. First things first; get your bearings. Orientate yourself, taking special care to get a fix on the point you came in by. Well, obviously. If you lose your entry point, you’re stuck in someone else’s head forever. You really don’t want that.

I lined up on the corners of a ceiling, drawing diagonal lines and fixing on their point of origin, measuring the angles with my imaginary protractor (it’s brass, with numbers in gothic italic). One-oh-five, seventy-five; repeat the numbers four times out loud, to make sure they’re loaded into memory. Fine. Now I know where I am and how to get out again. One-oh-five, seventy-five. Now, then. Let the dog see the rabbit.

I was in a room. It’s nearly always an interior; with kids, practically guaranteed it’s their bedroom, or the room they sleep in, depending on social class and domestic arrangements. In all relevant essentials, it was the room upstairs I had him carried down from. Excellent; nice and small, not many places to hide anything. So much easier when you’re dealing with a subject of limited intelligence.

I visualized a body for myself. I tend not to be me. With children, it’s usually best to be a nice lady; the kid’s mother, if possible. I’m not good enough to do specific people, and I have real problems being women. So I was a nice old man instead.

Hello, I said. Where are you?

Don’t worry if they don’t answer. Sometimes they do, sometimes they don’t. I walked around the bed, knelt down, looked under it. There was a cupboard; one of those triangular jobs, wedged in a corner. I opened that. For some reason, it was full of the skins and bones of dead animals. None of my business; I closed it. I pulled the covers off the bed, and lifted the pillow.

Odd, I thought, and touched base with theory. The boy must still be alive, or else there would be no room. If he’s alive, he must be in here somewhere. He can’t be invisible, not inside his own head. He can, of course, be anything he likes, so long as it’s animate and alive. A cockroach, for example, or a flea. I sighed. I get all the rotten jobs.

I adjusted the scale, making the room five times bigger. Go up in easy stages. If he was being a cockroach, he’d now be a rat-sized cockroach. If he was being a rat, of course, he’d be cat-sized and capable of giving me a nasty bite. I used lorica , just in case. I looked under the bed again.

I visualized a clock, in the middle of the wall opposite the door. It told me I’d been inside for ten minutes. The recommended maximum is thirty. Really first-rate practitioners have been known to stay in for an hour and still come out more or less in one piece; that’s material for a leading article in the journals. I searched again, this time paying more attention to the contents of the cupboard. Dried, desiccated animal skins: squirrels, rabbits, rats. No fleas, mites, or ticks. So much for that theory.

I visualized a glass jug, to represent my energy level. You can use yourself up surprisingly quickly and not know it. Just as well I did. My jug was a third empty. You want to save at least a fifth just to get out again. I visualized calibrations, so as to be sure.

Quick think. The recommended course of action would be to visualize a tracking agent (spaniel, terrier, ferret), but that takes a fair chunk of your resources; also, it burns energy while it’s in use, and getting rid of it takes energy, too. I drew a distinct red line on my measuring jug, and a blue line just above it. The alternative to a tracker is to increase the scale still further; twenty times, say, in which case your cockroach will be a wolf-sized monster that could jump you and bite your head off. I was still running lorica , but any effective ward burns energy. If I found myself with a fight on my hands, I could dip below that essential red line in a fraction of a second. No, the hell with that.

I visualized a terrier. I’m not a dog person, so my terrier was a bit odd; very short, stumpy legs and a rectangular head. Still, it went at it with great enthusiasm, wagging its imaginary tail and making little yapping noises. All around the room, nose into everything. Then it sat on the floor and looked at me, as if to say, Well?

Not looking good. My jug was half-empty, I’d used up my repertoire of approved techniques, and found nothing. Just my luck to get a special case, a real collector’s item. Senior research fellows would be fighting each other for the chance of a go at this one, but I just wanted to get the job done and clear out. Wasted on me, you might say.

I vanished the dog. Quick think. There had to be something else I could try, but nothing occurred to me. Didn’t make sense; he had to be in here somewhere, or there’d be no room. He couldn’t be invisible. He could only turn himself into something he could imagine—and it had to be real; no fantasy creatures the size of a pin-head. At five times magnification, a red mite would be plainly visible; also, the dog would’ve found it. Tracking agents, even inferior ones visualized by me, smell life. If he was in here, the dog would’ve found him.

So—

As required by procedure, I considered abandoning the attempt and getting out. This would, of course, mean the boy would die; you can’t go back in twice, that’s an absolute. I’d be within my rights, faced with an enigma on this scale. The failure would be noted on my record, of course, but there’d be an annotation, no blame attaches , and it wouldn’t be the first time, not by a long way. The kid would die; not my problem. I’d have done my best, and that’s all you have to do.

Or I could think of something. Such as what?

They tell you: be wise, don’t improvise. If in doubt, get out. Making stuff up as you go along is mightily frowned on, in much the same way as you’re not encouraged to fry eggs in a fireworks factory. There’s no knowing what you might invent, and outside controlled conditions, invention could lead to the Cartographic Commission having to redraw the maps for a whole county. Or you could make a hole in a wall, which is the worst thing anybody can do. At the very least, I’d be sure to end up in front of the Board, facing charges of unauthorized innovation and divergence. Saving the life of some farm kid would be an excuse, but not a very good one.

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