Charles De Lint - Memory and Dream

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Memory and Dream: краткое содержание, описание и аннотация

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Dreams have magic in them. A few of us have the power to make that magic real. A masterwork by one of fantasy’s most gifted storytellers: a magnificent tale of love, courage, and the power of imagination to transform our lives.
This is the novel Charles de Lint’s many devoted readers have been waiting for, the compelling odyssey of a young woman whose visionary art frees ancient spirits into the modern world.
Isabelle Copley’s visionary art frees ancient spirits. As the young student of the cruel, brilliant artist Vincent Rushkin, she discovered she could paint images so vividly real they brought her wildest fantasies to life. But when the forces she unleashed brought tragedy to those she loved, she turned her back on her talent—and on her dreams.
Now, twenty years later, Isabelle must come to terms with the shattering memories she has long denied, and unlock the slumbering power of her brush. And, in a dark reckoning with her old master, she must find the courage to live out her dreams and bring the magic back to life.
Charles de Lint’s skillful blending of contemporary urban characters and settings with traditional folk magic has made him one of the most popular fantasy authors of his generation.
Memory and Dream is the most ambitious work of de Lint’s extraordinary career, an exciting tale of epic scope that explores the power our dreams have to transform the world-or make it a waking nightmare.
It is the story of Isabelle Copley, a young artist who once lived in the bohemian quarter of the northern city of Newford. As a student of Vincent Rushkin, a cruel but gifted painter, she discovered an awesome power—to craft images so real that they came to life. With her paintbrush she called into being the wild spirits of the wood, made her dreams come true with canvas and paint. But when the forces she unleashed brought unexpected tragedy to those she loved, she ran away from Newford, turning her back on her talent-and on her dreams.
Now, twenty years later, the power of Newford has reached out to draw her back. To fulfill a promise to a long-dead friend, Isabelle must come to terms with the shattering memories she has long denied, and unlock the slumbering power of her brush. She must accept her true feelings for her newfound lover John Sweetgrass, a handsome young Native American who is the image of her most intense imaginings. And, in a dark reckoning with her old master, she must find the courage to live out her dreams, and bring the magic back to life.
Charles de Lint - Novelist, poet, artist, and musician, Charles de Lint is one of the most influential fantasy writers of his generation. With such warmly received works as Spiritwalk, Moonheart, Into the Green, and Dreams Underfoot(also set in the town of Newford), he has earned high praise from readers and critics alike, Booklist has called him “one of the most original fantasy writers currently working.” And The Magazine of Fantasy and Science Fiction writes: “De Lint shows us that, far from being escapism, contemporary fantasy can be the deep, mythic literature of our time.” De Lint and his wife MaryAnn Harris, an artist, live in Ottawa, Ontario, Canada, where they are both Celtic musicians in the band Jump At the Sun. “For more than a decade, Charles de Lint has enjoyed a reputation as one of the world’s leading fantasists.”— “A superb storyteller. De Lint has a flair for tales that blur the lines between the mundane world and magical reality, and nowhere is this more evident than in his fictional city of Newford.”— “De Lint can feel the beauty of the ancient lore he is evoking. He can well imagine what it would be like to conjure the Other World among ancient standing stones. His characters have a certain fallibility that makes them multidimensional and human, and his settings are gritty. This is no Disneylike Never-Never Land. Life and death in de Lint’s world are more than a matter of a few words or a magic crystal.” – “There is no better writer now than Charles de Lint at bringing out the magic in contemporary life ... The best of the post-Stephen King contemporary fantasists, the one with the clearest vision of the possibilities of magic in a modern setting.” — “In the fictional city of Newford, replete with the brutal realities of modern urban life, de Lint’s characters encounter magic in strange and unexpected places ... In de Lint’s capable hands, modern fantasy becomes something other than escapism. It becomes folk song, the stuff of urban myth.” —

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* *

I got a call from Alan today telling me that Nigel died last night. David brought him home from the hospital on Monday and I’d been planning to go visit him tomorrow. Now it’s too late. Christ, he never even got to turn twenty.

David told Alan that he tested positive as well, but he didn’t want anyone to know because he wanted to keep it from Nigel. “He kept saying to me over and over again,” David explained to Alan,

“right up until he died: ‘At least I know you’re okay.’ How could I tell him different?”

Here’s what AIDS has done to our community: When so many of your friends die, the sheer quantity of death ends up dehumanizing you. You start to lose the capacity to fully grieve each individual. You find yourself no longer as able to share how much you loved them, how much you miss them, not even to yourself. Your grief gets buried under the sheer multitude that we’ve lost.

* *

Plato said everything in the world is just the shadow of some real thing we can’t see. I don’t know if that’s true or not. If it is true, then I don’t want to be in the world. All my life I’ve tried to manipulate the shadows so that things will go my way for a change, but it never works out. I’m so tired of these shadows. Just for once I want to be face-to-face with what’s real. I don’t want to carve a place for myself from the shadows. I want to carve a place for myself from what casts the shadows and let the chips fall as they may.

* *

Alan took me out to lunch today. When we left the apartment I got this sudden tightness in my chest and I almost couldn’t move through the door. I realized that I hadn’t been outside since I’d gone to see Dr. Jane earlier in the week. It took me most of the time I was out with Alan just to get myself to feel that being away from home was normal.

* *

Sometimes, when I’m talking to people, I forget what words mean and I can’t explain anything. I talk, but I don’t know what I’m talking about. I’m standing there, my mouth’s moving, and all I hear in my head is “yadda, yadda, yadda.” The only time it’s never happened is when I’m at the Foundation, talking to the kids. I think they ground me, or something.

Those kids. Some of them are so sweet and brave it breaks my heart that we can’t do more for them. But we’re always in a running battle with their parents or the people from the child-services office.

Everybody knows what’s best for them. Everybody’s got advice. Everybody’s got a solution. I say let the kid decide, but nobody wants to hear that.

* *

I finally figured out that I’m solitary by nature, but at the same time I know so many people; so many people think they own a piece of me. They shift and move under my skin, like a parade of memories that simply won’t go away. It doesn’t matter where I am, or how alone—I always have such a crowded head.

When I told Dr. Jane about it, she asked me how long I’d felt that way. I didn’t even have to think about it.

“I’ve always felt that way,” I told her.

* *

I wish I could foresee a better ending for the story of my life. The whole reason for telling stories, even like this when I’m telling one to myself, is to insist that there’s some kind of meaning, or at least shape, to the messy collage of incidents that make up our lives. Most of us have to believe that we’re floundering through the confusion for some particular reason or we simply can’t bear the thought of existence.

I’d like to live for the moment, for the right now. I’d like to always be in the present and not have to carry around the baggage of everything that’s gone before. I’d like to not feel disappointed because all the pieces of my life don’t add up to a story with a coherent plotline and a satisfactory ending.

If I were ever to kill myself, it wouldn’t be to end my life. It would be for a far simpler reason: amnesia.

tertium quid

WHAT THE CROW SAID

Though friendly to magic

I am not a man disguised as a crow

I am night eating the sun

—Michael Hannon, from Fables

I

Newford, September 1992

Roger Davis sat at his desk in the Crowsea police precinct and studied his partner’s features as Thompson spoke on the phone. The Mully murder case had led them up one dead end into another, but they’d finally gotten a break. An earlier call from the woman’s husband had had them out looking for Alan Grant again. Mully’s daughter claimed to have seen Grant in the hotel at the right time for him to have done it, all his protestations to the contrary.

He looked good for it. He had the right motive and now they had someone to put in the right place at the right time, but something didn’t feel right to Davis. The man they’d interviewed earlier today had been scared, sure, but not guilty scared. More like, how’d-I-get-mixed-up-in-this/what-am-I-gonna-do-to-get-them-to-believe-me scared. Still, they had the girl’s testimony and Davis had been wrong before. He figured he’d just let the DA’s office sort it all out. Until this call came in, it had only been a matter of picking Grant up and booking him.

When Thompson finally got off the phone, he gave Davis a weary look. “That was the daughter,” he said.

“I figured as much.”

“She says it wasn’t Grant she saw in the hallway.”

Davis sighed. So much for getting a break in the case. “She’s changing her story?”

“Changing her mind, sounds like. Said she was sick of lying.”

“Would it help if we brought Grant in for a lineup?” Davis asked.

“She says she knows what he looks like well enough, thank you very fucking much, and it wasn’t him.”

Tired as he was, Davis had to smile as he imagined the Mully girl saying “thank you very fucking much” to his partner.

“Was that a direct quote?” he asked.

“Fuck you, too,” Thompson told him.

It was the father who’d had them come back to the hotel and made Susan Mully tell them who she’d seen in the hallway. Of course this was after they’d already cut Grant loose. But now the kid was having an attack of conscience and calling it off. He wondered if the father knew.

Davis rose to his feet. “I’ll cancel the APB on Grant.”

Thompson nodded. “Now all we’ve got left is the Indian the desk clerk saw.”

Taking the elevator up to the same floor as the Mullys were on at just about the same time as the coroner’s estimated time of death. Right. His description fit just about every fifth person on the skids in that part of the city and of course he’d have all kinds of motive, wouldn’t he?

The case, Davis realized, was dead in the water and he doubted that it’d ever get resolved. And the thing of it was, it wouldn’t exactly break his heart. He’d never much cared for Margaret Mully—or at least not for the woman he’d seen on the news or read about in the paper. So far as Davis was concerned, the Newford Children’s Foundation was doing a bang-up job and anybody trying to screw them the way she was doing deserved what she’d got. But that wasn’t an opinion he’d share with anyone—not even to his partner.

“Just let me deal with the APB, Mike,” he told Thompson, “and then we’ll talk about where we go from here.”

II

John crouched outside the window, balancing easily on the narrow ledge, and watched the drama as it unfolded before him. He could have applauded when Isabelle stood up to Rushkin, unwilling to admit even to himself that he hadn’t been sure how she’d respond to his offer. He waited patiently as Bitterweed led Isabelle away, watched his doppelganger return alone, listened as Rushkin sent Bitterweed and Scara away to hunt.

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