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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The wind took the sound of her voice and tore it into tatters too small to carry. She forced herself forward through the snow.

“John!” she cried again.

XIII

Oh, Jesus!” Alan cried as Isabelle’s blood washed over them both.

He’d managed to knock the utility blade out of Isabelle’s hand, but he’d been too late to stop her from cutting herself. His forward momentum knocked Isabelle into the wall behind her, cracking the back of her head with enough of an impact to dent the plaster. As she started to slide down, he grabbed her shoulders, fingers slipping on the bloody fabric of her shirt. He let go one hand to support her head and slowly lowered her dead weight to the floor.

All her muscles had gone slack. When he finally had her on the floor, her head lolled to one side. The blood was making his stomach do flips. He stared numbly at the horrible sight, gaze blurring with tears.

“She ... she ... she ...”

She’d really done it, was what he was trying to say, but the words locked in his throat, corning out only as sobs. He stared at her, feeling more sick by the moment.

Behind him, Marisa finally broke her paralysis. She grabbed clean rags from the worktable and hurried to his side, feet almost sliding out from under her on the polished wood floor as she rushed.

“We’ve got to stanch the flow of blood,” she said. “I’ll hold these in place while you try to get through the door.”

Alan gave her an anguished look. “But ... but she’s ...”

“She’s not dead,” Marisa said, shouldering him aside. “But she will be if we don’t get her some help soon.”

“All this blood ...”

Marisa swallowed thickly. “I know.” She swabbed at Isabelle’s neck with one of the rags. The white cloth immediately turned crimson. “But look,” she added, pointing to the actual wound on the side of Isabelle’s throat. “You deflected her aim enough so that all she cut was the fleshy part of her throat. It’s not as bad as it looks.”

“It’s ... not?”

“The door.”

Still numbed by shock, Alan turned to look at it.

“It’s not that thick,” Marisa said. She didn’t look at him, concentrating her attention on Isabelle. “See if you can’t ram something through one of its panels. Or even the walls—Christ, they’re only plaster.”

Alan turned back to look at Isabelle. A shudder ran up his spine. “But she’s so still,” he said.

“I think you knocked her out when you banged her up against the wall.”

“Jesus. I never meant to—”

“The door, Alan!”

This time something got through to him. He shook his head and rose unsteadily to his feet to look around the room. After a moment, he swept his arm across the top of the worktable, knocking its contents to the floor. Then, using the long table as a makeshift battering ram, he aimed the point of one of its corners at the door and slid it across the floor. The point hit a wood panel with a satisfying crunch, but it didn’t break through.

Alan pulled the table back. He looked at the door, imagining that it was Rushkin standing there, and heaved the table forward again. This time the point of the corner went right through the thin wood of the door panel.

“One more shot,” he called back over his shoulder to Marisa.

She didn’t answer. She was too busy stanching Isabelle’s wound.

It was still Rushkin’s face that Alan saw in the wood panel as he drove the point of the table’s corner into it a third time. When he pulled the table back there was enough of a hole in the door for him to put a hand through and fumble for the key that was still in the lock on the other side.

XIV

The third time Isabelle called his name, John turned.

“Don’t,” she cried, floundering on through the snow toward him. “Please don’t go.”

But this time there was no coldness in John’s eyes. No rejection. When he saw her, he hurried forward, reaching out a hand to help her reach the comparatively easier passage created by a trough in the drifts that ran up to the corner of the house.

“I know I can do it right this time,” Isabelle said, once they reached the sheltering lee of the house.

The wind wasn’t so strong here. The snow didn’t fall as thick. “I promise you, I won’t screw it up. I’ll save the numena and Kathy.”

In the light cast by the bulb hanging above the back porch, she studied John’s features, wanting to see that he believed in her, that he trusted her to do the right thing this time, but John was looking at her strangely.

“What ... what is it?” she asked.

“You’re Izzy again,” he said.

Old nickname, given name, what was the difference? Isabelle thought. There were more important things to deal with at the moment than names.

“No,” he went on, understanding from the look on her face what she was thinking. “I mean you’re young again.”

“Young ... ?”

Isabelle turned toward the nearest window. The image reflected back was hard to make out because of the streaks of frost that striped the pane, but she could still see what he meant. It was Izzy in the reflection—herself, almost twenty years younger. She lifted a wondering hand to her face. When the reflection followed suit, she shivered.

“Let’s get out of this cold,” John said.

“Where can we go?” she asked.

He pointed to the fire escape, festooned with Paddyjack’s ribbons. Isabelle hesitated, not sure she could go. What if she found herself inside, crying into her pillow, brokenhearted? But when John took her arm and led her toward the metal steps, she went with him, up the fire escape, hand trailing along the metal banister, fingers tangling in the strips of colored cloth. At the top of the landing, John took a small penknife from his pocket and inserted it between the windows. It took him only a moment to pop the latch. Stowing away the knife, he pulled the window open and ushered her inside. As he closed the window behind them, keeping out the cold and snow, Isabelle gazed about at the familiar confines of her old bedroom. It looked exactly the way she remembered it except it seemed smaller.

The warmth inside was comforting, but Isabelle still shivered, as much from the eeriness of being where—and when—she was as from the chill she’d gotten outside. Her cheeks stung as the warm air settled on her skin. John made a slow circuit of the room, then sat down on the edge of the mattress.

After a moment, she followed suit.

“What were you saying earlier?” John asked. “About starting over?”

Isabelle turned to him, pulling her gaze away from its inventory of the room’s contents—all the remembered and forgotten objects that at this point in her life, almost twenty years later, seemed to be so much found art, gathered here together in her old bedroom by someone else, like a set for some kind of

“This Is Your Life” television show.

“I feel like I’m being given a second chance,” she said, “Returning here like this, I mean. This time I can do everything right.”

“This isn’t the past.”

“But ..... Isabelle gazed pointedly at the mirror on the far side of the room, where a reflection of her younger self looked back at her. “Then what is it? Just memory?”

John shook his head. “We’re in a maker’s dream—just as we were that other winter night all those years ago.”

“I don’t understand.—What maker?”

“You. We’re in your dream.”

Isabelle stared at him. “You’re telling me it isn’t real? That I’ve made this all up?”

“I don’t know if you actually made it up,” John said, “or if you simply brought us here. But what I do know is that what happens here reflects back into the world we’ve left behind us.”

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