The further I go through this first book, the more I understand why many readers say that reading Malazan is a huge undertaking and requires commitment. That’s because from the very first, Erikson pulls you in to his world and throws you into the middle of the situation. And although the prologue to Gardens of the Moon is short – as prologues tend to be – it’s chock-full of content and information that at first glance might seem meaningless. One thing I’m learning is that nothing written in this book is meaningless. Everything means something.
The stains of rust seemed to map blood seas on the black, pocked surface of Mock’s Vane…Monstrous and mis-shapen, it had been cold-hammered into the form of a winged demon, teeth bared in a leering grin, and was tugged and buffeted in squealing protest with every gust of wind.
The winds were contrary the day columns of smoke rose over the Mouse Quarter of Malaz City. The Vane’s silence announced the sudden falling-off of the sea breeze that came clambering over the ragged walls of Mock’s Hold, then it creaked back into life as the hot, spark-scattered and smoke-filled breath of the Mouse Quarter reached across the city…
– Prologue Opening, GotM
If the epigraphs hadn’t got me first, this opening would have. The scene just came to life immediately, and everything that followed after wasn’t bad either: it’s clear that it’s not just world building that Erikson is good at, but also characterisation. Not so much our dear Ganoes, well not in the prologue anyway, but the Commander – the Bridgeburner – he’s got promise. These quotes, I feel are the sort you could pass by without paying much attention to, but especially with what we see in Chapter One, are far from meaningless.
‘Every decision you make can change the world. The best life is the one the gods don’t notice. You want to live free, boy, live quietly.’
‘One day I’ll be a soldier,’ Ganoes said.
The man grunted. ‘Only if you fail at all else, son. Taking up the sword is the last act of desperate men. Mark my words and find yourself a more worthy dream.’
I’m continuing on with my thoughts here, but I’m putting things under a cut, because this is where my copy of the book starts looking like a rainbow…
Book One: Pale – Chapter One
I have to admit that the first part of this chapter in particular caught my attention, and on the whole, I’m enjoying the “magical/other-worldly” parts much more at the moment. It’s intriguing. The prophecies, the witches, the “gods” from the other side of the road…
The epigraph that begins this chapter is called Mother’s Lament, credited to Anon, and it’s pretty self-explanatory, so far as I can tell anyway. The histories of war – soldiers riding through the village – someone’s son, someone’s brother, someone’s husband. The families, mothers, sisters, wives left waiting for someone who might not come home, someone who might come home but will never be the same. The old lady Rigga may be a witch, but was also a wife, a mother… and the fisher-girl, who is in awe of all the soldiers until they murder someone right in front of her was a daughter.
Rigga’s not wrong, bones are scattered, and it’s all the same whose they are in war. Any recompense for the loss of an entire family is not enough – it’s still cold in winter, it’s still cold in bed. It’s perfectly understandable that the witch is just a little more than a bit pissed off. That she feels an infinity to a girl who is oblivious to the world and why, is anyone’s guess, but it’s important regardless. In fact, Rigga’s’ prophecy may just prove to be one of the most important things in this book.
‘Mark this truth. I am the last to speak to you. You are the last to hear me. Thus we are linked, you and I, beyond all else.’
Rigga’s fingers snagged tighter in the girl’s hair. ‘ Across the sea the Empress has driven her knife into virgin soil. The blood now comes in a tide and it’ll sweep you under, child, if you’re not careful. They’ll put a sword in your hand, they’ll give you a fine horse, and they’ll send you across that sea. But a shadow will embrace your soul. Now listen! Bury this deep! Rigga will preserve you because we are linked, you and I. But it is all I can do, understand? Look to the Lord spawned in Darkness; his is the hand that shall free you, though he’ll know it not -‘
Her death shocked me, even though I’d just seen the prophecy – it was just so abrupt that I honestly wasn’t expecting it – I thought maybe she’d last a little longer, and I guess she kind of has, given that she’s linked to the girl. The odd thing is, is that I like the introduction of the ‘gods’ even though it’s at her expense. I may change my mind later, but Cotillion, Ammanas and the Hounds are most intriguing, and echo the epigraph of vengeance at the very beginning of this tale.
‘True vengeance needs the slow, careful stalking of the victim. Have you forgotten the pain she once delivered us? Laseen’s back is against the wall already. She might fall without our help. Where would be the satisfaction in that?’
What did the Empress do that delivered pain to a god/to gods? I hope I find out.
On the whole, I’m starting to get more and more intrigued with Erikson’s world, and if the rumours are to be believed – that many readers DNF after this book, before the real story even gets started – I’m already hoping that’s not the case for me.
boc-hord 