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I first came to this book through the published endorsement (hence, not personal) of the great C.S. Lewis, who made his first reading of the Well in November of 1914. He read it many times thereafter.
In my ONE reading of the two volumes, I can attest to the fact that this is a beautiful story, a rich fantasy, a vibrant fairy-tale with no fairies. Among other things... a love story. Strictly speaking, as regards genre, it is a "romance". The chivalric, bardic story of Ralph of Upmeads, the least likely of the King's four sons, who devotes his life to the quest of the Well at The World's End... a fabled well which promises to reward its discoverer with perpetual youth.
If you are in love with Tolkien's The Lord of The Rings (and who isn't) you should definitely consider having an affair with The Well At The World's End. Let me defuse the daunting issue of Morris's use of archaic language. Be ye warned, in every sentence you will constantly encounter words such as forsooth, hitherward, quoth, whither, rideth, erstwhile, deem, draweth, betwixt, and I wot not else. At first I thought this would be really intolerable. But I quickly adapted to it, and even found it kind of "not vile".
Remember... Volume 2 is essential. It's NOT a sequel, it's a conclusion. Get both volumes, and escape the world of car horns and remote control for a bit.
I applaud this new re-issue of what is definitely a fantasy classic. Previously, one had to search a hundred used-book stores to find it. Now it's a click away.
And as regards it's place on the bestseller list? I am reminded of the wise words of the great Henrik Ibsen, who once suggested that "the solid majority is always wrong."
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This is less a "prank" letter book than it is a manual on the art of effective consumer complaining, but this doesn't detract at all from its laugh-out-loud humor. Winkle is an odd and wonderful mixture of consumer crusader and merry prankster.
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more but just illusions.
The bottom line - if you strive for knowledge or if you have negative thoughts swimming safely in the ocean of your mind. Have this book, then read it, then apply things you've learned from it in daily life. RESULTS = almost PERFECT
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This set of books really hooked my daughter on reading. We gave these to her when she started Kindergarten and she would read them on the way to school. The nice thing about having 12, is that when she mastered one of them, her 'reward' was to get the next! These books provided her first good experience with reading.
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If this is a compliment, it is one that is well-deserved. Crowley's writing has a magical quality that creates a unique atmosphere unlike almost any other (the nearest comparison might be Keith Roberts' "Pavane").
"Aegypt" appeared as an individual volume with virtually no clue to the fact that it had a sequel ("Love and Sleep") or that in fact these two books were the first of a four-volume set (the third, "Daemonomania", seems to have been delayed - it appeared in Books In Print in 1998 but has, according to Bantam, been "withdrawn").
The books are set in two worlds - a small-town, modern, north-east US environment and the world of Renaissance magicians like Dr John Dee. At the heart of the series is the idea that great changes of direction in human civilisation - such as the Renaissance or the advent of the Age of Reason - not only place culture on a different path into the future, but also, looking over our shoulders as it were, we see a different past. This is a concept that, in itself, has serious philosophical merit.
Thus the past of "Aegypt" is a magical, occult "alternate history of the world" with which modern materialist society has lost touch - or nearly so.
Crowley weaves the threads of both realities together in an astonishing and unique way that holds the reader in thrall, wishing it would never end.
All his books are worth reading, but this one - and its sequel(s) - especially so.
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I definitely plan on getting the first two volumes of this series, and continuing my education on the history of Byzantium.
All three volumes read like a eulogy at the funeral of beloved relative. In this period of dehumanizing social sciences Norwich brings the people of the past alive, and treats them with respect and dignity even when their behavior does not necessarily inspire kind treatment. The role and majesty of Byzantium has been overlooked in the West for centuries; in doing his best to rectify that Norwich has created one of the masterpieces of historical writing.
William Morris (according to Lin Carter) is the founder of modern fantasy literature and The Well at the World's End is his masterpiece. And after reading this book and the little that I have about the author I find it odd that his works are not more widely read or discussed in the fantasy literature community. I searched the internet and various bulletin boards and found a few isolated discussions or worthy mentions, but nothing like what this novel or its author deserve. So here I am, giving credit where it's due.
The Well at the World's End employs an archaic style of prose and a clear mastery of the novel form to tell an old fashioned bardic story of an imaginary medieval land. Ralph of Upmeads, the son of a little known King of a northern land, plays our eager adventure-seeking hero. We travel through a host of towns and villages, forests and castles as Ralph seeks the enigmatic Well that everyone has heard about, but only a handful have ever been there or returned alive. At the beginning of the novel Morris' style was a little of a burden for me. There is a quite a bit of archaic vocabulary I had to get used to in addition to the rather formal style. Even through all of the 560 pages I had to read this book more slowly than most books lest I find myself unable to understand the often unfamiliar arrangements of Morris' words into sentences. All of this can get tedious or repetitive at times but at other times I found myself stopping to marvel at a perfectly realized sentence or piece of dialogue. And I have to give Morris credit for the poetry; although less abundant, it is better than Tolkien's.
Tolkien was heavily influenced by Morris, and some of the elements in The Well at the World's End will be curiously familiar to fans of Lord of the Rings. There's a horse named Silverfax, a Fellowship of Champions, a Lord named Gandolf, a rock sea-plain surrounding a volcano (Mordor?), and a scene where the old hiding-under-the-magical-cape-that-looks-like-a-rock trick is employed. Even the ending resembles the scouring of the shire (the hero comes home only to find his homeland in upheaval). But the only vague similarity I could find between Tolkien's Ring and Morris Well is when a certain character references the power of the Well and his unwillingness to use it lest he should abuse it (sounds familiar). Of course, both novels also center around the idea of the heroic quest. The difference is that Morris' story veers toward romance (and indeed it is a romance in its own right) whereas Tolkien strays into more universal issues like divine providence, anti-industrialism/modernism, etc. In this respect Tolkien's story seems to be more applicable to the modern individual.
So now for the big question: is it better than The Lord of the Rings? Well, not exactly. In comparing Tolkien to Morris on the basis of their two masterpieces I would say that Morris displays a more developed sense of the technical side of storytelling but falls short of Tolkien when it comes to world-building, historical authenticity, and emotional involvement of the reader. The Well at the World's End has a very "tight" storyline in that Morris never strays into tangents or gets sidetracked. The entire book is highly linear and chronologically regular (that is the ratio of time passage to a given number of pages remains constant). All this results in what one might call near perfect style but it also means that we miss those interesting quirks that are so abundant in Tolkien's writings. All of those "flaws" (Bombadil) and "overly elaborate" descriptions (just about the whole of LOTR) give Middle Earth a sense of history and the reader a sense of discovery that isn't quite matched by Morris. Of course, Morris wrote as long before Tolkien as Tolkien did before modern authors so the fact that his works stands up in comparison is a tribute to his abilities. Indeed, it is surprising to learn that Morris was not a writer by trade given the quality of this book.
One might say that Tolkien felt a little bewildered by the modern world and wanted to go back to an earlier time when man was not constrained or corrupted by modern devices of his own making. The medieval period of northern Europe was the perfect place for his stories and for the stories of many fantasy authors both before and after him. I felt a similar desire to go back...to the very first of those books that brought us the magic of modern fantasy.