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A PORTRAIT OF THE ARTIST AS A TROUBLED MAN

The world of Chimeras is very like our own. But for one difference. In Christopher Evans’ evocatively portrayed land, some people have an incredible gift. They can create dazzling works of art from the nothingness of the space before them. Moving statues of incandescent gold shimmer into life, literally out of the air. The very best artists conjure wonderful pageants of soldiers glorious in battle or rich Lords helping the common man. They bring a little magic into the drudgery of the peasants’ lives – and re-write history into the bargain.

Chimeras tells the story of Vendavo, the greatest artist of them all. He’s the man sought after by Jormalu, the new leader of the ruthless Hierarchy, to produce images, statues and public performances in his honour. Vendavo agrees – it is prestigious work.

But there are rumblings of discontent in the land and rumours of revolution. If it succeeds, Vendavo might be compromised.

Ed Carter, a New York reporter on his way to his home town in Omaha for a short vacation, saw the missile in the last moments in its journey back to earth. A sweller on the brink, like all of us, he had no doubt about what it was; Oh God, he thought, this is it. The blast of the impact flung him some distance, and when he regained consciousness, his first reaction was one of surprised to find himself still alive, and not, it seemed, even badly hurt. Presumably the missile had been directed at the big Air Force base nearby, and should have destroyed everything and everyone within a radius of miles. Could it have failed to explode?

Carter sees the remains of part of the missile in an adjacent field and hobbles over to it. A minute or two later several Air Force officers arrive. They examine the remains, and find the burned-up body of a pilot. In other worlds, the missile was not Russia’s first shot in the Third World War, but a failure to launch a man into space. But Carter knows that the Distant Early Warning line will have reported the missile; that the senior Air Force officers, in accordance with plan, will have taken to the air – in the country’s interest, their lives must, of course, be preserved if possible; that by now the retaliatory American bombers will have passed the point of no recall; and that the Third World War has begun. Not so, Colonel Ben Goldwater tells him: “I called the bombers back.”

Goldwater, the man who had been left in command, has saved the world – for at least a little longer. So he becomes a world hero? Not a bit of it. On the contrary: a nightmare looms ahead both for him and for Ed Carter, and the reader watches it all with growing fury…

The hill below the fortress of Taurovinda, stronghold of Urtha, High King of the Cornovidi, is coming alive: the Otherworldly realm of the Shadows of Heroes are claiming the land as their own. But this time their actions are driven by a force that is darker and older than even the oldest among the ghosts. Who or what is raising the Dead? Merlin, a temporary resident in the fortress, must answer that question if this time of kings and lovers is to be saved. Jason’s wonderful ship, Argo, has returned, drawn back by her own guilty past, and a dreadful secret that she will reveal only to Merlin. Argo holds the key to the mystery. And Niiv, the bewitching, beautiful Northlands enchantress, is working her way even closer into Merlin’s charms.

This is a journey that will take Merlin back in history, and to a fabled island of legend. Love is in the air. But at a price.

Hugh had been taught that, according to the ancient sacred writings, the Ship was on a voyage to faraway Centaurus. But he also understood this was actually allegory for a voyage to spiritual perfection. Indeed, how could the Ship move, since its miles and miles of metal corridors were all there was of creation? Science knew that the Ship was all the Universe, and as long as the sacred Convertor was fed, the lights would continue to glow and the air would flow, and the Creator’s Plan would be fulfilled.Of course, there were the muties, grotesquely deformed parodies of humans, who lurked in the upper reaches of the Ship where gravity was weaker. Were they evil incarnate, or merely a divine check on the population, keeping humanity from expanding past the capacity of the Ship to support?
Then Hugh was captured by the muties and met their leader (or leaders), Joe-Jim, with two heads on one body. And he learned the true nature of the Ship and its mission between the stars. But could he make his people believe him before it was to late? Could he make them believe that he must be allowed to fly the ship?